The Coen brothers take aim at Cold War-era Hollywood, burlesquing its scandals, blacklist and ancient world spectaculars.
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A declared ambition to photograph every place on Earth—burlesquing their own status as globe-trotting biennial stars—likely fell short of that goal.
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By burlesquing progressives in academia, Kristof is making a faux-populist gesture of the very sort that drives the Trump-era right in its contempt for teaching and learning.
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Speaight, George. "All froth and bubble", The Times Literary Supplement, 1 October 1976, p. 1233 Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. From the 1850s onwards, burlesquing of Italian, French and, later in the century, German opera was popular with London audiences.
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Fischler, Alan. "Gilbert and Donizetti", Opera Quarterly, November 1994, pp. 29–42 In burlesquing L'elisir d'amore, Gilbert retained the characters of the original, inventing only one new principal character, Beppo, assistant (and, as it turns out, long-lost mother) to Dulcamara. Nor did Gilbert stray far from the plot of the original, although Donizetti's elixir of love – cheap claret – is changed to "Madame Rachel's 'Beautiful for Ever'" face cream.
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Scaramuccia in 1860 Scaramouche or Scaramouch (from Italian scaramuccia, literally "little skirmisher") is a stock clown character of the 16th-century commedia dell'arte (comic theatrical arts of Italian literature). The role combined characteristics of the Zanni (servant) and the Capitano (masked henchman), with some assortment of villainous traits. Usually attired in black Spanish dress and burlesquing a Don, he was often beaten by Harlequin for his boasting and cowardice.
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Charles Stinson of the Los Angeles Times was notably unimpressed by the film: "The uncredited scenario violates Poe's gothic style with passages of flat, modernized dialogue…But the pecadilloes of the script pale beside the acting…Price mugs, rolls his eyes continuously, and delivers his lines in such an unctuous tone that he comes near to burlesquing the role. His mad scenes are just ludicrous. The audience almost died laughing."Stinson, Charles.
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In order to combat this development, they grew in size and became more colorful and elaborately designed in the 1900s. The Golden Rod seated 1,400 persons; the Cotton Blossom, the Sunny South, and the New Showboat were floating theatre palaces. With the burlesquing of these programs throughout the 1930s to attract sophisticated audiences, showboats ceased to perform their original function. The last showboat to travel the rivers in authentic pattern was the Golden Rod in 1943.
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In 1952, Bean made a guest appearance on NBC Radio's weekly hot-jazz series The Chamber Music Society of Lower Basin Street, giving the young comic his first national exposure. The series, burlesquing stuffy symphonic and operatic broadcasts, had the host (always introduced as a doctor of music) reciting dignified commentary in jazz-musician slang. NBC had broadcast the series off and on since 1940, and it was revived for a 13-week run with "Dr. Orson Bean" now as full-time host.
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He was replaced as host by announcer Jack McCarthy and then by the very man the series was burlesquing, Milton Cross. The show was canceled in 1944. NBC returned Basin Street to its schedule on June 8, 1950, with Hamilton returning to the microphone, as a summer replacement for Judy Canova's program. Basin Street was revived as a Saturday-night series during the summer of 1952, with Henry Levine's band and a new host, 23-year-old nightclub comedian Orson Bean.
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" New Movie Magazine stated that the film was "a bully mystery melodrama and the best of months. You will never guess the real murderer until the denouement" and praised the performances of Dorothy Sebastian. In contrast, Variety declared the film "a hopelessly involved script handled by Lionel Barrymroe in a way that would discredit a quickie director. Worse than the worst would-be thriller meller staged on Broadway and impressing as a pointless souffle burlesquing them all" concluding that the film was "a one hundred percent lemon.
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In April 1917 he joined the national consensus in welcoming America's entry into the war: "a first class moral asset to the common cause against junkerism". Three short plays by Shaw were premiered during the war. The Inca of Perusalem, written in 1915, encountered problems with the censor for burlesquing not only the enemy but the British military command; it was performed in 1916 at the Birmingham Repertory Theatre. O'Flaherty V.C., satirising the government's attitude to Irish recruits, was banned in the UK and was presented at a Royal Flying Corps base in Belgium in 1917.
