Jerry Haendiges' Vintage Radio Logs. Largest and most complete listing of Old Radio programs on the Web. Lucille Ball, Actress: I Love Lucy. The woman who will always be remembered as the crazy, accident-prone, lovable Lucy Ricardo was born Lucille Desiree Ball on August. There are 22768 entries in the list. This list was started after I noticed my first MPAA certificate number, which was in the ending credits of the movie Tron. The department store on the Escolta also distributed the Crosley and other brands of radio receivers. Always the entrepreneur, Beck purchased a radiophone transmitter. Interest, motivation and attitude towards science and technology at K-12 levels: a systematic review of 12 years of educational research. TEXT AND SEMANTICS A non-selective bibliography. Old-Time Radio - Music Theme List (sorted by SERIES) This list has 1,202 entries, and was last updated on July 25, 2015. This is a working list of music themes for U. Takarazuka Revue - Wikipedia. The Takarazuka Revue(. Women play all roles in lavish, Broadway- style productions of Western- style musicals, and sometimes stories adapted from sh. The company is a division of the Hankyu Railway company; all members of the troupe are employed by the company. Can Christians still believe in the doctrine of original sin, or has the advance of the sciences and the application of the historical-critical method. Want to watch this again later? Sign in to add this video to a playlist. Shake, shake, shake Senora, shake your body line Shake, shake, shake Senora, shake. ASG Law Offices is a consumer law firm dedicated to consumer protection and vigorously defending the rights of our clients. We offer high-caliber legal representation. History. The city was the terminus of a Hankyu line from Osaka and already a popular tourist destination because of its hot springs. Kobayashi believed that it was the ideal spot to open an attraction of some kind that would boost train ticket sales and draw more business to Takarazuka. Since Western song and dance shows were becoming more popular and Kobayashi considered the Kabuki theater to be old and elitist. Ten years later, the company had become popular enough to obtain its own theater in Takarazuka, called the Dai Gekij. The costumes, set designs and lighting are lavish, the performances melodramatic. Side pathways extend the already wide proscenium, accommodating elaborate processions and choreography. Regardless of the era of the musical presented, period accuracy is relaxed for costumes during extravagant finales which include scores of glittering performers parading down an enormous stage- wide staircase and a Rockette- style kick line. Lead performers portraying both male and female roles appear in the finale wearing huge circular feathered back- pieces reminiscent of Las Vegas or Paris costuming. Before becoming a member of the troupe, a young woman must train for two years in the Takarazuka Music School, one of the most competitive of its kind in the world. Each year, thousands from all over Japan audition. The 4. 0 to 5. 0 who are accepted are trained in music, dance, and acting, and are given seven- year contracts. The school is famous for its strict discipline and its custom of having first- year students clean the premises each morning. The first year, all women train together before being divided by the faculty and the current troupe members into otokoyaku and musumeyaku at the end of the year. Those playing otokoyaku cut their hair short, take on a more masculine role in the classroom, and speak in the masculine form. The company has five main troupes: Flower (. Flower and Moon are the original troupes, founded in 1. Snow Troupe began in 1. Star Troupe was founded in 1. Cosmos, founded in 1. Actors of Takarazuka. According to Takarazuka scholar Lorie Brau, . Some believe that its appeal to the female audience is on account of the perceived link to freedom from traditional Japanese society. Ryosei and chusei are two Japanese terms used to refer to androgyny, chusei meaning . It is these male roles that offer an escape from the strict, gender- bound real roles lauded in Japanese society. Kobayashi's desire to make his actresses into good wives and mothers has often been hindered by their own will to pursue careers in the entertainment business. It is becoming increasingly more common for women to stay in the company well into their thirties, beyond the conventional limits of marriageable age. Tsurugi Miyuki, top otokoyaku star of the Moon Troupe, said that she conceived male impersonation as just a . She said she reverts to her nonperforming . Otokoyaku Matsu Akira, who retired in 1. Ultimately, however, the female members opposed these new male counterparts, and the department was dissolved, the last male department terminating in 1. A recent Japanese musical, Takarazuka Boys, was based on this chapter of the company's history. While the casts are all- female, the staff (writers, directors, choreographers, designers, etc.) and orchestra musicians may be male or female. It is not uncommon in Takarazuka for a predominantly male orchestra to be led by a female conductor. The troupes. Many of the most popular former and current top stars of the company originated in Flower Troupe; these include Miki Maya (who held the first Budokan solo concert in Takarazuka's history), Sumire Haruno and Tomu Ranju of Flower, Jun Shibuki, Jun Sena and Kiriya Hiromu of Moon, and Hikaru Asami of Snow. Their performances tend to have larger budgets, with lavish stage and costume designs, and are often derived from operatic material. Moon Troupe (Tsuki). Their material tends toward drama, Western musicals, and modern settings, such as Guys and Dolls and Me and My