The Simpsons (season 2)
The Simpsons' second season aired on the Fox network between October 11, 1990 and July 11, 1991, contained 22 episodes, beginning with "Bart Gets an "F"". Another episode, "Blood Feud", aired during the summer after the official season finale; the executive producers for the second production season were Matt Groening, James L. Brooks, Sam Simon, EPs for the previous season; the DVD box set was released on August 6, 2002 in Region 1, July 8, 2002 in Region 2 and in September, 2002 in Region 4. The episode "Homer vs. Lisa and the 8th Commandment" won the Primetime Emmy Award for Outstanding Animated Program, was nominated in the "Outstanding Sound Mixing for a Comedy Series or a Special" category. "Two Cars in Every Garage and Three Eyes on Every Fish" was the first episode produced for the season, but "Bart Gets an "F"" aired first because Bart was popular at the time and the producers had wanted to premiere with a Bart themed episode. The second season featured a new opening sequence, shortened by fifteen seconds from its original length of 1 minute, 30 seconds.
The opening sequence for the first season showed Bart stealing a "Bus Stop" sign. Starting with this season, there were three versions of the opening: a full 1 minute 15 second long version, a 45-second version and a 25-second version; this gave the show's editors more leeway. The season saw the introduction of several new recurring characters, including Mayor Quimby and Kodos, Maude Flanders and Marty, Dr. Hibbert, Roger Meyers, Jr. Sideshow Mel, Lionel Hutz, Dr. Nick Riviera, Blue Haired Lawyer, Rainier Wolfcastle, Troy McClure, Groundskeeper Willie, Hans Moleman, Professor Frink and Comic Book Guy. Due to the show's success during its abbreviated first season, Fox decided to move The Simpsons from its Sunday night lineup; the move came as the still-fledgling network was adding two additional nights of programming to its lineup, one of, Thursday. Fox placed The Simpsons in the leadoff position of their lineup for their initial Thursday offerings, with the new sitcom Babes and a new Aaron Spelling-produced drama, Beverly Hills 90210, offering competition for the lineups fielded by the other networks including ratings champion NBC.
The Simpsons settled into the 8:00 PM position, which put it in direct competition with the five-time defending #1 show in all of television, The Cosby Show. Many of the producers, including James L. Brooks, were against the move because The Simpsons had been in the top 10 while airing on Sunday and they felt the move would destroy its ratings. All through the summer of 1990, several news outlets published stories about the supposed "Bill vs. Bart" rivalry. At the time, NBC had 208 television stations, while Fox only had 133."Bart Gets an "F"" was the first episode to air against The Cosby Show and averaged an 18.4 Nielsen rating and 29% of the audience. In the weeks ratings, it finished tied for eighth behind The Cosby Show. However, an estimated 33.6 million viewers watched the episode, making it the number one show in terms of actual viewers that week. At the time, it was the most watched episode in the history of Fox; the next week, "Simpson and Delilah" had a 16.2 rating and 25% share while the Cosby Show managed to maintain its 18.5 rating.
However, viewer-wise, The Simpsons won again with 29.9 million viewers. The next week, "Treehouse of Horror" fell in the ratings. Ratings wise, new episodes of The Cosby Show beat The Simpsons every time during the second season and The Simpsons fell out of the top 10."Three Men and a Comic Book" would boast the only victory over The Cosby Show, finishing 23rd in the weekly ratings while a rerun of Cosby finished 26th. At the end of the season, Cosby averaged as the fifth highest rated show on television while The Simpsons was 38th, it would not be until the third season episode "Homer at the Bat" that The Simpsons would beat The Cosby Show in the ratings. The show remained in its Thursday timeslot until the sixth season. On aggregate review website Metacritic, a site which uses a weighted mean score, the season scored a 91/100 based on seven critics, indicating "universal acclaim"; the DVD boxset for season two was released by 20th Century Fox in the United States and Canada on August 6, 2002, eleven years after it had completed broadcast on television.