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Although the appearance typically associated now with flappers (straight waists, short hair and a hemline above the knee) did not fully emerge until about 1926,. there was an early association in the public mind between unconventional appearance, outrageous behavior, and the word "flapper". A report in The Times of a 1915 Christmas entertainment for troops stationed in France described a soldier in drag burlesquing feminine flirtatiousness while wearing "short skirts, a hat of Parisian type and flapper-like hair". Despite the scandal flappers generated, their look became fashionable in a toned-down form among respectable older women.
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This incident enraged the orthodox Bengali society for it appeared to them that Jagadananda had sacrificed his ethics and culture in a bid to placate the British masters and win favours from them. The satirical play Gajadananda o Jubaraj, based on this incident, was stopped by police order, yet it returned the following week on 26 February under a different name, Hanuman Charitra. On 1 March, Upendranath Das’s play Surendra Binodini was followed by a satire called The Police of Pig and Sheep, burlesquing Sir Stuart Hogg, Commissioner of Police, and Mr. Lamb, Superintendent of Police for their hostile behavior towards the common people.
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Pa gur has often been compared to the tale of Culhwch and Olwen. One general similarity lies in the use both works make of allusion to a string of stories featuring Arthur and his men, but there is also a more specific one. In Pa gur the gatekeeper Glewlwyd Gafaelfawr questions Arthur's right to be admitted; in Culhwch and Olwen, where he is Arthur's gatekeeper, he similarly demands to know Culhwch's qualifications to be let in, and later in the tale the giant Wrnach Gawr's gatekeeper admits Cai after questioning him. There is no agreement as to the relationship between these three episodes, but it is possible that the author of Culhwch was burlesquing Pa gur.
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Italy did not yet have true epic poetry; but had, however, many poems called cantari, because they contained stories that were sung to the people; and besides there were romantic poems, such as the Buovo d'Antona, the Regina Ancroja and others. But the first to introduce life into this style was Luigi Pulci, who grew up in the house of the Medici, and who wrote the Morgante Maggiore at the request of Lucrezia Tornabuoni, mother of Lorenzo the Magnificent. The material of the Morgante is almost completely taken from an obscure chivalrous poem of the 15th century, rediscovered by Pio Rajna. Pulci erected a structure of his own, often turning the subject into ridicule, burlesquing the characters, introducing many digressions, now capricious, now scientific, now theological.
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Parodies of the "Song of Hiawatha" emerged immediately on its publication. The New York Times even reviewed one such parody four days before reviewing Longfellow's original poem. This was Pocahontas: or the Gentle Savage, a comic extravaganza which included extracts from an imaginary Viking poem, "burlesquing the recent parodies, good, bad, and indifferent, on The Song of Hiawatha." The Times quoted: :Whence this song of Pocahontas, :With its flavor of tobacco, :And the stincweed [sic] Old Mundungus, :With the ocho of the Breakdown, :With its smack of Bourbonwhiskey, :With the twangle of the Banjo, :Of the Banjo--the Goatskinner, :And the Fiddle--the Catgutto... In 1856 there appeared a 94-page parody, The Song of Milkanwatha: Translated from the Original Feejee.
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Queens Bench Division Vol IX pp. 308–315 Of an attack in Bethnal Green in November 1882 the Bethnal Green Eastern Post stated: > A genuine rabble of 'roughs' pure and unadulterated has been infesting the > district for several weeks past. These vagabonds style themselves the > 'Skeleton Army'.... The 'skeletons' have their collectors and their > collecting sheets and one of them was thrust into my hands... it contained a > number shopkeepers' names... I found that publicans, beer sellers and > butchers are subscribing to this imposture... the collector told me that the > object of the Skeleton Army was to put down the Salvationists by following > them about everywhere, by beating a drum and burlesquing their songs, to > render the conduct of their processions and services impossible... Amongst > the Skeleton rabble there is a large percentage of the most consummate > loafers and unmitigated blackguards London can produce...worthy of the > disreputable class of publicans who hate the London School Board, education > and temperance and who, seeing the beginning of the end of their immoral > traffic, and prepared for the most desperate enterprise. Both sources agree Salvationists were pelted with missiles.
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