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Finian's Rainbow (film)
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Finian's Rainbow
Original poster
Directed by
Francis Ford Coppola
Produced by
Joseph Landon
Written by
E. Y. Harburg
Fred Saidy
Starring
Fred Astaire
Petula Clark
Don Francks
Keenan Wynn
Al Freeman, Jr.
Barbara Hancock
Tommy Steele
Music by
Burton Lane
Cinematography
Philip H. Lathrop
Edited by
Melvin Shapiro
Distributed by
Warner Bros.-Seven Arts
Release date
October 9, 1968 (1968-10-09)
Running time
145 minutes
Country
Ireland
United States
Language
English
Budget
$3.5 million
Box office
$11,600,000[1]
Finian's Rainbow is a 1968 Irish-American musical film directed by Francis Ford Coppola and starring Fred Astaire and Petula Clark. The screenplay by E. Y. Harburg and Fred Saidy is based on their 1947 stage musical of the same name. It is a fantasy about an Irishman and his daughter who steal a leprechaun's magic pot of gold and emigrate to the United States, where they become involved in a dispute between rural landowners and a greedy, racist U.S. Senator.
The film was nominated for several Academy Awards, Golden Globe Awards, and a Writers Guild of America Award.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Warner Bros.
4 Musical sequences
5 Critical reception
6 Awards and honors
7 Home Media
8 See also
9 References
10 External links
Plot[edit]
A lovable rogue named Finian McLonergan absconds from his native Ireland with a pot of gold secreted in a carpetbag, plus his daughter Sharon in tow. His destination is Rainbow Valley in the mythical state of Missitucky, where he plans to bury his treasure in the mistaken belief that, given its proximity to Fort Knox, it will multiply.
Hot on his heels is the leprechaun Og, desperate to recover his stolen crock before he turns human. Among those involved in the ensuing shenanigans are Woody Mahoney, a ne'er-do-well dreamer who woos Sharon; his mute sister Susan, who expresses herself in dance; Woody's good friend and business partner Howard, an African-American botanist determined to grow mentholated tobacco; and bombastic Senator Billboard Rawkins, who wears his bigotry as if it were a badge of honor.
Complications arise when Rawkins, believing there is gold in Rainbow Valley, attempts to seize the land from the people who live there and makes some racial slurs while doing so. Sharon furiously wishes he would turn black himself—and, because she is in close proximity to the magical pot of gold, which is capable of granting three wishes, Rawkins does exactly that. Sharon is accused of witchcraft and sentenced to be burned at the stake unless she can make him white again.
To save his daughter, Finian tries to find the pot of gold, unaware Susan has discovered it and hidden it under a bridge. Rawkins eventually meets Og, who quickly realizes what caused the senator's change in race. Seeing that the change of skin color did nothing to alter his hateful racism, Og casts a spell to make Rawkins more open-minded.
Sharon and Woody gather in the barn to be married, but the sheriff, his deputies, and the local district attorney barricade the doors and promise to burn the building down if Rawkins is not white by sunrise. Og meets with Susan on the bridge under which the gold is hidden and wishes she could talk. When she begins to speak, Og realizes they are standing above the gold.
For a brief moment he considers using the final wish to retain his leprechaun status and return to the fairy world. After a passionate kiss, he decides he would rather remain human with Susan and wishes for Rawkins to be white once more. Thanks to the now-empty crock helping to put out an accidental fire that was about to consume the barn, Howard's mentholated tobacco experiments become successful, ensuring financial success for all the poor people of Rainbow Valley, both white and black. Sharon and Woody are wed, and bid a fond farewell to Finian, who leaves Rainbow Valley in search of his own rainbow.
Cast[edit]
Fred Astaire as Finian McLonergan
Petula Clark as Sharon McLonergan
Tommy Steele as Og
Don Francks as Woody Mahoney
Keenan Wynn as Senator Billboard Rawkins
Barbara Hancock as Susan the Silent
Al Freeman Jr. as Howard
Ronald Colby as Buzz Collins
Dolph Sweet as Sheriff
Wright King as District Attorney
Louil Silas as Henry
Other uncredited cast members (alphabetically)
Brenda Arnau as Sharecropper 'Necessity'
Roy Glenn as Passion Pilgrim Gospeleer
Vince Howard as Geologist #1
Avon Long as Passion Pilgrim Gospeleer
Production[edit]
Development[edit]
Since the musical was such a success on stage, there had always been interest in filming it. MGM was interested in filming it in 1948 as a vehicle for Mickey Rooney. However, Harburg set the price for the rights at $1 million and wanted creative control.[2]
For a time, a German company wanted to make it. In 1954, the Distributors Corporation of America wanted to make it as an animated film. A soundtrack of the score was recorded by several stars, but the film was not completed. In 1958, the authors of the musical teamed with Sidney Buchman to produce the film independently but the film did not proceed.[3]
In 1960, the rights were held by Marvin Rothenberg who wanted Michael Gordon to direct and Debbie Reynolds to star. It was announced the film would be budgeted at $2 million and be released by United Artists.[3][4] However the film did not eventuate.[5]
Harburg stated in 1960 that he was told part of the reason it was so difficult to get a film version made was Hollywood was scared of fantasy musicals.[6] Another reason was the McCarthyism of the period.[2]
In 1965, Harold Hecht bought the film rights and hired Harburg and Saidy to write a script and some new songs. Hecht said he intended to film in nine months. "This time we really mean business," said Harburg. "We've gotten a substantial deal and participation in money and production. Up until now Finian has been making so much money on the road that we didn't want to kill the goose laying all those golden eggs. But you become more idealistic as you grow older and you tend to stop thinking about yourself."[7]
Warner Bros.[edit]
In September 1966 Warner Bros. announced they had the rights and they would make a film produced by Joseph Landon and starring Fred Astaire, with the aim to get Tommy Steele as the leprechaun. The budget was expected to be $4 million.[8][9]
Francis Ford Coppola was signed as director in February 1967.[10] Petula Clark then came on board as the female lead and Steele confirmed as the leprechaun, although Robert Morse had expressed interest.[11]
Warner Bros. had optioned the film rights to the stage musical, and they were on the verge of expiring. With Camelot having proven to be more costly than anticipated, and its commercial success still undetermined since it had not been released, Jack L. Warner was having second thoughts about another musical project, but when he saw Petula Clark perform on her opening night at the Coconut Grove in the Ambassador Hotel in Los Angeles, he knew he had found the ideal Sharon.[12]
He decided to forge ahead and hoped for the best, despite his misgivings about having nearly-novice "hippie" director Francis Ford Coppola at its helm. Although Clark had made many films in the 1940s and 1950s in her native Great Britain, this would be her first starring role in ten years, and her first film appearance since rising to international fame with "Downtown" four years earlier.
It was known that Dick Van Dyke was considered to play the role of Finian, back in 1965, however, financial problems caused the filming to be postponed, and Van Dyke dropped out of consideration. (Source: "The Films of Fred Astaire")
Fred Astaire, whose last movie musical had been Silk Stockings eleven years earlier, and who had concentrated on his TV specials in the interim, was persuaded at the age of sixty-nine to return to the screen to portray the title character. Given his status as a screen legend and to accommodate his talents, the role was given a musical presence it had not had on stage, and he was given top rather than the original third billing.
While a construction crew transformed more than nine acres of backlot into Rainbow Valley, complete with a narrow gauge railway, schoolhouse, general store, post office, houses, and barns, Coppola spent five weeks rehearsing the cast, and before principal photography began, a complete performance of the film was presented to an audience on a studio soundstage.[13] In the liner notes she wrote for the 2004 Rhino Records limited, numbered edition CD release of the soundtrack, Clark recalls that old-Hollywood Astaire was befuddled by Coppola's contemporary methods of film-making and balked at dancing in "a real field with cow dung and rabbit holes." Although he finally acquiesced to filming a sequence in the Napa Valley near Coppola's home, the bulk of the movie was shot on studio soundstages and the backlot, leaving the finished film with jarring contrasts between reality and make-believe.[12]
Clark was nervous about her first Hollywood movie and particularly concerned about dancing with old pro Astaire. He later confessed he was just as worried about singing with her.[12] The film was partially choreographed by Astaire's long-time friend and collaborator Hermes Pan, who was fired by Coppola during filming.[14] Finian's Rainbow proved to be Astaire's last major movie musical, although he went on to dance with Gene Kelly during the linking sections of That's Entertainment, Part 2.
