Jerome Nigel McElroy, often referred to as "The Chef" or simply "Chef", is a recurring fictional character on the Comedy Central series South Park who was voiced by Isaac Hayes. A cafeteria worker at the local elementary school in the town of South Park, Colorado, Chef is generally portrayed as more intelligent than the other adult residents of the town, and understanding to the children. His advice is often sought by the show's core group of child protagonists—Stan Marsh, Kyle Broflovski, Eric Cartman, and Kenny McCormick—as he is the only adult they completely trust. Chef frequently gives completely honest advice without considering whether it is appropriate for children, usually in the non sequitur form of a lascivious soul song.

Chef was inspired by Hayes and other popular soul singers of the 1970s, as well as an actual dining hall worker encountered by series co-creator Trey Parker while he attended the University of Colorado. Chef played a less prominent role as the series progressed beyond its earlier seasons, and the character was retired at the beginning of the tenth season in "The Return of Chef" following the controversial departure of Hayes.

Character

In tradition with the show's animation style, Chef is composed of simple geometrical shapes, and is animated with use of a computer, though he is given the impression of being a construction paper cutout composition animated through the use of stop motion, which was the technique used to animate the "Spirit of Christmas" shorts and the show's first episode. Chef is an overweight black American with a beard who usually wears blue pants and a red shirt. He frequently dons a traditional chef's hat and white apron on which the word "CHEF" is printed in black, even when not at work.

Until Tolkien Black and his family were given a more notable role starting in the show's fourth season, Chef was portrayed as the only black resident in all of South Park. Parker and co-creator Matt Stone initially planned to have one of themselves voice the character, fearing that their ideal candidates of Hayes (Lou Rawls and Barry White) would never agree to voice the character because the duo had admittedly and purposefully created him as a "stereotype" to reflect what they felt was the perception most inhabitants of less-diverse mountainous Colorado towns had of black people. However, Hayes agreed to voice the character due in part to the audacity of some of the show's early scripts. Chef (usually affectionately) referred to most people in town with the pejorative "crackers", including the children.

Chef, after abandoning his musical aspirations, moved to South Park with plans to open his own restaurant. Before this, he had befriended several famous recording artists in the music industry, including Elton John and Meat Loaf, helping them to launch their successful careers. Despite failing at yet another dream, Chef made his way onto the South Park City Council, representing Public Safety. In addition to dispensing wisdom to the children and a few of the adult townsfolk, Chef speaks out against what he feels are outrageous ideas. For example, he opposes the rampant prescription of Ritalin in the episode "Timmy 2000", and he objects to the town's acceptance of Mr. Garrison committing purposefully flamboyant sadomasochistic acts in front of schoolchildren in "The Death Camp of Tolerance". In "Chef Goes Nanners", he briefly converts to Islam and adopted the name "Abdul Mohammed Jabar Rauf Kareem Ali" when he demanded that South Park change its official flag because it depicted the town's racist past. On several other occasions, Chef helped save South Park (and in a few other instances, the entire world) from potential disasters.

Chef is also known for frequently engaging in casual sex, a habit he often expresses through song. He drives a 1980s woodie station wagon with a vanity plate that reads "LUV CHEF". He is often seen accompanied by numerous young women when at home or on vacation, and is even revealed to have had a one-night stand with Kathie Lee Gifford. He once resorted to male prostitution in an effort to raise money to pay legal fees, and had sex with nearly every woman in South Park before having to stop due to exhaustion. In "The Succubus", Chef briefly becomes an office worker and took up monogamy after meeting a woman named Veronica. The two were engaged to be married until it was revealed that Veronica was actually a succubus. In the South Park video game, the children can seek Chef's advice at one of the many buildings labelled "Chef's Shack O' Love", which is implied to be a brothel, complete with a naked woman in Chef's bed.

Chef's parents, Nellie and Thomas McElroy, live in Scotland. The couple have made two major appearances in the episodes "The Succubus" and "The Biggest Douche in the Universe", and made a brief cameo in a town Christmas celebration in "Red Sleigh Down". They were not seen at Chef's funeral in "The Return of Chef".

Chef is known to have run a quiz show called Chef's Luv Shack, as is apparent in the video game of the same name.

Relationship with the children
Chef endearingly calls the boys "the children" or just "children" (even when addressing one individually), and, unless he is preoccupied with a female companion, is usually willing to assist them with whatever help they need. Chef is consistently the only adult in town whom the boys held in high regard, and they view him as their friend. They are also visibly saddened if his presence in their lives is threatened. In addition to being fans of his food (especially his trademark Salisbury steak), the boys often heartily anticipate encountering Chef when waiting in the school lunch line, so that they can explain whatever dilemma is affecting them, usually after their traditional greeting:

Chef: Hello there, children!
The boys [in unison]: Hey Chef!
Chef: How's it goin'?
The boys [one or in unison]: Bad.
Chef: Why "bad"?

The boys sometimes take it upon themselves to travel to Chef's house individually to seek his guidance on all manners of their problems, specifically relationships. Chef usually gives advice in the form of a soul song, which usually winds up being about sex, whether or not sex was relevant to the topic at hand. Hearing the songs would often leave the boys even more confused and with no further understanding of what they initially inquire about. In earlier seasons, Chef is often approached by the children when they are unfamiliar with a term that pertains to adult matters, such as "lesbian" or "prostitute". This happens so often that it eventually angers Chef, who pleads with them to stop asking questions he feels are not appropriate for him to answer. Despite this, the children continue asking Chef these questions, much to his chagrin. An absent-minded Chef sometimes answers anyway, not realizing his lapse until the damage had been done. Chef acknowledges that doing this had repeatedly gotten him in trouble with his boss, Principal Victoria.

Music
In addition to singing in an effort to explain something to the children, Chef also sings about things relevant to what has transpired in the plot. These songs were original compositions written by Parker, and performed by Hayes in the same sexually suggestive R&B style he had utilized during his own music career. Within the show, Chef is the original composer of these songs, including "Stinky Britches", which was depicted as having been covered by Alanis Morissette without proper credit to Chef. When Chef is left with legal debt after losing a court case to have himself credited as the song's original writer, several bands and artists (guest starring as themselves) hold a concert dubbed "Chef Aid", a parody of Live Aid, to raise the funds. The episode inspired a real-life album, Chef Aid: The South Park Album, which featured guest stars from the episode such as Elton John and Ozzy Osbourne. The album includes many of the full-length versions of the songs Chef had performed in the show's first two seasons; "Chocolate Salty Balls" was released as a single, and reached #1 in both the record charts of Ireland and the United Kingdom. As the series progressed and Chef's role became more intermittent, his spontaneous outbursts into song became less of a show standard.

Parker and Stone originally planned to have Chef sing a song in every single episode but abandoned the idea after finding it too challenging and fearing writing too many songs would make them less funny, similar to their rationale for dispensing with Kenny's episodic deaths.

Departure of Isaac Hayes

On January 4, 2006, Hayes defended South Park's style of controversial humor to The A.V. Club and XM's Opie and Anthony show, going so far as to note that although he was not pleased with the show's depiction of the Church of Scientology, of which he was a member, he "understood what Matt and Trey are doing." However, on March 13, 2006, nearly two months after suffering a stroke, Hayes was reported to have quit South Park over objections to the show's attitudes toward and depiction of various religions, claiming that the show had crossed the line from satire into intolerance.

Despite the content of the official press release, there remains considerable speculation about the motivations behind his departure. Parker and Stone assert that he quit due to the controversial episode "Trapped in the Closet", and its treatment of Scientology. Following the episode's first airing, Hayes publicly left the show in anger, stating, "There is a place in this world for satire, but there is a time when satire ends, and intolerance and bigotry towards religious beliefs of others begins." Stone commented in a manner that suggested that Hayes practiced a double standard regarding the treatment of religion on South Park: "[We] never heard a peep out of Isaac in any way until we [lampooned] Scientology. He wants a different standard for religions other than his own, and to me, that is where intolerance and bigotry begin." Fox News reporter Roger Friedman suggested that, because he was still suffering from the effects of his stroke, Hayes was hospitalized and not in a position to make a rational decision to leave the show. Friedman also reported that Hayes left the show because of the external pressure forced by his fellow Scientologists, the decision was not voluntary, and the original press release announcing his departure was put out by someone who was not authorized to represent him. In a 2016 oral history of South Park in The Hollywood Reporter, Hayes' son Isaac Hayes III confirmed that the decision to leave the show was made by Hayes' entourage while Hayes was unable to make such decisions on his own.

Retirement

Nine days after Hayes's departure from production, the controversy was satirized in the show's Season 10 premiere "The Return of Chef". For the episode, voice clips of Chef were taken from previous episodes and linked together to form new dialogue to support the plot, which involves Chef's leaving South Park to join the "Super Adventure Club", which eventually brainwashes Chef until he had the mindset of a child molester. The organization combines outdoor activities with child molestation, an act they perceive as justified because of their beliefs.

After the boys restore Chef to his original mindset, but are unable to convince him to come back to South Park, a rope bridge Chef is walking across is struck by lightning. He falls to a violent death, culminating with his mutilation at the hands of a grizzly bear and a mountain lion and finally discharged fecal matter (a reference to the episode "Something Wall-Mart This Way Comes", in which Cartman claims that the relaxation of the bowel muscles confirms that a person is really dead).

South Park holds a memorial service for him (Canadian comedians Terrance and Phillip even attend, despite having never met the man themselves), in which Kyle gives a eulogy stating, "We shouldn't be mad at Chef for leaving us, we should be mad at that fruity little club for scrambling his brains", a deliberate parallel with Hayes' departure from the show in favor of Scientology.

Mimicking a scene from the finale of Star Wars: Episode III – Revenge of the Sith, Chef's body is secretly collected by the Super Adventure Club, who managed to revive him as a cyborg — identified on the show's official website as "Darth Chef" (a parody of Star Wars' Darth Vader). He is fitted with a suit and mask like those of Vader, except with the helmet taking on the appearance of Chef's trademark hat, and wields a red, glowing spatula, parodying Vader's red lightsaber. Darth Chef's voice was provided by British comedian and filmmaker Peter Serafinowicz, who voiced Darth Maul in Star Wars: Episode I – The Phantom Menace. Darth Chef has not made an appearance in subsequent episodes, but has appeared with other characters in the background of the South Park opening sequence, and is mentioned in the episode "Stunning and Brave", when PC Principal says the kids drove him to kill himself, which is not true.

