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petervintonjr · 11 months

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Today we celebrate the life of Stormé DeLarverie, the affectionately-named "Rosa Parks of the gay community" who may or may not have actually thrown the first punch on June 27, 1969 at the Stonewall Inn in Greenwich Village (see Lesson #94 for more about this key event). While actual accounts conflict, DeLarverie herself would on occasion make this claim, however she also chafed at the idea of naming the Stonewall Uprising a riot; such a word, to her, changed the narrative and permitted the agitators to drive the story, not the victims. "It was a rebellion, it was an uprising, it was a civil rights disobedience," she would agree, but "it wasn't no damn riot."

Born in 1920 New Orleans on an unknown date (she would later claim December 24th as her birthday), DeLarverie's African-American mother was in fact a household servant to her white father. Her parents later married and the family moved to California, but she was ultimately mostly raised by her grandfather. Not unexpectedly, Delarverie endured more than her share of bullying and harassment from other schoolchildren, due not only to her mixed race but also her tall and lean androgynous looks --which would later work to her advantage; being able to pass for either white or Black, woman or man. For a time she rode horses with the Ringling Brothers Circus but stopped after a fall. She came out as lesbian at the age of eighteen, and remained in a committed relationship with a dancer named Diana, until Diana's death in the mid-1970's.

Between 1955 and 1969 DeLarverie was the featured emcee of the touring Jewel Box Revue, significant as one of the first-ever integrated drag revues, showcasing both black and white entertainers. The revue featured men in drag, though DeLarverie was the only male impersonator: one popular gimmick was to encourage audiences to try to guess who the "one girl" was from among the revue performers. At the end Stormé would reveal herself as a woman during a musical number called, "A Surprise with a Song," often wearing tailored suits and sometimes even a moustache that made her unidentifiable. The Jewel Box Revue also drew integrated crowds of both black and white audiences, and was even featured at Radio City Music Hall and at Harlem's famed Apollo Theater.

Only a few weeks after Stonewall, on July 11, 1969, DeLarverie was one of the founding members of the Stonewall Veterans' Association, and remained an active member for many years, ultimately serving as its Vice-President from 1998 to 2000. Throughout the 1980's and the 1990's she patrolled gay and lesbian clubs and bars on lower Seventh and Eighth avenues, ever vigilant and on the lookout for anti-gay and anti-black intolerance, a responsibility she took seriously until she reached her mid-eighties. She was a regular at New York's annual Pride parade, was honored at the Brooklyn Society for Ethical Culture, and received a proclamation from then-Public Advocate (now State Attorney General) Letitia James.

For further viewing: Stormé: The Lady of the Jewel Box, a 1987 film directed by Michelle Parkerson.

"Something Like A Super-Lesbian:" Stormé's May 2014 obituary at https://hello40s.com/2014/05/28/something-like-a-super-lesbian-storme-delarverie-in-memoriam/

#black lives matter #dothework #teachtruth #pride month #pride #storme delarverie

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rhysdarbyarchive · 2 years

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so Rosie made a reply to a tweet referring to an old sketch of Rhys's called "Things Rhys Can Do," and because of the context some people were kind of confused about what she was referring to, so I wanted to put up this clip of Rhys explaining it (and its sequels) since the sketch itself no longer online. Thank you @stedetheestallion and the Rhys Darby Archivist on Youtube for helping me with the technical issues I was having with this video lmao

This clip is from a really amazing uncut interview he did in 2019 for Funny As: The Story of New Zealand Comedy; I definitely recommend listening to the whole thing if you have the time and/or are interested in Rhys's early life/comedy and his experience with the NZ comedy scene in the late 90s/early 00s in general.

The Comedy Club at University of Canterbury was Rhys's first foray into the comedy scene, and where he met future collaborators like Chris Brain and Jonno Roberts. "Things Rhys Can Do" was the first sketch from Rhys the club accepted into their annual Capping Revue.

Here's Rhys's account from This Way to Spaceship that adds a bit more context:

I joined the University of Canterbury Comedy Club, in Christchurch, New Zealand, in 1995. It was Guy Roberts who made me do it. He was sitting at the sign-in desk during clubs and societies day. It was my first year at university and I was ever so keen to make (or do) an impression. It's thanks to Guy (according to him that I now have a career in comedy. A year after this signing up fiasco I was a fully fledged member of the university comedy team. I was invited to join the writing group, which, thanks to the budget breakfasts and bottomless coffee, met and wrote while sitting in a booth at Denny's restaurant. We sat around bumbling through ideas. I offered a lot of suggestions, but Guy (who was now president of the club) didn't like any of them. He politely suggested I move to another booth because my 'silly' ideas were distracting from his brilliant ones. I moved to another booth and wrote a simple comedy sketch on the back of a kids' menu. The sketch was called Things Rhys Can Do, and here it is: Announcer: 'Ladies and Gentlemen, we are proud to present Things Rhys Can Do by Rhys Darby.' Clears throat. I walk onstage. (I enter the stage in a funny way, wearing tights) Announcer: 'I do something funny.' (I do something funny) Announcer: 'I do a funny dance.' (I do a dance in a funny way) Announcer: 'I take a bow.' (I take a bow in a funny way) Announcer: 'I leave the stage.' (I leave the stage in a funny way) Announcer: 'Thank you.' THE END I presented this to Guy and the team that day in Denny's and it was met with much laughter. Unfortunately they were laughing at how stupid the idea was and not how funny it was. I was told to go back and work harder, but I think at that point I decided to go home. Regardless of this, Guy kept the bit of paper the sketch was written on and months later he decided to bring it out. Now he decided it was worth trying. Why? Because as time went by he began to see how I could make next to nothing funny. I could make people laugh without the use of words, a concept the writers group hadn't considered. I was physically funny. This became apparent at parties, and in general. Guy realised that this sketch was an opportunity for me to shine with minimal writing. The comedy club was struggling for ideas for that year's Capping Revue Show, so finally after a lot of discussion Things Rhys Can Do made it onto the set list. On opening night I performed small roles in a number of sketches, but when my big moment arrived I took to it with great gusto. With my long, skinny, gangly legs I pranced about in my purple tights like an incorrigible vixen, a sneaky jester gaily displaying his talent in the courtyard of the king. The crowd loved every minute of it and it was the hit of the night. 'The funniest sketch of the show' was the general consensus the next day at university. Other comments included, 'How do you move like that?' And, 'What's wrong with you?'

Rhys alluded to this being available on Youtube, which it was at one point, but it no longer is and doesn't appear to have been saved (on the Internet, that is. apparently Rosie has a copy). You can see some footage of him in purple tights here, but it's not set to any particular music.

#rhys darby #rosie carnahan darby #interview #video #2010s #2019 #rdlm #1990s #1996 #books #twtss #nz

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thatcartoonnetworkblog · 4 months

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Cartoon Network Friday Spotlight: Animaniacs- "A Christmas Plotz" / "Little Drummer Warners"

I was trying to decide what to write about for this holiday season. Maybe a special from a series on Checkered Past? Or an annual favorite like Yogi's First Christmas. But then I saw that Tom Ruegger and Andrea Romano, two of the greatest to work in the TV animation industry, were inducted into the Children and Family Emmy's inaugural Silver Circle, kind of a Hall of Fame.

