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	Busby Berkeley - MSN Encarta
		Busby Berkeley (1895-1976), American stage and motion-picture director and dance choreographer, known for his innovative direction of lavish dance routines for the screen.
		After the war, Berkeley worked as a stage actor in New York City, and by the late 1920s he was known as one of the leading dance directors on Broadway.
		Berkeley then signed a contract with Warner Bros. Pictures, Inc. (see Warner Bros.) in 1933 and went on to achieve great success as both a dance choreographer and a motion-picture director with films that showcased spectacular dance sequences, such as Gold Diggers of 1935 (1935).
	encarta.msn.com /encyclopedia_761582015/Busby_Berkeley.html (387 words)

	Busby Berkeley
		Busby Berkeley accepted, and directed those great numbers like "Shuffle Off To Buffalo", "Young and Healthy" and the grandiose story of urban life, the final "42nd Street".
		Busby Berkeley, as well as, the composer Harry Warren and the lyricist Al Dubin were given a seven years contract.
		Berkeley was dedicated to his mother and she lived with him always.
	golden_age_films.tripod.com /html/berkeley/buzbio.htm (521 words)

	Busby Berkeley at Classic Movie Favorites
		Busby Berkeley, was truly a genius of choreography and design.
		The Professor of the class on American film focused on Busby Berkeley many times and even devoted a whole class just to his musical numbers.
		However, I decided to use them because they were good examples of the Berkeleyesque style and were directly inspired by and owe to his genius and innovative techniques.
	classicmoviefavorites.com /berkeley (293 words)

	Busby Berkeley
		Busby Berkeley was one of the greatest choreographers in the US movie musical.
		Busby Berkeley, as well as the composer Harry Warren and the lyricist Al Dubin got a seven years contract.
		Berkeley came from a theatrical family; he made his own stage debut at the age of five, and after serving in World War 1 returned to acting, then garnered an excellent reputation as a Broadway director before going to Hollywood in 1930 at the behest of producer Samuel Goldwyn.
	www.movietreasures.com /Busby_Berkeley/busby_berkeley.html (1622 words)

	Busby Berkeley - Wikipedia, the free encyclopedia
		Busby Berkeley (November 29, 1895–March 14, 1976), born William Berkeley Enos in Los Angeles, California, was a highly influential Hollywood movie director and musical choreographer.
		Berkeley returned to MGM in the late 1940s, where among many other accomplishments he conceived the gloriously garish Technicolor finales for the studio's Esther Williams films.
		"Busby Berkeley Dreams" is also the title of a song by the band The Magnetic Fields, and it appeared on the third disc of their triple album 69 Love Songs.
	en.wikipedia.org /wiki/Busby_Berkeley (843 words)

	Busby Berkeley St. James Encyclopedia of Pop Culture - Find Articles
		Berkeley's work is characterized by plenty of panning and high overhead shots that sometimes necessitated cutting a hole in the studio ceiling and eventually resulted in his building a monorail for his camera's travels.
		Berkeley was unconcerned with dance as physical expression and preferred to focus his creative efforts on cinematic tricks.
		Berkeley was interviewed extensively during this period, while his films were shown on late-night television and in numerous retrospectives.
	www.findarticles.com /p/articles/mi_g1epc/is_bio/ai_2419200167 (875 words)

	Busby Berkeley Biography at Hollywood.com (Site not responding. Last check: )
		Busby Berkeley is known primarily as an innovative choreographer who freed dance in the cinema from the constraints of theatrical space.
		In Berkeley's musical numbers, the confining proscenium of the stage gives way to the fluid frame of the motion picture image, and dances are choreographed for the ideal, changing point of view of a film spectator, rather than for the static position of a traditional theatergoer.
		Berkeley's greatest achievement was that, in an era dominated by the illusionist style of the classical Hollywood film, he attempted to free the camera from the mere recording of surface reality.
	www.hollywood.com /celebritydetail/Busby_Berkeley/199617 (1103 words)

