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Where did George M. Cohan get the majority of his training for Broadway?
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Are there any pop songs dealing with Broadway?
A whole raft of them. Give my regards to Broadway ( George M. Cohan- still one of the unofficial Gotham theme songs and much better than (sidewalks of New York). On Broadway- (drifters), Lights on Broadway ( blame it all. on the lights of Broadway) Broadway Joe- about Football star Joe Namath, by the way Namath who was of Hungarian extraction"s name derives from Nemet which means Italy in Hungarian talk and is both a noun and adjective. ( Like Norge)
What is the approximate value July 3 1978 First Day Issue from Providence Rhode Island of the Yankee Doodle Dandy Performing Arts 15 cent stamp with George M. Cohan?
Scott #1756 An FDC of this stamp can be purchased for about $2. A dealer might give you fifty cents for it, if it is in excellent condition.
Who is Richard Charles Rodgers?
Richard Charles Rodgers (June 28, 1902 - December 30, 1979) was an American composer of the music for more than 900 songs and 40 Broadway musicals. He also composed music for films and television. He is best known for his songwriting partnerships with the lyricists Lorenz Hart and Oscar Hammerstein II. His compositions have had a significant impact on popular music down to the present day, and have an enduring broad appeal. Rodgers is one of only two persons to have won an Oscar, a Grammy, an Emmy, a Tony Award, and a Pulitzer Prize (Marvin Hamlisch is the other). In 1919, Richard met Lorenz Hart, thanks to Phillip Leavitt, a friend of Richard's older brother. Rodgers and Hart struggled for years in the field of musical comedy, writing a number of amateur shows. They made their professional debut with the song "Any Old Place With You", featured in the 1919 Broadway musical comedy A Lonely Romeo. Their first professional production was the 1920 Poor Little Ritz Girl. Their next professional show, The Melody Man, did not premiere until 1924. Rodgers was considering quitting show business altogether to sell children's underwear, when he and Hart finally broke through in 1925. They wrote the songs for a benefit show presented by the prestigious Theatre Guild, called The Garrick Gaieties, and the critics found the show fresh and delightful. Only meant to run one day, the Guild knew they had a success and allowed it to re-open later. The show's biggest hit - the song that Rodgers believed "made" Rodgers and Hart - was "Manhattan." The two were now a Broadway songwriting force. Rodgers and Irving Berlin (r) circa 1960Throughout the rest of the decade, the duo wrote several hit shows for both Broadway and London, including Dearest Enemy(1925), The Girl Friend (1926), Peggy-Ann (1926), A Connecticut Yankee (1927), and Present Arms (1928). Their 1920s shows produced standards such as "Here In My Arms", "Mountain Greenery", "Blue Room", "My Heart Stood Still" and "You Took Advantage of Me." With the Depression in full swing during the first half of the 1930s, the team sought greener pastures in Hollywood. The hardworking Rodgers later regretted these relatively fallow years, but he and Hart did write a number of classic songs and film scores while out west, including Love Me Tonight(1932) (directed by Rouben Mamoulian, who would later direct Rodgers' Oklahoma! on Broadway), which introduced three standards: "Lover", "Mimi", and "Isn't It Romantic?." Rodgers also wrote a melody for which Hart wrote three consecutive lyrics that did not fly. The fourth lyric resulted in one of their most famous songs, "Blue Moon." Other film work includes the scores to The Phantom President (1932), starring George M. Cohan, Hallelujah, I'm a Bum (1933), starring Al Jolson, and, in a quick return after having left Hollywood, Mississippi(1935), starring Bing Crosby and W.C. Fields. In 1935, they returned to Broadway and began writing with a vengeance, resulting in an almost unbroken string of hit shows that ended only with Hart's death in 1943. Among the most notable are Jumbo(1935), On Your Toes (1936, which included the ballet "Slaughter on Tenth Avenue", choreographed by George Balanchine), Babes In Arms (1937), I Married an Angel (1938), The Boys From Syracuse (1938), Pal Joey (1940), and their last original work, By Jupiter (1942). Rodgers also contributed to the book on several of these shows. Many of the songs from these shows are still sung and remembered, including "The Most Beautiful Girl in the World", "My Romance", "Little Girl Blue", "I'll Tell the Man in the Street", "There's a Small Hotel", "Where or When", "My Funny Valentine", "The Lady Is a Tramp", "Falling in Love with Love", "Bewitched, Bothered and Bewildered", and "Wait