Clark recalls that Coppola's approach was at odds with the subject matter. "Francis... wanted to make it more real. The problem with Finian's Rainbow is that it's sort of like a fairy tale... so trying to make sense of it was a very delicate thing."[12] Coppola opted to fall somewhere in the middle, with mixed results. Updating the story line was limited to changing Woody from a labor organizer to the manager of a sharecroppers' cooperative, making college-student Howard a research botanist, and a few minor changes to the lyrics in the Burton Lane-E. Y. Harburg score, such as changing a reference to Carmen Miranda to Zsa Zsa Gabor. Other than that, the plot remains firmly entrenched in an era that predates the Civil Rights Movement.
Because preview audiences found the film overly long, the musical number "Necessity" was deleted prior to its release, although the song remains on the soundtrack album. It can also be heard as background music, when Senator Rawkins first shows up in Rainbow Valley in his attempt to buy Finian out.
In August 2012, Clark told the BBC Radio 4 show The Reunion that she and her fellow cast members smoked marijuana during the filming of the movie. "There was a lot of Flower Power going on," she said. [15]

Musical sequences[edit]
CD cover
Overture
Look to the Rainbow
This Time of the Year
How Are Things in Glocca Morra?
Look to the Rainbow (Reprise)
Old Devil Moon
Something Sort of Grandish
If This Isn't Love
(That) Great Come-and-Get-It-Day
Entr'acte
When the Idle Poor Become the Idle Rich
Rain Dance Ballet
The Begat
When I'm Not Near the Girl I Love
How Are Things in Glocca Morra? (Reprise)
Exit Music
Critical reception[edit]
Released in major cities as a roadshow presentation complete with intermission, at a time when the popularity of movie musicals was on the wane, the film was dismissed as inconsequential by many critics, who found Astaire's obviously frail and aged appearance shocking and Steele's manic performance annoying. In the New York Times, Renata Adler described it as a "cheesy, joyless thing" and added, "there is something awfully depressing about seeing Finian's Rainbow... with Fred Astaire looking ancient, far beyond his years, collapsed and red-eyed... it is not just that the musical is dated... it is that it has been done listlessly and even tastelessly."[16]
Roger Ebert of the Chicago Sun-Times, on the other hand, thought it was "the best of the recent roadshow musicals... Since The Sound of Music, musicals have been... long, expensive, weighed down with unnecessary production values and filled with pretension... Finian's Rainbow is an exception... it knows exactly where it's going, and is getting there as quickly and with as much fun as possible... it is the best-directed musical since West Side Story. It is also enchanting, and that's a word I don't get to use much... it is so good, I suspect, because Astaire was willing to play it as the screenplay demands... he... created this warm old man... and played him wrinkles and all. Astaire is pushing 70, after all, and no effort was made to make him look younger with common tricks of lighting, makeup and photography. That would have been unnecessary: He has a natural youthfulness. I particularly want to make this point because of the cruel remarks on Astaire's appearance in the New York Times review by Renata Adler. She is mistaken."[17]
Time Out London calls it an "underrated musical... the best of the latter-day musicals in the tradition of Minnelli and MGM."[18]
Highly praised by all was Petula Clark, whom Ebert described as "a surprise. I knew she could sing, but I didn't expect much more. She is a fresh addition to the movies: a handsome profile, a bright personality, and a singing voice as unique in its own way as Streisand's." John Mahoney of The Hollywood Reporter said she "invites no comparisons, bringing to her interpretation of Sharon her own distinctive freshness and form of delivery."[13] In the New York Daily News, Wanda Hale cited her "winsome charm which comes through despite a somewhat reactive role."[13] Joseph Morgenstern of Newsweek said she "looks lovely" and "sings beautifully, with an occasional startling reference to the phrasing and timbre of Ella Logan's original performance."[13] Variety observed, "Miss Clark gives a good performance and she sings the beautiful songs like a nightingale."[13] Clearly, in the United States at least, Clark was known only as a singer, although she had appeared as an actress in British films since she was a child.
The film earned $5.1 million in rentals in North America.[19]
Awards and honors[edit]
The film was nominated for the Golden Globe Award for Best Motion Picture – Musical or Comedy but lost to Oliver! Petula Clark was nominated for the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy but lost to Barbra Streisand in Funny Girl; Fred Astaire was nominated for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy but lost to Ron Moody in Oliver!; and Barbara Hancock was nominated for the Golden Globe Award for Best Supporting Actress – Motion Picture but lost to Ruth Gordon in Rosemary's Baby.
Ray Heindorf was nominated for the Academy Award for Best Score – Adaptation or Treatment but lost to Johnny Green for Oliver! M.A. Merrick and Dan Wallin were nominated for the Academy Award for Best Sound but lost to Jim Groom for Oliver![20]
E.Y. Harburg and Fred Saidy were nominated for Best Written American Musical by the Writers Guild of America.

The film is recognized by American Film Institute in these lists:
2004: AFI's 100 Years...100 Songs:
"How Are Things in Glocca Morra?" – Nominated[21]
Home Media[edit]
The film was released on DVD on March 15, 2005. Presented in anamorphic widescreen format, it captures all of Astaire's footwork, most of which was unseen in the original release.[citation needed] It has audio tracks in English and French, with both the dialogue and songs translated into the latter language. Fluent in French, Clark was the sole cast member to record the foreign version.
Bonus features include commentary by Francis Ford Coppola, who focuses mostly on the film's shortcomings, a featurette on the world premiere on Finian's Rainbow, and the original theatrical trailer.
The film was released on Blu-ray on March 7, 2017.[22]
See also[edit]
List of American films of 1968
References[edit]
Jump up ^ "Finian's Rainbow, Box Office Information". Worldwide Box Office. Retrieved March 4, 2012.
^ Jump up to: a b Deck Is Stacked Against Broadway By Philip K. Scheuer Special to the Los Angeles Times. The Washington Post, Times Herald (1959-1973) [Washington, D.C] 26 Dec 1967: C7.
^ Jump up to: a b VIEW FROM A LOCAL VANTAGE POINT By A.H. WEILER. New York Times (1923-Current file) [New York, N.Y] 17 Apr 1960: X5.
Jump up ^ Director's First Comedy a Smash: They Told Gordon He Couldn't Make One---Till 'Pillow Talk'! Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 08 Jan 1960: A7.
Jump up ^ GREAT EXPECTATIONS: Or, the Annual Survey of a Few Fine Plans That Failed to Materialize By A.H. WEILER. New York Times (1923-Current file) [New York, N.Y] 25 Dec 1960: X9.
Jump up ^ Age of the Unthinking' Blamed on Broadcasters By John Crosby. The Washington Post, Times Herald (1959-1973) [Washington, D.C] 22 May 1960: G13.
Jump up ^ Smutty Nose to 93rd St.: More About Movies By A.H. WEILER. New York Times (1923-Current file) [New York, N.Y] 07 Nov 1965: X11.
Jump up ^ MOVIE CALL SHEET: Warners to Film 'Rainbow' Martin, Betty. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 28 Sep 1966: D12.
Jump up ^ WARNERS TO CAST FOR A POT OF GOLD: 'Finian's Rainbow' Film With Fred Astaire Is Announced By A. H. WEILER. New York Times (1923-Current file) [New York, N.Y] 28 Sep 1966: 41.
Jump up ^ Coppola to Direct 'Rainbow' Martin, Betty. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 13 Feb 1967: c23.
Jump up ^ Steele in 'Finian's Rainbow' Martin, Betty. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 03 Apr 1967: c30.
^ Jump up to: a b c d Finian's Rainbow Original Soundtrack CD liner notes
^ Jump up to: a b c d e Finian's Rainbow at PetulaClark.net
Jump up ^ DVDJournal.com
Jump up ^ "The Telegraph entry". Retrieved March 19, 2017.
Jump up ^ New York Times review
Jump up ^ Chicago Sun-Times review
Jump up ^ Time Out review
Jump up ^ "Big Rental Films of 1969", Variety, 7 January 1970 p 15
Jump up ^ "The 41st Academy Awards (1969) Nominees and Winners". oscars.org. Retrieved 2011-08-25.