	Reel.com: Busby Berkeley: Bring On the Dancing Girls
		Berkeley kept the dialogue crisp (and in the pre-Hays Code days, saucy), the pace brisk, and the characters engaging in his movies, until it was time to break away for a musical number that would leave the audience nearly forgetting what the rest of the movie was even about.
		Berkeley's movies often dealt with characters doing whatever they needed to get by (such as Joan Blondell and Glenda Farrell and their gig as process servers in We're in the Money), or with stage productions that were chronically short on money.
		Berkeley's star rose and fell fairly quickly, and by the late '40s his period was about over, but he left an indelible mark on movies, with people to this day falling back on the term "Busby Berkeley-esque" to describe a massive, intricate dance number.
	www.reel.com /reel.asp?node=features/articles/berkeley (1686 words)

	VH1.com : Movies : Person : Busby Berkeley : Biography
		As a choreographer, Berkeley was less concerned with the terpsichorean skill of his chorus girls as he was with their ability to form themselves into attractive geometric patterns.
		Berkeley's popularity with an entertainment-hungry Depression audience was secured in 1933, when he choreographed three musicals back-to-back for Warner Bros.: 42nd Street, Footlight Parade and The Gold Diggers of 1933.
		Berkeley always pooh-poohed any deep significance to his work, arguing that his main professional goals were to constantly top himself and to never repeat his past accomplishments.
	www.vh1.com /movies/person/71800/bio.jhtml (599 words)

	Busby Berkeley Summary
		Berkeley's creative dance settings combined with the outstanding visual effects that he devised for filming resulted in a hit movie that became a film classic and reportedly brought the studio back to financial solvency.
		Berkeley insisted on complete control of camera angles and often constructed scaffolding, drilled holes in ceilings or floors, or rigged mechanical devices such as trams to transport the camera to the appropriate vantage point for filming.
		Busby Berkeley (November 29, 1895–March 14, 1976), born William Berkeley Enos in Los Angeles, California, was a highly influential Hollywood movie director and musical choreographer.
	www.bookrags.com /Busby_Berkeley (3446 words)

	Busby Berkeley - Biography
		Berkeley wanted to direct the dances himself and convinced the producer Samuel Goldwyn to let him try.
		A strange fact is that Busby Berkeley never had a dancing lesson, and in his early days, he was very afraid of people finding out.
		He was named after two people in the Tim Frawley Repetory Company: Amy Busby (a young English soubret who later became prominent on the London stage) and William Gillette who went on to become a Broadway star, performing in a Sherlock Holmes play he had written.
	www.imdb.com /name/nm0000923/bio (1107 words)

	Mindjack Film - The Busby Berkeley Collection
		Berkeley's Warner Brothers films in particular reflected the naughty, baudy, gaudy, sporty spirit of Depression-era America's consciousness like nothing else done in any media during that time.
		Watching all of these films together allows one to notice a glaring fact: as Berkeley's numbers became more lavish and daring over time, the films they supported became that much more formulaic.
		Although this volume repeats the same material from the other discs, a few other numbers Berkeley staged at Warner Bros. are also included (with the notable exception of the lavish but non-p.c.
	www.mindjack.com /film/busby033106.html (747 words)

	Busby Berkeley - Films as director:, Other films:
		Certain aspects of Berkeley's personal history are obvious in their importance to a discussion of his cinematic work, most specifically his World War I service and his work in the theatre.
		Berkeley often used storyboarding to effect his editing-in-the-camera approach, and provided instruction to chorus girls on a flboard, which he used to illustrate the formations they were to achieve.
		Berkeley's ability to inject such visual excitement meant that he was often called upon to rescue a troubled picture by adding one or more extravagantly staged musical numbers.
	www.filmreference.com /Directors-Be-Bu/Berkeley-Busby.html (1654 words)

	deseretnews.com \| New in DVD box set: the fabulous choreography of Busby Berkeley (Site not responding. Last check: )
		Even if you don't know the name Busby Berkeley, you know his choreography — a line or circle of scantily clad women showing off their legs, doing high kicks and dancing in rows and rows that seem to go on forever.
		And Berkeley's most famous film, "42nd Street" —; which established backstage Broadway cliches that are still being used — was turned into a Broadway show in 1980, then revived just four years ago.
		Now five of the original Berkeley pictures, exercises in abstract filmmaking that made him a cinema sensation during the Depression, have finally come to DVD in a box set (or they can be purchased individually, $19.97 each).
	deseretnews.com /dn/view/0,1249,635193894,00.html (579 words)

