4.2-6.4 notes

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4.2: Florenz Ziegfeld, Jr In the 1910s, Florenz Ziegfeld, Jr. made a significant impact on the world of musical theatre and Broadway. He was known as a showman and impresario who introduced extravagance, glitter, and glamour to the Broadway stage, elevating chorus girls from the background to star status. Ziegfeld's Follies and Midnight Frolics were famous for their lavish productions and talented performers. Ziegfeld was an artist and talent scout who nurtured some of the biggest stars of his time. He had a keen commercial instinct, incorporating current events and inventions into his shows. His productions became a moving newspaper, reflecting the cultural and social changes of the era. Ziegfeld had a knack for promoting and publicizing entertainment from an early age, and he used this skill to build his reputation as a producer. He was also known for his complicated relationships with women, including Anna Held and Billie Burke. In the early 1900s, Ziegfeld capitalized on the dance craze by opening a nightclub called the Danse de Follies, where patrons could dance and drink. Ziegfeld's shows, including the Follies and Midnight Frolic, were filled with dance numbers that showcased the talent of chorus girls. Ziegfeld was also known for addressing social and political issues through his productions, including the impact of World War I and the sinking of the Lusitania. He even ventured into the controversial theme of miscegenation with the musical "Show Boat." Ziegfeld employed influential dance directors like Julian Mitchell, Ned Wayburn, and John Tiller to stage his shows. These directors played a significant role in shaping the evolution of the chorus line, making it a star attraction in musicals. The Rockettes, who began in the 1930s, represent the culmination of the evolution of the chorus line, with their precision dancing, high kicks, and synchronized routines. They continue to be a popular attraction at Radio City Music Hall in New York City. Overall, Florenz Ziegfeld, Jr. left a lasting legacy in the world of musical theatre and Broadway, revolutionizing the role of chorus girls and contributing to the development of the chorus line as a central feature in musical productions. — 4.3: Social Issues On & Off the Stage During World War I, unions in the United States gained strength and succeeded in reducing the workday from 12 hours to eight hours for war-related contracts. To support the war effort and gain concessions, most labor unions agreed to a no-strike clause in their contracts. However, after the war ended, high inflation rates led to economic difficulties for workers. The cost of living rose significantly, but wages did not keep pace. As a result, in 1919, over 4 million workers, including steelworkers and miners, engaged in strikes to demand better working conditions and wages.

The Actors' Equity Association (AEA) was formed in 1913 to represent Broadway performers and stage managers who previously had limited rights and often worked in challenging conditions. AEA managed to negotiate a union contract with the United Managers' Protective Association. Still, some Broadway producers resisted adhering to these agreements, leading to conflicts and strikes in the entertainment industry. The issue of appropriation in the field of dance arose during this period. While sharing and adapting dance steps and styles were common, what determined whether it was appropriation was the lack of credit. Dancers and choreographers often borrowed from each other, but it was considered unethical to claim someone else's work as their own without proper acknowledgment. Buddy Bradley, a choreographer known for his innovative dance styles, faced the challenge of his work being appropriated by performers and directors without proper recognition. His contributions to dance, particularly his fusion of African American social dance with tap moves, weren't always credited in Broadway shows. A notable example of appropriation involved the "Darktown Follies," where black dance steps and dances were adopted by white performers, often without credit to the original creators. This trend of appropriating black dance contributed to the development of American jazz dance, incorporating innovative styles and steps. In summary, this period saw significant labor strikes due to economic challenges, the formation of the Actors' Equity Association, issues of appropriation in dance, and the contribution of African American dance to the evolution of American dance forms. — 5.2: 1920s In the 1920s, several significant developments, influences, and events shaped the era, including on Broadway and in American dance: **Influential People:** 1. **Flapper Girls:** The image of flapper girls became iconic during this decade, representing the liberated, carefree spirit of young women in the 1920s. **Influential Shows:** 1. **"Runnin' Wild":** This Broadway show with an all-black cast opened in 1923 and popularized the Charleston dance, which originated from African American slaves. **Dance Genres:** 1. **The Charleston:** This energetic dance, with its distinctive footwork and syncopated rhythms, became a symbol of the 1920s. It originated from African American dance traditions.