Jump up ^ "AFI's 100 Years...100 Songs Nominees" (PDF). Retrieved 2016-07-30.
Jump up ^ Blu-Ray.com review
External links[edit]
Wikiquote has quotations related to: Finian's Rainbow (film)
Finian's Rainbow on IMDb
Finian's Rainbow at the TCM Movie Database
Finian's Rainbow at AllMovie
Movie stills
1968 radio interview with Fred Astaire featuring extensive discussion of Finian's Rainbow
[hide]
v
t
e
Francis Ford Coppola
Films
directed
The Bellboy and the Playgirls (1962)
Tonight for Sure (1962)
Battle Beyond the Sun (1962)
Dementia 13 (1963)
You're a Big Boy Now (1966)
Finian's Rainbow (1968)
The Rain People (1969)
The Godfather (1972)
The Conversation (1974)
The Godfather Part II (1974)
Apocalypse Now (1979; Redux, 2001)
One from the Heart (1982)
The Outsiders (1983)
Rumble Fish (1983)
The Cotton Club (1984)
Captain EO (1986)
Peggy Sue Got Married (1986)
Gardens of Stone (1987)
Tucker: The Man and His Dream (1988)
New York Stories (segment "Life Without Zoë", 1989)
The Godfather Part III (1990)
Bram Stoker's Dracula (1992)
Jack (1996)
The Rainmaker (1997)
Youth Without Youth (2007)
Tetro (2009)
Twixt (2011)
Written only
Is Paris Burning? (1966)
This Property Is Condemned (1966)
Patton (1970)
The Great Gatsby (1974)
Produced only
American Graffiti (1973)
The Junky's Christmas (1993)
Mary Shelley's Frankenstein (1994)
Don Juan DeMarco (1995)
Lani Loa – The Passage (1998)
The Florentine (1999)
The Virgin Suicides (1999)
Enterprises
American Zoetrope
Zoetrope: All-Story
Rubicon Estate Winery
Francis Ford Coppola Presents
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Scopa
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Scopa (disambiguation).
Scopa
Italian playing cards from a deck of "Bergamasche" by Dal Negro
Origin
Italy
Alternative names
Skopa
Type
Fishing
Players
2, 3, 4, or 6
Cards
40-card
Deck
Italian
Play
counter-clockwise
Card rank (highest to lowest)
R C F 7 6 5 4 3 2 1
Related games
Cassino
Scopa is an Italian card game, and one of the two major national card games in Italy.[1] It is also popular in Brazil, brought in by Italian immigrants, mostly in the Scopa di Quindici variation.[2] Scopa is also played in former Italian colonies such as Libya and Somalia. It is played with a standard Italian 40-card deck, mostly between two players or four in two partnerships, but it can also be played by 3, 5, or 6 players.
The name is an Italian noun meaning "broom", since taking a scopa means "to sweep" all the cards from the table. Watching a game of scopa can be a highly entertaining activity, since games traditionally involve lively, colorful, and somewhat strong-worded banter in between hands.[3] However, skill and chance are more important to the outcome of the game.
Contents
[hide]
1 Cards
2 Gameplay
3 Scoring
4 Idioms
5 Alternative variations
5.1 Playing with French-Suited Cards
5.2 Scopa d'Assi (Asso piglia tutto)
5.3 Scopone
5.4 Napola
5.5 Additional points
5.6 Scopa di Quindici
5.7 Cirulla
6 Libyan Scopa
7 Scoring the prime
8 Final score
9 Computer versions
10 See also
11 References
12 External links
Cards[edit]
"Napoletane" cards by Modiano
A deck of Italian cards consist of 40 cards, divided into four suits. Neapolitan, Piacentine, Triestine, and Sicilian cards are divided into Coppe (Cups), Ori or Denari (Golds or Coins), Spade (Swords) and Bastoni (Clubs), while Piemontesi, Milanesi and Toscane cards use the 'French' suits, that is Cuori (Hearts), Quadri (Diamonds, literally "Squares"), Fiori (Flowers) and Picche (Spades, literally "Pikes").
The values on the cards range numerically from one through seven, plus three face cards in each suit: Knave [Fante in Italian] (worth a value of 8), Knight [Cavallo in Italian] in the Neapolitan-type decks, Queen [Donna in Italian] in the Milanese-type decks (worth 9), and King [Re in Italian] (worth 10). A Knave is a lone male figure standing. The Knight is a male figure riding a horse; the Queen is a female figure. The King is a male figure wearing a crown. To determine the face value of any numeric card, simply count the number of suit icons on the card. Since the Coins/Diamonds are important in winning some points, the cards of that suit are also nicknamed as "bello" (handsome): so, "il settebello" is the Seven of Coins/Diamonds, "l'asso bello" is the Ace of Coins/Diamonds.
Gameplay[edit]
All players arrange themselves around the playing surface. If playing in teams, team members should be opposite each other. One player is chosen to be the dealer.
Initial setting of the game
Beginning with the player on his right, and moving counter-clockwise, the dealer deals out three cards to each player, one card at a time. During this deal, the dealer will also place four cards face up on the table. A table card may be dealt before the deal begins, immediately after dealing a card to him but before dealing to the next player, or after dealing all players all three cards.
As it is impossible to sweep in a game where the initial table cards include three or four kings, such a deal is considered invalid. The cards are re-shuffled, and the dealer deals again.
The player to the dealer's right begins play. This player has two options: Either place a card on the table, or play a card to capture one or more cards. A capture is made by matching a card in the player's hand to a card of the same value on the table, or if that is not possible, by matching a card in the player's hand to the sum of the values of two or more cards on the table. In both cases, both the card from the player's hand and the captured card(s) are removed and placed face down in a pile in front of the player. These cards are now out of play until scores are calculated at the end of the round. If by capturing, all cards were removed from the table, then this is called a scopa, and an additional point is awarded at the end of the round.
Opponent is capturing two cards with one card from his hand (1+3=4).
Example: The player's hand contains the 2 of coins, 5 of swords, and 7 of clubs (or batons). On the table are the ace of coins, 5 of cups, and 6 of swords. The player's options are:
Place the 2 of coins on the table;
Capture the 5 of cups using the 5 of swords, and place both cards face down in front of him;
Capture the 6 of swords and ace of coins using the 7 of clubs, and place all three cards face down in front of him.
Note that it is not legal to place on the table a card that has the ability to capture. For example, if a 2 and a 4 are on the table and a player holds a 6, the player must either take that trick or play a different card from his hand.
In any circumstance in which a played card may capture either a single or multiple cards, the player is forced to capture only the single card. For example, if the cards on the table are 1, 3, 4, and 8 (Knave, or Fante in Italian), and the player plays another Knave, the player is not allowed to capture the 1, 3, and 4, even though their total does add up to 8. Instead, the player is only allowed to capture the Knave.
After all players have played all three cards, the dealer deals out three more cards to each player, again beginning with the player to his right. That player then begins play again. No additional cards are dealt to the table. This process is repeated until no cards remain in the deck.
After the dealer has played the final card of the final hand of the round, the player who most recently captured is awarded any remaining cards on the table, and points are calculated for each player or team. If no team has yet won the game, the deal moves to the right. The new dealer shuffles and deals the cards as described above.
Scoring[edit]
Points are awarded at the completion of each deal. If playing in teams, the team members combine their captured cards before counting to calculate points. Players get one point for each "scopa".
In addition, there are up to four points available for the following, each worth 1 point apiece:
(a) captured the greatest number of cards.
(b) captured the greatest number of cards in the suit of coins.
(c) captured the seven of coins ("sette bello").
(d) obtained the highest "prime" (literally, primiera), erroneously referred to as simply "capturing the majority of sevens".
If two or more teams or players capture the same number of cards, same number of coin cards, or the same prime value, no point is awarded for that result, e.g. if both Team 1 and Team 2 capture 20 cards total, neither gets a point for the most cards.
The "prime" for each team is determined by selecting the team's "best" card in each of the four suits, and totaling those four cards' point values. When calculating the prime, a separate point scale is used. The player with the highest number of points using this separate point scale gets one point toward the game score.
