Word: hoofer
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Dates: during 1940-1949
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...world's most successful tattler, McKelway does more than tattle. His aching concern is the "Legacy of an Ex-Hoofer"-the effect of Winchellism on the standards of the press. When Winchell began gossiping in 1924 for the late scatological tabloid Evening Graphic, no U. S. paper hawked rumors about the marital relations of public figures until they turned up in divorce courts. For 16 years gossip columny spread until even the staid New York Times whispered that it heard from friends of a son of the President that he was going to be divorced. "The Graphic...
...balding oldtime hoofer, Frank Wallace, announcing himself as Cinemactress Mae West's undivorced husband (he said he was married to her in 1911), claimed a share in her $500,000-a-year income (TIME, July 19, 1937). All he got from Miss West was grudging confirmation of the marriage. Last week Song & Dance Man Wallace tried again. Shifting his attack to her fat-faced, multiple-chinned manager, James A. Timony, Wallace sought damages of $105,000, charging that Timony had threatened his life, conspired against his chances for employment, assumed "the position and relationship of a common-law husband...
...advertises that it is now presenting George M. Cohan in a play of his own composition, "The Return of the Vagabond." But the Colonial is guilty of a slight exaggeration: it very definitely has Mr. Cohan, but it has no play. Here is naught but Broadway's most famous hoofer himself--no misfortune, however, for those of us who are devotees of the worthy gentleman. In much the same way, there is a full cast, but there is really only one character...
...himself--he is magnificent! He grimaces, he mugs, he jigs, he philosophizes whimsically, and he gestures vigorously with his jained Rosseveitian chin. "The Return of the Vagabond" is not a good play: as a matter of fact, it makes no pretense of even being a play. However, a real hoofer will never let his audience down, and this is always good theatre...
Mickey Rooney, the cheeky adolescent of the Hardy pictures, the little tough guy of Boys Town, the flashy little hoofer of Babes in Arms, was going to have to interpret the boyhood of one of the most significant Americans who ever lived. Mickey Rooney was going to interpret a boy, who (like himself) began at the bottom of the American heap, (like himself) had to struggle, (like himself) won, but a boy whose main activity (unlike Mickey's) was investigating, inventing, thinking. Mickey Rooney not only had to make young Tom Edison plausible, he had to create the boyhood...