Michael Stewart's Bye Bye Birdie
Birdie hysteria has struck the small quite town of Sweet Apple, Ohio, in this musical production of the 50's craze Bye Bye Birdie. Written by Michael Stewart, this 1961 Broadway musical tells of a story of an Elvis-type singer named Conrad Birdie (Jesse Pearson), who is drafted into the United States Army. Upon hearing the news of the teenage-idol’s depart, his devastated agent Albert Peterson (Dick Van Dyke), and his secretary Rosie Alvarez (Janet Leigh), concoct a promotional scheme to help get Albert out of debt and profit on all the excitement.
The shrewd publicity stunt generates a wake of teenage hysteria which sweeps the entire nation. The arrangement is that Birdie will administer a final “good-bye” kiss on Kim MacAfee (Ann-Margret), a randomly chosen Conrad Birdie Fan Club member. This kiss, which will also be a symbolic fair-well to all his crazed fans across the nation, will be accompanied by Birdie singing Albert’s latest song, “One Last Kiss.” However, Birdie's arrival in Kim's hometown of Sweet Apple, Ohio, for the TV broadcast on the “Ed Sullivan Show,” creates havoc for all, including Kim's father (Paul Lynde) and her boyfriend Hugo (Bobby Rydell). Inevitably, a heated feud is created between the genders, but all ends up fair in this musical tale of love and war.
A main theme in this small town’s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950’s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children – the ideal “happy family.” As Harry states after singing the showstopper “Kids,” “I have the All-American family: A great wife, 2 wonderful kids and a good job.”
It is also obvious within the very first scene, that Rosie and Kim have been brainwashed with this domesticated conception. They both seem to define themselves by the relationships they are in and the men they are with. Both women seem to dominate their relationships, although they often let the men think they are the ones in control. Kim explains at one point early on that ”the only job of a women is to change the man you want, into the man you want him to be,” proving that the women are the authoritative forces of the relationships.
After viewing an episode of I Love Lucy, positive aspects of family and financial issues can be clearly seen in the 1950s. The Ricardo's are middle class, Ricky works as a club band leader and Lucy stays home and `poured all her energies into their nuclear family.' (37) This is a positive side of the 1950s because compared to a few decades before, `women quit their jobs as soon as they became pregnant,' (36) and concentrated more on raising children. These families were much more stable and made almost `60 percent of kids were born into male breadwinner-female homemaker families,' (37) which is a important factor for children to have a good childhood.
Taylor and Lou Ann demonstrate a symbiotic relationship between the roles and characteristics in a family. Edna Poppy and Virgie Mae replaces the missing physical and emotional traits in a stable household. The examples tie into the fact that not all families in this book match “the norms” and expectations, but are equally valued, blood or
In the 1950’s becoming a wife, having and raising children and taking care of the home was the primary goal for most women. Post war brides were marrying young, having children at significant and unrivaled rates, and settling into roles that would ultimately shape a generation. This ideal notwithstanding, women were entering the workplace like never before and changing the face of American business forever. In the movie The Man in the Gray Flannel Suit directed in 1956 by Nunnally Johnson, we get an inkling of the type of voice American women would develop in the character of Betsy Rath. We are introduced to a wife and mother who leverage her role in the family to direct and influence. The decade of the 50’s signify the beginnings of the duplicity that women would embrace in America, being homemakers and independent women.
Elaine Tyler May's Homeward Bound weaves two traditional narratives of the fifties -- suburban domesticity and rampant anticommunism -- into one compelling historical argument. Aiming to ascertain why, unlike both their parents and children, postwar Americans turned to marriage and parenthood with such enthusiasm and commitment, May discovers that cold war ideology and the domestic revival [were] two sides of the same coin: postwar Americans' intense need to feel liberated from the past and secure in the future. (May, p. 5-6, 10) According to May, "domestic containment" was an outgrowth of the fears and aspirations unleashed after the war -- Within the home, potentially dangerous social forces of the new age might be tamed, where they could contribute to the secure and fulfilling life to which postwar women and men aspired.(May, p. 14) Moreover, the therapeutic emphases of fifties psychologists and intellectuals offered private and personal solutions to social problems. The family was the arena in which that adaptation was expected to occur; the home was the environment in which people could feel good about themselves. In this way, domestic containment and its therapeutic corollary undermined the potential for political activism and reinforced the chilling effects of anticommunism and the cold war consensus.(May, p.14)
During the 1950‘s suburbs such as Levitown were springing up all across the country, and the so-called American dream was easier to achieve for everyday Americans than ever before. They had just come out of two decades dominated by The Great Depression and World War Two, and finally prosperity was in sight. The need for women to work out of the home that was present during the war was no more, and women were overwhelmingly relegated to female-dominated professions like nursing, secretaries, and teachers, if they worked at all. Televisions became very popular, and quickly became part of the American cultural canon of entertainment. Leave It To Beaver is a classic American television show, encompassing values such as respect, responsibility and learning from your mistakes. But, at least in the episode used for this essay, it is also shockingly sexist to a modern viewer. This begs the question, what does the episode The Blind Date Committee1 say about the gender expectations of the 1950’s?
It’s not easy to build an ideal family. In the article “The American Family” by Stephanie Coontz, she argued that during this century families succeed more when they discuss problems openly, and when social institutions are flexible in meeting families’ needs. When women have more choices to make their own decisions. She also argued that to have an ideal family women can expect a lot from men especially when it comes to his involvement in the house. Raymond Carver, the author of “Where He Was: Memories of My Father”, argued how his upbringing and lack of social institutions prevented him from building an ideal family. He showed the readers that his mother hide all the problems instead of solving them. She also didn’t have any choice but to stay with his drunk father, who was barely involved in the house. Carvers’ memoir is relevant to Coontz argument about what is needed to have an ideal family.