The most common version of the separate scale is:
Seven (sette) = 21 points
Six (sei) = 18 points
Ace (asso) = 16 points
Five (cinque) = 15 points
Four (quattro) = 14 points
Three (tre) = 13 points
Two (due) = 12 points
Face cards = 10 points
If one team captures the sevens of cups and coins, the six of clubs and the ace of swords, that team's prime is (21 + 21 + 18 + 16) = 76.
Other versions of the prime's point scale exist. Most use the same ranking of cards but have variant scores, e.g. 0 points for face cards instead of 10. A variant that is popular in America but disliked by purists is to award the prime to the person with the most sevens, or the person with the most sixes if there is a tie, down to aces, and so on.
Obviously, the seven of coins is the most valuable card in the deck, as it alone contributes to all the four points. A player or team can win the "prime" even with only one seven but other useful cards. If one player has three sevens (3x21) and no cards of the fourth suit (sum=63), his opponent can win the "prime" with one seven (21) and three aces (3x16), for his sum would be 69. Therefore, it is a common tactic, while playing the game, to capture aces and sixes whenever possible.
Likewise, if a player is holding a six and there are an ace, a two, a three, and a four on the table, he should choose the five plus the ace, unless he has already taken the seven or the six of the suit of the ace and unless one of the two remaining cards is of the coins suit and he hasn't made the point of coins yet.
In addition to the four standard points (called "punti di mazzo", literally "deck's points"), teams are awarded additional points for every "scopa" they took during game play. A scopa is awarded when a team manages to sweep the table of all cards. That is, if the table contains only a 2 and a 4, and player A plays a 6, player A is awarded a scopa. Clearing the table on the last play of the last hand of a round does not count as a scopa.
The game is played until one team has at least 11 points and has a greater total than any other team. No points, including scopa points, are awarded mid-round; they are all calculated upon completion of the round. For that reason, if the current score is 10 to 9, and the team with 10 points captures the seven of coins or a scopa, the team cannot immediately claim victory. It is still possible that the opposing team could end up with a tied or higher score once all points are calculated.
In some Italian cities before the game the players can agree to play with the "cappotto" variant, in that scenario if a player is winning 7 points to 0, the game can be considered over and the player does not have to reach the total of 11 points.
It is also possible to agree on a different score, usually with increments of five or ten, e.g., 16, 21 or 31 points.
Idioms[edit]
Traditionally, one card from a sweep is turned face up in the captured cards, to remind players while calculating points that a scopa was won, and to taunt them. Many players deal the initial table cards in a 2x2 square.
Alternative variations[edit]
There are many variations of scopa. Since there are no formal rules, it is good manners to agree with the other players on the rules that are to be used before starting a game.
Many of the variations here can be combined. For example, a common variant in the Milan area combines "Scopone scientifico", "Scopa d'Assi" and "Napola".
Playing with French-Suited Cards[edit]
When playing with a standard 52-card pack with French suits, 12 cards need to be removed from the deck. Easiest for most new players is to remove the face cards, and therefore play with cards ranging numerically from one through ten. More traditional is to remove the eights, nines, and tens from the deck, which yields the 40-card "Milanese" deck. With the Milanese deck the Jack is 8, the Queen is 9, and the King is 10 (note that in some Neapolitan decks, the Jack is called "Lady" and is worth 8). Regardless of which cards are removed, the diamonds suit is used for the Italian coin suit, making capturing the most diamonds and the seven of diamonds each worth a point.
Scopa d'Assi (Asso piglia tutto)[edit]
In this variation of the game, playing an Ace captures all cards currently on the table (and does not count as a scopa).
Depending on other chosen variants, it can happen that an ace is already on the table when one draws an ace. Rules vary as to whether or not the player will take all the cards, but usually the player who only take the ace that is there. This event, that every player will try to avoid, is called burning an ace.
Scopone[edit]
The game of Scopone is based on Scopa. In this game, which must be played in 2 teams of 2, players are dealt all nine of their cards at the start of each round. Play proceeds around the table until all players have played all of their cards.
In another form of the game, the scopone scientifico, the players are dealt ten cards each so that none is left.[4]
Scopa d'Assi is mostly played in the latter variant.
Napola[edit]
In this variation (also known as Scopone trentino), a team capturing the ace, two, and three of coins achieves the Napola (or Napoli) and is awarded additional points equal to the highest consecutive coin they obtain, e.g. if a team captures the ace, two, three, four, and five, and eight of coins, that team is awarded 5 additional points.
Because of the higher number of points awarded per game, the game is played until one team has 21 points, rather than 11. Sometimes a team that manages to capture all 10 coins in a single round wins the game immediately.
Additional points[edit]
In the Re Bello ("Beautiful King") version, the King of coins also counts as a point, just as does the Seven of coins.
In some regions of Calabria (especially near Cosenza), a point is awarded for the seven of cups in addition to the seven of coins.
Scopa di Quindici[edit]
In this variation, the played card does not take a card or set of cards that sum to the value of the card played. Rather, it takes any set of cards including itself that add to 15. If the table is A, 3, 5, 7, playing a 2 would take itself plus the A, 5 and 7 (A + 2 + 5 + 7 = 15).
Cirulla[edit]
This Genoese variation is highly popular in Liguria and bordering zones; it is basically a mixture of traditional scopa, "Scopa di quindici" and "Scopa d'assi", plus it awards additional points for the "Grande" (Big One - 5 points go to the player able to take all three figure cards of coins), "Piccola" (Small Ones - 1 point awarded for each consecutive card of coins after the ace. It is entirely possible for a player to get the "most coins" point but neither the Big One nor Small One bonus due to the opponent securing vital cards in the sequence).
Moreover, Cirulla players whose hand of three cards adds up to less than 7 (9 in some regions) have to put all of them down on the table and mark three points as if he scored that many "scopa". To the end of such calculations the seven of cups (hearts in Milanese-types) counts as "matta" ("joker"): the player decides its value. With such a high degree of point-awarding combinations and the possibility of scoring dozens of points in a single hand Cirulla games are tense affairs, where seemingly desperate situations can be reversed in a matter of minutes and where the ultimate goal can be set at hundreds of points, up to 1001 in some cases.
Libyan Scopa[edit]
Scopa is very popular in Libya and is usually played as mentioned above, but some local variations are often added: for example, a) a sweep of Diamonds (sometimes nine are enough) will reset the opponent to zero, b) players count Scopas based on the value of the winning card (if the 'winning card' is worth 7, the scopa is worth 7), and c) players count Scopa values based on the total number of cards involved (if a scopa numbers 5 cards, the number of points awarded for that scopa equals 5; if a scopa is but 2 cards, only 2 points are awarded).
Scoring the prime[edit]
A number of variant point systems are used for calculating the prime, most of which produce the same order of hands. One notable variant that does not produce the same order is to count 0 points for each face card.
Final score[edit]
Some play to 16 or 21 points, or even to an arbitrary score agreed to at the beginning of the game.
Computer versions[edit]
There is a playable version of Scopa within the Nancy Drew game The Phantom of Venice.
There are apps for Android smartphones, and the Nokia internet tablet running the Maemo operating system, as well as for iOS iPads and iPhones.
See also[edit]
Briscola
Cassino
Escoba
Mulle
Pasur
References[edit]
Jump up ^ Parlett, David (1992). Oxford Dictionary of Card Games. Oxford University Press. p. 251. ISBN 0-19-869173-4.
Jump up ^ "Escopa". Jogos de Cartas (in Portuguese). 2014. Retrieved 30 November 2014.
Jump up ^ "Scopa: A Traditional Italian Card Game". Life in Italy. 2014. Retrieved 30 November 2014.
Jump up ^ Katz, Nikki (10 September 2004). The Everything Card Games Book: A complete guide to over 50 games to please any crowd. Everything Books. p. 243. ISBN 1-4405-2301-0.
External links[edit]
McLeod, John, ed., Scopone and Scopa, Card Games Website
The five-point categories at the Italian Wikipedia (in Italian)
Kaszinó Hungarian variant of Scopa at the Hungarian Wikipedia (in Hungarian)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Scopa&oldid=842208983"
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Jazz Age
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the 2012 album by Bryan Ferry, see The Jazz Age (The Bryan Ferry Orchestra album). For the 1998 album by Jack, see The Jazz Age (Jack album). For the 1929 film, see The Jazz Age (film).