Chef is alluded to after his death in the season 10 episode "Hell on Earth 2006" where, during Satan's party, there are multiple scenes in which a Caucasian male dressed as Chef can be seen in the background. He is also referenced in the season 14 episode "Crème Fraiche" when Randy becomes the new chef at school and greets the kids with Chef's trademark lines. Chef's death is also indirectly mentioned in the season 19 episode "Stunning and Brave" when PC Principal talks about all the things he finds offensive (incorrectly assuming that Chef's death was a suicide, before giving Butters detention for correcting him). Isaac Hayes himself died on August 10, 2008, two years after his departure from South Park. On November 4, 2008, the film Return to Sleepaway Camp was released in the United States; filmed in 2003, the film features Hayes in a cameo as a live-action version of Chef, referred to once as Charlie but portrayed/credited as South Parks "The Chef".

Chef makes an appearance in the 2014 video game South Park: The Stick of Truth as the reanimated Nazi Zombie penultimate boss later in the game. Once again, voice clips of Isaac Hayes as Chef are recycled from past episodes with the exception of recorded speech clips from Adolf Hitler. During his battle with the player and the other boys, Chef will express remorse by saying things like "I'm sorry, boys" and "what have I done?" While there were vague references to the Super Adventure Club and his death, there were no references to the Darth Chef suit. After being defeated, Chef regains control over his mind and tries to tell the boys, but he is then killed by Clyde and the New Kid.

In a sketch from the Robot Chicken episode "Boogie Bardstown in: No Need, I Have Coupons", Chef is a contestant on MasterChef Celebrity Showdown, where he has to cook with the thing he fears most: thetans.

See also

South Park (Park County, Colorado)
South Park City

References

External links

 Chef at South Park Studios

American male characters in television
Black characters in animation
Black characters in films
Fictional African-American people
Fictional cafeteria workers
Television characters introduced in 1997
Fictional chefs
Fictional amputees
Fictional cyborgs
Fictional singers
South Park characters
Fictional characters from Colorado
Fictional zombies and revenants
Video game bosses
Comedy film characters
Male characters in animated series
Male characters in film
Animated characters introduced in 1997

pl:Lista pracowników szkolnych w South Park#Chef

Chef (South Park)


The Buick Apollo is a compact car that was manufactured from 1973 to 1975 by General Motors for its Buick division. It was based on the GM X platform along with the Oldsmobile Omega, Chevrolet Nova, and the Pontiac Ventura. The car was named for the Greek god Apollo.

It was available as a coupe, two-door hatchback, or four-door sedan. The two-door models were renamed Skylark for 1975; only the sedan carried the Apollo nameplate for that year. A total of 112,901 Apollos were built.

Overview
The Apollo was powered by a standard  Chevrolet inline six or an optional  Buick V8, available with either a two- or four-barrel carburetor. A three-speed manual transmission was standard, with a three-speed Turbo-Hydramatic optional. The Oldsmobile 260 was added as the base V8 option for 1975.

Standard equipment on the Apollo included a semi-closed cooling system, manual brakes with finned front drums, coil spring front suspension with stabilizer bar, extensive use of insulation and sound deadening materials, flow-through ventilation system, full-foam seats, front and rear ashtrays, reinforced front bumpers, carpeting, roof drip moldings, and front and rear wheel opening moldings.

Options included variable-ratio power steering, power drum or power front disc brakes, E78x14 bias-belted tires, custom cloth interior trim, convenience center storage compartment, tilt steering wheel, climate control air conditioning with low Freon detector switch, rear window defogger (blower), tinted glass, sport mirrors with drivers remote control, bumper protective strips with white accent stripe- front and rear, bumper guards front and rear, color-coordinated body protective side moldings, deluxe wheel covers, deluxe wire wheel covers, chrome-plated styled wheels (Buick rally wheels) and a custom vinyl top. Steel-belted tires were introduced in 1975.

There was no conventional antenna mounted on the body of the car. Instead, two wires were embedded in the layers of glass in the windshield.

The 1974 Apollo debuted with only subtle differences. A chrome strip above the grille and roof-mounted safety restraints were added. A GSX package became available on the coupe for 1974, however, it was purely cosmetic changes, lacking the performance upgrades that distinguished it in previous years. It was available in red or white and featured a blacked-out grille, unique striping, white vinyl bucket seats with red interior accents, and wire wheel covers. The GSX was available with the straight six or either 350 V8, and could be ordered with any of the optional equipment available to other Apollo models.

The 1975 Apollo was only available as a four-door sedan and adopted the redesigned X-body shell with a boxier European look which replaced the former Coke-bottle shape. For 1976, the Apollo nameplate was dropped entirely, with the sedan renamed Skylark to rejoin the coupe and hatchback.

References

Apollo
Rear-wheel-drive vehicles
Compact cars
Coupés
Sedans
Motor vehicles manufactured in the United States
Cars introduced in 1973

Buick Apollo


A constitutional right is a right or freedom which is guaranteed to citizens by that country's constitution. In the United States constitutional rights are guaranteed by the United States Constitution. Most of these rights are contained in the Bill of Rights, the first ten amendments to the US constitution.

For example, nearly half of all the countries in the world have some form of guaranteed right to health care protected by their country's constitution. However, a right to health care is not a constitutional right in the United States. Besides the US, Guatemala, Haiti, Mexico,  Bolivia, Costa Rica, Colombia, Honduras, Nicaragua, and Liberia are among those countries where citizens all have a constitutional right to own firearms. But only Guatemala's rights are as broad as the Second Amendment's rights in the United States. The constitutions of about 182 countries guarantee some form of Freedom of religion. The constitutional rights granted by the First Amendment, including freedom of the press, freedom of speech, the right to petition and the freedom of assembly, are almost unique to the United States.

References

Constitutions
Rights

Constitutional right


Siempre Viva Norte, also known as Northern Siempre Viva is a barangay in the municipality of Mallig, in the province of Isabela, Cagayan Valley (Region II), Philippines. According to the 2015 Census, there were 1,972 people living there. This accounted for 6.47 percent of Mallig's overall population.

History
After liberation in the second world war, people from different areas such as Pangasinan, Ilocos, Nueva Ecija, Indonesia, and many more people from different regions came to this place and lived in lands that do not yet have land titles because there are not enough citizens, and this area is not yet a barangay. The municipality of Mallig just let it go.

The elders who preceded this area, they were Pedro Ignacio, Alejo Orzame, Elias Seguancia, Alejandro Balmores, Gonzalo Mabuti, the former mayors were Eduardo Siababa, Cornelio Corpuz, Geminiano Soria, Alipo Castro, Gregorio Barbo, Eugenio Solanzo, Leoncio Pico, Cerilo Ladiero, Alipio Senica, Alejandro Gabatino, Genaro Seguancia, Carlos Catacutan, Juan Calderon, Ramon Domingo, Bernabe Cabanting and many more.

It took a few years before the elders had a meeting in this area to make it a Barrio or Barangay, and they did it successfully. Gemeniano Soria was the first one they recommended to be the Teniente del Baryo or Barangay Captain. They named this barangay "Siempre Viva" from the Spanish language "Always Alive" after they won the "Salip" in the town of Mallig in Rigodon, a dance and many more contests that they won.

Many children find it challenging to study because there is no school and no proper physical school. Once granted, Mayor Eduardo Siababa met the elders to go to the mountain to get materials for the "Eskuelahan" or School. A few years passed, and they also finished school, but a powerful storm destroyed it. It was so bad that the children could not use it to study there.

In 1948, some researchers and surveyors came to make Siempre Viva a town or city, but it did not proceed because it was far from the National Highway.

From 1950 - 1953, many were afraid to live in Siempre Viva because of the brutality of the Kalingas. All the people living in Siempre Viva sleep under their houses when the night comes. Mayor Eduardo R. Siababa decided to approach the "Panglakayen" (Leader) of the Kalingas to have an organization that would maintain peace and cooperation between the Ilocanos and Kalingas. The organization was well established and was called "Boddong".

Several decades passed, and the residents believed it would be better to divide the 60 hectares of land into two independent barangay to receive more projects and funds from the Government. In 1984, the two barrios were separated, and in the South, Siempre Viva Sur was located, while in the North, Siempre Viva Norte was located.

Education
Siempre Viva Norte is home to one of the oldest elementary school in Mallig, Siempre Viva Norte Elementary School established in 1949.

The following educational institutions are also located within the village:

 Siempre Viva Norte Child Development Center
 Siempre Viva Elementary School

Demographics

Population by age group
The age group with the highest population in Siempre Viva Norte, according to the 2015 Census, is 20 to 24, with 194 individuals. The age group with the smallest population is 80 and over, with just 5 people.

When all age groups are combined, those aged 14 and under account for 28.14 percent of the young dependent population, which includes infants/babies, children, and young adolescents/teenagers (555). Those aged 15 to 64, or approximately the economically productive population and actual or potential members of the labor force, account for 67.39 percent of the total population (1,329). Finally, the old dependent population, which includes senior citizens aged 65 and up, accounts for 4.46 percent (88) of the total.

According to the calculated Age Dependency Ratios, there are 42 youth dependents for every 100 working-age people in Siempre Viva Norte; 7 aged/senior citizens for every 100 working-age people in Siempre Viva Norte; and 48 dependents (young and old-age) for every 100 working-age people in Siempre Viva Norte. The median age of 26 means that half of the people in Siempre Viva Norte are under the age of 26 and the other half are over the age of 26.

Historical population
The population of Siempre Viva Norte increased by 761 people from 1,211 in 1990 to 1,972 in 2015. The most recent census estimates from 2015 show a 1.93 percent rise, or an increase of 188 individuals, over the previous population of 1,784 in 2010.

Geography
Siempre Viva Norte is located on the island of Luzon at approximately 17.2033, 121.6316. At these coordinates, the elevation is measured to be 68.9 meters or 226.0 feet above mean sea level.

Climate
Siempre Viva Norte, Mallig has a tropical climate. Most months in Siempre Viva Norte experience substantial rainfall, with a brief dry season. Köppen and Geiger classify this position as Am. The temperature is  on average. The annual rainfall average is .

Adjacent barangays
Siempre Viva Norte shares a common border with the following barangay(s):

 San Juan, Quezon, Isabela
 Siempre Viva Sur, Mallig, Isabela
 San Pedro (Barucbuc Sur), Mallig, Isabela
 Trinidad, Mallig, Isabela

References

Siempre Viva Norte


The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At , the museum is New York City's second largest and contains an art collection with around 500,000 objects. Located near the Prospect Heights, Crown Heights, Flatbush, and Park Slope neighborhoods of Brooklyn, the museum's Beaux-Arts building was designed by McKim, Mead & White.

