View allAll Photos Tagged Cantor
Juchitán de Zaragoza, Istmo de Tehuantepec, Estado de Oaxaca, México
Troubadour in Juchitan, Oaxaca. Traditional romantic folk singer in the city of Juchitan de Zaragoza in the isthmus of Tehuantepec.
Iris & B. Gerald Cantor Center for Visual Arts
at Stanford University, also known as the Cantor Arts Center
Photographed from the Bing Concert Hall
Red and white streaks running along the street in front of the museum were made by the lights of vehicles that passed during the exposure.
Stanford University
Palo Alto, California
Cantor Arts Center (Stanford University):
Bain News Service,, publisher.
Eddie Cantor
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.27721
Call Number: LC-B2- 4740-3
Eddie Cantor, born Isidore Itzkowitz (1892–1964), comedian and singer. The slim, jumpy, pop‐eyed performer was born in New York and won an amateur night contest at Miner's Bowery Theatre when he was fourteen. A year later he first performed in professional vaudeville at the Clinton Music Hall, working as a singing waiter when bookings were unavailable. In 1914 he went to England, where he played more vaudeville and made his legitimate debut in Not Likely. Returning to America he played a blackface chauffeur in the touring Canary Cottage (1916), catching the eye of Florenz Ziegfeld who signed him to perform in the Ziegfeld Follies of 1917. Playing in blackface with an all‐too‐innocent leer, rolling his eyes, and finishing by prancing off waving a handkerchief, he scored a hit with “That's the Kind of Baby for Me.” Further successful appearances followed in the 1918 and 1919 editions of the Follies (introducing Irving Berlin's “You'd Be Surprised” in the latter), Brevities (1920), and Make It Snappy (1922). In the last revue he introduced his celebrated skit in which he played a mousy tailor whose customer demands a coat with a belt in the back. The “belt” the customer received was not the sort he expected. After a brief stint in the Follies of 1923, Cantor returned to book musicals with Kid Boots (1923) and Whoopee (1928), beginning his successful movie career re‐creating the last on the screen. After many years in Hollywood and on national radio, he made his final Broadway appearance in a musical version of Three Men on a Horse, called Banjo Eyes (1941). Among the many songs with which he was associated were “Dinah,” “Makin' Whoopee,” “Ida,” “If You Knew Susie,” and “Margie.”
text from www.answers.com/topic/eddie-cantor
image found on Google
A full view version is available in the Fractal Drawings set www.flickr.com/photos/flights_of_fancy/sets/7215761097336...
I have provided a translation of some of the tags I use on Flickr which you may find interesting www.flickr.com/photos/flights_of_fancy/6973610225/
Deputado Milton Monti fala ao grande público da Festa de São João Batista, no palco com o cantor e ator Daniel, José Marcio Rigoto (prefeito de Balbinos), a primeira dama e organizadores da Festa de São João Batista