Carter and King Jazzing Orchestra in 1921 (picture taken in Houston, Texas)
The Jazz Age was a period in the 1920s and 1930s in which jazz music and dance styles rapidly gained nationwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz. Originating in New Orleans as a fusion of African and European music, jazz played a significant part in wider cultural changes in this period, and its influence on pop culture continued long afterwards. The Jazz Age is often referred to in conjunction with the Roaring Twenties. American author F. Scott Fitzgerald is widely credited with coining the term, first using it in the title of his 1922 short story collection, Tales of the Jazz Age.[1]
Contents
[hide]
1 Background
1.1 Jazz music
1.2 Prohibition
2 History
3 Radio
4 Cultural impacts
4.1 Youth
4.2 Role of women
4.3 Classical music
5 See also
6 Notes
7 Further reading
8 External links
Background[edit]
Jazz music[edit]
Main article: Jazz
Jazz music originated in New Orleans in the "sub-style" of Dixieland Jazz.[2] Jazz is the hybrid of African and European influence. From African influence, jazz got its rhythm, "blues" quality, and traditions of playing or singing in one's own expressive way. From European influence, jazz got its harmony and instruments(saxophone, trumpet, piano, etc.). Both influences used improvisation which became a large part of jazz.[3] New Orleans provided great opportunity for such an occurrence because it was a port city, with many different cultures and beliefs intertwined.[4] While in New Orleans, jazz gained influence from creole, ragtime, and most importantly blues music.[5] Two important aspects of jazz are swing and improvisation. The famous jazz trumpeter Louis Armstrong's most influential impact upon jazz was bringing an improvisational soloist to the forefront of a piece.[5] The birth of jazz music is credited to African Americans,[6] but expanded and over time became modified to become socially acceptable to middle-class white Americans. Those critical of jazz saw it as music from people with no training or skill.[7] White performers were used as a vehicle for the popularization of jazz music in America. Even though the jazz movement was taken over by the middle-class white population, it facilitated the mesh of African American traditions and ideals with white middle-class society.[8] Cities like New York and Chicago were cultural centers for jazz, and especially for African-American artists. People who were not familiar with jazz music could not recognize it by the way Africans Americans wrote it.[clarification needed] Furthermore, the way African-American writers wrote about jazz music made it seem as though it was not a cultural achievement of the race.[clarification needed][7]
The birth of jazz music is credited to African Americans,[6] but expanded and over time became modified to become socially acceptable to middle-class white Americans. Those critical of jazz saw it as music from people with no training or skill.[7] White performers were used as a vehicle for the popularization of jazz music in America. Even though the jazz movement was taken over by the middle-class white population, it facilitated the mesh of African American traditions and ideals with white middle-class society.[8] Cities like New York and Chicago were cultural centers for jazz, and especially for African-American artists. People who were not familiar with jazz music could not recognize it by the way Africans Americans wrote it.[clarification needed] Furthermore, the way African-American writers wrote about jazz music made it seem as though it was not a cultural achievement of the race.[clarification needed][7]
Prohibition[edit]
Main article: Prohibition in the United States
Prohibition in the United States was a nationwide constitutional ban on the production, importation, transportation, and sale of alcoholic beverages from 1920 to 1933.
In the 1920s the laws were widely disregarded, and tax revenues were lost. Very well organized criminal gangs took control of the beer and liquor supply for many cities, unleashing a crime wave that shocked the nation. By the late 1920s a new opposition mobilized nationwide. Wets attacked prohibition as causing crime, lowering local revenues, and imposing rural Protestant religious values on urban America.[9] Prohibition ended with the ratification of the Twenty-first Amendment, which repealed the Eighteenth Amendment on December 5, 1933. Some states continued statewide prohibition, marking one of the last stages of the Progressive Era.
History[edit]
From 1920 to 1933 Prohibition in the United States banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music including current dance songs, novelty songs and show tunes. Jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the Roaring Twenties. Professor Henry van Dyke of Princeton University wrote: "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion."[10] The media too began to denigrate jazz. The New York Times used stories and headlines to pick at jazz: Siberian villagers were said by the paper to have used jazz to scare off bears, when in fact they had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.[10]
From 1919, Kid Ory's Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings.[11][12] That year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers.[13] Chicago, meanwhile, was the main center developing the new "Hot Jazz", where King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924.
That same year, Louis Armstrong joined the Fletcher Henderson dance band[14] as featured soloist, leaving in 1925. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept, and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality."[15] The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).[16] (The example approximates Armstrong's solo, as it does not convey his use of swing.)
Top: excerpt from the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer & Arthur Johnston. Bottom: corresponding solo excerpt by Louis Armstrong (1924).
Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic Hot Five band, which included instrumentalist's Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), and wife Lil on piano, where he popularized scat singing.[17]
Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra. In 1924 Whiteman commissioned Gershwin's Rhapsody in Blue, which was premiered by Whiteman's Orchestra. By the mid-1920s, Whiteman was the most popular bandleader in the U.S. His success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable a previously inchoate kind of music.[18] Other influential large ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the Cotton Club in 1927) in New York, and Earl Hines' Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.[19] By 1930, the New Orleans-style ensemble was a relic, and jazz belonged to the world.[20]
Some famous black artists of the time were Ella Fitzgerald[citation needed], Louis Armstrong, Duke Ellington, and Count Basie.[21] Several musicians grew up in musical families, where a family member would often teach how to read and play music. Some musicians, like Pops Foster, learned on homemade instruments.[22] Urban radio stations played African-American jazz more frequently than suburban stations, due to the concentration of African Americans in urban areas such as New York and Chicago. Younger demographics popularized the black-originated dances such as the Charleston as part of the immense cultural shift the popularity of jazz music generated.[23] The migration of African Americans from the American south introduced the culture born out of a repressive, unfair society to the American north where navigating through a society with little ability to change played a vital role in the birth of jazz.[24]
Radio[edit]
The rapid national spread of jazz was enabled by the introduction of large-scale radio broadcasts in 1932. The radio was described as the "sound factory." Radio made it possible for millions to hear for free the music—especially people who never attended expensive, distant big city clubs.[25] These broadcasts originated from clubs in leading centers such as New York, Chicago, Kansas City, and Los Angeles. There were two categories of live music on the radio: concert music and big band dance music. The concert music was known as "potter palm" and was concert music by amateurs, usually volunteers.[26]
The next type of music is known as big band dance music. This type is played by professionals and was featured from nightclubs, dance halls, and ballrooms.[8] Musicologist Charles Hamm described three types of jazz music at the time: black music for black audiences, black music for white audiences, and white music for white audiences.[27] Jazz artists like Louis Armstrong originally received very little airtime because most stations preferred to play the music of white American jazz singers. Other jazz vocalists include Bessie Smith and Florence Mills. In urban areassuch as Chicago and New York, African-American jazz was played on the radio more often than in the suburbs. Big-band jazz, like that of James Reese Europe and Fletcher Henderson in New York, attracted large radio audiences.[8]
Cultural impacts[edit]
Youth[edit]
1920s youth used the influence of jazz to rebel against the traditional culture of previous generations. This youth rebellion of the 1920s went hand-in-hand with fads like bold fashion statements (flappers), women smoking cigarettes, free talk about sex, and new radio concerts. Dances like the Charleston, developed by African Americans, suddenly became popular among the youth. Traditionalists were aghast at what they considered the breakdown of morality.[28] Some urban middle-class African Americans perceived jazz as "devil's music", and believed the improvised rhythms and sounds were promoting promiscuity.[29]
Role of women[edit]
Women played an important role throughout jazz's history. With women's suffrage—the right for women to vote—at its peak with the ratification of the Nineteenth Amendment on August 18, 1920, and the entrance of the free-spirited flapper, women began to take on a larger role in society and culture. With women now taking part in the work force after the end of the First World War there were many more possibilities for women in terms of social life and entertainment. Ideas such as equality and free sexuality were very popular during the time and women seemed to capitalize during this period. The 1920s saw the emergence of many famous women musicians including Bessie Smith. Bessie Smith also gained attention because she was not only a great singer but also an African-American woman. She has grown through the ages to be one of the most well respected singers of all time. Singers such as Billie Holiday and Janis Joplin were inspired by Bessie Smith.[30]
Lovie Austin (1887–1972) was a Chicago-based bandleader, session musician (piano), composer, singer, and arranger during the 1920s classic blues era. She and Lil Hardin Armstrong are often ranked as two of the best female jazz blues piano players of the period.[31][32]
Piano player Lil Hardin Armstrong was originally a member of King Oliver's band with Louis, and went on to play piano in her husband's band the Hot Five and then his next group called the Hot Seven[33] It was not until the 1930s and 1940s that many women jazz singers, such as Bessie Smith and Billie Holiday were recognized as successful artists in the music world.[33] Another famous female vocalist, dubbed "The First Lady of Song," Ella Fitzgerald was the one of the most popular female jazz singers in the United States for more than half a century. In her lifetime, she won 13 Grammy awards and sold over 40 million albums. Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman.[34] These women were persistent in striving to make their names known in the music industry and lead the way for many more women artists to come.[33]
Classical music[edit]
As jazz flourished, American elites who preferred classical music sought to expand the listenership of their favored genre, hoping that jazz would not become mainstream.[35] Controversially, jazz became an influence on composers as diverse as George Gershwin and Herbert Howells.