As well as every episode from the season, the DVD release features bonus material including commentaries for every episode. Bibliography Season 2 at The Simpsons.com Season 2 at the BBC Season 2 at TV.com
Bartholomew JoJo Simpson is a fictional character in the American animated television series The Simpsons and part of the Simpson family. He is voiced by Nancy Cartwright and first appeared on television in The Tracey Ullman Show short "Good Night" on April 19, 1987. Cartoonist Matt Groening created and designed Bart while waiting in the lobby of James L. Brooks' office. Groening had been called to pitch a series of shorts based on his comic strip, Life in Hell, but instead decided to create a new set of characters. While the rest of the characters were named after Groening's family members, Bart's name is an anagram of the word brat. After appearing on The Tracey Ullman Show for three years, the Simpson family received its own series on Fox, which debuted December 17, 1989. At ten years old, Bart is the eldest child and only son of Homer and Marge, the brother of Lisa and Maggie. Bart's most prominent and popular character traits are his mischievousness and disrespect for authority, he has appeared in other media relating to The Simpsons – including video games, The Simpsons Movie, The Simpsons Ride and comic books – and inspired an entire line of merchandise.
In casting, Nancy Cartwright planned to audition for the role of Lisa, while Yeardley Smith tried out for Bart. Smith's voice was too high for a boy. Cartwright found that Lisa was not interesting at the time, so instead auditioned for Bart, which she thought was a better role. Hallmarks of the character include his chalkboard gags in the opening sequence. Who the hell are you?". Although, with the exception of "Ay, caramba!", they have been retired or not used. During the first two seasons of The Simpsons, Bart was the show's breakout character and "Bartmania" ensued, spawning Bart Simpson-themed merchandise touting his rebellious attitude and pride at underachieving, which caused many parents and educators to cast him as a bad role model for children. Around the third season, the series started to focus more on the family as a whole, though Bart still remains a prominent character. Time named Bart one of the 100 most important people of the 20th century, he was named "entertainer of the year" in 1990 by Entertainment Weekly.
Nancy Cartwright has won several awards for voicing Bart, including a Primetime Emmy Award in 1992 and an Annie Award in 1995. In 2000, along with the rest of his family, was awarded a star on the Hollywood Walk of Fame, he has appeared in every Simpsons episode except "Four Great Women and a Manicure". The Simpsons uses a floating timeline in which the characters do not age or age little, as such, the show is always assumed to be set in the current year. In several episodes, events have been linked to specific times, though sometimes this timeline has been contradicted in subsequent episodes. Bart's year of birth was stated in "I Married Marge" as being in the early 1980s. In "Simpsorama" Bart states his birthday as February 23, he lived with his parents in the Lower East Side of Springfield until the Simpsons bought their first house. When Lisa was born, Bart was at first jealous of the attention she received, but he soon warmed to her when he discovered that "Bart" was her first word. Bart's first day of school was in the early 1990s.
His initial enthusiasm was crushed by an uncaring teacher and Marge became worried that something was wrong with Bart. One day during recess, Bart met Milhouse and started entertaining him and other students with various gestures and rude words. Principal Skinner told him "you've just started school, the path you choose now may be the one you follow for the rest of your life! Now, what do you say?" In his moment of truth, Bart responded, "eat my shorts". The episode "That'90s Show" contradicted much of the backstory's time frame. Bart's hobbies include skateboarding, watching television, reading comic books, playing video games and causing mischief, his favorite movies are the Star Wars Trilogy. For the duration of the series, Bart has attended Springfield Elementary School and has been in Edna Krabappel's fourth grade class. While he is too young to hold a full-time job, he has had occasional part-time jobs, he works as a bartender at Fat Tony's social club in "Bart the Murderer". Matt Groening first conceived of Bart and the rest of the Simpson family in 1986, while waiting in the lobby of producer James L. Brooks' office.
Groening had been called in to pitch a series of animated shorts for The Tracey Ullman Show, had intended to present an adaptation of his Life in Hell comic strip. When he realized that animating Life in Hell would require him to rescind publication rights, Groening decided to go in another direction, he hurriedly sketched out his version of a dysfunctional family, naming the characters after members of his own family. For the rebellious son, he substituted "Bart", an anagram of the word brat, for his own name, as he decided it would have been too obvious for him to have named the character'Matt'. Bart's middle initial J is a "tribute" to animated characters such as Bullwinkle J. Moose and Rocket J. Squirrel from The Rocky and Bullwinkle Show, who received their mid
A patchwork quilt is a quilt in which the top layer may consist of pieces of fabric sewn together to form a design. This was to make full use of left-over scraps of fabric, but now fabric is bought specially for a specific design. Fabrics are now sold in quarter meters. A "fat quarter" is one square meter folded into four and cut along the folds, thus giving a square piece of fabric 50 cm on a side, as opposed to buying a quarter of a meter off the roll, resulting in a long thin piece, only 25 cm wide. Designs can be formal or imaginative. Patchwork blocks were created individually, accumulated over time, by use of scrap and salvaged material. Geometric designs were the most efficient way to aggregate fabric into useful units. Applique, where a piece of fabric is layered on top of the a base or "ground" fabric and the cut edges are folded under and sewn down, is not limited to simple geometric designs. Early uses of applique in the United States included efforts to expand the effect of expensive, imported European fabrics in early America.