Unfortunately, Pinky and the Brain the series was never a part of Cartoon Network's lineup, so I can't talk about its legendary holiday episode. But Animaniacs did have a couple of memorable Christmas segments, including these two that made up the 50th episode!

First we have an adaptation of A Christmas Carol that features Warner CEO Plotz as Ebenezer Scrooge, who fires Ralph the security guard and soon meets his three ghosts (played by guess who!), each of which showing Plotz the error of his ways. Soon, Ralph's surprisingly clever son becomes the eventual CEO of the studio and fires Plotz. Hey, he can't be worse than Zaslav.

"A Christmas Plotz" is pretty by the books, but effective in its work. As zany as Animaniacs gets, the show does have a slither of a heart, which is welcome for the season.

And we follow that with the Warners playing the Three Wise Men as they do a jazzy revue of traditional Christmas ballads, which is brilliantly scored and performed.

That's what you usually got with Animaniacs, quick wit and catchy music. Give this a spin during your holiday playlist!

#animaniacs #warner animation #cartoon network #friday spotlight

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hahaha-cough · 1 year

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Looney Revue Starlight

Every year the Warner Bros Music Academy performs the annual play "Starlight" for the school festival.

However, in the weeks leading up to this play, auditions are staged where they must fight, dance, and sing for the opportunity of becoming the Top Star of this play.

Among the Competitors are: (Under Read More)

Bugs Bunny

A prodigy when it comes to acting, singing, dancing, and almost seemingly anything they can put their mind to. When it comes to top class actor, they represent it, Because of this they have become the face of the top of their school and a leading role is almost always theirs.

Never the type to gloat they let their talent speak for themselves.

they remain cool and aloof set upon an untouchable pedestal. Making the rabbit somewhat distant from their peers.

Daffy Duck

When it comes to mind who comes after Bugs Bunny of the academy Daffy Duck is there to come to mind.

The very definition of "practice makes perfect" this actor does everything they can to compete against Bugs Bunny for the leading role.

Despite what it may seem, Daffy Duck was the reigning top star of their class before Bugs Bunny came along. However this didn't discourage him, it instead fanned the flames for Daffy to do even better and reclaim his spot once again.

Although passionate through their pride and ego they are never truly mean-spirited about it. Daffy finds himself revitalized by finding someone they can call a rival.

(This was inspired by @nebelihood and their collection of looney tunes AUs. At the time I was going through a Revue Starlight hyperfixation so why not create a fusion of the two. If you can guess who Bugs and Daffy are parallels to I award you 2 internet points

#revue starlight #looney tunes #bugs bunny #daffy duck #baffy #looney revue starlight

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moon-swag-tourney · 9 months

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very late, but aruru submitter again!! it's like, a little hard to explain what all exactly is going on with revue starlight, but i'll try my best! essentially, revue starlight is a multimedia franchise with three main facets!

the basics

revue starlight as a franchise revolves around young girls partaking in underground battles (typically referred to as Revues or Auditions) to try and claim the title of Top Star, which comes with the ability to perform in any one stage and show of her choosing! the participants in a revue perform songs as they battle, which is why a good chunk of the fandom overlaps with other anime music franchises such as love live or bang dream! at the beginning of the series, it primarily features nine students attended seisho music academy (two of which are currently participating in battle-couple-battle at the time of writing!) as they prepare for their annual performance of the play Starlight! the rest of the girls, including aruru, don't come in until later installments (primarily the game, but there's a fair few characters that got their start in the stageplays!

the stageplays/concerts

live action performances done in person by the voice actors of all the characters! most franchises that have stageplays tend to get different actors for the stageplays since not every voice actor is comfortable with stage acting, but revstar actually went the other way around! revue starlight started with its first stageplay, so the (main) girls all started out with stage actors, all of which persisted into their animated roles! revstar was actually the start of a fair few of the actors' start in the voiceover side of the acting business! while none of the stageplays have been officially translated, fan translators have been working hard to make sure that the english side of the fanbase can partake in them as well! i personally lean towards the fansubs done by spicyveggiesub on here, if you're interested! there's also the concerts! most of which are centered around just performing songs that don't originate from the stageplays, but occasionally also feature story segments!

the anime

i find it easiest to describe the anime as the jumping off point for the franchise despite it coming after the first stageplay because a lot of the plotlines for the (main) girls got expanded upon here! officially the first stageplay and the 12 episodes of the anime are both valid starting points, but personally i would say the anime does a better job as a hook than the first stageplay does. would definitely recommend watching both though! but anyway, after the anime there's also the OVA (which is split into three shorts), the recap movie Rondo Rondo Rondo (which i would recommend watching due to having some additional content!), and the sequel movie!

the game

this is where aruru first gets introduced! prior to the game's release the franchise focused on the 9 girls from the main school of the franchise (seisho music academy), but the game introduced three new schools (rinmeikan girls school, frontier school of arts, and siegfeld institute of music) with five members each, all with their own unique stories that intertwine in the main plot! aruru attends frontier school of arts, and in terms of irl marketing is considered the school's "main" character! truthfully speaking, i really wouldn't recommend *actually* playing the game, as its incredibly scummy in terms of powercreep and microtransactions, but i would whole-heartedly recommend reading the stories online!

i can totally understand that having all of that thrown at you at once can sound a bit overwhelming, but i promise it's not nearly as bad as it looks! currently, aruru's appearances are in the game's school story for frontier school of arts, the game's main story (with her biggest role being during the main story's third arc, arcana arcadia!), assorted game event stories, and the starry diamond concert! i will say that i don't particularly recommend jumping straight into the game stories for aruru, as they feature pretty big spoilers for the 12 episode anime and first stageplay, but altogether those only take about six hours to watch! i would get into what i would personally recommend as a watch/read order for all the content outside of the game, but this ask is already crazy long, so i'll leave that for if you're interested in starting!

OOh, alrighty!! And fr don't mind the long ask, honestly I'm able to read and enjoy any length if it's split into some sort of chunks like here lmao

Honestly because the anime is very short compared to other popular series, I'll probably end up finding time to watch it, and I suppose from there I'll try to get into the games for Aruru! I am a sucker for musical-like thing and anime, so it definitely could end up being a fixation lkdsf

I'm not super sure what to say but the info is very appreciated and has been absorbed! It's kinda funny to me that of the series I've been told about so far, two of them had to do with performing arts and I just had no idea

#asks #aruru otsuki #revue starlight

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crazyfox-archives · 1 year

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The Takarazuka Revue actress Maisora Hitomi (舞空瞳) along with five colleagues costumed as bodhisattvas and scattering flower petals over the audience after a procession & song performance as a key part of the Muenkyō Taikaishiki (無縁経大会式), a rite for bringing tranquility to the realm by caring for departed spirits lacking relatives held annually in April at Nakayamadera Temple (中山寺) in Takarazuka, Hyōgo Prefecture

Photo by さえずったぁ [Saezuttaa], April 1, 2018

#japanese religion #buddhist temple #兵庫県 #hyogo prefecture #宝塚市 #takarazuka #中山寺 #nakayamadera #西国三十三所 #無縁経大会式 #muenkyo taikaishiki #菩薩 #bodhisattva #japanese drama #宝塚歌劇団 #takarazuka gekidan #takarazuka revue #舞空瞳 #maisora hitomi

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abernant · 8 months

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WHAT IS REVUE STARLIGHT ABOUT?!?!??!?!?!?!??!!??!

