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Who is the comedian who said Don't holler?
The name of the comedian who was known for his "Don't Holler!" exclamation was Harry Ritz. He was one of three brothers that were The Ritz Brothers, popular in the first half of the 20th century.
Who invented breakdance?
Breakdancing seems so different from all other kinds of dancing that the first question people ask when they see it is: "Where did these kids learn to dance like that?" To many people, this dance seems to have come out of nowhere. But like everything else, Breakdance did come from somewhere, something and someone. In the case of Breakdancing, that someone is the great superstar, James Brown, and the something is the dance, the Good Foot. In 1969, when James Brown was getting down with his big hit "Get on the Good Foot" the Hustle was the big dance style of the day. If you've ever seen James Brown live in concert or on TV, then you know he can really get down. And when he preformed his hit, he did the kind of dance you'd expect James Brown to do. High Energy. This almost acrobatic dance was appropriately enough known as the lot of kids around New York City. By the time the Good Foot became the new dance style, the tradition of dance battle was well established. Dancers would gather at places like Harlem World on 116th Street in Harlem and Battle-dancewise. Battles are covered in more detail in the section on battles, challanges, and contests, but the important thing as fas as the history of Breakdancing is concerned is that Breakdancing was particularly well-suited for competition. And not only was the Good Foot well- suited for dance battles, it appealed to certain young men who were very athletic. The Good Foot, which was soon to be called B-Boy and shortly after that Breakdancing, or Breaking, was very different from the Breaking we see today. In some ways it was simpler. There were no Headspind. No Windmill. No Handglides or Backspins. It was what is now called old-style Breaking. Old-Style Breaking consisted only of floor work, or Floor Rock, and in a way it was more complex than modern Breaking. There may be some small variations on the Headspin and a Backspin, but basically, a Headspin is a head spin and a Backspin is a back spin. But Floor Rock can involve some extremely complicated leg moves, and it is done very fast. And it did not take long before where were a lot of Breakdancing battles happening. Among those for whom old-style Breaking was especially popular were many of the youths and street gangs that roamed the South Bronx. And it was in those streets that Breakdancing really started. Often, the best Breakers in opposing gangs would battle dance wise instead of fighting. They would battle over turf. Or because someone stepped on someone else's shoes. They might battle prove that their gang was better than the other gang. Sometimes they would make a contract that the loser would not go around to the winner's neighborhood anymore. Sometimes they battled just to gain each other's respect. Unfortunately, these Breaking battles did not always stop fight. In fact, they often would cause a fight, since dancers would sometimes get physical when they couldn't win dance wise. No one likes to lose. But today Breaking battles have, to a large extent, replaced fighting in the Bronx. In this way Breakdancing crews-groups of dancers who practice and perform together-were formed. And soon formal crews organized, who not only practiced and preformed together, but who also developed their own dance routines. Some of these crews became very dedicated to their dancing, and since they had nothing better to do, would spend hours a day practicing, developing more and more complex moves, improving their form, and increasing their speed. And then Afrika Bambaataa came along. Bambaataa is the legendary grand master D.J. who is the individual most responsible for the successful growth of Breakdancing. He is a record producer and member of the Soul Sonic Force, who's "Looking For The Perfect Beat" was chosen as the No.4 best single in the 1983 Jazz and pop Critics' Poll. Afrika Bambaataa is also the leader of the Zulu Nation in the Bronx. In 1969, Afrika Bambaataa saw Breakdancing as more than just dancing. He saw it as a way to achieve something. He saw the potential of Breakdancing, and encouraged the dancers to keep at it. To work hard, and to believe that if they stuck with it, something