The Brooklyn Museum was founded in 1898 as a division of the Brooklyn Institute of Arts and Sciences, intended to educate tradespeople, and was planned to be the largest art museum in the world. The museum was conceived as an institution focused on a broad public. The museum initially struggled to maintain its building and collection, but it was revitalized in the late 20th century following major renovations.

Significant areas of the collection include antiquities, specifically their collection of Egyptian antiquities spanning over 3,000 years. European, African, Oceanic, and Japanese art make for notable antiquities collections as well. American art is heavily represented, starting at the Colonial period. Artists represented in the collection include Mark Rothko, Edward Hopper, Norman Rockwell, Judy Chicago, Winslow Homer, Edgar Degas, Georgia O'Keeffe, and Max Weber. The museum features the Steinberg Family Sculpture Garden, which features salvaged architectural elements from throughout New York City.

History
The Brooklyn Museum's origins date to 1823, when Augustus Graham founded the Brooklyn Apprentices' Library in Brooklyn Heights; the cornerstone of the library's first building was laid in 1825 on Henry and Cranberry Street. The Library moved into the Brooklyn Lyceum building on Washington Street in 1841. The two institutions merged into the Brooklyn Institute in 1843; the institute offered exhibitions of painting and sculpture and lectures on diverse subjects. The Washington Street building was destroyed in a fire in 1891.

Development and opening
In February 1889, several prominent Brooklyn citizens announced that they would begin fundraising for a new museum for the Brooklyn Institute. The museum's proponents quickly identified a site just east of Prospect Park, on the south side of Eastern Parkway. The next year, under director Franklin Hooper, Institute leaders reorganized as the Brooklyn Institute of Arts and Sciences and began planning the Brooklyn Museum. Brooklyn officials hosted an architectural design competition for the building, eventually awarding the contract to McKim, Mead & White. The competition was characterized in the Brooklyn Daily Eagle as "one of the most important in the history of architecture", as the museum was to contain numerous divisions. The museum remained a subdivision of the Brooklyn Institute of Arts and Sciences, along with the Brooklyn Academy of Music, the Brooklyn Botanic Garden, and the Brooklyn Children's Museum, until these organizations all became independent in the 1970s.

Brooklyn mayor Charles A. Schieren agreed in January 1895 to issue $300,000 per year in bonds for the Brooklyn Institute museum's construction. Initially, only a single wing and pavilion on the western portion of the museum's site, measuring  across, was to be built. Engineers began surveying the site that May and found that the bedrock under the site was several hundred feet deep, making it impossible to build the foundations on solid rock. Nonetheless, the engineers had determined that the gravel fill under the site was strong enough to support a building. Construction on the Brooklyn Museum of Arts and Sciences' west wing officially began on September 14, 1895. A groundbreaking ceremony for the museum was hosted on December 14 of the same year. Two of the museum's three stories had been completed by April 1896.

The Brooklyn Institute museum's building was completed in March 1897 after a sidewalk was built between the museum's entrance and Eastern Parkway. The museum's first exhibit was a collection of almost 600 paintings, which had opened to the public on June 1, 1897, several months before the formal opening of the museum. The Brooklyn Institute's museum formally opened on October 2, 1897, and was one of the last major structures built in the city of Brooklyn before the formation of the City of Greater New York in 1898.

20th century

1900s and 1910s
The Brooklyn Institute approved the construction of the central entrance pavilion in May 1899, and Hooper requested $600,000 for this addition the next month. The four-story structure was to measure . The central pavilion was to include a 1,250-seat lecture hall in the basement (actually at ground level), as well as a hall of sculpture on the first floor, which would serve as the museum's main lobby. The second story was to contain natural-history exhibits, while the third story was to include paintings. The New York State Legislature needed to authorize $300,000 in bonds for the pavilion, but they had not done so by the end of 1899. Work on the central wing started in June 1900. The museum's central section was nearly completed by January 1903, but work proceeded slowly due to labor disputes.

New York City mayor Seth Low signed a bill in August 1902, approving $150,000 for the construction of the Brooklyn Institute's eastern wing and pavilion. The eastern wing cost $344,000 to construct, and it officially opened on December 14, 1907. With the opening of the eastern wing, the museum building had reached one-eighth of its total planned size. Although the museum's collections continued to grow, the New York City government was only willing to give the museum as little funding as necessary for essential maintenance. Several of the institute's donors proposed in 1905 to give $25,000 for the upkeep of an "astronomical observatory" at the Brooklyn Museum. City officials endorsed the creation of the observatory in 1907.

The Brooklyn Institute awarded a construction contract for wings F and G, extending south of the central pavilion, to Benedetto & Egan in May 1911. Extending  south and measuring  wide, this addition was to contain a central court with a glass roof. That July, McKim, Mead & White filed plans for wings F and G. The Brooklyn Institute converted the last remaining storage rooms in the eastern wing into galleries in October 1911. The next month, a temporary access road was built from Flatbush Avenue to the rear of the building. Wills & Martin, one of the firms that had been hired to erect the new wings, declared bankruptcy in November 1913. Work stopped completely in November 1914, and the incomplete structures started to deteriorate. Because of the lack of space in the building, the lobby and auditorium were being used to exhibit artwork. The Brooklyn Institute had been forced to decline some donations of artwork, as the works could not be displayed, while other works of art had to be placed in storage.

1920s to 1940s
By 1920, the New York City Subway's Institute Park station had opened outside the Brooklyn Museum, greatly improving access to the once-isolated museum from Manhattan and the other boroughs. In April 1922, governor Nathan L. Miller signed legislation authorizing the New York City government to issue bonds to fund wings F and G of the Brooklyn Museum. The New York City Board of Estimate refused to approve the Brooklyn Institute trustees' request for $875,000, and mayor John Francis Hylan also blocked the funding. Hylan changed his mind after visiting the museum, and the Board of Estimate appropriated $1.05 million for the new wings. McKim, Mead & White drew up new plans for wings F and G; by that September, New York City Department of Parks and Recreation (NYC Parks) was about to award contracts for the wings. A picture gallery opened at the museum in November 1925. The next month, museum officials dedicated the Ethnological Gallery, which was nicknamed "Rainbow House"; the gallery was designed by curator Stewart Culin. A Japanese art gallery opened at the museum in April 1927, and the museum's Swiss Gothic, German, and Venetian galleries opened that May.

Construction of the Brooklyn Museum stalled in 1928 after years of attempts to complete it. At the time, only 28 of the 80 proposed statues atop the building's facade had been installed, and the main north–south corridor was not complete. Nineteen American period rooms opened at the museum at the end of 1929. In May 1934, NYC Parks approved plans for the removal of the main entrance steps, which would be replaced by five large ground level doors. The project also included the construction of two galleries next to the lobby. This work was carried out by Public Works Administration laborers. A gallery dedicated to living artists' work opened in February 1935, and a Persian art gallery opened two months later. The remodeled entrance was officially dedicated on October 5, 1935. That December, the museum's medieval art gallery opened. A gallery for industrial art was proposed behind the western wing the same year but was not built. By early 1938, museum officials sought more than $300,000 for repairs to the museum building, and then-director Philip Newell Youtz said that parts of the building were crumbling.

The Brooklyn Museum Art School, formerly a part of the Brooklyn Academy of Music, was moved to the Brooklyn Museum in 1941. An art distribution center sponsored by the Works Progress Administration opened on the museum's sixth floor the same year. The department store chain Abraham & Straus donated $50,000 in 1948 for the establishment of a "laboratory of industrial design" at the Brooklyn Museum. By the following year, Brooklyn Institute officials sought to expand the museum as part of a "vast cultural program". The plans involved an annex with a 2,500-seat auditorium behind the west wing, which was planned to cost $500,000, as well as a general renovation of existing facilities, which was to cost $1.5 million. A new 400-seat lecture hall opened at the museum that September, within space formerly occupied by two Egyptian galleries. To attract visitors, the museum expanded its educational programs greatly in the late 1940s.

1950s and 1960s

Brooklyn Institute officials announced plans in 1951 to repair the Brooklyn Museum as part of the institute's long-term plan to convert the museum into a cultural center. The museum's Egyptian galleries began undergoing renovations the same year. The renovation of the Egyptian galleries, the first phase of the museum's $3.5 million overhaul, was finished in November 1953. Brown, Lawford & Forbes designed a rear annex for the museum in 1955. The museum's furniture, sculpture, and watercolor galleries reopened in 1957 following the second stage of the renovation. The rear annex contained a new stairway, which led to new galleries on the fourth through sixth stories of the center section. By the late 1950s, the museum was running low on funds, with director Edgar C. Schenck blaming the museum's fiscal woes on Manhattan residents' unwillingness to cross the East River to visit Brooklyn. Due to a shortage of security guards, the museum was forced to close some galleries part-time.

Another Egyptian gallery opened in April 1959, and a "pattern library" for teaching opened that July. A continued shortage of security guards forced the Brooklyn Museum to close two days a week at the beginning of 1961; the museum went back to seven-day operations in June 1961 after the city provided money for additional guards. To attract visitors, the museum began providing a larger variety of programs and adding interactive exhibits and programming. The Brooklyn Museum announced in 1964 that it would build a special-exhibit gallery on the first floor and an open study/storage gallery on the fifth floor. The Hall of the Americas opened on the museum's first floor the following May. A sculpture garden, consisting of architectural details salvaged from demolished buildings across New York City, opened at the museum in April 1966. The Brooklyn Museum and the Metropolitan Museum of Art began coordinating joint programs and exhibitions in 1967.

By the late 1960s, the museum was again facing a funding shortage; several galleries had been temporarily closed due to a lack of money, and its director Thomas Buechner was considering closing the museum two days a week. Brooklyn Museum officials also wanted to hire additional security guards to deter crime. The Brooklyn Museum's Community Gallery, exhibiting black New Yorkers' art, opened in October 1968 following advocacy from Federated Institutes of Cultural Enrichment (FICE), a coalition of Brooklyn-based arts organizations. The gallery occupied a narrow corridor at ground level. Henri Ghent, the director of the Community Gallery, estimated in 1970 that "perhaps 100,000" additional patrons had been attracted to the museum after the gallery opened, including black patrons who had never before visited a museum.

