W. C. Fields : his follies and fortunes (1949)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

BOOK ONE: PART TWO CHAPTER EIGHT A .merican vaudeville, the counterpart of Eng-v lish "variety," was somewhat younger than Fields, having been born in Boston in 1883. The circumstances of its birth are of moderate interest, as obstetrics goes. A circus employee, Benjamin Franklin Keith, growing tired of bouncing from town to town in wagons full of freaks and carnivora, rented an empty candy store in Boston and hung out a sign, "Gaiety Museum." His only excuses for this enterprise, his sole attractions, were Baby Alice, a midget weighing one and a half pounds, and a stuffed mermaid. Bostonians, a seafaring people, are presumably blase about mermaids, for they gave the dummy very little time, but they flocked in with petty cash to see the midget. Keith was much encouraged by the success of his theater; he soon added to his cast a pair of comedians, Joe Weber and Lew Fields, and a chicken with a human face. His bill being thus balanced, the theater continued to prosper. Keith was a restless, inventive man, and he branched out rapidly. He launched the idea of continuous performances, making it possible to pay stage entertainers more money than they could get in revues, and he took every step to beguile into his new medium all the talented performers of the day. In addition to being pro ^5