The dense printed patterns were cut out, spread apart on a background of plain fabric, allowing the effect of the rare fabric to spread further. Broderie perse is a related technique, where selections of printed fabric are cut out, sewn in place to produce the effect of a custom printed cloth. Reverse appliqué involves cutting the ground fabric, placing another fabric beneath the opening; the raw, cut edges are folded under, sewn onto the smaller piece of fabric below, creating a new design. Additional design options are provided by quilting techniques; these include: trapunto and stipple quilting. Another, more casual option is to "tie" the quilt. Heavy thread or yarn is used to tie all three layers together at points across the surface of the quilt; the quilt is formed of three layers: the patchwork quilt top, a layer of insulation wadding, a layer of backing material. These three layers are by hand or machine; the quilting can either outline the patchwork motifs, or be a independent design, for when quilting, the design may not follow the patchwork design, the design of the quilting may play off the patchwork design.
Outline quilting is. Though quilting has a long history more than five millennia, takes various forms in many cultures, the block-style patchwork quilt became a "distinct expression" of nineteenth-century America, evolving into a representative folk art of interest to scholars, still produced today. Eighteenth-century patchwork "was a ladies’ leisure pursuit" in both Europe and North America, with the earliest surviving specimens from Wiltshire in 1718 and Quebec in 1726 made of silk; the lack of information about earlier quilts made of humbler fabric, is attributed to such quilts being "intimately connected to everyday life" of the Dutch and English settlers in the New World. As a heritage object with distinctive patterns, the patchwork quilt has come to be associated with Canada and the United States. A twenty-first-century offshoot is the barn quilt. Quilting was a popular early American pastime, first in the Midwest, where quilting circles were a common social pastime for women, on the Great Plains from 1825 to 1875, where quilting bees, when many women gathered around a quilting frame and quilted, became important social occasions.
Such affairs might last overnight and sometimes took on political significance, such as during the movement for abolition. Annual town fairs included a quilting prize to award excellence in quilting. Handmade quilts were a common wedding gift for young couples, were mentioned in wills due to their sentimental significance, it was not uncommon, in early American culture, for quilts to reflect a mosaic of a woman's life including swatches of material from memorable events such as pieces of a wedding gown or a child's baptismal garment. The Amish people are famous for their geometric patchwork designs made with solid color fabrics, with independent patterns and quilting; the Amish and Mennonite women of the Pennsylvania Dutch country have been creating exquisite quilted masterpieces since the mid-19th century. Amish quilts are an expression of frugality, they not only serve as a form of entertainment as well. In 1987 in San Francisco, the Names Project commenced as a memorial to the lives of people who died from AIDS and related diseases with quilt panels made by loved ones.
Known as the AIDS Quilt, it grew to comprise many thousands of panels, spawned similar projects in countries around the globe. In years, other subject- and event-specific community-based quilts have been created; this non-traditional method of quilting uses small blocks of color to achieve the look of a watercolor painting where there is no fixed pattern. Fabrics are chosen for their tone. History of quilting Quilting Patchwork Quilt trail Quilt art Ferrero, Elaine Hedges, Julie Silber. Hearts and Hands: The Influence of Women & Quilts on American Society. Rutledge Hill Press, Tennessee, 1
The Simpsons opening sequence
The opening sequence of the American animated television series The Simpsons is among the most popular opening sequences in television and is accompanied by one of television's most recognizable theme songs. The first episode to use this intro was the series' second episode "Bart the Genius"; the standard opening has had two major revisions. The first was at the start of the second season when the entire sequence was reanimated to improve the quality and certain shots were changed to add characters, established in the first season; the second was a brand-new opening sequence produced in high-definition for the show's transition to that format beginning with "Take My Life, Please" in season 20. The new opening followed the sequence of the original opening with improved graphics more characters, new jokes; this sequence opens with the show's title in yellow approaching the camera through misty cumulus clouds in a dark blue sky. The shot cuts through the counter in the letter "P" to an establishing shot of the town of Springfield.