SO . theres these two girls they saw a play when they were kids called starlight and they promised each other that one day theyd stand on that stage together then one of them moves to london because of aforementioned promise they cannot communicate FLASH FORWARD they are like 16 . karen (one of said girls) is enrolled in a performance academy bc she never forgot their promise and along with a colorful cast of characters theyre working 2 put on their annual production of starlight and all is well and good and then hikari (the othrr girl) comes BACK and theres this fucking giraffe . that like takes them to the eponymous Revues where the stage girls compete for the position of top star . they do this via armed stage combat but theyre all like fine . until they are not . lot happening in there

#asks

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sheetmusiclibrarypdf · 1 year

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Irving Berlin - White Christmas (from the film Holiday Inn) lyrics and piano

Irving Berlin - White Christmas (from the film Holiday Inn) lyrics and piano (sheet music)

https://dai.ly/x8g6gw1

JAZZ

Irving Berlin

Irving Berlin's Jewish family immigrated from Russia to the United States in 1891. His father was a rabbi who got a job certifying meat under Kosher Law. After the death of his father in 1896, Irving had to find work to survive; he was employed as a newsboy and also performed on the street to get money. The harsh reality of having to work even menial jobs to avoid starvation left a deep mark on Berlin's valuation of money. When he was working as a singing waiter at Pelham's Café in Chinatown, Berlin was asked by the owner to write an original song for the café, because a rival business had its own song published. «Marie from Sunny Italy» was the result, being released soon. Although he only earned 37 cents, it opened the doors to a new career and a new name: Israel Baline was mistakenly printed as "I. Berlin" in the score. Many of her early songs, including "Sadie Salome (Go Home)," "That Mesmerizing Mendelssohn Tune," and "Oh How That German Could Love," achieved modest success both in sheet music, on recording, and on the vaudeville stage. , or as interpolations in various shows; but it was "Alexander's Ragtime Band," written in 1911, that catapulted him into one of Tin Pan Alley's biggest stars. Following the success of "Alexander's", Berlin was rumored to be writing a ragtime opera, yet he produced his first full-length work for the musical stage, "Watch Your Step" (1914), starring Irene and Vernon Castle, the first musical comedy in making penetrating use of syncopated rhythms. A similar show titled "Stop! Look! Listen!» followed that in 1915. In 1917, during World War II, he entered the US Army and staged a musical revue entitled Yip Yip Yaphank while at Camp Upton in Yaphank, New York. Billed as "a military mess cooked up by the boys from Camp Upton", the cast of the show was made up of 350 members of the armed forces. The revue was a patriotic tribute to the US military, and Berlin composed a song titled "God Bless America" for the show, though he ultimately made no use of it. When it was performed years later, it became so popular that it was suggested that it could become the National Anthem, that is, a kind of national song. It has remained until today as one of the most successful songs and one of the best known throughout the United States. Particularly remembered is the interpretation that it was made after the terrorist attack of September 11, 2001, when members of Congress sang it on the steps of the Capitol. Some songs from Yaphank's magazine were later included in the 1943 film "This Is the Army" which also featured other Berlin songs, both the film's title song and a cover of "God Bless America" by Kater Smith. After the war, Berlin built his own theater, the Music Box, as a venue for annual revues featuring his latest songs; the first such magazine was "The Music Box Revue of 1921". The theater is still in use, occasionally. Although most of his works for the Broadway stage took the form of revues — collections of songs with no common theme — he wrote a few book shows. The Cocoanuts (1925) was a comedy, with a cast that included, among others, the Marx Brothers. Face the Music (1932) was a political satire to a book by Moss Hart, and Louisiana Purchase (1940) was a satire of a southern politician, obviously based on the exploits of Huey Long. The show featured a succession of hit songs, including "Easter Parade," "Heat Wave" (presented as the weather forecast), "Harlem on My Mind," and what is perhaps their most powerful ballad, "Supper Time," a tormented song about racial bigotry, with an unusual weight in a musical revue and which was sung by Ethel Waters, a magnificent singer of color, in a heartbreaking interpretation. During World War II, after receiving permission from General George Marshall, Berlin organized a magazine made up of soldiers in the spirit of Yip Yip Yaphank. The result, This Is the Army, opened on July 4, 1942, with a cast of over 300 soldiers, and remained on the stage for three years, first on Broadway, then on a tour of the United States, and then on the Foreign. Irving Berlin's most successful Broadway musical was: Annie Get Your Gun (1946), produced by Richard Rodgers and Oscar Hammerstein II. Loosely based on the life of shooter Annie Oakley, the music and lyrics were written by Berlin, with a book by Herbert Fields and his sister Dorothy Fields. Berlin had been hired after the death of Jerome Kern. At first, he turned down the offer, stating that he knew nothing about hillbilly music, but the show ended up running 1,147 performances. Annie Get Your Gun is considered the best musical in Berlin, not only because of the number of musical hits it contains, but also because its songs successfully combine the description of the characters with the help of the development of the story. In 1927, one of Berlin's songs, "Blue Skies", a hit since 1926, was performed in the first talking picture in cinema history: The Jazz Singer, sung by Al Jolson. Top Hat (1935) was the first in a series of Berlin-sponsored film musicals to star popular and attractive performers (such as Bing Crosby, Fred Astaire, Judy Garland, and Ginger Rogers), with romantic storylines and a soundtrack to base of his new and old songs. Irving Berlin did not compose in a traditional way; he used mainly the black keys of a piano. He was a composer of the music for such films as Mark Sandrich's Top Hat (1935), Stuart Heisler's Blue Sky (1946), and Easter Parade (1948). Among his best-known songs are "Everybody's Doin 'It", "There's No Business Like Show Business", "White Christmas" and "Easter Parade". In 1968, he received the Grammy for a life dedicated to music. He was the author of more than fifteen hundred songs, becoming one of the most important composers in the United States. Although he never learned to read music beyond an elementary level, he wrote over 3,000 songs, many of which left an indelible mark on American music and culture. He produced 17 films and 21 Broadway shows, in addition to his individual songs.

List of songs written by Irving Berlin

Read the full article

#christmasmusic #sheetmusicdownload #sheetmusicscoredownloadpartiturapartitionspartitinoten楽譜망할음악ноты

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qazastra · 1 year

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to be real. the catastrophizing about the train in Ohio seems to be making it easy to overlook over the fact that the one reporter that was arrested by local police (and as far as i know is still being charged with disorderly conduct and criminal trespassing) was a Black man subjected to police violence caught on camera. Evan Lambert was released after five hours but I think it's important to recognize that what happened to him was likely more the product of racism than an elaborate coverup for an incident that has indeed, despite some rumors I've seen to the contrary, been reported on.

it's bullshit that Lambert was threatening anyone. they're trying to use that as an excuse as to why he was "tackled to the ground and placed in handcuffs (via NewsNation)." don't buy it.

for some background, the town where this took place, East Palestine, Ohio, is known to have put on their last minstrel show (albeit absent any blackface and reportedly closer to an "Old Timey Musical Revue" than what the name would otherwise suggest, it was still billed as a 'minstrel show') in 2019:

feel free to put more links to reporting on the situation in reblogs!

text for the last article is below the readmore as it is behind a paywall:

The last minstrel show

A journey to East Palestine, Ohio, reveals a surprising minstrel show

TONY NORMAN

Pittsburgh Post-Gazette Columnist

[email protected]

APR 28, 2019

7:00 AM

The journey to East Palestine, Ohio, on a rainy Saturday evening in early March, began with a phoned-in tip a few days before.