1970s and early 1980s

The Brooklyn Museum continued to experience financial shortfalls in the early 1970s. Due to a shortage of security guards, in mid-1971, museum officials announced that they would close the museum two days per week, allowing all galleries to remain open even with limited security. The museum also reopened its 23 period rooms that October after a yearlong closure, and they also opened a new period room, themed to a private study. Officials planned to move the Community Gallery to a dedicated space adjoining the museum; the gallery was popular among guests but did not have enough funding from the museum itself. By late 1973, twenty percent of the museum's staff professionals had resigned amid a dispute involving director Duncan F. Cameron's firing of another employee, eventually prompting Cameron's own resignation that year. Further staff disputes complicated the search for a replacement director, and many employees went on strike in 1974 because they wanted to form a labor union.

By the mid-1970s, there were plans to split the Brooklyn Children's Museum and the Brooklyn Museum Art School from the Brooklyn Museum. At the time, the museum received $1.5 million per year from the city. Four galleries for Korean and Japanese art opened at the museum in October 1974, and the African art galleries reopened in December 1976 following an expansion and renovation. The Brooklyn Museum also began renovating 21 American period rooms in 1976. Following a 1978 investigation into some of the museum's acquisitions, state attorney general Louis J. Lefkowitz recommended that the museum implement "a comprehensive code of ethics". The same year, the Brooklyn Museum partnered with Designgroup and the Egyptian government to restore the Cairo Museum's collection. Due to budget cuts, the Brooklyn Museum eliminated its Middle Eastern art division in 1979, despite the fact that the museum had frequently applied for federal grants in the preceding years, most of which had been approved from 1976 to 1978.

Two of the museum's period rooms reopened in 1980 following a renovation. By then, director Michael Botwinick was considering several measures to reduce the museum's budgetary shortfalls, including halving the number of art classes, closing the museum during the workweek, and hosting fewer exhibits per year. At the time, the museum received 31 percent of its funds from the city, a higher percentage than other New York City museums; the city still owned the building itself. After Robert Buck became director in 1983, he began hosting additional art classes, attracting members, and raising money for the museum, which struggled to compete with more famous institutions in Manhattan. In 1984, the museum completed the renovations of its last period rooms and opened a gallery for "early-19th-century decorative arts". The unprofitable Brooklyn Museum Art School was closed the same year, and the museum obtained $14 million in city funding to upgrade the climate-control systems. The museum resumed Monday operations in late 1984 after receiving additional city funding, and it started running TV advertisements in 1985.

Mid-1980s and 1990s

The Brooklyn Museum announced a master plan in March 1986. The plan involved doubling the amount of exhibition space in the building from . At the time, the museum could only exhibit about five percent of its collection simultaneously, as its building was one-sixth as large as originally planned. The museum was to expand its storage, classroom, and conservation facilities and add an auditorium. Buck met with the heads of all of the museum's departments to determine how much exhibit and storage space they needed. The museum also planned a new entrance from the Brooklyn Botanic Garden, which had twice as many annual visitors; the Botanic Garden entrance had been planned by McKim, Mead & White but never executed. The project was expected to cost $50 million to $100 million, which was to be funded by the city's capital budget.

Museum officials held an architectural design competition to redesign the west wing, attracting 103 competitors; they hired Arata Isozaki of James Stewart Polshek Partners that October. Isozaki's design retained much of McKim, Mead & White's original plan but included a "great hall" and trapezoidal courtyards, as well as an angled rear wall and an obelisk. Buck expressed optimism that media coverage of the design competition would attract additional visitors, even if the master plan was never completely carried out. The scope of the renovation grew quickly, with estimated costs reaching $200 million by early 1988. Iris and B. Gerald Cantor donated $3.5 million for the museum's auditorium in 1989, and the city gave another $2 million for other work. The Brooklyn Museum announced in 1990 that it would begin the first phase of renovation, which was to cost $31 million. This involved converting the offices in the west wing to about  of gallery space for its Egyptian collection, as well as building storage space and an auditorium. The same year, budget cuts prompted museum officials to lay off employees and close its doors on Mondays.

The auditorium opened in 1991; at the time, there had not been an auditorium at the museum for over half a century. About  in the museum's west wing reopened as gallery space in November 1993. The renovation retained the original layout of the west-wing spaces. The New York Times described Isozaki and Polshek's renovation as aiming for "clean, serene spaces"; the rooms had rooms with maple floors, white walls, horizontal lighting strips, and granite baseboards. The west wing was renamed for investor Morris A. Schapiro and his brother, art historian Meyer Schapiro, in early 1994 after Morris Schapiro donated $5 million.

The Brooklyn Museum changed its name to Brooklyn Museum of Art in 1997. According to acting director Linda S. Ferber, the renaming was necessary because "there was more confusion about the museum's identity than we supposed"; for instance, many visitors still believed the museum had natural-history exhibits, which had not been the case since 1934.

21st century

Brooklyn Museum officials hired architect James Polshek in 2000 to design a new glass-clad entrance for the building at a cost of $55 million. Polshek described the front entrance as a "wasteland" at the time, and he said he wanted to build "Brooklyn's new front stoop". The New York City Landmarks Preservation Commission approved Polshek's design, despite opposition from preservationists. The renovation cost $63 million and also added air conditioning throughout the museum building. The Henry Luce Foundation gave the museum a $10 million grant in 2001, which funded the construction of the Luce Center for American Art on the fifth floor. The museum's renovation was completed in April 2004.  At the same time, the museum announced that it would revert to its previous name, Brooklyn Museum. By then, the Brooklyn Museum was focusing on attracting Brooklyn residents, rather than visitors from other boroughs. The Elizabeth A. Sackler Center for Feminist Art opened on the museum's fourth floor in March 2007.

The museum extensively renovated its Great Hall, which reopened in early 2011, and it relocated and reopened its African art gallery on the first floor the same year. A  museum shop opened at the Brooklyn Museum in early 2012, followed later that year by a new cafe. The upscale restaurant Saul opened within the Brooklyn Museum in October 2013, changing its name to The Norm in 2016. By the mid-2010s, the museum was facing financial difficulties, and half of the 465,000 annual patrons did not pay admission because of the museum's suggested admission policy. The Brooklyn Museum's Chinese-art gallery reopened in 2019.

The museum was temporarily closed from March to October 2020 because of the COVID-19 pandemic in New York City. The Brooklyn Museum received $50 million from the New York City government in 2021, the largest such gift in the museum's history. The money was to be used to renovate  into gallery space, and the museum hired Brigham Keener to design the new galleries. The museum's South Asian and Islamic galleries reopened in 2022, completing a 12-year renovation of the Asian galleries.

Building
The Brooklyn Museum building is a steel frame structure clad in masonry, designed in the neoclassical style by the architectural firm of McKim, Mead, and White and built by the Carlin Construction Company. The original museum building is a New York City designated landmark and was added to the National Register of Historic Places in June 1978. The museum shares a large city block with Brooklyn's Central Library, Mount Prospect Park, and the Brooklyn Botanic Garden to the west and south.

Exterior
The original design for the Brooklyn Museum proposed a structure four times as large as what was built from 1893 through 1927, when construction ended. As designed, the three-story museum building was supposed to have several wings, centered around a memorial hall and clustered around four light courts. After Brooklyn became part of greater New York City in 1898, support for the project diminished.  Only the wings on the northern end, as well as the northeastern light court (known as the Auditorium Court), were built; the resulting "L"-shaped building covers a site of about . Although additional wings were built behind the original east wing over the years (creating the current light court), nothing was built behind the west wing. This led the New York Daily News to liken the museum building to a movie set.

Main facade

The primary elevation of the facade, facing north along Eastern Parkway, is  wide and consists of the west and east wings, which flank a projecting pavilion with a portico. Additional pavilions project from the facade at either end. The center portico contains six Ionic columns that support a pediment with sculptures in its tympanum. The portico was originally accessed by a staircase that was removed in 1936–1937. Daniel Chester French was responsible for the pediment sculptures. French also designed the two allegorical figures Brooklyn and Manhattan flanking the museum's entrance; they were created in 1916 for the Brooklyn approach to the Manhattan Bridge and relocated to the museum in 1963. Above the pediment is a copper cresting with anthemia, as well as a low saucer dome. The modern main entrance, dating to Polshek's 2004 renovation, consists of a glass pavilion with four metal pylons, as well as a semicircular plaza just outside. A set of brick piers, which had supported the original entrance staircase, was repurposed into a brick arch in 2004.

The pavilions at either end of the Eastern Parkway facade protrude only slightly from the facade and contain engaged columns in the Ionic order. The west and east wings are divided vertically by pilasters; between each set of pilasters are windows with architraves. The entablature above the pilasters contains a frieze with inscribed names of figures who represent knowledge.

The Eastern Parkway facade is topped by 20 monolithic figures on the cornice: one above each pilaster on the west and east wings, and four above the pavilions. An additional ten figures, five each on the western and eastern elevations of the outermost pavilions, were sculpted. The sculptures were carved by the Piccirilli Brothers, who sculpted a total of 30 figures on the museum's facade. Fourteen sculptors were hired to design the sculptures, which each measure  high. Had the full building been completed, there would have been 80 sculptures in total, with 20 each depicting classical subjects, medieval and Renaissance subjects, modern European and American subjects, and Asian subjects. The 30 extant sculptures consist of the 20 classical sculptures (10 Greek and 10 Roman) on the northern elevation, as well as five Persian and five Chinese sculptures on the side elevations.

Other facades
The eastern elevation of the facade faces Washington Avenue, where only the pavilion at the northern end was built. The rest of the eastern elevation is similar to that on Eastern Parkway, with pilasters dividing it vertically into seven bays. Unlike on Eastern Parkway, the pilasters are topped by shorter pilasters rather than sculptures. The southern elevation faces a parking lot and contains a masonry facade and some windows. There is also an annex to the south, designed by Brown, Lawford & Forbes, which contains a secondary entrance and a stairway.

Interior
The oldest portion of the building measured  and comprised only about three percent of what was originally planned. The center of the first floor would have contained a memorial hall, while a "great hall of sculpture" would have extended to the north and south of the memorial hall. To the west of the memorial hall would have been gallery space for artwork on loan, while to the east would have been a multi-story auditorium. The remaining corners of the first floor would have included several additional galleries for the museum's permanent collections, and the light courts would have exhibited large objects. The second floor would have housed more collections and lecture rooms, while the third floor would have had the library, music room, and galleries for images, domestic art, and science. An additional story, above the central part of the building, would have housed more departments of the museum.