**Dance Steps and Styles:** 1. **Charleston Dance Steps:** The Charleston featured lively steps, including kicks, swivels, and shuffles, often performed to fast-paced jazz music. 2. **Dance Contests:** Dance contests became popular during this period, drawing participants and audiences alike. 3. **Dance en Pointe:** Irene, a musical from 1919 and a prominent production of the 1920s, featured a lead character who danced en pointe in toe shoes, highlighting ballet influences. 4. **Shorter Hairstyles and Dresses:** Women's fashion in the 1920s featured shorter hairstyles and dresses, allowing for greater freedom of movement on the dance floor. **Historic Events and American Society:** 1. **World War I:** The end of World War I in 1919 led to shifts in American society, including changes in employment and women's roles. 2. **Prohibition:** The 18th Amendment, which prohibited the manufacture, sale, and transport of alcoholic beverages, went into effect in 1920. It led to a transformation in the nightlife and entertainment industry, with speakeasies and dance halls becoming popular. 3. **Women's Rights:** The ratification of the 19th Amendment in 1920 granted women the right to vote, leading to increased female empowerment and representation in entertainment. **Impact of Technology:** 1. **Commercial Radio:** The beginning of commercial radio broadcasts in 1920 contributed to the popularity of dance music and Broadway songs, enabling Americans to dance to the latest music in their own homes. **On Broadway:** 1. **Middle-Class Audience:** A booming national economy and shorter working days led to an affluent middle-class audience, with more leisure time and money to spend on entertainment, including Broadway shows. 2. **Strong Female Characters:** Musicals began featuring stronger female characters, mirroring the empowerment of women in society. 3. **Dating and Dance:** The popularity of dating as a social activity began in the 1920s, driven by the availability of entertainment venues and the removal of alcohol from many dance clubs. 4. **Variety of Shows:** The 1920s saw a surge in the number of shows, with many new theaters constructed in the Theater District. In summary, the 1920s were characterized by significant societal changes, including the end of World War I, the Prohibition era, and the expansion of women's rights. These changes influenced the entertainment industry, particularly Broadway, leading to the popularity of dance contests, dance en pointe, and the emergence of strong female characters in musicals. The Charleston dance, rooted in African American traditions, became a symbol of the era, and the rise of commercial radio further fueled the dance craze and Broadway's musical offerings. —

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5.3: Harlem Renaissance: The text discusses the Harlem Renaissance, a cultural movement in the 1920s that was marked by the influx of African Americans and West Indian immigrants into Harlem, New York. This migration was due to wartime job opportunities and a real-estate boom, leading to a significant increase in the population of Harlem. As these communities thrived, they celebrated black achievements, leading to the emergence of the Harlem Renaissance, characterized by artistic and intellectual creativity in various forms, such as poetry, writing, music, dance, and visual arts. One significant aspect of the Harlem Renaissance was the impact of jazz music and dance. Jazz music was a central element of the movement, and jazz dancing became closely associated with it. Jazz dance, like jazz music, was characterized by various features, including a strong connection to the ground, freedom of movement in the spine, isolations of body parts, syncopated rhythms, and a call-and-response dynamic between the music and the dance. Jazz dance reflected the innovative energy of American jazz music. The text also highlights the role of the musical "Shuffle Along" in the Harlem Renaissance, as it was considered a breakthrough musical that showcased black contributions to Broadway theater. The show featured an extraordinary cast and an abundance of dances that captivated audiences. Despite some initial financial difficulties and criticisms of thin plotlines, "Shuffle Along" attracted a diverse audience and contributed to the breaking of racial segregation barriers in theaters. Furthermore, the text discusses the social issues related to the Harlem Renaissance. While the movement encouraged the celebration of black achievements, it did not entirely dispel white perceptions of black people as simple and primitive. The text also mentions that the integration of black and white audiences in Harlem clubs was a fragile development, with audiences often remaining separated when the music stopped. In summary, the Harlem Renaissance was a cultural and artistic movement in the 1920s that was driven by the migration of African Americans and immigrants to Harlem. Jazz music and jazz dance played a significant role in this movement, with "Shuffle Along" being a notable example of how black contributions were recognized on the Broadway stage. However, it also revealed the complexities of race relations during this period. 6.2 - 1920s - Social Dance & Broadway Dance: In the 1920s, Americans were eager to embrace new music and dance trends. This era was marked by a fascination with innovation and a desire for the latest and greatest cultural experiences. Broadway audiences were particularly interested in fun and cutting-edge songs and dances, and Harlem became a fashionable hub for entertainment. Dance halls played a crucial role in popularizing jazz dance, much like how radio spread jazz music. Dances performed in Harlem clubs made their way into Broadway musicals, and in turn, Broadway dances found their way into New York City dance halls. However, it's essential to note