The camera zooms in through the town and through a window of a lavender Springfield Elementary, where Bart is writing lines on the class chalkboard as a punishment. When the school bell rings, Bart leaves in a hurry and skateboards out of the school doors; the shot cuts to Homer working at the Springfield Nuclear Power Plant wearing a safety mask while handling a glowing green rod of uranium with tongs. An unknown co-worker in the background eats a sandwich with a pair of tongs; the end-of-shift whistle blows, Homer takes off his mask and drops the tongs to leave work. As he does so, the uranium rod falls down the back of his radiation suit; the next shot shows Maggie checking out at a supermarket. Maggie, sitting on the conveyor belt, is inadvertently scanned along with the groceries as Marge reads a magazine. Maggie is bagged. Marge frantically looks around for Maggie as the bag is dropped into her shopping cart breathes a sigh of relief when she pops up from the bag. Lisa is shown next at band practice.
The opening theme coordinates with this shot, is orchestrated as if it were played by the school band. Mr. Largo stops the rest of the band to order Lisa out of the rehearsal for her unorthodox saxophone playing, she continues to improvise on her way out of the room. Shots of the family on their way home to 742 Evergreen Terrace are shown; as Homer drives through Springfield, he fumbles behind his neck, pulls the uranium rod out of his shirt collar, throws it out the car window. As it bounces off the curb near Moe's Tavern, Bart skateboards past, noticing a bank of televisions in a store window he passes showing Krusty the Clown; the five unknown unnamed characters waiting at the stop chase after a bus that fails to stop for them. As soon as Bart crosses the road, a car drives past and Maggie is seen inside at the steering wheel; the camera alternates between close-ups of her jerking the wheel back and forth and the car veering wildly zooms out to reveal that her wheel is only a toy. Marge is driving the car, Maggie imitates her horn-honking.
Lisa rides her bicycle down the street, her books and saxophone case strapped into the front basket and the back of her seat, respectively. Lisa is the first to arrive at home as the garage door opens, jumping off her bike with her things, letting it roll into the garage, running for the front door. Homer pulls into the driveway and parks, after which Bart bounces his skateboard off the car roof and follows Lisa toward the door; when Homer steps out of the car, he screams at the sight of Marge's car approaching and runs into the garage. The family members enter the living room from different directions, creating a segue into the couch gag and the executive producer credits, shown on the television screen. Notably in "Bart the Genius", the famous high-pitched scream of Homer's when he runs from Marge's car into the house is cut; the scream is added in the third episode, "Homer's Odyssey". The TV version of this opening has the caption "In Stereo Where Available". For the second season, the original opening was reanimated.
Most shots were closely copied appearing to be traced. The coloring was changed on most shots, the characters and animation cleaned up; some scenes were replaced or modified: In Bart's chalkboard gag, the school is now orange with purple accents instead of lavender. In Homer's first shot at the power plant, Mr. Burns and Smithers study certain plans in the background in place of the unknown co-worker; when the end-of-shift whistle blows, Mr. Burns checks his wristwatch to see; when Bart skateboards down the sidewalk, the scenery is different, the bank of televisions is changed and shorter, Bart no longer notices them. Instead, he weaves in between a series of secondary characters; this segment is notably shorter than the original bus-stop segment. Lisa's bike ride is cut, instead, upon Marge and Maggie honking their horns, there is a "whip-pan" across the town, featuring a significant number of secondary characters, towards the Simpsons' house. Homer reaches the house first instead of Lisa, Bart bounces his skateboard off the car and rolls toward the front door.