Girl. During the era of Makoto Tsubasa as top star, they had at least two musicals adopted from classic western novels. Snow Troupe (Yuki). They were the first troupe to perform Elisabeth in Japan. The troupe has been moving towards the opera and drama style of Moon and Flower. Star Troupe (Hoshi). They, along with Flower Troupe, have very strong otokoyaku players. In recent years, many of the company's prominent musumeyaku have also originated from Star Troupe, such as Hana Hizuki, Shizuku Hazakura, and Yuki Aono. Cosmos Troupe (Sora). When it was first formed, it culled talent from the other troupes. The Cosmos style is influenced by performers like Asato Shizuki, the founding otokoyaku top star; Y. Cosmos were the first troupe to perform Phantom and to have a Broadway composer (Frank Wildhorn) write their musical score. Most of the otokoyaku in this troop are above 1. Hiro Yuumi, the tallest in the company since she joined in 1. While it had a troupe- born actress become musumeyaku top back in 2. Asuka Toono, it wasn't until 2. Seina Sagiri, currently the top star of Yukigumi. Types of musicals performed by Takarazuka. Among the most common of these adapted to the Takarazuka stage is The Tale of Genji(. Other manga adaptations include The Window of Orpheus, also by Ikeda, Osamu Tezuka's Black Jack and Phoenix, and Yasuko Aoike's El Halc. This focused on character Yukimura Sanada, played by Tomu Ranju, the same actress who had taken the role of Phoenix Wright prior to becoming a top star. Adaptations of other Asian works. Among the more recognizable of these biographical adaptations are Last Party: S. Fitzgerald's Last Day, about F. Scott Fitzgerald, Valentino, about Rudolph Valentino, Dean, about James Dean, and Saint- Exup. In 1. 99. 3, Tommy Tune wrote, directed and choreographed the revue Broadway Boys to accompany Moon Troupe's rendition of Grand Hotel. In 2. 00. 6, Takarazuka worked with Frank Wildhorn, musical writer and composer of Jekyll & Hyde and The Scarlet Pimpernel, to create Never Say Goodbye for Cosmos Troupe. Personnel. Lowerclassmen are the actresses who have been performers in Takarazuka for less than seven years. They are employees of the company, and usually work as background dancers and in shinjin k. After the seventh year they become upperclassmen, and negotiate contracts with the company instead of being employed by it. Former Takarasiennes. These theories, put forward by Western scholars, compliment each other, drawing on the traditional homoerotic elements of Japanese performing arts, and the ancient subversive nature of the feminine in Japan. One is that the women are drawn to its inherent lesbian overtones. The audience clearly picks up on it and responds. Within the first ten years of Takarazuka's founding, the audience was vocally responding to the apparent lesbianism. Female fans wrote love letters to the otokoyaku. In 1. 92. 1 these letters were published and several years later newspapers and the public rallied a cry against Takarazuka, claiming it was quickly becoming a . In order to combat this, the producers kept its actresses in strict living conditions; they were no longer allowed to associate with their fans. Japan is a society notorious for its rigid conception of gender roles. While the original goal of the show may have been to create the ideal good wife and wise mother, off stage, on- stage gender roles are, by necessity, subverted. The otokoyaku must act the way men are supposed to act. Abbitt insists that a large portion of the appeal of Takarazuka comes from something she calls . While not denying the presence of lesbian overtones within Takarazuka, Abbitt proposes the cause for the largely female audience has more to do with this subversion of societal norms than sexual ones. Club members can be identified by their wearing scarves of a particular color or even jackets colorfully embroidered with the star's name. Following performances at the Takarazuka Grand Theatre or Tokyo Takarazuka Theatre, as many as several hundred fans congregate in their various club groups and stand in orderly ranks on either side of the street in front of the theatre. The clubs are arranged by actress seniority within the troupe. Theatre officials set up barricades and oversee the assembly. Whenever an actress exits the theatre, the frontmost group will sit and all the others follow suit (much like the . The fans wait patiently, with little conversation, for their favorites to exit the theatre. An almost eerie ritualistic calm prevails. As the stars come out of the building one by one, some alone but most accompanied by staff members of their club, orderly quiet continues to prevail. The glamorous performers, now mostly in slacks or jeans with high heels and wearing oversize visored . Rather than requesting autographs, the fans proffer cards, which are gathered efficiently by each star, who may say a few words but then waves and moves on. Once the last stars have emerged and departed, the clubs disband quietly. Influence. His mother knew many of the Takarazuka actresses, and as a child he knew them and watched many of their performances. The great success of Princess Knight and other Tezuka stories began the tradition of manga written for a female audience, especially the very influential Rose of Versailles and Revolutionary Girl Utena series, both of which borrow directly from Princess Knight by including specific Tezuka images, character designs and names. Rose of Versailles is one of Takarazuka's best- known musicals. Women in masculine roles continue to be a central theme in sh. Classic Movie Musicals: Music T. I think that I shall never see. A poem lovely as a tree.
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