that many white dance stars were responsible for appropriating black jazz dance and presenting it to the American public. For example, dancers like Irene and Vernon Castle, representing mainstream white society, took elements of black jazz dance and transformed them into more "dignified" and less sexually explicit performances, which were better received by conservative audiences. The origin and evolution of jazz dances in the 1920s are challenging to pinpoint precisely. Dances often evolved as they traveled from Africa to the American South, Harlem, and eventually to Broadway stages. Dance history lacks a linear progression and relies on a combination of written material and word of mouth for understanding. Some popular dances from the 1920s included the Shimmy, introduced by Gilda Gray, and the Charleston, characterized by distinct movements. The Charleston's origins are traced to Africa, Charleston, South Carolina, and various other places. It was adapted to fit a ballroom dance hold for couples. Runnin' Wild (1923), featuring the iconic song "The Charleston," helped propel the dance to national popularity. Florence Mills, a performer of that era, pointed out that the Charleston had been danced in African American communities well before it reached New York and the mainstream ballrooms. Another popular dance, the Black Bottom, had uncertain origins but became a craze when introduced in Harlem's "Dinah" in 1924. The Lindy Hop emerged in 1927, mixing elements from the Break-a-Way and the Charleston. It was the earliest form of swing dance and featured acrobatic movements and lifts. The Varsity Drag was a dance created by Bobby Connolly for the college-themed musical "Good News" in 1927, designed to become a dance fad. It incorporated steps from the Charleston, elements of the Black Bottom, and simple tap dancing, and it was one of the first dances intentionally developed for stage and later adopted by the living rooms and dance halls. This era of the 1920s marked a continuous flow of new and exciting shows, reflecting the enthusiasm, speed, and high entertainment characteristic of the time. Even shows that critics considered "flops" often had long runs, indicating the public's appetite for new entertainment experiences. 6.3 - 1920s - Revues and Runaway Hits 6.4 - The Talkies On October 6, 1927, the Warner Bros. Theatre on Broadway and 52nd Street became the birthplace of a significant cultural phenomenon when it premiered the first talking picture, "The Jazz Singer," starring Al Jolson. The movie marked a turning point in American popular culture as it brought sound to film. In the film, Al Jolson played Jakie Rabinowitz, the son of a cantor,

who leaves his Orthodox Jewish home, adopts a new identity, and becomes a famous vaudeville and Broadway star. The film included a historic moment when, after fifteen silent minutes, Jolson sang the song "Dirty Hands, Dirty Face" and delivered the famous line, "Wait a minute, folks, wait a minute, you ain’t heard nothin’ yet!" This film had an eleven-week run and became the second-highest-grossing picture of the year, demonstrating the immense popularity of Broadway's influence during that era. It also helped bring Broadway into the national spotlight. Despite its success, it's essential to note that Al Jolson performed in blackface in the film. This was a controversial and problematic practice, and it illustrated the complex and troubling history of race and performance in America. The advent of sound in movies prompted many Broadway singing and dancing stars to transition to Hollywood, which had both positive and negative effects on the Broadway community. While Hollywood contributed to the excitement surrounding Broadway shows, it also attracted some of Broadway's most talented performers and creative teams. Two prominent dance stars who ventured into film were Fred and Adele Astaire, who initially began their careers as a vaudeville dance team. Adele was often more favorably reviewed than her brother Fred, who was more focused on choreography and innovative dance steps. Fred Astaire's tap dancing played a significant role in bringing physical expression to the syncopation of jazz. His collaboration with composers like George Gershwin led to memorable performances in Broadway shows and later in Hollywood movie musicals. Another notable dance star was Bill Robinson, whose agent recognized the changing entertainment landscape after the release of "The Jazz Singer." It became apparent that if Robinson wanted to continue his career, he needed to make a name for himself in Broadway or film. Numerous other dance stars, such as Ray Bolger, Marilyn Miller, and Katherine Dunham, also explored opportunities in movies, causing many performers, composers, and lyricists to shift from New York to Hollywood, with some rarely returning to Broadway. The transition to film and the influence of Hollywood on entertainment marked a significant shift in the performing arts landscape during this time.

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