The caller, a colleague at another news outlet, assumed that I would jump at the chance to write about a show that billed itself “The 57th Year East Palestine All Eagles Minstrel Show.” Her instincts were correct. A quick Google search confirmed that a performance was scheduled for March 9.

Further web sleuthing turned up photos from past E.P. Eagles productions, including at least one blackface performer and several white-faced minstrels. What in the name of Jim Crow was wrong with these people, I wondered.

It would’ve been too much to expect the good people of East Palestine, with a population of 4,700 with less than one percent black residents, to be “woke,” but I assumed everyone in America had the internet by now. After all, we weren’t that far removed from blackface controversies that ensnared Virginia’s governor, that state’s attorney general and the Republican speaker of the Virginia house.

This image shows Virginia Gov. Ralph Northam's page in his 1984 Eastern Virginia Medical School yearbook. The page shows a picture, at right, of a person in blackface and another wearing a Ku Klux Klan hood next to different pictures of the governor.(Eastern Virginia Medical School via Associated Press)

When I told my friend and PG colleague Steve Mellon about a minstrel show being performed an hour away in an obscure corner of Ohio’s post-industrial valley, he was even more eager to see, experience and photograph it than I was.

It seemed hard to believe that a tradition that can be traced to 1828, when Thomas Dartmouth “Daddy” Rice became the first white man to perform in blackface as Jim Crow, was still alive and kicking in the 21st century.

After another colleague drove to East Palestine to procure tickets for us before the show sold out, Steve and I were prepared for an evening of predestined, righteous outrage.

Concerned that he might be barred from bringing his camera into the venue to shoot, Steve contacted the East Palestine Eagles, the sponsor of the annual minstrel show fundraiser, to let them know we were coming.

They were cordial, but firmly insisted cameras wouldn’t be welcome in the hall. At that point, we both had visions of stereotypes running wild on the stage. If we couldn’t shoot whatever awaited us, we at least wanted to witness it.

As a Philadelphian, I figured that whatever awaited us couldn’t be worse than what a person would see marching down Broad Street in my home town during annual Mummers Day parades in the 1960s and ‘70s.

I figured there would be a few people wearing dark grease paint while finger-plucking banjos and singing in what they imagined to be old Negro dialect. Yeah, I was expecting a heavy dose of Stephen Foster songs.

We were relieved to have our tickets in hand just in case the East Palestine Eagles decided to impose a media blackout (so to speak). When we went back online to double-check a few things about the performance, the images of blackface and whiteface minstrels we’d seen earlier were gone. Geez, were they trying to gaslight us already?

Fortunately, Steve made screen grabs when they were up, but it was already looking pretty weird. Why pretend that minstrels and minstrelsy somehow wouldn’t be a major part of a contemporary minstrel show?

Curiosity, suspicion

The hourlong drive was uneventful, though we ran into a torrential downpour as we crossed the street from the crowded parking lot to 320 East Taggart St., the combination lodge, performance space and bar/restaurant known to locals as the East Palestine Eagles Nest.

From the moment we stepped dripping wet through the door, it was obvious we weren’t from those parts. A waitress took our tickets and politely escorted us to our seats through throngs of smiling and nodding East Palestinians. The vibe in the room was one more of curiosity and neighborliness than suspicion about our motives.

I was definitely the only black person there that night, but Steve probably wasn’t the only white Kentuckian in that building by a long shot. People were very cool, but there was never any doubt we were deep in the heart of Appalachia.

Unexpected performance

The first thing we noticed once the show started was the complete absence of blackface or whiteface on any of the performers. With few exceptions, the roughly 25 musicians and performers crammed into the performance space wore white tuxedos, red carnations and red suspenders. They could’ve been a musical revue put together by East Palestine’s Chamber of Commerce.

Because they were mostly middle-aged and older white men with only a few under-30 performers among them, they looked more like the Lawrence Welk Orchestra than anyone’s idea of a minstrel troupe. They were various town officials, small business owners, entrepreneurs, retirees, actual musicians, blue-collar workers and folks who had figured out how to stay in East Palestine with their dignity intact after the economy went south.

Yet, they were minstrel troupe adjacent. They opened with a very sanitized version of “Bring Back Those Minstrel Days,” with lyrics that hint at minstrelsy’s inglorious past without embracing it too wholeheartedly.

Minstrel shows, such as the one advertised on this poster from 1900, historically featured white performers in blackface, with much of the content mocking black people.(Library of Congress)

Like all classic minstrel shows, the “Old Fashion Minstrel Show 57th Year 2019” featured a revolving cast of “endmen” — officially designated rascals whose job it was to introduce songs while sparring light-heartedly with the other performers.

Sometimes the jokes would get bawdy and sexually suggestive, but nothing even remotely denigrating about black people or other minorities was said or sung on the stage that night — and I was listening closely.

The musical performances, while solidly amateurish, appeared heartfelt and well rehearsed. After all, it was an annual fundraiser for several local charities and agencies that help people in the community.

When soloist Rex Wilson stepped to the mic to sing “Mack the Knife,” he knew how to connect with the audience. When Jim Bacon sang “Travelin’ Man,” he demonstrated superior vocal skills.

The musical offerings that night were standard and inoffensive, with highlights that included “Basin Street Blues,” “Ain’t Misbehavin’,” “Anything But Love,” “You Can’t Take That Away From Me” and an instrumental take on “My Blue Heaven.”

While there were sentimental songs, there was no equivalent of “The Old Darky” trope or anyone waxing nostalgic over slavery and racial oppression. No one sang in a plantation dialect or wept for the return of antebellum life (the chorus to “Bring Back Those Old Minstrel Days” being the only exception).

Other than a truly funny penile enlargement joke that brought down the house, this was the most family-friendly entertainment I’d experienced in years. Yet, there remained a yawning chasm between what is implied by identifying with the minstrel show tradition and what was ultimately delivered on stage that night.

Why court the controversy, negative media coverage and hurt feelings that would automatically be generated by invoking offensive stereotypes by promising a “minstrel show,” even if in name only? The relative blandness of the performance made it feel anticlimactic.

Of course, Steve and I wondered what happened to the blackface and white-faced performers that had once been a part of the show and had recently been featured on the website. Their swift removal was a clear acknowledgement, even if unspoken, that times had changed. Even as we applauded the men who bowed on stage after their performance of “When Irish Eyes Are Smiling,” we had a lot of questions.

PC minstrelsy

After the performance, Steve and I were immediately approached by members of the cast and various support people eager to get our take on the evening. Speaking for myself, I was entertained, if somewhat disappointed by the lack of outrage-producing moments. As a columnist, I live for those moments. This was like going to Las Vegas to see Don Rickles but having to settle for Pat Boone.

Far from being offended by my lack of outrage, they were pleased by it. They were desperate not to have offended anyone, especially a black person. Because I have a very distinctive laugh, they knew they were half way home.

More than one person asked us if we were aware that one of the youngest performers on stage that evening was biracial. No one would come out and say it, but they wanted us and all the people an hour away in Pittsburgh to understand how not-racist they are in East Palestine, Ohio.