	USCCB - (Film & Broadcasting) - Busby Berkeley's choreography, imagination celebrated in new DVD set
		With "The Busby Berkeley Collection," four more of those musicals that provided much-needed escapism for Depression-era audiences join the already-issued "42nd Street" in a lavish boxed set tribute to director Berkeley, whose kaleidoscopic production numbers have never been equaled in terms of over-the-top extravagance.
		Black-and-white print quality on all these discs is superb, and the four new-to-DVD titles each include "making-of" featurettes with present-day film historians, and four to six vintage short subjects and cartoons, thematically tied to the film or to the songs from those films.
		Making a welcome appearance on DVD as a bonus is "The Busby Berkeley Disc," originally put out several years ago on laserdisc, with many of the great musical numbers in all their glory without the clunky plots.
	www.usccb.org /movies/newdvdvideo/busbyberkeley.shtml (662 words)

	Texas Public Radio - Cinema Tuesdays Review
		Although "42nd Street" is a pretty standard backstage story of the up-and-comer who becomes a star, the musical sequences are dazzling, especially the topper title number, as the camera swoops around a New York city block where everyone from the barber to the bickering couple upstairs is moving to the music.
		Notably absent from the "Busby Berkeley Collection" is a DVD of the movie "Wonder Bar" from 1934, featuring one of the most astonishingly racist musical numbers ever put on screen, "Goin' to Heaven on a Mule." Just think Al Jolson, flface and large watermelons, and you'll get the picture.
		However, his contribution to them, and to movies, is so great that "The Busby Berkeley Collection" is a fitting tribute to this cinematic pioneer.
	www.tpr.org /articles/2006/04/cinema-busby.html (911 words)

	Busby Berkeley - HighBeam Encyclopedia
		Berkeley, Busby, 1895-1975, American film director and choreographer, b.
		Berkeley became famous for staging elaborate dance numbers in which lines of showgirls performed synchronized movements which, photographed from innovative angles, particularly from above, created kaleidoscopic, often surreal patterns of moving figures.
		Busby, Baker, and the Ballerina: a parade of new releases on DVD.(The Busby Berkeley Collection Footlight Parade)(The Josephine Baker Collection Siren of the Tropics)(Margot)(Video recording review)
	www.encyclopedia.com /doc/1E1-BrklyBusb.html (558 words)

	ArtandCulture Artist: Busby Berkeley (Site not responding. Last check: )
		And Busby delivered: the chorus girls were always beautiful, were often scantily clad (Berkeley had a penchant for sexual titillation), and were mostly unhampered by any real storylines.
		Berkeley found himself in a very different world when he signed with MGM studios in 1939.
		Berkeley remains an archetype of 1930s Hollywood glamour, a symbol of the kind of delicious, bizarre lavishness that Americans have always cherished like a bad habit.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=1337 (709 words)

	DVD Times - The Busby Berkeley Collection (Site not responding. Last check: )
		Berkeley was rarely better than in Gold Diggers of 1933, taking advantage of the better offstage plotting to allow his imagination to run wild whilst setting up his musical numbers.
		Berkeley is, though, on form with Dames, The Girl on the Ironing Board and the spectacular I Only Have Eyes For You in which, over Dick Powell's singing, the chorus girls come together in a giant jigsaw puzzle to form a picture of his girl, Ruby Keeler.
		Busby Berkeley's Kaleidoscopic Eyes (11m49s) uses the stunning I Only Have Eyes For You sequence from Dames to illustrate how Berkeley built up his dance numbers and he changed the audience's perspective, not to confuse but to dazzle them.
	www.dvdtimes.co.uk /content.php?contentid=61179 (3427 words)