good would come of it. Bambaataa then started one of the first Breakdance crews, the Zulu Kings. The Zulu Kings won a lot of battles and talent shows and preformed in various clubs in New York. At the same time they won a lot of adherents for the Zulu Nation. Old-style Breaking remained popular until about 1977, when the Freak took over, based on the hit record "Freak Out" by the Shieks. Then around 1979 and early 1980 a new Breakdance crew was organized-Rock Steady Crew. Even though Rock Steady Crew was especially talented, a lot of people put them down being old-fashioned. But Bambataa encouraged them. He told them that if they stuck with it, something good would happen. He took them on, and soon they were performing at the Mudd Club, the Ritz, and other Punk rock clubs around New York. When Rock Steady performed for Malcom McLaren and Bow Wow Wow at the Ritz people started taking them seriously. Breakdancing Was In Again. But the new-style Breaking was different from the old. Rock Steady added a lot of acrobatic moves. Breaking now included not only Floor Rock but Headspins, Backspins, Handglides, and Windmills. In 1981, Charles Ahearn made his Hip-Hop movie, Wild Style, a raw vision of rap singing, graffiti, scratching, and Breakdancing in the Bronx. Ahearn called on Rock Steady to do the Breaking and Rock Steady became the preeminent Breakdance crew and new-style Breaking became even more popular. When the spring of 1982 rolled around the Roxy was a well-established New York roller-skating rink. But the popularity of roller skating quickly began to fade, and in June of '82, Pat Fuji turned the Roxy into a dance club on Thursday, Friday, and Saturday night. The Roxy quickly became the Hip Hop center. It was here that rappers, D.J.'s, and Breakdancers would perform and hang out. If you wanted to discover a Breakdancer for your show or video, you would come to the Roxy. Or if you just wanted to watch or learn some new moves, you would come to the Roxy. And the Roxy started to sponsor Breakdance contests, which would help the winners get more recognition. In June, 1983, Pat Fuji hired professional Jazz dancer Rosanne Hoare to run the Street Arts Consortium, whish was a house Breakdancing, rapping, and graffiti art. Rosy was going to officially establish a home for Hip Hop Culture. While the Street Art Consorium never really happened as envisioned, Rosy did provide a home for Breakdancers. She not only provided a place where they could feel at home, but she worked with them as a choreographer, helping to extend their dance possibilities. She also helped many dancer find commercial and performing dance work. Most importantly, Rosy was-and is-always there as a friend whom they can count on. She herself has taken up Breakdancing.
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.
Who sings the latest commercial for cheeze whiz?
If you mean Puttin on the Ritz it is Fred Astaire
Where do you find the song recorded by Manhattan transfer putting on the Ritz?
"Puttin on the Ritz" was originally sung by Fred Astaire and then covered by Taco in the Eighties. It was never sung by The Manhattan Transfer. See: https://en.wikipedia.org/wiki/Puttin%27_On_the_Ritz
What actors and actresses appeared in Putting on the Ritz - 1990?
The cast of Putting on the Ritz - 1990 includes: Brandy West
In the movie Young Frankenstein what song does Dr Frankenstein and the monster tap dance to?
'Putting on the Ritz' by Irving Berlin.
Is Putting on the Ritz in the public domain?
No; it will be protected through 2024.
What are the release dates for Next Door with Katie Brown - 1998 Putting on the Ritz?
Next Door with Katie Brown - 1998 Putting on the Ritz was released on: USA: 14 April 1999
What does the saying putting on the ritz mean?
It basically means to dress up in fancy clothes. The Ritz is a very famous fancy hotel. People who stay there are super rich, so if you're "putting on the ritz," you are living it up and having a great time spending money.
In the movie Matilda what's the name of the joint that the wormwoods went to?
THE RITZ CAFE THE RITZ CAFE
What is the meaning of the idiom putting on the ritz?
Showing off, being well dressed and flashy.
What movie starring Harrison Ford included ritz crackers?
Regarding Henry
What is the ritz cracker jingle?
Nothing fits the occasion like ritz does Ritz goes with everything and everything goes with ritz
What nicknames does Dawn Ritz go by?
Dawn Ritz goes by Dawn Ritz.