They wished the estimated 10 to 15 black people who lived in the area had come to the show to see for themselves how non-racist it was rather than believe media reports that weren’t based on having seen the show.

Though offered sincerely, it was disingenuous to complain about black people believing negative press about the show when there are certain expectations baked into what any reasonable person can assume when stumbling upon something advertised as a “minstrel show.”

There was grudging acknowledgment that what was performed on March 9 was a completely different show than it would’ve been in the 1960s and 70s or even a decade ago.

At one time, even the family-friendly show in East Palestine reflected some of the problematic elements of minstrel shows. But it hasn’t been that in a long, long time, the people who talked to us insisted. No one would say the last time they’d seen someone wearing blackface on the stage — or even white-face, for that matter. There are limits to what they’re willing to talk about even on background.

Then there is the biggest question of all — why call the annual musical review fundraiser a minstrel show at all if all the worst aspects of minstrelsy have been removed from it? Why not just call it “The East Palestine Old Timey Musical Revue” or something less fraught with the weight of historical judgment?

Many conspiratorial whispers later, we’ve heard the same excuse from several people used to explain why a non-minstrel show advertises itself as a minstrel show — tradition. Some people just don’t want to let go of the term “minstrel show” even as every element of a real minstrel show is left on the cutting room floor.

“We really shouldn’t use the term at all,” one performer who was intimately involved in the production said. “It’s not worth the trouble, but you have oldtimers who don’t want to let it go. I think this may be the last year you see the word minstrel in the program booklet.”

On the drive back to Pittsburgh, Steve and I compared notes about what we saw on stage that night. We were both disappointed by the lack of antebellum drama and controversy, but we were also relieved that the good people of East Palestine are beginning to realize that singing “Bring Back Those Minstrel Days,” even without the makeup, really isn’t a good look for them.

Tony Norman: [email protected] or 412-263-1631.

First Published April 28, 2019, 7:00am

#sorry i don't normally post about news but this is something that i've seen NO mention of on the dash in contrast to the several reblogs of #information and misinformation relating to the derailment itself and resulting pollutants #cw police violence #news #important

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oldshowbiz · 11 months

Photo

youtube

1921.

The annual musical comedy revue George White’s Scandals is what made George Gershwin famous.

#tin pan alley #george gershwin #78s

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uneasylisteningradio · 1 year

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The Kids Just Don’t Understand: Women’s History Month Edition

Image: Marsha P. Johnson

Songs by women for international women's day/women's history month! Of course trans women have always been included in this annual show, but given the wild, overblown and dangerous panic going on around trans people's right to exist and be themselves in the US and elsewhere right now, I wanted to up their representation. It's pretty much the least I can do to lift up people who are dealing with a lot of garbage right now. Well I guess the VERY least anyone can do is just be respectful of trans people and let them live their dang lives and be happy.

stream on Mixcloud

G.L.O.S.S. - We Live

DJ speaks over Wendy Carlos - Clockworks (Bloody Elevators)

Elaine Brown - The End of Silence Neonates - Tres Wayne County & the Backstreet Boys - Flip Your Wig Anthrax - I Will Never Marry Fault 151 - Radiation Man Het Ward - No One Is Ever Going To Tell Us How To Love Again

DJ speaks over Holly Golightly - Grandstand

Pandemix - Pigs at the Trough Carole King - Pleasant Valley Sunday (Demo) Alptraum GmbH - Herzschrittmacher Revu - Bex Adres Sister Rat - Los Huevos Buenos The Lewd - Magnetic Heart

DJ speaks over Wendy Carlos - Sheep May Safely Graze, from “Cantata no. 208”

Laura Lee - Women's Love Rights Marie-France - (La Vie Me Chante) Ouh La La La Girls At Our Best! - Pleasure Rip Rig and Panic - Storm the Reality Asylum

DJ speaks over Wendy Carlos - Handel's Water Music - Air

The Hirs Collective - A Prømise / T.D.Ø.V. Zona - Boule Ques Rotary Club - American Tower Suburban Youth - Held On Wimp - Trans Day of Vengeance DOGMA - Beauty The Chantels - Maybe Juicy Fruits - Jenie wa Gokigen Naname Millie Jackson- Hypocrisy

DJ speaks over The Surfrajettes - Toxic

Lái - Jalang Erase Errata - Tongue Tied Alessia Obino - Outshined No-Song Kutkotz - Telegram Dislocation Dance - You Can't Beat History

DJ speaks over Wendy Carlos - Two Polymoog Improvisations

Kontrola W. - Bossa Nova PhysiQue - Yesterday's Anguish, Tomorrow's Despair 48 Chairs - Snap It Around Horrid - Repulsion

Poison Girls - Persons Unknown

#radio #community radio #womens history #all women #punk #hardcore punk #jazz #soul #proto punk #anarcho punk #queercore #sunshine pop #electronica #ye-ye girls #post punk

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papermoonloveslucy · 1 year

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CURTAIN UP!

Lucy On Stage ~ Act 2

Lucille Ball’s dream was to appear on Broadway. That dream become a reality in 1960, but ended prematurely. if Lucy couldn’t be on Broadway, Broadway would come to Hollywood – on Lucy’s new TV show “The Lucy Show.”

THE CHARLIE CHAPLIN SKETCH

“Chris’s New Year’s Eve Party” (1962) ~ When Lucy’s daughter’s New Year’s Eve party is a dud, Lucy and Viv revive it with their silent movie sketch featuring Lucy as Charlie Chaplin. Not exactly a full scale show, it is still performed for an audience - Chris’s teenage friends.

Lucy is joined by Viv as a flapper, Harry (Dick Martin) as a waiter, and Eddie (Don Briggs) as the thug. The entire presentation is done without dialogue to honky tonk piano music.

“VOLUNTEER VANITIES” / “ANTONY & CLEOPATRA”

“Lucy Plays Cleopatra” (1963) ~ After the Danfield Volunteer Fire Department’s charity revue “Volunteer Vanities” is cancelled, Lucy stars as the Queen of the Nile opposite Professor Gitterman in “Antony and Cleopatra”.

For the aborted “Volunteer Vanities” the women sing an original song called “Hello” to the tune of “Ta-ra-ra Boom-de-ay" which is a traditional vaudeville and music hall song. The song's first known public performance was in the 1891 revue Tuxedo. Joining Lucy and Viv in the “Vanities” are Mary Lou (Hazel Pierce), Frances (Mary Wickes), Audrey (Mary Jane Croft) and Colleen (Renita Reachi).

Professor Gitterman (Hans Conried) says he is scheduled to do excerpt from his readings from Cyrano de Bergerac for the Danfield Literary Society. He is referring to Edmond Rostand's 1898 stage play. Gitterman (who also directs) says that Lucy needs to project so that the people in the back row who paid $4 can hear her.

Viv is assigned the roles of Mardion, Diomedes and Fulvia. She notes that Fulvia dies before the play begins and says the combined speeches of Mardion and Diomedes amounts to “Hark!” “ Begone! and “Fie!” Professor Gitterman mentions that he did some 'improvements' to Shakespeare, so although Viv seems to be exaggerating about the paucity of dialogue, the characters’ lines may indeed have been greatly reduced.

“ANNUAL BOY SCOUT SHOW” starring Ethel Merman

“Ethel Merman and the Boy Scout Show” (1964) ~ Lucy and Viv recruit Ethel Merman to star in their sons’ Boy Scout Show and the group discovers that there’s no business like show business!