See also[edit]
1920s portal
Flapper
Roaring Twenties
Notes[edit]
Jump up ^ ""What the Great Gatsby Got Right About the Jazz Age"". www.smithsonianmag.com. Retrieved March 7, 2018.
Jump up ^ "Dixieland (AKA Early Jazz)". www.jazzinamerica.org. Retrieved October 19, 2015.
Jump up ^ http://www.jazzinamerica.org/LessonPlan/5/1/249
Jump up ^ "Where did jazz come from?". www.jazzinamerica.org. Retrieved October 19, 2015.
^ Jump up to: a b Biocca, Frank (1990). "Media and Perceptual Shifts: Early Radio and the Clash of Musical Cultures". The Journal of Popular Culture. 24 (2): 1. doi:10.1111/j.0022-3840.1990.2402_1.x.
^ Jump up to: a b McCANN, PAUL. 2008. "Performing Primitivism: Disarming the Social Threat of Jazz in Narrative Fiction of the Early Sixties." Journal of Popular Culture 41, no. 4: 658–675. America: History & Life, p. 3.
^ Jump up to: a b c d Berger, Morroe (1 January 1947). "Jazz: Resistance to the Diffusion of a Culture-Pattern". The Journal of Negro History. 32 (4): 461–494. doi:10.2307/2714928. JSTOR 2714928.
^ Jump up to: a b c d Barlow, William (1 January 1995). "Black Music on Radio During the Jazz Age". African American Review. 29 (2): 325–328. doi:10.2307/3042311. JSTOR 3042311.
Jump up ^ Margaret Sands Orchowski (2015). The Law that Changed the Face of America: The Immigration and Nationality Act of 1965. Rowman & Littlefield. p. 32.
^ Jump up to: a b Ward, Geoffrey C.; Burns, Ken (October 8, 2002). Jazz: A History of America's Music (1st ed.). New York: Alfred A. Knopf. ISBN 978-0-679-76539-4.
Jump up ^ Cooke 1999, p. 54
Jump up ^ "Kid Ory". The Red Hot Archive. Retrieved October 29, 2007.
Jump up ^ "Bessie Smith". The Red Hot Archive. Retrieved October 29, 2007.
Jump up ^ "Fletcher Henderson: 'Architect of Swing'". NPR. December 19, 2007. Retrieved January 27, 2017.
Jump up ^ Schuller (1968: 91).
Jump up ^ Schuller (1968: 93)
Jump up ^ Cooke 1999, pp. 56–59, 78–79, 66–70
Jump up ^ Mario Dunkel, "W. C. Handy, Abbe Niles, and (Auto)biographical Positioning in the Whiteman Era," Popular Music and Society 38.2 (2015): 122–139.
Jump up ^ Cooke 1999, pp. 82–83, 100–103
Jump up ^ Schuller (1968: 88)
Jump up ^ Cunningham, Lawrence, John J. Reich, and Lois Fichner-Rathus. Culture & Values: A Survey of the Humanities. 8th ed. Boston, MA: Wadsworth/Cengage Learning, 2014. Print.
Jump up ^ Chevan, David. "Musical Literacy and Jazz Musicians in the 1910s and 1920s." Current Musicology; Spring 2001/2002; 71–73. Print.
Jump up ^ "The Jazz Age". Boundless.com. July 21, 2015. Retrieved August 28, 2015.
Jump up ^ "The Harlem Renaissance and the Jazz Age". Tdl.org. Retrieved August 28, 2015.
Jump up ^ Biocca, Frank, "Media and Perceptual Shifts: Early Radio and the Clash of Musical Cultures", Journal of Popular Culture, 24:2 (1990), p. 3.
Jump up ^ Linda De Roche (2015). The Jazz Age: A Historical Exploration of Literature: A Historical Exploration of Literature. ABC-CLIO. p. 18.
Jump up ^ Savran, David. "The Search for America's Soul: Theatre in the Jazz Age." Theatre Journal 58.3 (2006), 459-476. Print.
Jump up ^ Paula S. Fass, The Damned and the Beautiful: American Youth in the 1920s (1977), p. 22.
Jump up ^ Dinerstein, Joel. "Music, Memory, and Cultural Identity in the Jazz Age." American Quarterly 55.2 (2003), 303-313. Print.
Jump up ^ Ward, Larry F. "Bessie", Notes, Volume 61, Number 2, December 2004, pp. 458–460 (review). Music Library Association.
Jump up ^ For her music see "Black Women in America: Lovie Austin" (June 6, 2011).
Jump up ^ Santelli, Robert. The Big Book of Blues, Penguin Books (2001), p. 20; ISBN 0-14-100145-3
^ Jump up to: a b c Borzillo, Carrie, "Women in Jazz: Music on Their Terms--As Gender Bias Fades, New Artists Emerge", Billboard 108:26 (June 29, 1996), pp. 1, 94–96.
Jump up ^ http://www.ellafitzgerald.com/
Jump up ^ Biocca, Frank, "Media and Perceptual Shifts: Early Radio and the Clash of Musical Cultures", Journal of Popular Culture, 24:2 (1990), p. 9.
Further reading[edit]
Allen, Frederick Lewis (1931). Only Yesterday: An Informal History of the Nineteen-Twenties. online edition
Barlow, William. "Black music on radio during the jazz age." African American Review 29.2 (1995): 325-328.
Best, Gary Dean. The Dollar Decade: Mammon and the Machine in 1920s America. Praeger Publishers, 2003.
Berger, Morroe. "Jazz: Resistance to the Diffusion of a Culture-Pattern". The Journal of Negro History 32 (October 1947): 461-494
Chevan, David. "Musical Literacy and Jazz Musicians in the 1910s and 1920s." Current Musicology
Dinerstein, Joel. "Music, memory, and cultural identity in the jazz age." American Quarterly 55.2 (2003): 303-313.
Doerksen, Clifford J. American Babel: Rogue Radio Broadcasters of the Jazz Age (2005) [L: http://www.h-net.org/reviews/showrev.php?id=13658 online review]
Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. Hill and Wang, 1995.
Fass, Paula. The Damned and the Beautiful: American Youth in the 1920s. Oxford University Press, 1977.
David E. Kyvig; Daily Life in the United States, 1920–1939: Decades Promise and Pain. Greenwood Press, (2002). online edition
Leuchtenburg, William. The Perils of Prosperity, 1914–1932 University of Chicago Press, 1955.
Lynd, Robert S., and Helen Merrell Lynd. Middletown: A Study in Modern American Culture. Harcourt, Brace and World, 1929. Famous sociological study of Muncie, Indiana, in the 1920s.
Mowry; George E. (ed.). The Twenties: Fords, Flappers, & Fanatics. Prentice-Hall, 1963; readings.
Parrish, Michael E. Anxious Decades: America in Prosperity and Depression, 1920–1941. W. W. Norton, 1992.
Peretti, Burton W. "The Great Travelers." The Creation of Jazz: Music, Race, and Culture in Urban America.
Savran, David. "The Search for America's Soul: Theatre in the Jazz Age". Theatre Journal.