Till You See Her." In 1939 he wrote the ballet Ghost Town for the Ballet Russe de Monte Carlo, with choreography by Marc Platoff [2]. == : Main article: Rodgers and HammersteinHis partnership with Hart having problems because of the lyricist's unreliability and declining health, Rodgers began working with Oscar Hammerstein II, with whom he had previously written a number of songs (before ever working with Lorenz Hart). Their first musical, the groundbreaking hit, Oklahoma! (1943), marked the beginning of the most successful partnership in American musical theatre history. Their work revolutionized the form. What was once a collection of songs, dances and comic turns held together by a tenuous plot became an integrated work of art. The team went on to create four more hits that are among the most popular of all musicals and were each made into successful films: Carousel (1945), South Pacific (1949, a Pulitzer Prize winner), The King and I (1951), and The Sound of Music (1959). Other shows include the minor hit, Flower Drum Song (1958), as well as relative failures Allegro(1947), Me and Juliet (1953) and Pipe Dream (1955). They also wrote the score to the film State Fair (1945) (which was remade in 1962 with Pat Boone), and a special TV musical of Cinderella (1957). Their collaboration produced many well-known songs, including "Oh, What a Beautiful Mornin'", "People Will Say We're in Love", "If I Loved You", "You'll Never Walk Alone", "It Might as Well Be Spring", "Some Enchanted Evening", "Getting to Know You", "My Favorite Things", "The Sound of Music", "Sixteen Going on Seventeen", "Climb Ev'ry Mountain", "Do-Re-Mi", and "Edelweiss", Hammerstein's last song. Much of Rodgers's work with both Hart and Hammerstein was orchestrated by Robert Russell Bennett. Rodgers composed twelve themes, which Bennett scored for the 26-episode World War II television documentary Victory at Sea (1952-53). This NBC production pioneered the "compilation documentary"--programming based on pre-existing footage--and was eventually broadcast in dozens of countries. Rodgers won an Emmy for the theme music for the ABC documentary Winston Churchill: The Valiant Years, scored by Eddie Sauter and Robert Emmett Dolan. In 1950, Rodgers and Hammerstein received The Hundred Year Association of New York's Gold Medal Award "in recognition of outstanding contributions to the City of New York." In 1954, Rodgers conducted the New York Philharmonic Orchestra in excerpts from Victory at Sea, Slaughter on Tenth Avenue and the Carousel Waltz for a special LP released by Columbia Records. Rodgers and Hammerstein musicals earned a total of 35 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards, and two Emmy Awards. == After Hammerstein's death in 1960, Rodgers wrote both words and music for his first new Broadway project No Strings (1962, which earned two Tony Awards). The show was a minor hit and featured perhaps his last great song, "The Sweetest Sounds." He went on to work with lyricists Stephen Sondheim (protege of Hammerstein), Sheldon Harnick, and Martin Charnin, with uneven results. At its 1978 commencement ceremonies, Barnard College awarded Rodgers its highest honor, the Barnard Medal of Distinction. Rodgers died in 1979 at age 77 after surviving cancer of the jaw, a heart attack, and a laryngectomy. He was cremated and his ashes were scattered at sea. In 1990, the 46th Street Theatre was renamed "The Richard Rodgers Theatre" in his memory. In 1999, Rodgers and Hart were each commemorated on United States postage stamps. 2002 was the centennial year of Rodgers's birth, celebrated worldwide with books, retrospectives, performances, new recordings of his music, and a Broadway revival of Oklahoma!. The BBC Proms that year devoted an entire evening to Rodgers' music including a concert pertformance of Oklahoma! Several American schools are named after Richard Rodgers. Alec Wilder wrote the following about Rodgers: Of all the writers whose songs are considered and examined in this book, those of Rodgers show the highest degree of consistent excellence, inventiveness, and sophistication...[A]fter spending weeks playing his songs, I am more than impressed and respectful: I am astonished.[3] In 1930, Rodgers married Dorothy Belle Feiner. Their daughter, Mary, is the composer of Once Upon a Mattress and an author of children's books. The Rodgers later lost a daughter at birth, but another daughter, Linda, was born in the 1930s. Rodgers' grandson, Adam Guettel, also a musical theatre composer, won Tony Awards for Best Score and Best Orchestrations for The Light in the Piazza in 2005. Peter Melnick, another grandson, is the composer of Adrift In Macao, which debuted at the Philadelphia Theatre Company in 2005 and was produced Off Broadway in 2007.