The main lobby, originally occupied by the ground-level auditorium, was built during the mid-20th century as a modern-style space. Although then-director Philip Newell Youtz was the architect of record, the lobby's design may have been influenced by William Lescaze, who was Youtz's friend. The lobby, containing black-glass panels and indirect lighting, was described in the 1939 WPA Guide to New York City as "an example of the best in modern architecture... devoid of the elaborate decoration which so often clutters up the entrances of public building." Following a 2011 renovation, the lobby was redesigned as a double-height central gallery surrounded by  columns.

Operations
The Brooklyn Museum is operated by a nonprofit of the same name, which was established in 1935. The museum is part of the Cultural Institutions Group (CIG), a group of institutions that occupy land or buildings owned by the New York City government and derive part of their yearly funding from the city. It was also part of the Brooklyn Educational Cultural Alliance during the late 20th century. During the late 1980s, the museum was part of a group called Destination Brooklyn, which sought to attract visitors to Brooklyn; this initiative had stalled by the early 1990s.

Directors
Franklin Hooper was the Brooklyn Institute's first director, serving for 25 years until his death in 1914. Hooper was succeeded by William Henry Fox, who served from 1914 to his retirement in 1934. Fox was followed by Philip Newell Youtz from 1934 to 1938. Laurance Page Roberts was director from 1938 to 1942, when his wife Isabel Spaulding Roberts became interim director on his behalf; L. P. Roberts formally resigned in 1946. His immediate successor, Charles Nagel Jr., served for nine years until he resigned in 1955. Edgar Craig Schenck, who was appointed director shortly afterward, served until his death in 1959. Thomas S. Buechner became the museum's director in 1960, making him one of the youngest directors in the country. During Buechner's tenure, Donelson Hoopes was hired as Curator of Paintings and Sculptures from 1965 to 1969.

Duncan F. Cameron assumed the directorship in 1971, following Buechner's resignation; Cameron himself resigned in 1973. Michael Kan was appointed as acting director in early 1984, serving for a few months. He was succeeded by Michael Botwinick, who was appointed in 1974 and stepped down in 1982. Robert T. Buck became director in 1983 and served until he resigned in 1996, upon which Linda S. Ferber became acting director. From 1992 to 1995, Stephanie Stebich was Buck's assistant director. Arnold L. Lehman was named as the museum's director in April 1997, and Lehman announced in September 2014 that he would retire the next year. In May 2015, Creative Time president and artistic director Anne Pasternak was named the museum's next director; she assumed the position on September 1, 2015.

Since 2014, the director's position has formally been known as the Shelby White and Leon Levy Director of the Brooklyn Museum, after Leon Levy Foundation cofounder Shelby White donated $5 million to the directorship's endowment.

Funding
According to the museum's website, it receives funding from the city government, Brooklyn borough president's office, mayor's office, New York City Council, state government, federal government, and other agencies. In 2005, the museum was among 406 New York City arts and social service institutions to receive part of a $20 million grant from the Carnegie Corporation, in turn funded by New York City mayor Michael Bloomberg. Major benefactors have historically included Frank Lusk Babbott. The museum is the site of the annual Brooklyn Artists Ball which has included celebrity hosts such as Sarah Jessica Parker and Liv Tyler.

Prior to the COVID-19 pandemic, the Brooklyn Museum had an endowment of $108 million, but the museum applied for federal funding through the Paycheck Protection Program after its endowment declined by one-fifth in 2020. Amid the pandemic and its negative impact on museum revenue, the museum raised funds for an endowment to pay for collections care by selling or deaccessioning works of art. The October 2020 sale consisted of 12 works by artists including Lucas Cranach the Elder, Gustave Courbet, and Jean-Baptiste-Camille Corot, while other sales throughout that month included Modernist artists. Though usually prohibited by the Association of Art Museum Directors, the association allowed such sales to proceed for a two-year window through 2022 in response to the effects of the pandemic.

Art and exhibitions
The Brooklyn Museum's collection contains around 500,000 objects. In the twentieth century, Brooklyn Museum exhibitions sought to present an encyclopedic view of art and culture, with a focus on educating a broad public. In 1923, the museum was one of the first U.S. institutions to exhibit African cast-metal and other objects as art, rather than as ethnological artifacts. The museum's acquisitions during this time also included such varied objects as the interior of a Swiss house, a stained glass window, and a pipe organ. The museum's first period room opened in 1929; these period rooms represented middle-class and non-elite citizens' homes, in contrast to other museums. which tended to focus on upper-class period rooms. The 17th-century Jans Martense Schenck house became part of the Brooklyn Museum's collection in the 1950s, as did the interior of a room in John D. Rockefeller Jr.'s Midtown Manhattan home.

In 1967 the Federated Institutes of Cultural Enrichment (FICE), a coalition of Brooklyn-based arts organizations, demanded that the Brooklyn Museum exhibit more works by artists from the borough, especially African American artists. The museum then hired black curator Henri Ghent to direct a new "Community Gallery", supported at first by the New York State Council on the Arts; he worked at the museum till 1972. Ghent's first exhibition, Contemporary Afro-American Arts (1968), included artists Joe Overstreet, Kay Brown, Frank Smith, and Otto Neals.

In 1999–2000, the Sensation exhibition of Charles Saatchi's collection provoked controversy for its inclusion of works such as Chris Ofili's The Holy Virgin Mary. The exhibition prompted then-mayor Rudolph Giuliani to threaten to withhold city funding from the museum. In the resulting lawsuit, a U.S. district court judge ruled that the New York City government could not withhold city funds from the Brooklyn Museum on First Amendment grounds.

In 2002, the museum received the work The Dinner Party, by feminist artist Judy Chicago, as a gift from The Elizabeth A. Sackler Foundation. Its permanent exhibition began in 2007, as a centerpiece for the museum's Elizabeth A. Sackler Center for Feminist Art.  In 2004, the Brooklyn Museum featured Manifest Destiny, an  oil-on-wood mural by Alexis Rockman that was commissioned by the museum as a centerpiece for the second-floor Mezzanine Gallery and marked the opening of the museum's renovated Grand Lobby and plaza.  Other exhibitions have showcased the works of various contemporary artists including Patrick Kelly, Chuck Close, Denis Peterson, Ron Mueck, Takashi Murakami, Mat Benote, Kiki Smith, Jim Dine, Robert Rauschenberg, Ching Ho Cheng, Sylvia Sleigh and William Wegman, and a 2004 survey show of work by Brooklyn artists, Open House: Working in Brooklyn.

In 2008, curator Edna Russman announced that she believes 10 out of 30 works of Coptic art held in the museum's collection—second-largest in North America are fake.  The artworks were exhibited starting in 2009. Costumes from The Crown and The Queen's Gambit television series were put on display as part of its virtual exhibition "The Queen and the Crown" in November 2020. From June through September 2023, coinciding with the fiftieth anniversary of Pablo Picasso's death, the museum hosted It's Pablo-matic: Picasso According to Hannah Gadsby, curated by Hannah Gadsby.

Collections

Egyptian, Classical, and Ancient Near Eastern Art
The Brooklyn Museum has been building a collection of Egyptian artifacts since the beginning of the twentieth century, incorporating both collections purchased from others, such as that of American Egyptologist Charles Edwin Wilbour, whose heirs also donated his library to become the museum's Wilbour Library of Egyptology, and objects obtained during museum-sponsored archeological excavations. The Egyptian collection includes objects ranging from statuary, such as the well-known "Bird Lady" terra cotta figure, to papyrus documents (among others the Brooklyn Papyrus).

The Egyptian, Classical, and Ancient Near Eastern collections are housed in a series of galleries in the museum. Egyptian artifacts can be found in the long-term exhibit, Egypt Reborn: Art for Eternity, as well as in the Martha A. and Robert S. Rubin Galleries. Near Eastern artifacts are located in the Hagop Kevorkian Gallery.

Selections from the Egyptian collection

American art

Francis Guy's Winter Scene in Brooklyn ( 1820) was the first object in the museum's collection of American art, bequeathed in 1846. In 1855, the museum officially designated a collection of American Art, with the first work commissioned for the collection being a landscape painting by Asher B. Durand. Items in the American Art collection include portraits, pastels, sculptures, and prints; all items in the collection date to between c. 1720 and c. 1945.

Represented in the American art collection are works by artists such as William Edmondson (Angel, date unknown), John Singer Sargent's Paul César Helleu sketching his wife Alice Guérin (ca. 1889); Georgia O'Keeffe's Dark Tree Trunks (ca. 1946), and Winslow Homer's Eight Bells (ca. 1887). Among the most famous works in the collection are Gilbert Stuart's portrait of George Washington and Edward Hicks's The Peaceable Kingdom. The museum also holds a collection by Emil Fuchs.

Works from the American art collection can be found in various areas of the museum, including in the Steinberg Family Sculpture Garden and in the exhibit, American Identities: A New Look, which is contained within the museum's Visible Storage ▪ Study Center. In total, there are approximately 2,000 American Art objects held in storage.

Selections from the American collection

Asian art
In 2019, the museum reopened its Japanese and Chinese exhibits, after reinstalling its Korean section in 2017. The Chinese section offers pieces from more than 5,000 years of Chinese art and shows contemporary pieces on a regular schedule. The Japanese gallery, with its 7,000 pieces, is the largest of the museum's Asian collection and is known for its works from the Ainu people. The museum is also home to works from Bhutan, India, Nepal, Pakistan and southeast Asia.

Arts of Africa
The oldest acquisitions in the African art collection were collected by the museum in 1900, shortly after the museum's founding. The collection was expanded in 1922 with items originating largely in what is now the Democratic Republic of the Congo. The next year, the museum hosted one of the first exhibitions of African art in the United States.

With more than 5,000 items in its collection, the Brooklyn Museum boasts one of the largest collections of African art in any American art museum. Although the title of the collection suggests that it includes art from all of the African continent, works from Africa are sub-categorized among a number of collections. Sub-Saharan art from West and Central Africa are collected under the banner of African Art, while North African and Egyptian art works are grouped with the Islamic and Egyptian art collections, respectively.

The African art collection covers 2,500 years of human history and includes sculpture, jewellery, masks, and religious artifacts from more than 100 African cultures. Noteworthy items in this collection include a carved ndop figure of a Kuba king, believed to be among the oldest extant ndop carvings, and a Lulua mother-and-child figure.

In 2018, the museum drew criticism from groups including Decolonize This Place for its hiring of a white woman as Consulting Curator of African Arts.