Snelson, Tim. "‘They’ll Be Dancing in the Aisles!’: Youth audiences, cinema exhibition and the mid-1930s swing boom." Historical Journal of Film, Radio and Television 37.3 (2017): 455-474.
External links[edit]
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List of Tennessee Volunteers football seasons
From Wikipedia, the free encyclopedia
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The following is a complete list of Tennessee Volunteers football seasons through 2016. In 2017, not included, the Volunteers went 4-8 and 0-8 in the SEC for the first time in program history. This was also the first time the program ever had 8 losses overall as well.
Year-by-year results[edit]
Claimed National Champions Conference Champions Division Champions Bowl Eligible
Year
Conference
Overall
Conference
Coach
Games
Win
Loss
Tie
Pct.
Games
Win
Loss
Tie
Pct.
1891 Independent 1 0 1 0 .000 0 0 0 0 .000 Student
1892 Independent 7 2 5 0 .290 0 0 0 0 .000 Student
1893 Independent 6 2 4 0 .333 0 0 0 0 .000 Student
1894 No team
1895 No team
1896 SIAA 4 4 0 0 1.000 0 0 0 0 .000 Student
1897 SIAA 5 4 1 0 .800 0 0 0 0 .000 Student
1898 No team Due To Spanish–American War
1899 SIAA 8 6 2 0 .750 0 0 0 0 .000 J.A. Pierce
1900 SIAA 6 3 2 1 .583 0 0 0 0 .000 Pierce
1901 SIAA 8 3 3 2 .500 0 0 0 0 .000 George Kelley
1902 SIAA 8 6 2 0 .750 0 0 0 0 .000 H.F. Fisher
1903 SIAA 9 4 5 0 .444 0 0 0 0 .000 Fisher
1904 SIAA 9 3 5 1 .389 0 0 0 0 .000 S.D. Crawford
1905 SIAA 9 3 5 1 .389 0 0 0 0 .000 J.D. DePree
1906 SIAA 9 1 6 2 .222 0 0 0 0 .000 DePree
1907 SIAA 10 7 2 1 .750 0 0 0 0 .000 George Levene
1908 SIAA 9 7 2 0 .778 0 0 0 0 .000 Levene
1909 SIAA 9 1 6 2 .222 0 0 0 0 .000 Levene
1910 SIAA 9 3 5 1 .389 0 0 0 0 .000 Alex Stone
1911 SIAA 9 3 4 2 .444 0 0 0 0 .000 Z.G. Clevenger
1912 SIAA 8 4 4 0 .500 0 0 0 0 .000 Clevenger
1913 SIAA 9 6 3 0 .667 0 0 0 0 .000 Clevenger
1914 SIAA 9 9 0 0 1.000 0 0 0 0 .000 Clevenger
1915 SIAA 8 4 4 0 .500 0 0 0 0 .000 Clevenger
1916 SIAA 9 8 0 1 .944 0 0 0 0 .000 John R. Bender
1917 No team Due To World War I
1918 No team Due To World War I
1919 SIAA 9 3 3 3 .500 0 0 0 0 .000 Bender
1920 SIAA 9 7 2 0 .778 0 0 0 0 .000 Bender
1921 Southern 9 6 2 1 .722 2 1 0 1 .833 M.B. Banks
1922 Southern 10 8 2 0 .800 6 4 2 0 .667 Banks
1923 Southern 10 5 4 1 .550 6 4 1 1 .750 Banks
1924 Southern 8 3 5 0 .376 4 0 4 0 .000 Banks
1925 Southern 8 5 2 1 .688 5 2 2 1 .500 Banks
1926 Southern 9 8 1 0 .889 6 5 1 0 .834 Robert Neyland
1927 Southern 9 8 0 1 .944 6 5 0 1 .917 Neyland
1928 Southern 10 9 0 1 .950 6 5 0 1 .917 Neyland
1929 Southern 10 9 0 1 .950 7 6 0 1 .929 Neyland
1930 Southern 10 9 1 0 .900 7 6 1 0 .857 Neyland
1931 Southern 10 9 0 1 .900 7 6 0 1 .858 Neyland
1932 Southern 10 9 0 1 .980 8 7 0 1 .938 Neyland
1933 SEC 10 7 3 0 .700 7 5 2 0 .715 Neyland
1934 SEC 10 8 2 0 .800 6 5 1 0 .834 Neyland
1935 SEC 9 4 5 0 .444 5 2 3 0 .400 W.H. Britton
1936 SEC 10 6 2 2 .700 6 3 1 2 .667 Neyland
1937 SEC 10 6 3 1 .650 7 4 3 0 .572 Neyland
1938 SEC 11 11 0 0 1.000 7 7 0 0 1.000 Neyland
1939 SEC 11 10 1 0 .910 6 6 0 0 1.000 Neyland
1940 SEC 11 10 1 0 .910 5 5 0 0 1.000 Neyland
1941 SEC 10 8 2 0 .800 4 3 1 0 .751 John Barnhill
1942 SEC 11 9 1 1 .864 5 4 1 0 .800 Barnhill
1943 No team Due To World War II
1944 SEC 9 7 1 1 .833 6 5 0 1 .834 Barnhill
1945 SEC 9 8 1 0 .888 4 3 1 0 .751 Barnhill
1946 SEC 11 9 2 0 .818 5 5 0 0 1.000 Neyland
1947 SEC 10 5 5 0 .500 5 2 3 0 .400 Neyland
1948 SEC 10 4 4 2 .500 6 2 3 1 .417 Neyland
1949 SEC 10 7 2 1 .750 6 4 1 1 .750 Neyland
1950 SEC 12 11 1 0 .917 5 4 1 0 .800 Neyland
1951 SEC 11 10 1 0 .910 5 5 0 0 1.000 Neyland
1952 SEC 11 8 2 1 .773 6 5 0 1 .834 Neyland
1953 SEC 11 6 4 1 .591 6 3 2 1 .583 Harvey Robinson
1954 SEC 10 4 6 0 .400 6 1 5 0 .167 Robinson
1955 SEC 10 6 3 1 .650 6 3 2 1 .583 Bowden Wyatt
1956 SEC 11 10 1 0 .910 6 6 0 0 1.000 Wyatt
1957 SEC 11 8 3 0 .728 7 4 3 0 .572 Wyatt
1958 SEC 10 4 6 0 .400 7 4 3 0 .572 Wyatt
1959 SEC 10 5 4 1 .550 8 3 4 1 .376 Wyatt
1960 SEC 10 6 2 2 .600 7 3 2 2 .438 Wyatt
1961 SEC 10 6 4 0 .600 7 4 3 0 .572 Wyatt
1962 SEC 10 4 6 0 .400 8 2 6 0 .270 Wyatt
1963 SEC 10 5 5 0 .500 8 2 6 0 .376 Jim McDonald
1964 SEC 10 4 5 1 .450 7 1 5 1 .214 Doug Dickey
1965 SEC 11 8 1 2 .818 5 2 1 2 .600 Dickey
1966 SEC 11 8 3 0 .728 5 3 2 0 .600 Dickey
1967 SEC 11 9 2 0 .819 6 6 0 0 1.000 Dickey
1968 SEC 11 8 2 1 .773 6 4 1 1 .750 Dickey
1969 SEC 11 9 2 0 .819 6 5 1 0 .834 Dickey
1970 SEC 12 11 1 0 .917 5 4 1 0 .800 Bill Battle
1971 SEC 12 10 2 0 .834 6 4 2 0 .667 Battle
1972 SEC 12 10 2 0 .834 6 4 2 0 .667 Battle
1973 SEC 12 8 4 0 .667 6 3 3 0 .500 Battle
1974 SEC 12 7 3 2 .667 6 2 3 1 .417 Battle
1975 SEC 12 7 5 0 .583 6 3 3 0 .500 Battle
1976 SEC 11 6 5 0 .546 6 2 4 0 .334 Battle
1977 SEC 11 4 7 0 .363 6 1 5 0 .167 Johnny Majors
1978 SEC 11 5 5 1 .500 6 3 3 0 .500 Majors
1979 SEC 12 7 5 0 .584 6 3 3 0 .500 Majors
1980 SEC 11 5 6 0 .455 6 3 3 0 .500 Majors
1981 SEC 12 8 4 0 .667 6 3 3 0 .500 Majors
1982 SEC 12 6 5 1 .542 6 3 2 1 .583 Majors
1983 SEC 12 9 3 0 .750 6 4 2 0 .667 Majors
1984 SEC 12 7 4 1 .625 6 3 3 0 .500 Majors
1985 SEC 12 9 1 2 .792 6 5 1 0 .833 Majors
1986 SEC 12 7 5 0 .584 6 3 3 0 .500 Majors
1987 SEC 13 10 2 1 .808 6 4 1 1 .750 Majors
1988 SEC 11 5 6 0 .455 7 3 4 0 .429 Majors
1989 SEC 12 11 1 0 .917 7 6 1 0 .858 Majors
1990 SEC 13 9 2 2 .769 7 5 1 1 .786 Majors
1991 SEC 12 9 3 0 .750 7 5 2 0 .715 Majors
1992 SEC 12 9 3 0 .750 8 5 3 0 .625 Majors 5-3/ Phillip Fulmer 4-0
1993 SEC 12 10 2 0 .834 8 7 1 0 .875 Fulmer
1994 SEC 12 8 4 0 .667 8 5 3 0 .625 Fulmer
1995 SEC 12 11 1 0 .917 7 6 1 0 .875 Fulmer