LUCY: You’d think she was the biggest star on Broadway. VIV: She is.

The show tributes vaudeville, silent films, talkies, Broadway musicals, radio, and television. It consists of the following acts:

Sherman (Ralph Hart) does an acrobatic dance routine

Jerry (Jimmy Garrett) tells a joke

Merman, Lucy, Viv and Mr. Mooney sing “There’s No Business Like Show Business” from Annie Get Your Gun

Lucy does a plate balancing act (a repeated gag)

Mr. Mooney and Viv sing “Tiptoe Through the Tulips” (originally to be sung by Mr. Mooney and his wife Irma, had she not had to go to Trenton for the birth of their grandchild)

Lucy, Mr. Mooney, and Ethel Merman perform a silent movie sketch about a husband leaving his wife for another woman

Viv, as Shirley Temple, sings “On the Good Ship Lollipop” from the 1934 film Bright Eyes

A tribute to 1920s stage musicals features Lucy, Viv, Ethel Merman, and Mr. Mooney

Mr. Mooney is a radio host presenting a lady saxophone player (Lucy) from Altoona, Pennsylvania playing “Glow Worm” (badly) from Paul Lincke's 1902 operetta Lysistrata

A tribute to “The Ed Sullivan Show” and its showcase of variety acts

Ethel Merman sings “Everything’s Coming Up Roses” from Gypsy

Everyone joins in for a reprise of “There’s No Business Like Show Business”

“THE FOUNDING OF DANFIELD”

“Lucy and Arthur Godfrey” (1965) ~ Lucy and Viv convince the star to headline in the Danfield Community Players production about the founding of their town.

The show is to benefit the children's wing of the hospital. The two-act musical melodrama is set aboard a riverboat in the South. It stars Godfrey as Daddy, Lucy as his daughter Lucybelle, Viv as dance hall girl Bessie, Mr. Mooney as wealthy landowner Conrad P. Field, and Vinnie (Max Showalter) as the Honest-But-Poor Piano Player. The songs for the show-within-the-show were written by Broadway veteran Showalter, Bob Lees, and Peter Walker.

LUCYBELLE: You want me to play hankie-panky with a Yankee?

“THE ART OF PANTOMIME”

“Lucy and Mickey Rooney” (1966) ~ Mickey Rooney takes out a loan from Mr. Mooney's bank to open an acting school. Lucy and Mr. Mooney each wangle free acting lessons, which culminates in a silent movie sketch.

MR. MOONEY (to LUCY): What in the name of Bette Davis makes you think you can act?

To impress Rooney, Lucy lists her acting credits: Mr. Roberts (in a 1948 play of the same name), MacBeth (in Shakespeare's tragedy of the same name), Julius Caesar, and Captain Hook in Peter Pan. She fails to mention her experience playing Cleopatra for the Danfield Community Players!

In Rooney's acting class, Mr. Mooney (wearing a pink table cloth as a toga) rehearses Mark Antony's famous speech from Shakespeare's Julius Caesar: “Friends, Romans, countrymen, lend me your ears.”

Lucy revives her Charlie Chaplin impersonation with Rooney as “The Kid”. The Players Showcase also includes Mr. Mooney as the Grocer and Sid Gould as a Keystone Kop.

“THE TAMING OF THE SHREW” / “THE BRICUSSE-NEWLEY SONG BOOK”

“Lucy in London” (1966) ~ In the stand-alone special, Lucy Carmichael travels to London, with Anthony Newley as her tour guide.

Lucy stars as Kate in Shakespeare’s The Taming of the Shrew filmed on location at Great Fosters, an English country manor from the Tudor period located in Egham, Surry, just outside of London.

Her tamer is actor Peter Wyngarde as Petruchio, although we never hear or see any actual Shakespeare. But the costumes look great!

At the end of the special, Lucy finds herself at The Scala Theatre on Charlotte Street, off Tottenham Court Road. There she is audience to Newley (a West End and Broadway veteran) in “The Bricusse-Newley Song Book”. The one-man show is presented with lights, scenery, costume changes, and an orchestra. He first sings “Fine Day in London” then “Gonna Build a Mountain” (from The Roar of the Greasepaint - The Smell of the Crowd). He follows with “Once in a Lifetime” from Stop the World - I Want to Get Off and “Nothing Can Stop Me Now” also from Greasepaint. During “Look at That Face” (Greasepaint) he sings directly to Lucy. He ends the medley with “This Dream” (Greasepaint).

The special takes on a dreamlike quality with Lucy on stage doing a pantomime in a spotlight. The very end of the show, still on the Scala stage, Lucy sings about her “One Day in London”.

“A SALUTE TO AVIATION”

“Lucy and Carol Burnett: Part 2″ (1967) ~ After graduating from flight attendant’s school, Lucy and Carol Tilford (Burnett), participate in a graduating class musical revue in tribute to the history of aviation. The revue also features Buddy Rogers and Richard Arlen, stars of the very first Oscar-winning film, Wings (1929).

The show musical revue features:

Lucy, Carol and the flight attendants sing “Over There” (1917) written by George M. Cohan

Rodgers and Arlen sing “My Buddy” (1922) with music by Walter Donaldson and lyrics by Gus Kahn

Lucy, Carol, Mr. Mooney, Arlen, and Rodgers sing “How ‘Ya Gonna Keep 'em Down on the Farm (After They’ve Seen Paree?)” (1919) with music by Walter Donaldson and lyrics by Sam Lewis and Joe Young

Lucy, Carol and the flight attendants (as flappers) dance to “Thoroughly Modern Millie” (1967) with music by Jimmy Van Heusen from the film of the same title

Lucy, Carol, and a male soloist sing “Chattanooga Choo Choo” (1941) with music by Harry Warren and lyrics by Mack Gordon

Three male tap dancers sing “Alabamy Bound” (1924) with music by Ray Henderson and lyrics by Buddy G. DeSylva and Bud Green

A bride and groom performe “Shuffle Off to Buffalo” (1933) from the film 42nd Street with music by Harry Warren and lyrics by Al Dubin

Six boys and girls sing “Toot, Toot, Tootsie” (1921) written by Dan Russo, Ernie Erdman and Gus Kahn for the Al Jolson musical Bombo

Lucy, Carol and the ensemble perform “Hey, Look Me Over” (1960) from the musical Wildcat with music by Cy Coleman and lyrics by Carolyn Leigh. This version has specially written lyrics to suit the setting.

The ensemble performs “The Army Air Corps Song” (1917) written by Robert Crawford

“SPEAK EASY DAZE” starring Joan Crawford

“Lucy and the Lost Star” (1968) ~ Lucy and Viv discover Joan Crawford has no furniture and believe she is broke so they arrange to star her in a show so that movie producers will offer her work.

The charity show is written by Lucille Carmichael and presented by the Good Samaritan Players. It is never clear if The Good Samaritan Players are an actual group or something that Lucy and Viv made up to protect Crawford’s pride.

Lucy plays Rusty, Viv is Cuddles, and Crawford is Cynthia, the new girl at the Speak Easy. Mr. Mooney plays Scarface, a gangster.