Selections from the African collection

Arts of the Pacific Islands
The museum's collection of Pacific Islands art began in 1900 with the acquisition of 100  wooden figures and shadow puppets from New Guinea and the Dutch East Indies (now Indonesia); since that base, the collection has grown to encompass close to 5,000 works. Art in this collection is sourced to numerous Pacific and Indian Ocean islands including Hawaii and New Zealand, as well as less-populous islands such as Rapa Nui and Vanuatu. Many of the Marquesan items in the collection were acquired by the museum from famed Norwegian explorer Thor Heyerdahl.

Art objects in this collection are crafted from a wide variety of materials. The museum lists "coconut fiber, feathers, shells, clay, bone, human hair, wood, moss, and spider webs" as among the materials used to make artworks that include masks, tapa cloths, sculpture, and jewellery.

Arts of the Islamic world
The museum also has art objects and historical texts produced by Muslim artists or about Muslim figures and cultures.

Selections from the Islamic world collection

The Jarvis Collection of Native American Plains Art
The Museum has a collection of Native America Artifacts acquired by Dr. Nathan Sturges Jarvis (surgeon) who was stationed at Fort Snelling, Minnesota 1833–1836.

Elizabeth A. Sackler Center for Feminist Art

The museum's center for feminist art opened in 2007. Spanning , it is dedicated to preserving the history of the movement since the late 20th century, as well as raising awareness of feminist contributions to art, and informing the future of this area of artistic dialogue.  Along with an exhibition space and library, the center features a gallery housing a masterwork by Judy Chicago, a large installation called The Dinner Party (1974–1979).

European art
The Brooklyn Museum has among others late Gothic and Early Italian Renaissance paintings by Lorenzo di Niccolo ("Scenes from the life of Saint Lawrence"), Sano di Pietro, Nardo di Cione, Lorenzo Monaco, Donato de' Bardi ("Saint Jerome"), Giovanni Bellini. It has Dutch paintings by Frans Hals, Gerard Dou, and Thomas de Keyser as well as others. It has 19th-century French paintings by Charles Daubigny, Narcisse Virgilio Díaz, Eugène Boudin ("Port, Le Havre"), Berthe Morisot, Edgar Degas, Gustave Caillebotte ("Railway Bridge at Argenteuil"), Claude Monet ("Doges Palace, Venice"), the French sculptor Alfred Barye, Camille Pissarro, and Paul Cézanne as well as many others.

Selections from the European collection

Other collections
The museum's costume collection was created in 1946, and the Textile and Costume Collection was unveiled in 1977. The collection, composed of American and European attire, was described by The New York Times as "one of the best in the world". Removed from public display in 1991, the collection was transferred to the Metropolitan Museum of Art's Costume Institute in 2008.

The Brooklyn Museum has had a photography collection since the 19th century. The museum initially did not seek out photographs for its collection, which was initially composed exclusively of photographers' and collectors' gifts. Since 1993, the collection has been part of the Department of Prints, Drawings, and Photographs.

Libraries and archives

The Brooklyn Museum Libraries and Archives hold approximately 300,000 volumes and over  of archives.  The collection began in 1823 and is housed in facilities that underwent renovations in 1965, 1984 and 2014.

Programs
The first Saturday of each month, the Brooklyn Museum stays open until 11pm, and general admission is waived after 5pm, although some ticketed exhibitions may require an entrance fee. Regular first Saturday activities include educational family-oriented activities such as collection-based art workshops, gallery tours, lectures, live performances dance parties. The museum started hosting First Saturdays in October 1998, and the event had attracted 1.5 million total visitors .

As part of the Museum Apprentice Program, the museum hires teenage high schoolers to give tours in the museum's galleries during the summer, assist with the museum's weekend family programs throughout the year, participate in talks with museum curators, serve as a teen advisory board to the museum, and help plan teen events. The museum also runs the Museum Education Fellowship Program, a ten-month position where fellows lead school group visits with a focus on various topics from the collection. School Youth and Family Fellows teach Gallery Studio Programs and School Partnerships while Adult and Public Programs Fellows curate and organize Thursday night as well as First Saturday Programming.

The museum has posted many pieces to a digital collection that allows the public to tag and curate sets of objects online, as well as solicit additional scholarship contributions. The museum's ASK App allows visitors to talk with staff and educators about works in the collection.

Attendance

Prior to World War II, the museum offered free admission and regularly attracted over a million annual visitors. In 1934, the museum reported 940,000 annual visitors, while its library had 40,000 visitors. Patronage declined along with Brooklyn's economy in the mid-20th century; there were about 470,000 visitors per year by the early 1950s. The museum recorded 1 million visitors in 1971 for the first time in almost four decades. During the mid-1980s, the museum had 300,000 visitors per year, much less than the Museum of Modern Art or the Metropolitan Museum of Art in Manhattan. Annual attendance at the museum, which had stagnated at 250,000 in the mid-1990s, had nearly doubled by 1999 after the museum held several popular exhibits, peaking at 585,000 in 1998. The museum only had 326,000 visitors by 2009, but attendance had increased to 465,000 by 2017.

The New York Times attributed the drop in attendance partially to the policies instituted by then-current director Arnold Lehman, who has chosen to focus the museum's energy on "populism", with exhibits on topics such as "Star Wars movies and hip-hop music" rather than on more classical art topics. Lehman had also brought more controversial exhibits, such as a 1999 show that included Chris Ofili's infamous dung-decorated The Holy Virgin Mary, to the museum. According to the Times:

The quality of their exhibitions has lessened", said Robert Storr, the dean of the Yale University School of Art and a Brooklynite. "Star Wars shows the worst kind of populism. I don't think they really understand where they are. The middle of the art world is now in Brooklyn; it's an increasingly sophisticated audience and always was one.

On the other hand, Lehman says that the demographics of museum attendees are showing a new level of diversity. According to The New York Times, "the average age [of museum attendees in a 2008 survey] was 35, a large portion of the visitors (40 percent) came from Brooklyn, and more than 40 percent identified themselves as people of color." Lehman states that the museum's interest is in being welcoming and attractive to all  potential museum attendees, rather than simply amassing large numbers of them.

, the Brooklyn Museum has a pay what you want policy for general-admission tickets. Half of patrons did not pay any admission in 2017.

Works and publications
  – Published on the occasion of an exhibition at the Brooklyn Museum, April 21 – September 17, 2017

See also
 Brooklyn Visual Heritage
 Education in New York City
 List of cases argued by Floyd Abrams
 List of museums and cultural institutions in New York City
 List of New York City Designated Landmarks in Brooklyn
 National Register of Historic Places listings in Brooklyn

References

External links

 Brooklyn Museum records, 1823–1963 from the Smithsonian Archives of American Art.
 Brooklyn Museum Building Online Exhibition

1897 establishments in New York City
African art museums in the United States
Allegorical sculptures in New York City
Art museums and galleries in New York City
Art museums established in 1897
Asian art museums in New York (state)
Beaux-Arts architecture in New York City
Buildings and structures completed in 1895
Buildings and structures on the National Register of Historic Places in New York City
Crown Heights, Brooklyn
Cultural infrastructure completed in 1897
Culture of Brooklyn
Egyptological collections in the United States
Institutions accredited by the American Alliance of Museums
McKim, Mead & White buildings
Museums in Brooklyn
Museums of American art
Museums of Ancient Near East in the United States
Museums on the National Register of Historic Places in New York (state)
National Register of Historic Places in Brooklyn
New York City Designated Landmarks in Brooklyn
Pre-Columbian art museums in the United States
Prospect Heights, Brooklyn
Sculptures by Daniel Chester French
Sculptures carved by the Piccirilli Brothers

Brooklyn Museum


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Rarely seen without his trademark Panama hat, Roush is known on the NASCAR circuit as "The Cat in the Hat".

Roush was inducted into the International Motorsports Hall of Fame on April 27, 2006. In 2008, Roush was elected to the Michigan Sports Hall of Fame and was inducted on September 13, 2010, in Novi.
On May 23, 2018, Roush was selected as one of the five inductees for the 2019 NASCAR Hall of Fame class. Roush was also inducted into the EAA Warbirds of America Hall of Fame on November 8, 2018, for his contributions to warbirds and the warbird community.
On November 3, 2022, he was inducted into the SEMA (Specialty Aftermarket Market Association) Hall of Fame.

Early years

Roush was born in Covington, Kentucky and grew up in Manchester, Ohio. He earned a mathematics degree with a minor in physics from Berea College, and a master's in scientific mathematics from Eastern Michigan University.

Roush worked at Ford after graduating in 1966, and left in 1970 to pursue his own company. He worked for a year at Chrysler before leaving to open his own engineering business. Roush then went on to partner with Wayne Gapp to race in NHRA, IHRA, and AHRA drag racing events.

Throughout much of his career Roush offered for sale the parts that he developed for his own team. In 1982, he partnered with German firm Zakspeed to develop road racing vehicles for Ford. This led to a very successful run in the Trans-Am series and IMSA Camel GT in the 1980s and early 90s. In 1988, Roush moved south and founded a NASCAR Winston Cup Series team with driver Mark Martin.

NASCAR

RFK Racing currently fields two cars in the NASCAR Cup Series (driven by Chris Buescher, and Brad Keselowski). The Xfinity team was shut down at the end of the 2018 season. Roush has won eight championships as a car owner in NASCAR's top three series: two Cup titles (2003 with Matt Kenseth and 2004 with Kurt Busch), five Xfinity Series titles (2002 with Greg Biffle, 2007 with Carl Edwards, 2011–2012 with Stenhouse Jr., and 2015 with Chris Buescher and a Camping World Truck Series title in 2000 with Biffle.  Roush has two Daytona 500 victories as a car owner, both with driver Kenseth in 2009 and 2012. Since Roush entered NASCAR competition his team has 283 wins and 212 poles.

Opposition of Toyota
Throughout his NASCAR career Roush has been an outspoken opponent of Toyota's NASCAR operations. Roush is vocally loyal to Ford and throughout his career has made cracks against Toyota being in NASCAR. In 2007 Roush entered a verbal feud with Toyota team leader Lee White during the Toyota controversy following the rocket fuel incident.

Roush Performance

Roush Performance sells a variety of vehicles, parts, and high-performance crate engines. Perhaps best known for the line of upfitted Ford Mustangs, they have more than 16,000 vehicles on the roads today. Typical improvements on the base chassis include appearance packages (body kit, wheels, etc.), suspension and handling upgrades, and horsepower boosts through the use of a ROUSHcharger supercharger system. ROUSH Performance sells versions of their Mustang with as much as 775 horsepower and 610 lb-ft of torque.