Homer leaves his car and has to dodge Lisa as she pedals up the driveway, followi
Alfred Ernest Jean III is an American screenwriter and producer. Jean is well known for his work on The Simpsons, he was born and raised near Detroit and graduated from Harvard University in 1981. Jean began his writing career in the 1980s with fellow Harvard alum Mike Reiss. Together, they worked as writers and producers on television shows such as The Tonight Show Starring Johnny Carson, ALF and It's Garry Shandling's Show. Jean was offered a job as a writer on the animated sitcom The Simpsons in 1989, alongside Reiss, together they became the first members of the original writing staff of the show, they served as showrunners during the show's third and fourth seasons, though they left The Simpsons after season four to create The Critic, an animated show about film critic Jay Sherman. It was first broadcast on ABC in January 1994 and was well received by critics, but did not catch on with viewers and only lasted for two seasons. In 1994, Jean and Reiss signed a three-year deal with The Walt Disney Company to produce other television shows for ABC, the duo created and executive-produced Teen Angel, canceled in its first season.
Jean returned full-time to The Simpsons during the tenth season. He became showrunner again with the start of the thirteenth season in 2001, without Reiss, has held that position since. Jean was one of the writers and producers who worked on The Simpsons Movie, a feature-length film based on the series, released in 2007. Al Jean was born Alfred Ernest Jean III on January 9, 1961, he was born and raised in Farmington Hills, graduated from Farmington Hills Harrison High School, is of Irish ancestry. Jean arrived at Harvard University when he was sixteen years old and graduated in 1981 with a bachelor's degree in mathematics. Daryl Libow, one of Jean's freshman roommates, said he was a "math whiz" when he arrived at Harvard but "soon blossomed and found his comedic feet." In Holworthy Hall at Harvard, Jean met fellow freshman Mike Reiss. Jeff Martin, another writer for the Lampoon, said "they loomed large around the magazine, they were funny guys and unusually polished comedy writers for that age.
We were never surprised that they went on to success." Jean has stated that the duo spent most of their time at the Lampoon, adding that "it was my second dorm room." He became vice-president of the publication. Jean lives in Los Angeles, California with his wife, television writer Stephanie Gillis; the two were wed in Enniskerry, Ireland in 2002. Jean has two daughters; the humor magazine National Lampoon hired Jean and Reiss after they graduated in 1981. During the 1980s, the duo began collaborating on various television material. During this period they worked as writers and producers on television shows such as The Tonight Show Starring Johnny Carson, ALF, Sledge Hammer! and It's Garry Shandling's Show. In 1989, Jean was offered a job as a writer on the animated sitcom The Simpsons, a show created by Matt Groening, James L. Brooks, Sam Simon that continues to air today. Many of Jean's friends were not interested in working on The Simpsons because it was a cartoon and they did not think it would last long.
Jean, was a fan of the work of Groening and Simon, therefore took the job together with Reiss. The duo became the first members of the original writing staff of The Simpsons and worked on the thirteen episodes of the show's first season. While watching the first episode of the show, "Simpsons Roasting on an Open Fire", premiering on television in December 1989, Jean opined to himself that the series was the greatest project he had been involved with and desired to continue working on it for the rest of his professional career. What he enjoyed most about The Simpsons at the time was something he recognized from Brooks' previous work: although the show was based on humor, it had depth and warmth. Although Jean has been credited as the sole writer of several episodes of the show, he considers the process to be collaborative: "the principal writer has, at most, written 40% of the script. It's a real team effort." The person, credited as the writer in the episode's opening credits is the person that came up with the idea for the episode and wrote the first draft if he or she only contributed to a small part of the final script.
Jean has stated. She is the character he relates to the most because of their similar childhoods and the fact that he has a daughter. Jean became show runner of The Simpsons at the start of the third season together with Reiss. A show runner has the ultimate responsibility of all the processes that an episode goes through before completion, including the writing, the animation, the voice acting, the music; when Jean began his tenure as show runner, the only thing he thought to himself every day was "Don't blow it and screw up this thing everyone loves." The first episode Jean and Reiss ran was "Mr. Lisa Goes to Washington", they felt a lot of pressure on them to make it good, they were so pressured that they did six to seven rewrites of the script in order to improve its humor. Jean said. It's not good enough.'" Reiss added that "we were scared. We had never run anything before, they dumped us on this."Jean and Reiss served as show runners until the end of the fourth season in 1993. Since the show had established itself in the first two seasons, they were able to give it more depth during their tenur
Wild West shows
Wild West shows were traveling vaudeville performances in the United States and Europe that existed around 1870–1920. The shows began as theatrical stage productions and evolved into open-air shows that depicted romanticized stereotypes of cowboys, Plains Indians, army scouts and wild animals that existed in the American West. While some of the storylines and characters were based on true events, others were fictional or sensationalized. Native Americans in particular were portrayed in a exploitative manner; the shows introduced many western performers and personalities, romanticized the American frontier, to a wide audience. In the 19th century, following the American Civil War and inexpensive dime novels depicting the American West and frontier life were becoming common. In 1869, author Ned Buntline wrote a novel about the buffalo hunter, U. S. Army scout and guide William F. Buffalo Bill Cody called Buffalo Bill, the King of Border Men after the two met on a train from California to Nebraska.