1996 SEC 12 10 2 0 .834 8 7 1 0 .875 Fulmer
1997 SEC 13 11 2 0 .847 8 7 1 0 .875 Fulmer
1998 SEC 13 13 0 0 1.000 8 8 0 0 1.000 Fulmer
1999 SEC 12 9 3 0 .750 8 6 2 0 .750 Fulmer
2000 SEC 12 8 4 0 .667 8 5 3 0 .625 Fulmer
2001 SEC 13 11 2 0 .847 8 7 1 0 .875 Fulmer
2002 SEC 13 8 5 0 .615 8 5 3 0 .626 Fulmer
2003 SEC 13 10 3 0 .770 8 6 2 0 .750 Fulmer
2004 SEC 13 10 3 0 .770 8 7 1 0 .875 Fulmer
2005 SEC 11 5 6 0 .455 8 3 5 0 .375 Fulmer
2006 SEC 13 9 4 0 .693 8 5 3 0 .692 Fulmer
2007 SEC 14 10 4 0 .715 8 6 2 0 .750 Fulmer
2008 SEC 12 5 7 0 .417 8 3 5 0 .375 Fulmer
2009 SEC 13 7 6 0 .538 8 4 4 0 .500 Lane Kiffin
2010 SEC 13 6 7 0 .461 8 3 5 0 .375 Derek Dooley
2011 SEC 12 5 7 0 .417 8 1 7 0 .125 Dooley
2012 SEC 12 5 7 0 .417 8 1 7 0 .125 Dooley 4-7/Jim Chaney 1-0
2013 SEC 12 5 7 0 .417 8 2 6 0 .250 Butch Jones
2014 SEC 13 7 6 0 .538 8 3 5 0 .375 Jones
2015 SEC 13 9 4 0 .692 8 5 3 0 .625 Jones
2016 SEC 13 9 4 0 .692 8 4 4 0 .500 Jones
2017 SEC 12 4 8 0 .333 8 0 8 0 .000 Jones 4-6 / Brady Hoke 0-2
Totals 1263 832 378 53 .680 629 383 219 27 .630
References:[1][2][3][4]
References[edit]
Jump up ^ "University of Tennessee Athletics - Football". Utsports.Com. 2008-10-27. Retrieved 2015-04-17.
Jump up ^ "University of Tennessee Athletics - Football". Utsports.Com. 2013-05-23. Retrieved 2015-09-22.
Jump up ^ "Tennessee Volunteers". Sports-Reference. Retrieved 2015-09-22.
Jump up ^ "Tennessee bowl game history". mcubed.net. Retrieved 2015-09-22.
[hide]
v
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Neha Mehta
From Wikipedia, the free encyclopedia
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Neha Mehta
नेहा मेहता
નેહા મેહતા
Mehta in 2014
Born
(1978-06-09) 9 June 1978 (age 39) [1]
Patan, Gujarat, India
Residence
Mumbai, India
Nationality
Indian
Occupation
Television actor
Years active
2001–present
Known for
Taarak Mehta Ka Ooltah Chashmah, Bhabhi, Jeannie Aur Juju,Dham
Website
twitter.com/nehamehtaa
Neha Mehta (born 9 June 1978) is an Indian television actress. She is best known for her role of Anjali Mehta in India's longest running sitcom TV serial Taarak Mehta Ka Ooltah Chashmah. Her title role of Saroj in Star Plus serial Bhabhi made her a popular face in Indian television. [2]
Contents
[hide]
1 Personal life
2 Career
3 Television
4 Filmography
4.1 Film
5 References
6 External links
Personal life[edit]
Mehta was born in Bhavnagar, Gujarat. Mehta ancestrally belongs to Patan, Gujarat . Mehta was brought up in Vadodara and Ahmedabad. She comes from a family that has deep roots in Gujarati literature and she herself is a Gujarati speaker. Her father is a popular writer and that inspired her to become an actress. She holds a degree in Masters in Performing arts (MPA) in Indian Classical Dance and Diploma in Vocal and drama.[3][4]
Career[edit]
Mehta did Gujarati theatre for many years. She started her Indian television career in 2001 Zee TV channel serial called Dollar Bahu. From 2002 to 2008 she played title role in STAR Plus TV serial Bhabhi. It was India's fourth longest running TV serial. She also acted in a Telugu Film Dham as a lead role.
Since July 28, 2008, she is playing the role of Anjali Mehta in SAB TV's television series Taarak Mehta Ka Ooltah Chashmah which is currently her longest television run. Anjali Mehta is the wife of the narrator and main character in the show, Taarak Mehta. Her character is a young, sophisticated and modern woman. Anjali is a dietician and controls her husband Taarak Mehta’s diet as well.
She also hosted a SAB TV show Wah! Wah! Kya Baat Hai! as herself with Shailesh Lodha during 2012–2013.[5][6][7]
Television[edit]
Year
Show
Channel
Role
2001 Dollar Bahu Zee TV Vaishali
2002—2008 Bhabhi Star Plus Saroj
2002 Sau Dada Sasu Na ETV Gujarati Anuradha
2004 Raat Hone Ko Hai Sahara One Kushik
2004–2005 Des Mein Niklla Hoga Chand Star Plus Heer Yash Diwan (Fake Gungun)
2006-2007 Mamta Zee TV Mamta#1
2008–present Taarak Mehta Ka Ooltah Chashmah Sony Sab Anjali Taarak Mehta
2012–2013 Wah! Wah! Kya Baat Hai! Sony sab Herself
2013-2013 Jeannie Aur Juju Sony Sab Jia
Filmography[edit]
Film[edit]
Year
Film
Role
Notes
2003 Dham Anjali
Better Half Gujarati Movie
Prem Ek Pooja-Gujarati Movie
References[edit]
Jump up ^ "neha-mehta-in-tarak-mehta-ka-ulta-chashma". Retrieved 28 February 2017.
Jump up ^ Shweta Bhosle and Gurucharan Singh at on Location of Tarak Mehta Ka Oolta Chashma | TopNews. Topnews.in (2016-05-18). Retrieved on 2016-06-19.
Jump up ^ Best Gujarati Actress Neha Mehta | Tarak Mehta Fame | Interview by Devang Bhatt. YouTube. Retrieved on 2016-06-19.
Jump up ^ "Revealed! You will be shocked to know the education qualifications of‘Taarak Mehta…’ star cast". Daily Bhaskar. Retrieved 14 October 2016.
Jump up ^ Home. SAB TV. Retrieved on 2016-06-19.
Jump up ^ SAB TV. "Taarak Mehta Ka Ooltah Chashmah". Retrieved 2012-01-20.
Jump up ^ "Taarak Mehta's 500 episode celebration!". The Times of India. 18 December 2010.
External links[edit]
Wikimedia Commons has media related to Neha Mehta.
Neha Mehta on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Neha_Mehta&oldid=803108910"
Categories:
Living people
Indian television actresses
Actresses from Mumbai
Indian stage actresses
Gujarati theatre
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21st-century Indian actresses
People from Patan district
Actresses from Gujarat
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This page was last edited on 30 September 2017, at 14:23.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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