ROUSH CleanTech

By 2008, Roush expanded into offering propane-autogas-fueled vehicles designed for fleet usage and in 2010, formed ROUSH CleanTech. The company designs, engineers, manufactures and installs clean technology fuel systems, including propane autogas and electric propulsion technology for medium-duty Ford commercial vehicles and Type A and Type C Blue Bird Corporation school buses

Plane crashes

On April 19, 2002 (his 60th birthday), Roush almost lost his life when his private plane, an Aircam, went down in a lake in Troy, Alabama.    Roush was underwater and unconscious, suffering from a concussion, when Larry Hicks, a retired Marine in a nearby boat, rescued Roush from under water, pulled him to safety, and administered CPR.  Shortly afterwards, Roush was flown to UAB Hospital in Birmingham, Alabama, where he was treated for a head injury, broken ribs, and a shattered left leg.  Hicks was injured as a result of the rescue, suffering cramps in both his arms and first degree chemical burns on his body from the fuel.

On July 27, 2010, Roush crashed his Hawker Beechcraft Premier 390 jet (registration N6JR) during an approach to the EAA AirVenture Oshkosh airshow in Oshkosh, Wisconsin, in the late afternoon. He walked out of the plane and was taken to a nearby hospital. His condition was listed at serious but stable that evening. On August 3, Roush was upgraded to fair condition. On August 13, Roush made his first at track appearance since the incident at the Michigan International Speedway. During that time he confirmed that he fractured his back, broke his jaw, and lost vision in his left eye as a result. The National Transportation Safety Board attributed the cause of the crash to pilot error, specifically, "pilot's decision not to advance the engines to takeoff power during the go-around, as stipulated by the airplane flight manual, which resulted in an aerodynamic stall at a low altitude."

References

External links

Living people
1942 births
Sportspeople from Covington, Kentucky
NASCAR team owners
Corporate executives in the automobile industry
Survivors of aviation accidents or incidents
Berea College alumni
International Motorsports Hall of Fame inductees
People from Manchester, Ohio
NASCAR Hall of Fame inductees

Jack Roush


1 is the Japanese debut studio album by the South Korean boy band B1A4. It was released on October 24, 2012 in three different editions.

Background
The album was announced by the group's Korean agency, WM Entertainment, with details of the album release and along with a release of the group's first DVD B1A4 History 2011-2012 in Japan. The album was released in three different editions: a CD+DVD, including the CD and a DVD including the music videos of "Beautiful Target" and "Oyasumi Good Night", as well its making-of videos, a CD+Goods, including the CD and a special member figure (one out of five different types) and a regular edition, including the CD itself and a special trading card (one out of five different types). All editions came with a special lottery ticket to a Premium Event of their first Japanese album.

Composition
The album is composed of ten songs: two singles, five new songs, and three Japanese versions of songs previously recorded in Korean. The tracks "O.K", "Only One" and "Waruikoto Bakari Manande" were originally recorded in Korean and released on the group's debut mini album Let's Fly.

Singles
Two songs from the album were released as singles:

The first single from the album is a Japanese version of "Beautiful Target". It was released on June 27, 2012 as the group's Japanese debut single. The original version of the song, recorded in Korean, was released on the group's second mini album It B1A4. It peaked number 4 on Oricon's Weekly chart with around 38,000 copies sold to date.

The second and final single from the album is a Japanese version of "Baby Good Night", retitled in Japanese to "Oyasumi Good Night". It was released on August 29, 2012  and peaked number 4 in Oricon's Weekly chart with around 39,000 copies sold to date. The original version of the song, recorded in Korean, was released on the special version of the group's first Korean album, Ignition.

Track listing

Charts

Oricon

Release history

References

2012 albums
Japanese-language albums
Pony Canyon albums
B1A4 albums

1 (B1A4 album)


The Ziegfeld Follies were a series of elaborate theatrical revue productions on Broadway in New York City from 1907 to 1931, with renewals in 1934, 1936, 1943, and 1957. They became a radio program in 1932 and 1936 as The Ziegfeld Follies of the Air.

Founding and history

Inspired by the Folies Bergère of Paris, the Ziegfeld Follies were conceived and mounted by Florenz Ziegfeld Jr., reportedly at the suggestion of his then-wife, the actress and singer Anna Held. The shows' producers were turn-of-the-twentieth-century producing titans Klaw and Erlanger.

The Follies were a series of lavish revues, something between later Broadway shows and the more elaborate high class vaudeville and variety show. The first follies, The Follies of 1907, was produced that year at the Jardin de Paris roof theatre.

During the Follies era, many of the top entertainers, including W. C. Fields, Eddie Cantor, Josephine Baker, Fanny Brice, Ann Pennington, Bert Williams, Eva Tanguay, Bob Hope, Will Rogers, Ruth Etting, Ray Bolger, Helen Morgan, Louise Brooks, Marilyn Miller, Ed Wynn, Gilda Gray, Nora Bayes and Sophie Tucker appeared in the shows.

The Ziegfeld Follies were also famous for their display of many beautiful chorus girls, commonly known as Ziegfeld Girls, who "paraded up and down flights of stairs as anything from birds to battleships." They usually wore elaborate costumes by designers such as Erté, Lady Duff-Gordon and Ben Ali Haggin. The "tableaux vivants" used in the revues were designed by Ben Ali Haggin from 1917 to 1925. Joseph Urban was the scenic designer for the Follies shows, starting in 1915, and Edward Royce directed the Follies in 1920 and 1920, in addition to several other Ziegfeld productions.

After Ziegfeld's death his widow, actress Billie Burke, authorized use of his name for Ziegfeld Follies in 1934 and 1936 to Jake Shubert, who then produced the Follies.  The name was later used by other promoters in New York City, Philadelphia, and again on Broadway, with less connection to the original Follies. These later efforts failed miserably. When the show toured, the 1934 edition was recorded in its entirety, from the overture to play-out music, on a series of 78 rpm discs, which were edited by the record producer David Cunard to form an album of the highlights of the production and which was released as a CD in 1997.

Films based on the Ziegfeld Follies

In 1937, at the 9th Academy Awards, the Metro-Goldwyn-Mayer film, The Great Ziegfeld produced the previous year won the Best Picture (called "Outstanding Production"), starring William Powell as Florenz Ziegfeld, Jr. and co-starring Myrna Loy (as Ziegfeld's second wife Billie Burke), Luise Rainer (as Anna Held, which won her an Academy Award for Best Actress), and Frank Morgan as Jack Billings. Featuring numbers by Ray Bolger, Dennis Morgan, Virginia Bruce, and Harriet Hoctor, the film gave a glimpse into what the Follies were really like. The show-stopper was the Irving Berlin-composed "A Pretty Girl Is Like a Melody", which, by itself, cost more to produce than one of Ziegfeld's entire stage shows.

In 1941 MGM released Ziegfeld Girl, starring Judy Garland, Lana Turner, Hedy Lamarr, James Stewart and Tony Martin. The film was set in the 1920s. Celebrated numbers from Ziegfeld Revues were recreated, including the famed "Wedding Cake" set which had been used for Metro's earlier film, The Great Ziegfeld. Judy Garland was filmed on the top of the cake. Charles Winninger, who had performed in the Follies of 1920, appeared as "Ed Gallagher"  with Gallagher's real-life partner, Al Shean to recreate the duo's famous song "Mister Gallagher and Mister Shean". According to modern sources, Turner's character was modeled after Ziegfeld Girl Lillian Lorraine, who suffered a drunken fall into the orchestra pit during an extravagant number.

In 1946 MGM released a third feature film based on Ziegfeld's shows titled Ziegfeld Follies with Fred Astaire, Judy Garland, Lena Horne, William Powell (as Ziegfeld), Gene Kelly, Fanny Brice, Red Skelton, Esther Williams, Cyd Charisse, Lucille Ball, Kathryn Grayson, and others performing songs and sketches similar to those from the original Follies. Ziegfeld Follies was awarded the "Grand Prix de la Comedie Musicale" at the Cannes Film Festival in 1947, and received an Academy Award nomination for Best Art Direction-Set Decoration (black and white).

The stage musical Funny Girl depicts Fanny Brice's success with the Follies. The musical debuted on Broadway in 1964 with Barbara Streisand playing Brice, Roger DeKoven as Florenz Ziegfeld Jr. and Brice's son-in-law Ray Stark producing. The 1968 Columbia Pictures film adaptation featuring Streisand reprising her role as Brice and Walter Pidgeon as Ziegfeld was the year's top-grossing movie. A subsequent Broadway revival in 2022 and 2023 featured Beanie Feldstein and later Lea Michele as Brice and Peter Francis James as Ziegfeld.

The Follies

Follies of 1907, 1908, 1909, 1910 at the Jardin de Paris
Ziegfeld Follies of 1911 at the Jardin de Paris
Ziegfeld Follies of 1912 at the Moulin Rouge
Ziegfeld Follies of 1913, 1914, 1915, 1916, 1917, 1918, 1919, 1920 at the New Amsterdam Theatre
Ziegfeld Follies of 1921 at the Globe Theatre
Ziegfeld Follies of 1922, 1923, 1924, 1925, 1927 at the New Amsterdam Theatre
Ziegfeld Follies of 1931 at the Ziegfeld Theatre
Ziegfeld Follies of 1934 at the Winter Garden Theatre
Ziegfeld Follies of 1936 at the Winter Garden Theatre
Ziegfeld Follies of 1943
 Winter Garden Theatre (April 1, 1943 - January 25, 1944)
 Imperial Theatre (January 25, 1944 - July 22, 1944)
Ziegfeld Follies of 1957 at the Winter Garden Theatre

List of performers by year

1907
Nora Bayes (joined the cast later in run)
Helen Broderick
Emma Carus
Mlle. Dazie
Grace La Rue
Edna Luby
Harry Watson Jr.