In December 1872, Buntline's novel turned into a theatrical production when The Scouts of the Prairie debuted in Chicago. The show featured Buntline, Texas Jack Omohundro, the Italian-born ballerina Giuseppina Morlacchi and toured the American theater circuit for two years. Buntline left the show and in 1874 Cody founded the Buffalo Bill Combination, in which he performed for part of the year, while scouting on the prairies the rest of the year. Wild Bill Hickok joined the group to headline in a new play called Scouts of the Plains. Hickok did not enjoy acting and was released from the group after one show when he shot out a spotlight that focused on him. Texas Jack parted ways with Cody, in 1877 and formed his own acting troupe in St. Louis, known as the'Texas Jack Combination' and in May of that year he debuted Texas Jack in the Black Hills. Other plays the combination performed included The Trappers Life on the Border. In 1883, Cody founded an outdoor attraction that toured annually; the new show contained a lot of action including wild animals, trick performances, theatrical reenactments, all sorts of characters from the frontier were all incorporated into the show's program.
Shooting exhibitions were in the line up with extensive shooting displays and trick shots. Rodeo events, involving dangerous activities performed by cowboys with different animals, it was the first and prototypical Wild West show lasting until 1915 and featured theatrical reenactments of battle scenes, characteristic western scenes, hunts. In 1883, Buffalo Bill's Wild West was founded in North Platte, Nebraska when Buffalo Bill Cody turned his real life adventure into the first outdoor western show; the show's publicist Arizona John Burke employed innovating techniques at the time, such as celebrity endorsements, press kits, publicity stunts, op-ed articles and product licensing, that contributed to the success and popularity of the show. Buffalo Bill's Wild West toured Europe eight times, the first four tours between 1887 and 1892, the last four from 1902 to 1906; the first tour was in 1887 as part of the American Exhibition, which coincided with the Golden Jubilee of Queen Victoria. The Prince of Wales King Edward VII, requested a private preview of the Wild West performance.
The Queen enjoyed the show and meeting the performers, setting the stage for another command performance on June 20, 1887, for her Jubilee guests. Royalty from all over Europe attended, including the future Kaiser Wilhelm II and the future King George V. Buffalo Bill's Wild West closed its successful London run in October 1887 after more than 300 performances, with more than 2.5 million tickets sold. The tour made stops in Birmingham and Manchester before returning to the United States in May 1888 for a short summer tour. In 1893, Cody changed the title to Buffalo Bill's Wild West and Congress of Rough Riders of the World and the show performed at the Chicago World's Fair to a crowd of 18,000; this performance was a huge contributor to the show's popularity. The show never again did as well; that same year at the Fair, Frederick Turner, a young Wisconsin scholar, gave a speech that pronounced the first stage of American history over. "The frontier has gone", he declared. Buffalo Bill's Wild West returned to Europe in December 1902 with a fourteen-week run in London, capped by a visit from King Edward VII and the future King George V.
The Wild West traveled throughout Great Britain in a tour in 1902 and 1903 and a tour in 1904, performing in nearly every city large enough to support it. The 1905 tour began in April with a two-month run in Paris, after which the show traveled around France, performing one-night stands, concluding in December; the final tour, in 1906, began in France on March 4 and moved to Italy for two months. The show traveled east, performing in Austria, the Balkans, Hungary and the Ukraine, before returning west to tour in Poland, Bohemia and Belgium. By 1894 the harsh economy made it hard to afford tickets, it did not help that the show was routed to go through the South in a year when the cotton was flooded and there was a general depression in the area. Buffalo Bill was on the brink of a financial disaster. Soon after, in an attempt of recovery of monetary balance, Buffalo Bill signed a contract in which he was tricked by Bonfil and Temmen into selling them the show and demoting himself to a mere employee and attraction of the Sells-Floto Circus.
