b'Crooners (part 2; rescheduled from Oct.)By Karl Middleman Belters, crooners, scat singers and singing cowboys present a portrait of an era in American entertainment history offering great music. Some consider this vocal genre the balm that got us through the Great Depression. Viewing rare footage and tracks of our star crooners, Karl spotlights this intriguing evolution in this second session rescheduled from October. Act Two: Rodgers And HammersteinBy Arnie FinkelLoud Ethel & The Bronze Buckaroo March 12, 2 p.m.(Bradford movie theater)March 6, 2 p.m.(Bradford movie theater)Yul Brynner in Rodgers and Hammersteins The King and I | New York Public Library | Public DomainAs a young singer in Cole Porters Anything Goes, Ethel Merman shilly-shallied between humming andWorking with Larry Hart (see Act One Jan. 9th), Richard Rodgers had written hellraising. Well examine the many sides of thisthe music first. Working with Oscar Hammerstein, this order was reversed. The Broadway belter, revealing there was more to Ethelresult was five landmark Broadway musicals and an Oscar-winning Hollywood than her mouth. Well also sample the extraordinarymovie. In fact, their first collaboration Oklahoma! kicked off the start of the life and music of Herb Jeffries, the last surviving soloistGolden Age of Musicals and was followed by Carousel, South Pacific,of Duke Ellingtons band. Before the band, HerbThe King and I and The Sound of Music among others. Arnie describes how had made his mark as the Bronze Buckaroo in blackRodgers work with Hammerstein made theater history . and what transpired cowboy films made specifically for Harlem audiences. after their partnership ended upon Oscars death in 1960. Publicity photo of Ethel Merman from her performance in Call Me Madam | Public Domain Richard Rodgers, Irving Berlin and Oscar Hammerstein II at the St. James Theatre | Library of Congress | Public Domain 47'