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Editorial Reviews
From Publishers Weekly
Born Fania Borach, Brice (1891-1951) grew up in relative comfort in New York and New Jersey, played vaudeville and quickly became a star in Ziegfeld Follies revues, but may be remembered best as radio's Baby Snooks, a wisecracking kid. As a person Brice was probably even more appealing than the woman portrayed by Barbra Streisand in Funny Girl and Funny Lady . She was a natural ham and singer, although she had to work at dancing. She lived and dressed elegantly, was straightforward and gregarious. Goldman ( Jolson ) offers a workmanlike but uninspired account of Brice's life, listing in detail her professional appearances and including only a little of the material that made her famous--mostly the early songs. In the end the book fails to provide a strong sense of the earthy Brice, preferring instead to transfer today's psychobabble onto the past, as when Goldman writes, "The necessity of seeing herself as her own role model built Brice's confidence and forced her to make her life with outside friends."p.23 Moreover, his insights aren't particularly insightful. "People often bond because of things they share." Photos not seen by PW .
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Kirkus Reviews
Well-written life of the great comedienne, today known best as the original of Barbra Streisand's Funny Girl and Funny Woman; by the author of 1988's well-received Jolson. Goldman, an intense researcher, caps his present bio with a big stageography-filmography-discography-bibliography. Brice (1891- 1951) has had only one previous biography, 1952's The Fabulous Fanny by Norman Katkov, which was adapted from her own unpublished memoirs and had little to say about her career. Aside from Streisand's misleading musical film-bios, she is semi-forgotten and remembered largely for her radio shows as Baby Snooks. But in many ways, her life holds tremendous fascination, and the present work hasn't a dull moment. Brice, born Borach on New York's Lower East Side, showed early comic talents, began earning $30 a week as a kid by winning amateur contests all over Brooklyn and Manhattan and playing in light stage-shows. She grew professionally in vaudeville and burlesque, moving from chorus girl to singer-dancer, was a knockout at Yiddish dialect or throwaway lines of Brooklynese (which Streisand captured perfectly). Then, at only 19, she landed in Ziegfeld's Follies for 1910 and thereafter was featured in every edition but two until 1923. As a singer she could thrill audiences, much like Al Jolson or the later Judy Garland, while her genius for comedy, as in her mock ballet ``The Dying Duck,'' melted them into salty puddles of hysteria. Her fame grew exponentially when her first husband, con man Nick Arnstein, was jailed and later became a world-famous fugitive. His selfishness finally killed the marriage, and Fanny later married impresario Billy Rose, another failed union. Her great hit, a closed-eyes rendition of ``My Man,'' was not the show-stopper of Funny Girl: audiences at the real thing were too wiped out for a huge response. A celebrity bio the way they should be written. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Born Fania Borach, Brice (1891-1951) grew up in relative comfort in New York and New Jersey, played vaudeville and quickly became a star in Ziegfeld Follies revues, but may be remembered best as radio's Baby Snooks, a wisecracking kid. As a person Brice was probably even more appealing than the woman portrayed by Barbra Streisand in Funny Girl and Funny Lady . She was a natural ham and singer, although she had to work at dancing. She lived and dressed elegantly, was straightforward and gregarious. Goldman ( Jolson ) offers a workmanlike but uninspired account of Brice's life, listing in detail her professional appearances and including only a little of the material that made her famous--mostly the early songs. In the end the book fails to provide a strong sense of the earthy Brice, preferring instead to transfer today's psychobabble onto the past, as when Goldman writes, "The necessity of seeing herself as her own role model built Brice's confidence and forced her to make her life with outside friends."p.23 Moreover, his insights aren't particularly insightful. "People often bond because of things they share." Photos not seen by PW .
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Kirkus Reviews
Well-written life of the great comedienne, today known best as the original of Barbra Streisand's Funny Girl and Funny Woman; by the author of 1988's well-received Jolson. Goldman, an intense researcher, caps his present bio with a big stageography-filmography-discography-bibliography. Brice (1891- 1951) has had only one previous biography, 1952's The Fabulous Fanny by Norman Katkov, which was adapted from her own unpublished memoirs and had little to say about her career. Aside from Streisand's misleading musical film-bios, she is semi-forgotten and remembered largely for her radio shows as Baby Snooks. But in many ways, her life holds tremendous fascination, and the present work hasn't a dull moment. Brice, born Borach on New York's Lower East Side, showed early comic talents, began earning $30 a week as a kid by winning amateur contests all over Brooklyn and Manhattan and playing in light stage-shows. She grew professionally in vaudeville and burlesque, moving from chorus girl to singer-dancer, was a knockout at Yiddish dialect or throwaway lines of Brooklynese (which Streisand captured perfectly). Then, at only 19, she landed in Ziegfeld's Follies for 1910 and thereafter was featured in every edition but two until 1923. As a singer she could thrill audiences, much like Al Jolson or the later Judy Garland, while her genius for comedy, as in her mock ballet ``The Dying Duck,'' melted them into salty puddles of hysteria. Her fame grew exponentially when her first husband, con man Nick Arnstein, was jailed and later became a world-famous fugitive. His selfishness finally killed the marriage, and Fanny later married impresario Billy Rose, another failed union. Her great hit, a closed-eyes rendition of ``My Man,'' was not the show-stopper of Funny Girl: audiences at the real thing were too wiped out for a huge response. A celebrity bio the way they should be written. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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royal slave, sweepstakes ticket, annual revue, stolen securities Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Fanny Brice, Baby Snooks, Miss Brice, Nick Arnstein, Billy Rose, The College Girls, Ziegfeld Follies, Frank White, Atlantic City, Eddie Cantor, Winter Garden, Fire Island, Sime Silverman, The Whirl of Society, Crazy Quilt, Hanley Stafford, French Charlie, Roger Davis, Arnold Rothstein, Blanche Merrill, Sadie Salome, Ann Pennington, San Francisco, Kansas City Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
royal slave, sweepstakes ticket, annual revue, stolen securities Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Fanny Brice, Baby Snooks, Miss Brice, Nick Arnstein, Billy Rose, The College Girls, Ziegfeld Follies, Frank White, Atlantic City, Eddie Cantor, Winter Garden, Fire Island, Sime Silverman, The Whirl of Society, Crazy Quilt, Hanley Stafford, French Charlie, Roger Davis, Arnold Rothstein, Blanche Merrill, Sadie Salome, Ann Pennington, San Francisco, Kansas City Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
8
books
cite this book:
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- Venus Envy: A History of Cosmetic Surgery by Elizabeth Haiken in Back Matter (1), Back Matter (2), and Back Matter (3)
- Alice Faye: A Life Beyond the Silver Screen (Hollywood Legends Series) by Jane Lenz Elder in Back Matter
- Talking Back: Images of Jewish Women in American Popular Culture (Brandeis Series in American Jewish History, Culture and Life) by Joyce Antler in Back Matter
- No Applause--Just Throw Money: The Book That Made Vaudeville Famous by Trav S.D. in Back Matter
- The Musical: A Research Guide to Musical Theater and Film (Routledge Music Bibliographics) by William A Everett on page 174
See all 8 books citing this book
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