From this point, the show began to destroy itself. In 1913 the show was declared bankrupt; the shows consisted of reenactments of history comb
Tracey Ullman is an English-born actress, singer, screenwriter, director and businesswoman who holds dual British and American citizenship. Her earliest appearances were on British television sketch comedy shows A Kick Up the Eighties and Three of a Kind. After a brief singing career, she appeared as Candice Valentine in Girls on Top with Dawn French and Jennifer Saunders, she emigrated from the United Kingdom to the United States where she starred in her own network television comedy series, The Tracey Ullman Show, from 1987 until 1990, which featured the first appearances of the long-running animated media franchise, The Simpsons. She produced programmes for HBO, including Tracey Takes On... for which she garnered numerous awards. Her sketch comedy series, Tracey Ullman's State of the Union, ran from 2008 to 2010 on Showtime, she has appeared in several feature films. Ullman was the first British woman to be offered her own television sketch show in both the United Kingdom and the United States.
In 2016, she returned to British television with the BBC sketch comedy show Tracey Ullman's Show, her first project for the broadcaster in over thirty years. Ullman is the richest British actress and female comedian and the third richest British comedian overall. Tracey Ullman was born Trace Ullman in Slough, the younger of two daughters, to Dorin and Antony John Ullman, her mother was British, with Roma ancestry, her father was a Roman Catholic Pole. On the subject of the spelling of her name: "My real name is Trace Ullman, but I added the'y.' My mother said it was spelled the American way, but I don't think she can spell! I always wanted a middle name. My mum used to tell me it was Mary but I never believed her. I looked on my birth certificate and I didn't have one, just Trace Ullman."Antony Ullman served in the Polish Army and was evacuated from Dunkirk in 1940. He subsequently worked as a solicitor, a furniture salesman, a travel agent, he brokered marriages and translated among the émigré Polish community.
Dorin encouraged her to perform. In an interview with Fresh Air host Terry Gross, Ullman revealed that when she was six, her father, recovering from a heart operation, died of a heart attack in front of her while the two were alone and as he was reading to her, he was fifty years old. "When that happens to you as a child, you can face anything. You're always waiting for the other shoe to drop. If something great happens, you're like,'Wow, that's great that happened, because it could have been crap'; the most disappointing thing happened when you were younger You're just braver and if good things happen you're grateful."Ullman, living an upper-middle class life, was uprooted to Hackbridge, southwest London, along with her older sister Patti and her mother, who could now make ends meet without their father's income. "After died, our fortunes came and went because Mum couldn’t speak Polish and had to give up the business. When I meet other girls who lost their fathers when they were young, I relate to them.
You become independent quickly. Mother Dorin would go on to take a host of odd jobs. "My mother was always doing strange things like driving parts around for a garage, all covered in oil and paid 10 pounds a week. But she was funny, our defence against hardship was having a great sense of humour." On a separate occasion, on the subject of her mother's jobs, Ullman recalled: " worked in a laboratory, testing food, would bring home samples for our dinner. Sometimes she'd have to report that formula X had been found unfit for human consumption." One of her mother's jobs enabled her to indulge in her penchant for observing people. "My mum used to work in a mental institution in London when I was a kid, I used to go there on Sundays, I used to love studying the people there." Contrary to the truth, her mother maintained that their family was still middle-class in the absence of their father. "My mother always insisted on middle-class. We're lower-middle."Ullman credits her sense of humour to a feeling of both classlessness as well as her mother's working class roots.
"It comes from being classless, I think. My father was Polish and he died when I was six, and from being a little girl who went to gymkhana and had ponies, went to a private school, lived in a big house we didn’t have any money any more and had to go to a state school. And my mother’s family is all from South London, we have a lot of uncles and friends over there, and when my father died they were supportive, they used to come down for the weekend - all these hordes of South London oiks. They used to invade our big Posh Bucks home and use the swimming pool, ride the ponies, they were so funny these blokes, but I think the man who affected my sense of humour was my uncle Butch, he was called Butch Castle. He was a decorator from South London - lazy old sod. An he’s got the sharpest mind I’ve known, and I wanted to be like him."In the aftermath of their father's death, their mother slipped into a deep depression and spent a lot of time in bed. In an effort to cheer her up, along with her sister and performed a nightly variety show on the windowsill in their mother's bedroom.
“It was the Patti Ullman Show. So I’m a spin-off of my sister’s show, as