1908
Nora Bayes
Mlle. Dazie
Grace La Rue
Harry Watson Jr.
The Ziegfeld Girls (including Mae Murray)
Marjorie Bonner

1909
Nora Bayes
Bessie Clayton
Lillian Lorraine
Jack Norworth
Sophie Tucker
Maurice Hegeman
The Ziegfeld Girls

1910
Fanny Brice
Anna Held (in a filmed sequence)
Lillian Lorraine
Bert Williams
Maurice Hegeman
The Ziegfeld Girls
Bobby North

1911
Fanny Brice
Bert Williams
The Dolly Sisters
Leon Errol
Lillian Lorraine
Vera Maxwell
Bessie McCoy
Bert Williams
The Ziegfeld Girls (including Jeanne Eagels)

1912
Bernard Granville
Leon Errol
Lillian Lorraine
Josie Sadler
Rae Samuels
Harry Watson Jr.
Bert Williams
The Ziegfeld Girls

1913
Elizabeth Brice
Leon Errol
Jose Collins
Ann Pennington
Frank Tinney
Nat M. Wills
The Ziegfeld Girls

1914
Leon Errol
Annette Kellermann
Vera Maxwell
Vera Michelena
Ann Pennington
Bert Williams
Ed Wynn
The Ziegfeld Girls

1915
Bernard Granville
Ina Claire
Leon Errol
W. C. Fields
Justine Johnstone
Mae Murray
Ann Pennington
Ed Wynn
Bert Williams
The Ziegfeld Girls (including Helen Barnes, Marion Davies, Odette Myrtil and Olive Thomas)

1916
Fanny Brice
Ina Claire
W. C. Fields
Allyn King
Bird Millman
Ann Pennington
Will Rogers
Bert Williams
Marion Davies
Bernard Granville
The Ziegfeld Girls (including Irene Hayes, Julanne Johnston and Lilyan Tashman)

1917
Diana Allen
Elvira Amazar
Fanny Brice
Eddie Cantor
Dolores
The Fairbanks Twins
Allyn King
William E. Ritchie
Will Rogers
Lilyan Tashman
Bert Williams
The Ziegfeld Girls (including Peggy Hopkins Joyce)

1918
Jay Brennan
Eddie Cantor
Frank Carter
The Fairbanks Twins
W. C. Fields
Joe Frisco
Pauline Hall
Kay Laurell
Lillian Lorraine
Allyn King
Marilyn Miller
Ann Pennington
Bert Savoy
The Ziegfeld Girls (including Doris Eaton, Martha Mansfield and Nita Naldi)

1919
Eddie Cantor
DeLyle Alda
Johnny and Ray Dooley
Eddie Dowling
The Fairbanks Twins
Margaret Fitzgerald
Allyn King
Bette Morton
Marilyn Miller
Van and Schenck
John Steel
Bert Williams
The Ziegfeld Girls (including Billie Dove and Mary Hay)

1920
Fanny Brice
DeLyle Alda
Eddie Cantor
Jack Donahue
Ray Dooley
Mary Eaton
W. C. Fields
Bernard Granville
Art Hickman's Orchestra
Allyn King
Moran and Mack
Van and Schenck
Charles Winninger
The Ziegfeld Girls (including Juliette Compton and Dorothy Mackaill)

1921
Fanny Brice
Mary Eaton
W. C. Fields
Raymond Hitchcock
Vera Michelena
Van and Schenck
The Ziegfeld Girls (including Anastasia Reilly and Mary Nolan)
Germaine Mitti and Eugene Tillio

1922
Mary Eaton
Gallagher and Shean
Gilda Gray
Nervo and Knox
Olsen and Johnson
Will Rogers
Jack Whiting
The Ziegfeld Girls (including Barbara Stanwyck and Geneva Mitchell)

1923
Fanny Brice
James J. Corbett
Ann Pennington
Bert & Betty Wheeler
Paul Whiteman
The Ziegfeld Girls (including Lina Basquette and Dolores Costello)

1924–25
Billie Burke
Ray Dooley (joined the cast later in run)
W. C. Fields (joined the cast later in run)
Lupino Lane
Ann Pennington
Will Rogers
Vivienne Segal
Ethel Shutta
Frank Tinney
Dorothy Wegman
Blanche Satchel
Bertha Belmore
The Ziegfeld Girls (including Louise Brooks, Claire Dodd, Peggy Fears and Dorothy Sebastian)

1927
Eddie Cantor
Cliff Edwards
Ruth Etting
Frances Upton
The Brox Sisters
Claire Luce
Dorothy Wegman
The Ziegfeld Girls (including Joan Blondell, Lilian Bond and Paulette Goddard)

1931
Faith Bacon
Buck & Bubbles
Albert Carroll
Dorothy Dell
Pearl E'doire
Ruth Etting
Helen Morgan
Agatha Hoff
Hal Le Roy
Mitzi Mayfair
Ernest McChesney
Jack Pearl
Harry Richman
The Ziegfeld Girls (including Iris Adrian, Virginia Biddle, Jean Howard, Mona Louise Parsons, and Zecil Silvonia)

1934
Eve Arden
Fanny Brice
Robert Cummings
Buddy and Vilma Ebsen
Jane Froman
Patricia Bowman
Agatha Hoff
Willie and Eugene Howard
Everett Marshall
June and Cherry Preisser
The Ziegfeld Girls

1936
Eve Arden
Fanny Brice
Josephine Baker
Judy Canova
Bobby Clark (replacement)
George Church
Cass Daley (replacement)
Harriet Hoctor
Bob Hope
Gypsy Rose Lee (replacement)
The Nicholas Brothers
Gertrude Niesen
June and Cherry Preisser
The Ziegfeld Girls

1943
Bil and Cora Baird
Milton Berle
Eric Blore (replacement)
Jack Carter (replacement)
Jack Cole
Howard Jackson
Ilona Massey
Dean Murphy
Arthur Treacher
Tommy Wonder
The Ziegfeld Girls

1956 (Boston)
Bea Arthur
Tallulah Bankhead
Carol Haney
Julie Newmar
The Ziegfeld Girls

1957
Billy DeWolfe
Harold Lang
Carol Lawrence
Beatrice Lillie
Jane Morgan
The Ziegfeld Girls

Ziegfeld girls and other Ziegfeld performers

Legacy
The 1971 Stephen Sondheim musical Follies takes place at a reunion of showgirls from the Weissman Follies, a fictional revue inspired by the Ziegfeld Follies. In addition to featuring "ghosts" of statuesque showgirls from the heyday of the revues, the musical includes many songs and production numbers that are intended to evoke the types of entertainment typically featured in the Ziegfeld Follies and other revues of the period. Examples include parade of showgirls ("Beautiful Girls"); a torch song ("Losing My Mind"); a baggy pants comic song ("The God-Why-Don't-You-Love-Me Blues"); and a novelty song ("Rain on the Roof"). In The Drowsy Chaperone, the character Victor Feldzieg is the producer of Feldzieg's Follies, a parody of Ziegfeld Follies.

The TV show, Boardwalk Empire, about crime and corruption in 1920s Atlantic City, New Jersey, features a character that is a former Follies dancer, Lucy Danzige, portrayed by Paz de la Huerta.

"Row, Row, Row"
The 1912 version of the Ziegfeld Follies included a song entitled '"Row, Row, Row"', which has been adapted by two football clubs competing with two different sets of rules (codes) as their club song. After the 1945 Rio Carnival, Brazilian composer Lamartine Babo wrote lyrics to "Row, Row, Row" to adapt the song as the Hino do America anthem of the America Football Club in Rio de Janeiro.

In 1962, Australian cabaret singer Jack Malcolmson, who was performing at the Richmond Football Club (Australian rules) Social Club in Richmond, Melbourne, wrote lyrics to adapt the song as the Tigers' club song, We're from Tigerland, at the request of Richmond committee member Alf Barnett. In 2014, Melbourne's Herald Sun ranked We're from Tigerland as the best club song of any Australian Football League team. Versions of the song include a 1972 recording by the Fable Singers, who recorded most AFL club songs, and a 2018 recording including Richmond players Matthew Richardson and Kevin Bartlett. The Oakleigh Youth Football Club, which Malcomson coached for over 400 games, also adapted We're from Tigerland as their club song in 2005.

See also

 Academy of Music/Riviera Theatre
 By the Light of the Silvery Moon
 Encores!
 Esther's Follies
 The Fabulous Palm Springs Follies
 Alfred Cheney Johnston
 The Passing Show
 Joseph Urban
 Ziegfeld Theatre

References

External links

 Ziegfeld on Musicals101.com
 Ziegfeld Follies at Internet Broadway Database

Musicals by Irving Berlin
1907 musicals
Broadway musicals
Dance companies in the United States
Dance in New York City

Ziegfeld Follies


Fish in a Bottle ltd. (or fishinabottle) is a creative digital agency based in Leamington Spa, United Kingdom specialising in browser game development (including casual games and games based viral marketing), website development and social network design and development. The agency was incorporated in 2003 and has worked for clients in television broadcasting, television production, video games publishing, retail and the public sector including the BBC, Channel 4, ITV, Disney, Leapfrog, Ogilvy & Mather, Turner Broadcasting, Nickelodeon, Barclays, Activision, Ubisoft, and Hat Trick Productions.

Notable work
Battle of Britain: 303 Squadron game — A browser based game that tells the story of the 303 Squadron commissioned by Channel 4 in conjunction with a television documentary produced by Darlow Smithson Productions. The game was developed using Adobe Flash and was notable for its high production quality and multiplayer technology.
BBC Blue Peter Keepy Uppy — Produced for BBC Blue Peter to celebrate the 2010 FIFA World Cup. The Adobe Flash browser based game is notable for its motion sensor detection that allows players with a webcam to interact with the game using their bodies rather than a traditional game controller or input device.
DJ Hero 2 Mix 2Gether — A browser based game viral campaign to market the launch of the video game DJ Hero 2 which was developed by FreeStyleGames and published by Activision. The viral game features music from the game and mix creation and challenge modes through social network facebook that are unique to the viral game.
Full English: The Game — A four chapter point and click adventure, Full English: The Game featured an original branching script, artwork and engine and was released in advance of the Full English television series as a pilot episode introducing the show's characters and tone.
IGGY.net — IGGY is an international social network for gifted students. The website facilitates content sharing, debate, and a gamified profile system. It also includes safeguarding and security features due to the nature of the audience.
Peppa Pig: Basketball and The New House — Browser based soft learning games designed for a preschool audience. The games featured the blending of cutscenes and gameplay to make the experience feel like a unique episode of Peppa Pig.
Phineas and Ferb Tower-inator — A browser based physics game in which users can both build their own tower as a part of the story mode, and may attempt to destroy other peoples' towers using a variety of projectiles.

Awards and nominations

References

External links

Video game companies of the United Kingdom
Video game development companies
Video game companies established in 2003
Marketing companies established in 2003
Digital marketing companies of the United Kingdom
Advertising agencies of the United Kingdom
Companies based in Leamington Spa
2003 establishments in England

Fish in a Bottle