By leaping into the societal messages of the popular 1980s show, Full House, one is able to learn a great deal about what the cultural direction of society was like at that time. Full House was a kind of, makeshift sitcom because it expanded on the typical formula of the age-old conventional “nuclear” family and made room for the idea of a non-traditional family that revealed it’s unconventional nature. As viewership grew, so did the acceptance of such a family structure in American culture.
As mentioned before, sociologists Coontz and Hochschild further elaborate upon Parsons and Bales’ concepts of the American family, but they mostly critique the idea of the male-breadwinner family. One of the main arguments Coontz and Hochschild present is the decline of the male-breadwinner family due to the economic changes of the United States and the arising social norms of consumerism. Because Parsons and Bales never considered how the changes throughout society would affect family, they believed the male-breadwinner family would continue to be a functional type of family for everyone. However, within her text, “What We Really Miss about the 1950s,” Coontz specifically discusses the major expense of keeping mothers at home as consumption norms...
...In this segment of the show, Richard gives scarves to the women as he sings to them. A tribute to Elvis is done while Richard sings the songs “American Trilogy”, all Elvis fans are invited to the front were Richard stands. The people form a half moon circle with Richard standing in the middle. The American Flag with Elvis’ picture in the center of it is held up and the people join their hands together. While rocking back and forth on Richard’s command hands are raised high in the air until the end of the song. The seventies show and the night are brought to an end with the song “I Can’t Help Falling in Love with You”, Just as Elvis Closed all of his Concerts. Richard then invites everybody back for the next performance. Autographs are signed while he talks to the fans for a bit. Everybody parts their way with a good felling, a since of love and friendship.
It’s 1962 and an overweight teenager, Tracy Turnblad and her best friend, Penny Pingleton are obsessed with the dance TV show Corny Collins. One of the regulars leaves the show leaving a space to be filled. Tracy’s dream has always been to be on the show. With the help of her new black friend Seaweed, she manages to get casted for the show, angering the star, Amber Von Tussle and her mother the station manager, Velma. Tracy is not the typical white teen that believes in segregation and wants to see the Corny Collins show integrated. She sets out to do just that all the while winning the love of heartthrob Link, while having a laugh or two and singing a couple tunes.
And No Birds Sang is the story of a young Canadian man, Farley Mowat. The story begins September 2nd, 1939 with a young Farley painting his parents porch when his dad pulls into the driveway and excitedly claims the war is on! Farley was an eager eighteen year old with the aspiration of joining the air force and becoming a fighter pilot. In one month he presented to the Royal Canadian Air Force, he was rejected due to his young age and slim build. Instead he was enlisted in the 2nd Battalion called the Hasty Pees, with the expectation of being transferred to the 1st Battalion and active service. The story follows Mr. Mowat and his experiences during multiple battles as the Allies invaded and eventually took over Italy. The title comes shortly after Farley’s first battle when everything was quiet in the air and no birds sang.
As centuries pass by, generations also pass their traditional values to the next generation. some people still think the way their ancestors thought and believe in what they believed in. During the beginning of 1890 people couldn’t have premarital sex, women had to be the caretaker while men were the breadwinner. During this century, those perspectives have changed, argued Stephanie Coontz, the author of “The American Family”. Coontz believes women should have more freedom and there should be gender equality.
When I first watched Chicago at the movie theater, I was not fully satisfied. I wanted more, so I went back to get some and watched it six more times with different friends and family members! Last summer during a visit to my native Mexico City, I had the opportunity to watch drag queens perform several numbers from the movie-musical. They did an amazing job, without surpassing the outstanding performances of the actors in the film. Last year, I visited NYC for the first time and indulged in the rows of the Ambassador theatre experiencing Chicago, the Broadway musical, and because I had seen the movie many times before, I knew all the songs and dances by heart. I loved it, but it was actually the movie that influenced me to become a “Chicago fan.” The movie is based on the 1996 Chicago revival of the original musical version of 1975. It was thrilling knowing that the making of the musical into a mainstream production would increase its accessibility and widen its distribution into all the corners of the world; now there is no excuse for people not to experience Chicago, and though not everyone can go to Broadway to see it, just about anyone can indulge themselves in this dazzling movie in the comfort of their homes. In addition to a fantasy world of singing, dancing and Vaudeville, the film also provides a narrative that is explicitly presented through Roxie’s point of view, creating a counter human side to Roxie’s fantasy world so that the audience can easily identify and engage. Chicago is a must see film for anyone who likes to spoil themselves with an outstanding award-winning musical composed of a catchy plot, truly superb acting, commendable direction, and a clever soundtrack.
THOSE OF US WHO grew up in the 1950s got an image of the American family that was not, shall we say, accurate. We were told, Father Knows Best, Leave It to Beaver, and Ozzie and Harriet were not just the way things were supposed to be—but the way things were
The hit musical "Singin' in the Rain" may possibly be one of if not the greatest musicals of all time. With it's tale of the film world of the mid 1920's and its creative underlining love story between Don Lockwood (Gene Kelly) and Kathy Selden (Debbie Reynolds), it provokes the interest of someone who would not generally be attracted to a musical. It is a classic masterpiece that set the standards that musical films of today will be judged by. It is a classic performance by the great Gene Kelly and displays outstanding performances by Debbie Reynolds and Donald O'Connor. As well as starring in this brilliant movie, Gene Kelly teams up with Stanley Donen to make their mark in film history.