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W.C. Fields, Will Rogers, Bert Williams, and Fanny Brice were delighted to share the stage with him. Franklin D. Roosevelt, Harry Truman, Al Smith, and other eminent politicians admired him and sought his support. He founded the March of Dimes, raised millions for the new state of Israel, and remains the only American entertainer ever to reign successively as the biggest star on Broadway, in the movies, and on radio. But while his name still brings a smile to those old enough to remember his antic energy and big, rolling eyes, few appreciate the far-reaching influence of Eddie Cantor.
Banjo Eyes returns the spotlight to the small, unlikely figure who reigned as the clown prince of American musical theatre during a glorious era when New York was the center of the world, and Broadway was the center of New York. Written by acclaimed biographer Herbert G. Goldman, it vividly recreates Cantor's extraordinary journey. Here are the overcrowded tenements and sidewalk scuffles of New York's teeming Lower East Side, where Cantor was born Israel Iskowitz, the only child of penniless Jewish immigrants, in 1892. Here is the dreaded "hook," the cat calls, and the spontaneous ovations of the old burlesque houses in which the teenaged Eddie first made his mark. And here, in riveting detail, is the Broadway of Florenz Ziegfeld and the Shubert brothers, brimming with backstage romances, double dealings, fierce camaraderie and even fiercer rivalries. We follow Cantor west to Hollywood, where he became the first Broadway musical star to sustain a successful film career, then return east for the golden age of radio and, later, the early days of television.
It was in radio, Goldman argues, that Cantor achieved lasting influence. Before Eddie, a "star" was merely an actor in the top rung of what was widely regarded as a rather curious profession. Through his repeated on-air references to his wife, Ida, and their five daughters, Cantor made himself a "member of the family" to millions of Americans in a way that no performer had been or had ever sought to be. And through his deep involvement with political and social causes, especially those involving FDR and his own philanthropies, he emerged as a public figure only slightly less revered than Roosevelt himself. Goldman shows that while the notion of the entertainer as role model and the blurring of the line between an actor's public and private life may be staples of today's celebrity culture, it was Eddie Cantor who first made them so, redefining what it meant to be a star in the process.
Anyone intrigued by our current cult of celebrity or hungering for an unforgettable look behind the show business curtains of yesteryear will not want to miss this vibrant portrait of a beloved comedian determined to do more than make 'em laugh.
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From Kirkus Reviews:
About the Author:
Herbert G. Goldman is the author of Jolson: A Legend Comes to Life and Fanny Brice: The Original Funny Girl.
Goldman, author of acclaimed biographies of Fanny Brice (1992) and Al Jolson (1988), continues his excavation of the Jewish stars of the 1920s and '30s. The saucer-eyed Eddie Cantor (18921964) is all but forgotten today except to historians of the musical stage and film, yet he was a master of every medium he attempted, from vaudeville to television, and his variegated career represents a microcosm of 20th-century American show business. Indeed, as Goldman argues, Cantor's success on radio was unprecedented and pivotal in the rise of that medium. Yet his origins were humble indeed. Born on the Manhattan's Lower East Side as Israel Iskowitz, the boy was quickly orphaned and raised by his doting grandma Esther in Dickensian poverty. The boy learned that he had a natural gift for making people laugh, and that this gift could win him approval (and deflect potential beatings in the tough streets of turn-of-the-century Jewish New York). He dropped out of school at 13 but didn't truly enter show business until he was 16, when he worked as a waiter and singer at a saloon, teamed with an equally young Jimmy Durante. Gradually, he drifted into a career in the entertainment business, slowly climbing the ladder of vaudeville success until he was starring in the Ziegfeld Follies. From there his stardom grew steadily, predicated on his boundless energy, boisterous comedy, and way with a song. At the same time, he remained committed to the people he had left behind, a tireless worker for good causes (including the March of Dimes, which he founded), and a powerful advocate for the burgeoning unions in the entertainment industry. But Goldman tells Cantor's story in overly elaborate detail. At times it seems as if he has listed every public appearance the star ever made. This volume is thus unlikely to resurrect Cantor's memory, although it captures some of his appeal. Interesting reading, but ultimately a book for the already committed fan. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
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Book Description Oxford University Press, 1997. Hardcover. Condition: New. Never used!. Seller Inventory # P110195074025
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