Treadmill To Oblivion

In the spring of 1932, I had finished a two-year run in Threes A Crowd, a musical revue in which I appeared with Clifton Webb and Libby Holman. The following September I was to go into a new show. I had no contract; merely the producers promise. When I returned to New York to start rehearsals, I discovered that there was to be no show. It had been a hot summer. Many people hadn’t been able to keep things. One of the things the producer hadn’t been able to keep was his promise. With the advance of refrigeration, I hope that along with the frozen foods someday we will have frozen conversation. A person will be able to keep a frozen promise indefinitely. This will be a boon to show business where more chorus girls are kept than promises. With no immediate plans for the theater, I began to wonder about radio. Many of the big-name comedians were appearing on regular programs. In the theater the actor had uncertainty, broken promises, constant travel and a gypsy existence. In radio, if you were successful, there was an assured season of work. The show could not close if there was nobody in the balcony. There was no travel and the actor could enjoy a permanent home. There may have been other advantages but I didn’t need to know them. The pioneer comedians on radio were Amos and Andy, Ray Knight and his Cuckoo Hour, the Gold Dust Twins, Stoopnagle and Budd and the Tasty Yeast Jesters. With the exception of Amos and Andy, who had been playing smalltime vaudeville theaters under the name of Sam and Henry, the others were trained and developed in radio. All of these artists performed their comedy routines in studios without audiences. Their entertainment was planned for the listener at home. In the early 1930’s when the Broadway comedians descended on radio, things went from hush to raucous. The theater buffoon had no conception of the medium and no time to study its requirements. The Broadway slogan was “Its dough—lets go!” Eddie Cantor, Jack Pearl, Ed Wynn, Joe Penner and others were radio sensations. They brought their audiences into the studios, used their theater techniques and their old vaudeville jokes, and laughter, rehearsed or spontaneous, started exploding between the commercials. The cause of this merriment was not always clear. The bewildered set owner in Galesburg, Illinois, suddenly realized that he no longer had to be able to understand radio comedy. As he sat in his Galesburg living room he knew that he had proxy audiences sitting in radio studios in New York, Chicago and Hollywood watching the comedians, laughing and shrieking “Vass you dere, Charlie” and “Wanna buy a duck” for him.

Created in 1787, the United States Senate is one of the two chambers of the Congress of the United States, the other being the House of Representatives. In the Senate, each state is equally represented by two members, regardless of population; as a result, the total membership of the body is 100. Senators serve for six-year terms that are staggered so elections are held for approximately one-third of the seats (a "class") every second year. The Vice President of the United States is the presiding officer of the Senate but is not a senator and does not vote except to break ties. The Senate is regarded as a more deliberative body than the House of Representatives; the Senate is smaller and its members serve longer terms, allowing for a more collegial and less partisan atmosphere that is somewhat more insulated from public opinion than the House. The Senate has several exclusive powers enumerated in the Constitution not granted to the House; most significantly, the President must ratify treaties and make important appointments "with the Advice and Consent of the Senate" (Article I). This fully-indexed chronology and institutional bibliography traces the sometimes tumultuous history of this august body.

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Tracing a career that lasted from 1912 into the 1950s, Havig describes the "verbal slapstick" style that was Fred Allen's hallmark and legacy to American comedy.

The Comic Offense from Vaudeville to Contemporary Comedy examines how contemporary writer/performers are influenced by the comedic vaudevillians of the early 20th century. By tracing the history and legacy of the vaudeville era and performance acts, like the Marx Brothers and The Three Keatons, and moving through the silent and early sound films of the early 1930s, the author looks at how comic writer/performers continue to sell a brand of themselves as a form of social commentary in order to confront and dispel stereotypes of race, class, and gender. The first study to explore contemporary popular comic culture and its influence on American society from this unique perspective, Rick DesRochers analyzes stand-up and improvisational comedy writing/performing in the work of Larry David, Tina Fey, Stephen Colbert, and Dave Chappelle. He grounds these choices by examining their evolution as they developed signature characters and sketches for their respective shows Curb Your Enthusiasm, 30 Rock, The Colbert Report, and Chappelle's Show.

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John Bogle's most influential investment books, available together for the first time John C. Bogle, the founder of Vanguard, a trillion-dollar investment management company, is one of the most respected authors in the financial world. Now, for the first time, The John C. Bogle Reader brings together three of his bestselling books in one definitive collection. Don't Count on It presents Bogle's unique insights into the world of mutual fund investing and the mutual fund industry Common Sense on Mutual Funds addresses how the mutual fund industry has changed over the past twenty years, and how best to arrange and manage funds in today's world The Little Book of Common Sense Investing recommends a simple, time-tested investment strategy sure to deliver the greatest return to the greatest number of investors Essential reading for investors everywhere, The John C. Bogle Reader brings together the life-changing works of mutual fund pioneer John Bogle in one comprehensive anthology.