	Combustible Celluloid film review - The Busby Berkeley Collection (2006), Lloyd Bacon, James Cagney, Ginger Rogers, dvd ...
		Berkeley (1895-1976) learned how to manipulate large groups of people while serving as a field artillery lieutenant during World War I. He worked on Broadway during the 1920s, creating a trademark with his ability to form packs of dancing girls into geometrical shapes.
		Berkeley could get away with blatant suggestions of sex, but at the same time dehumanize the chorus girls into mere shapes, round faces and wide eyes with oval, kissing mouths.
		Critics complained that Berkeley's numbers had little to do with one another, or in fact, little to do with the plot of the movie in question; it's likely that Berkeley simply came up with the numbers independently of one another and simply used his most recent idea.
	www.combustiblecelluloid.com /classic/busbyberkeley.shtml (902 words)

	Mucho Bravo Busby Berkeley
		Busby was named by my cousin Barbara, who is a dancer, as there really was a Busby Berkeley, and this little Hav Busby can dance, too, on his back feet- his brand new trick of which he is SO proud- and which also gets him LOTS of attention, yessireee!
		Busby gets so many wonderful comments from my many nieces, friends, relatives and all the people he meets, and melts every heart that comes his way with his big eyes and darling face.
		All the tributes to her, and the breeding she and René have done, are here with me, a little ball of beautiful red sable, all curled up, with his little face as close as possible to my feet, just waiting for a signal from Mom that some new adventure is about to begin...
	home.hetnet.nl /~mucho-bravo/Busby.html (908 words)

	TCM Salutes Director/Choreographer Busby Berkeley with a New Documentary
		Busby Berkeley's last name is listed in the Dictionary of American Slang with two meanings: "any elaborate dance number" and "any bevy of beautiful girls." That sums up the appeal of the screen's first great choreographer.
		Berkeley taught the camera to dance at a time when most musical numbers were filmed straight- on, as if the film audience were watching a musical on stage.
		Berkeley's last film credit was for BILLY ROSE'S JUMBO (1962), for which he helped stage musical numbers for Doris Day, and as a consultant for the 1970 Broadway revival of No, No Nanette, which helped spearhead the nostalgia craze of the '70s.
	alt.tcm.turner.com /PRESS_ROOM/9711/berkeley.htm (1161 words)

	Berkeley Daily Planet
		The films of Busby Berkeley are rendered in the popular imagination as naÃ¯ve and silly entertainments from a simpler time, from a bygone era of innocence, frivolity and wholly unsophisticated audiences.
		In the 1930s films of Busby Berkeley the plot is merely a hook on which to hang the director-choreographerâs surreal musical sequencesâ”interludes of imaginative and often highly subversive sexual fantasies.
		Six of Berkeleyâs best-known movies have recently been released in a box set, the Busby Berkeley Collection, and a careful viewing of these early musicals dispels any lingering notions of their innocence.
	www.berkeleydailyplanet.com /article.cfm?issue=04-21-06&storyID=23958 (1419 words)

	MILE HIGH COMICS presents THE BEAT at COMICON.com: Busby Berkeley, second verse (Site not responding. Last check: )
		Several folks wrote to say that the DVD set The Busby Berkeley Collection in imminent -- next week in fact, which is why TMC was playing those movies in the first place.
		I think the reason why so may people wrote to me is that the fans of Busby Berkeley are a little known cult, and it's more of a private thing than something that has 8 trillion websites devoted to it.
		Busby Berkeley, immensely popular in his own time, is dancing in obscurity now, a secret pleasure for those lucky enough to seek him out, and he's a bit less secret now.
	www.comicon.com /thebeat/2006/03/busby_berkeley_second_verse.html (493 words)

	The Busby Berkeley Collection (Footlight Parade / Gold Diggers of 1933 / Dames / Gold Diggers of 1935 / 42nd Street)
		Busby Berkeley was easily the greatest pioneer choreographer in US movie musical history.
		The Busby Berkeley DVD Collection is a 6-disc compilation of five remastered Warner Bros. classics from one of the greatest motion picture choreographers of all time.
		Busby Berkeley's first full-length job of direction (previously he handled only dance numbers) reveals a bitterness and cynicism that never again surfaced in his work.
	www.dvdbeaver.com /film/DVDReviews20/Busby_Berkeley_Collection_DVD_Review.htm (1972 words)

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