What is Elements of dance?
THE ELEMENTS OF DANCE/FUNDAMENTALSOF MOVEMENTby Morwenna Assaf, DirectorBased on works by Robert Cohan "The Dance Workshop"There are eight (8) elements in dance that are most vital.CENTERING:This is fundamental to your ability to dance well. This ismaintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully and freely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to do anything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don't have a sense of home you will probably get lost every time you go out.Your body needs to be balanced like a see-saw. Positionfluctuates between individuals. Center for Middle Eastern Dance isin the solar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements for this dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving from your center will make movements easier to control.GRAVITY:This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as if someone is pushing you under your buttocks and the base of your spine and directing the energy up through your breastbone.BALANCE:Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual support among all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not something you do once in awhile. It is constant. A sense of balance whether you are moving or standing.In the actual act of balancing, if you can find inner balance , you are nearly there. If you are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state.POSTURE:To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all their dance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn how to stand properly. You will actually feel brighter and more aware.GESTURE:Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we show cooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean"show me", fists on hips is even more challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shoulders is a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying.RHYTHM:Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All the work going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beat with your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the "threads" which allow you to memorize the structure of the dance.MOVING in SPACE:You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible element that you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as ajourney through space. You will express thoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire of movement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance.BREATHING:Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movements fluency and harmony. It is an expressive tool. Calm slow breathing suggests a certain degree of self-control. Denotes a specific quality of movement. A movement with breath has a controlled and considered extension of time, a clear beginning and end no matter how fast or slow thephrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time.You frequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give a more emotional, organic look.
What is George M Cohan known for?
George Cohan, known as the "Man who owned Broadway", was an American entertainer, playwright, composer, lyricist, actor, singer, dancer and producer. He is known as the father of American musical comedy.See Wikipedia for more details.http://en.wikipedia.org/wiki/George_M._Cohan
What is the name of the actor who plays the legendary George M Cohan known as The Man Who Owns Broadway 1942?
James Cagney
George M Cohan wrote the 1904 song Give your Regards to Broadway as well as this song?
Yankee Doodle Dandy
Who is George M. Cohan?
Son of George M Cohan who died in 2000
What is George M. Cohan's birthday?
George M. Cohan was born on July 3, 1878.
How many songs did george m cohan write?
George M. Cohan wrote 1,500 songs!
How old was George M. Cohan at death?
George M. Cohan died on November 5, 1942 at the age of 64.
Why did George M Cohan write the song Over There?
This song is an American classic! It was written by the great George M. Cohan.
When was George M. Cohan born?
George M. Cohan was born on July 3, 1878 and died on November 5, 1942. George M. Cohan would have been 64 years old at the time of death or 137 years old today.
Who was the composer of over there?
George M Cohan
When did George M cohan die?
George M. Cohan died on November 5, 1942 at the age of 64.
Who wrote the music to You're a Grand Ole Flag?
I believe that song was written by George Michael Cohan.