The show opens in a speakeasy with dancers performing to “I’m Just Wild About Harry,” a song written in 1921 by Eubie Blake for the Broadway show Shuffle Along. The band briefly plays “Ain’t We Got Fun” by Richard A. Whiting, first performed in the revue Satires of 1920. The last song is “The Charleston” by James P. Johnson, which originated in the Broadway show Runnin’ Wild (1923) and became one of the most popular hits of the decade.

CURTAIN DOWN on ACT 2

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michaelgruberfan · 1 year

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(WIP)

Timeline of Michael’s shows/ work up to 2013 will add more as I get the time (Taken from the Michaelgruber Angelfire website but will be updated by me at a later date (ill rb it then))

2012-2013 -- Bye Bye Birdie Chanhassen Dinner Theater, Chanhassen, MN 2012 -- Roman Holiday The Guthrie Theater, Minneapolis, MN 2011-2012 -- Hairspray Chanhassen Dinner Theater, Chanhassen, MN 2011 -- Jesus Christ Superstar Chanhassen Dinner Theatre, Chanhassen, MN 2010 -- Hairspray TUTS, Houston, TX 2010 -- Hits from The Music Man, Seattle Symphony, conducted by Marvin Hamlisch Benaroya Hall, Seattle, WA 2009 -- White Christmas 5th Avenue Theatre, Seattle, WA 2009 -- A Chorus Line National and International Tours 2009 -- Singin' In The Rain Ordway Center for the Performing Arts, St. Paul, MN 2009 -- Grey Gardens Ordway Center for the Performing Arts, St. Paul, MN 2008 -- White Christmas Theatre Under The Stars, Houston 2008 -- A Chorus Line National Tour 2007-2008 -- A Chorus Line Schoenfeld Theatre, New York City 2007 -- Stairway To Paradise - 50 Years of Revue in Review An Original Encores! Production, New York City Center 2007 -- Irving Berlin's Easter Parade - World Premier Chanhassen Theatres, Chanhassen, MN 2006-2007 -- Irving Berlin's White Christmas 5th Avenue Theatre, Seattle and California Musical Theatre, Sacramento 2006 -- My One and Only Reprise Concert Series, Freud Playhouse, Westwood, CA 2006 -- Godspell Walnut Street Theatre, Philadelphia 2006 -- Applause for the Golden Boy: The Music of Charles Strouse - benefit tribute - New York Historical Society, New York City 2006 -- Guys and Dolls Maltz Jupiter Theatre, FL 2005 -- Irving Berlin's White Christmas Wang Center Theatre, Boston 2005 -- And Then I Wrote... The Songs of Steve Marzullo - concert Birdland Jazz Club, New York City 2005 -- What A Glorious Feeling - World Premiere Production Mason Street Warehouse, MI Dec. 2004 - Mar. 2005 -- Singin' in the Rain - tour Houston TUTS Seattle's 5th Avenue Theatre Sacramento's California Musical Theatre 2004 -- Anything Goes Avon Theatre - Stratford, ON 2003 -- A Manhattan Christmas - cabaret King Kong Room, New York City 2003 -- Laughing Room Only Brooks Atkins Theatre, New York City 2003 -- Wizard of Oz Lyric Theatre, Oklahoma City 2003 -- Crazy For You Marian Theatre and Solvang Festival, CA 2003 -- Anything Goes Riverside Theatre, FL 2003 -- Taboo - reading New York City 2002 -- Ain't That a Kick in the Head - workshop The New 42nd Street Studios, New York City 2002 - Smokey Joe's Cafe California Musical Theatre 2002 -- Dames at Sea Goodspeed Opera House 2001 -- Red Hot and Blue Paper Mill Playhouse 2001 -- Kiss Me, Kate Martin Beck Theatre, New York City 2000 -- Anything Goes 5th Avenue Theatre, Seattle 2000 -- Rags Walnut Street Theatre, Philadelphia 2000 -- Singin' in the Rain Music Theatre of Wichita 2000 -- Symposium on theatre at SUNY's Stony Brook campus 2000 -- 14th Annual Easter Bonnet Competition New Amsterdam Theatre, New York City 1999 - 2000 -- Swing! St. James Theatre, New York City 1999 -- Floyd's Follies - Benefit Paper Mill Playhouse 1999 -- Tommy - concert tour 1998 -- History of Sex Golden Nugget Casino, Las Vegas 1998 -- Follies Paper Mill Playhouse 1997 -- filming of Cats video Adelphi Theatre, London 1997 -- Wizard of Oz The Theatre at Madison Square Garden 1996 -- Angela Lansbury - A Celebration - benefit tribute Majestic Theatre, New York City 1996 -- Dodsworth Douglas Fairbanks and John Houseman Theatres, New York City 1996 - 1999 -- Cats Winter Garden Theatre, New York City 1995 -- New Year's Eve Celebration Paper Mill Playhouse 1995 -- West Side Story The Muny Theatre, St. Louis 1995 -- Oklahoma! Arizona Theatre Company, Tucson and Phoenix 1995 -- Little By Little Eighty-eights Club, New York City 1994 -- Harvest of Stars - ArtsPower Benefit Paper Mill Playhouse 1994 -- Songbook Arts and Artists at St. Paul's/National Music Theater Network, New York City 1994 -- Singin' in the Rain Paper Mill Playhouse 1994 -- West Side Story Music Theatre of Wichita 1994 -- Kiss Me, Kate Goodspeed Opera House 1993 -- Little Me Birmingham Theatre, Birmingham, MI 1993 -- Falsettos Alliance Theatre, Atlanta 1993 -- Anything Goes Music Theatre of Wichita 1993 -- Good News! Music Theatre of Wichita 1993 -- Singin' in the Rain California Musical Theatre 1993 -- 7th Annual Easter Bonnet Competition Broadway Theatre, New York City 1993 -- Assisted with choreography of Singin' in the Rain Indian Hill (OH) High School 1993 -- Songs of Unlikely Lovers - A Valentine's Day Review Music Theatre of Wichita 1993 -- My Favorite Year Vivian Beaumont Theatre, Lincoln Center, New York City 1992 -- Singin' in the Rain Music Theatre of Wichita 1991 - 1994 -- Miss Saigon - original company Broadway Theatre, New York City 1990 -- West Side Story - national tour 1989 - 1990 -- A Chorus Line - final company Shubert Theatre, New York City 1988 -- Joseph and the Amazing Technicolor Dreamcoat Alaska Light Opera, Anchorage 1988 -- Dreamgirls Elmsford (NY) Dinner Theatre 1988 -- West Side Story - European Tour 1987 -- My One and Only Paper Mill Playhouse

#Gruber Lore #Michael Gruber

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mostlydaydreaming · 2 years

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Gene Kelly Studio of the Dance - Annual Revue “Kiddie’s Holiday” (June 24, 1937)

A program from Gene Kelly’s dance studio in 1937, one year before he would take his talents to Broadway. He taught there with younger siblings Fred & Louise. Fred would follow Gene to New York & Louise took over the studio.

#gene kelly #gk history #gk family #Fred Kelly #Louise Kelly #gk studios

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concerthopperblog · 22 days

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Gearing Up for Goose's Capitol Theatre Run & Summer Tour 2024!

Goose, a jam/psychedelic rock band from Wilton, CT., is getting ready for an eventful year in 2024 that all starts with a highly anticipated four-night run at The Capitol Theatre in Port Chester, N.Y. A little over a month after this four-night run, Goose’s Summer Tour 2024 kicks off by headlining the inaugural Solshine Music & Arts Revue at Three Sisters Park in Chillicothe, IL. (May 24-25). FYI – Orebolo (featuring Rick, Pete, and Jeffrey of Goose) is also on this stacked lineup. ICYMI: Orebolo and the legendary Sturgill Simpson made some very happy music fans at this year’s Dead Ahead Music Festival in Rivera Cancun, Mexico when they performed “Breakers Roar”, a song from Sturgill’s Grammy Award-winning 2016 album, A Sailor’s Guide to Earth. Seeing this kind of creative collaboration with some of my favorite artists solidifies the reasons why I love music so much. For those who know me personally, anytime that I get to bring up Sturgill Simpson in any shape or form, I am taking that shot 10 out of 10 times. But I digress.

So far, the Summer Tour 2024 will conclude on June 30th at Westville Music Bowl in New Haven, CT. Along the way, Goose will complete some epic multiple-night runs: a two-night run at The Factory in St. Louis, MO., a two-night run at Fiddler’s Green Amphitheatre in Greenwood Village, CO., a three-night run at The Fox Theatre in Atlanta, GA., and a two-night run at Thompson’s Point in Portland, ME. Tickets for the Summer Tour 2024 are still on sale with some good seats available at various locations. In addition, one dollar for each ticket sold for the Summer Tour 2024 will be donated to Greenpeace. Sadly, The Capitol Theatre run has long been sold out, but you can still find some tickets for sale through verified resale markets like cashortrade.org.

Goose consists of Rick Mitarotonda (guitar/vocals), Trevor Weeks (bass), Peter Anspach (keyboards/guitar/vocals), Jeff Arevalo (percussion/vocals), and newly added Cotter Ellis (drums). Last year was an extensive year of touring for Goose, although Goose and founding member Ben Atkind (drummer) mutually parted ways after their annual Goosemas celebration in Hampton, VA. After a few months of speculation between the fans as to who would be chosen to sit behind the drum kit, Goose announced the addition of ex-Swimmer drummer Cotter Ellis. And to the fan’s surprise, Goose also released Ted Tapes II on multiple streaming platforms. This jam session would be the first with Cotter on the drums and let me tell you this jam session is something special right here. So, knowing that information, this tour is a DO NOT MISS! Which tour date will you see Goose during the Summer Tour 2024?

So far here are the announced tour dates for Goose in 2024:

APR 7, 2024

The Capitol Theatre

Port Chester, NY

cashortrade

sold out

APR 8, 2024

The Capitol Theatre

Port Chester, NY

cashortrade

sold out

APR 9, 2024

The Capitol Theatre

Port Chester, NY

cashortrade

sold out

APR 10, 2024

The Capitol Theatre

Port Chester, NY

cashortrade

sold out

MAY 24, 2024 - MAY 26, 2024

Solshine: A Music & Arts Reverie

Chillicothe, IL

tickets

JUN 4, 2024

The Factory

St. Louis, Mo

vip

tickets

JUN 5, 2024

The Factory

St. Louis, Mo

vip

tickets

JUN 7, 2024

Fiddler's Green Amphitheatre

Greenwood Village, CO

vip + travel

tickets

JUN 8, 2024

Fiddler's Green Amphitheatre

Greenwood Village, CO

vip + travel

tickets

JUN 10, 2024

Steelhouse

Omaha, NE

vip

tickets

JUN 11, 2024

The Midland Theatre

Kansas City, Mo

vip

tickets

JUN 12, 2024

Everwise Amphitheater at White River State Park

Indianapolis, IN

vip

tickets

JUN 14, 2024

Northlands Music & Arts Festival

Swanszey, NH

tickets

JUN 15, 2024

CMAC

Canandaigua, NY

vip

tickets

JUN 16, 2024

Jacobs Pavilion at Nautica

Cleveland, OH

vip

tickets

JUN 18, 2024

Red Hat Amphitheater

Raleigh, NC

vip

tickets

JUN 20, 2024

Fox Theatre

Atlanta, GA

vip + travel

tickets

JUN 21, 2024

Fox Theatre

Atlanta, GA

vip + travel

tickets

JUN 22, 2024

Fox Theatre

Atlanta, GA

vip + travel

cashortrade

JUN 23, 2024

Skyla Credit Union Amphitheatre

Charlotte, NC

vip

cashortrade

JUN 25, 2024

Thompson’s Point

Portland, ME

vip + travel

tickets

JUN 26, 2024

Thompson’s Point

Portland, ME

vip + travel

tickets

JUN 28, 2024

Mann Center for the Performing Arts

Philadelphia, PA

vip + travel

tickets

JUN 29, 2024

Forest Hills Stadium

Forest Hills, NY

vip + travel

tickets

JUN 30, 2024

Westville Music Bowl

New Haven, CT

tickets

vip

If you have followed Concerthopper and my blog in the past, then you may have read some of the previous reviews of the band Goose: Goose: Sold Out at The Eastern (Night 1) (2021), Goose: Two Nights at Pullman Hall! (2022), and Spring Tour 2023: Goose Live @ Georgia Theatre (2023). Get your Goose fix at Concerthopper.com!

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as High on Fire: Live at The Senate (Columbia), Rickshaw Billie’s Burger Patrol w/ NAW & Pretty Please @ The Earl, SESSANTA: Primus, Puscifer, & A Perfect Circle: Live at Ameris Bank Amphitheatre (Atlanta), Earthless w/ Minami Deutsch at The Earl, Shoot For The Moon Tour: Sierra Ferrell Live at The Eastern, Seasons World Tour 2024: Thirty Seconds to Mars & AFI Live at MidFlorida Credit Union Amphitheatre, Mr. Bungle: Live at The Tabernacle, Ashes of Leviathan Tour: Mastodon & Lamb of God @ Ameris Bank Amphitheatre, An Evening with Goose (Night 3) @ The Fox Theatre (Atlanta), The Deathless Tour: Set It Off w/ Crown the Empire, Caskets, and Death By Choice Live at Water Street Music Hall (Rochester), Least Anticipated Album Tour: A Day To Remember @ Outer Harbor Live at Terminal B, S.E.R.P.E.N.T. Festival w/ SLASH, Larkin Poe, ZZ Ward, and Robert Randolph – Live @ The Orion Amphitheater (Huntsville), Doyle & Otep Live at The Ranch (Ft. Myers), Leftover Salmon, The Infamous Stringdusters, & The Kitchen Dwellers: Live at The Eastern (Atlanta), Weedeater w/ Telekinetic Yeti & Restless Spirit: Live @ Grantski Records, Blackout Tour Pt. 2: From Ashes to New Live @ Water Street Music Hall (Rochester), RUCKUS! Tour 2024: Movements Live at Water Street Music Hall, We Legalized It 2024: Cypress Hill Live at Tabernacle, King Gizzard & The Lizard Wizard: Live at The Fox Theatre (Atlanta), The Godmode Tour: In This Moment Live @ Landmark Theatre (Syracuse), Pallbearer w/ Rwake & The Keening @ The Masquerade (Atlanta), and King Dunn Tour: Live at The Masquerade by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram. You can also follow my concert hopping on Facebook and Instagram.

#2024 #goose #Concerthopper #Concert #Concert Preview #concert photography #photography #indie #Rock 'n' Roll #Jam #Indie Rock #preview #Atlanta #the fox theatre #georgia

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