You won't succeed on Broadway if you don't have any Jews.

We live on Avenue Jew

lz可以谷歌一下 Jewish musical theatre什么的，应该很多很多很多很多很多人都是犹太裔

Jule Styne (m)
HELLO, DOLLY, Jerry Herman (w&m)
HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING, Frank Loesser (w&m)
I CAN GET IT FOR YOU WHOLESALE, Harold Rome (w&m)
JEKYLL AND HYDE, Frank Wildhorn (m)
THE KING AND I, Oscar Hammerstein II* (w) and Richard Rodgers (m)
KISS OF THE SPIDER WOMAN, Fred Ebb (w) and John Kander (m)
LA CAGE AUX FOLLES, Jerry Herman (w&m)
LADY, BE GOOD!, Ira Gershwin (w) and George Gershwin (m)
LES MISERABLES, Alain Boublil 1/Herbert Kretzmer (w) and Claude-Michel Schönberg 1 (m)
A LITTLE NIGHT MUSIC, Stephen Sondheim (w&m)
LITTLE SHOP OF HORRORS, Howard Ashman (w) and Alan Menken (m)
LOST IN THE STARS, Kurt Weill (m) [lyrics by Maxwell Anderson (non-Jewish)]
MAME, Jerry Herman (w&m)
MAN OF LA MANCHA, Joe Darion (w) and Mitch Leigh (m)
MARTIN GUERRE, Alain Boublil (w) and Claude-Michel Schönberg (m)
MARY POPPINS, Richard and Robert Sherman (w&m)
MILK AND HONEY, Jerry Herman (w&m)
MISS SAIGON, Alain Boublil (w) and Claude-Michel Schönberg (m)
THE MOST HAPPY FELLA, Frank Loesser (w&m)
MY FAIR LADY, Alan Jay Lerner (w) and Frederick Loewe* (m)
OKLAHOMA!, Oscar Hammerstein II* (w) and Richard Rodgers (m)
OH, KAY!, Ira Gershwin (w) and George Gershwin (m)
OF THEE I SING, Ira Gershwin (w) and George Gershwin (m)
OLIVER!, Lionel Bart (w&m)
ON THE TOWN, Betty Comden/Adolph Green (w) and Leonard Bernstein (m)
ON THE TWENTIETH CENTURY, Betty Comden/Adolph Green (w) and Cy Coleman (m)
ON YOUR TOES, Lorenz Hart (w) and Richard Rodgers (m)
PAJAMA GAME, Richard Adler and Jerry Ross (w&m)
PAL JOEY, Lorenz Hart (w) and Richard Rodgers (m)
PAINT YOUR WAGON, Alan Jay Lerner (w) and Frederick Loewe* (m)
PETER PAN, Betty Comden/Adolph Green/Carolyn Leigh (w) and Mark Charlap/Jule Styne (m)
PIPPIN, Stephen Schwartz (w&m)
PORGY AND BESS, Ira Gershwin (w) and George Gershwin (m) [lyrics also by Du Bose Heyward (non-Jewish)]
THE PRODUCERS, Mel Brooks (w&m)
PROMISES, PROMISES, Hal David (w) and Burt Bacharach (m)
PURLIE, Peter Udell (w) and Gary Geld (m)
RAGTIME, Lynn Ahrens (w) [music by Stephen Flaherty (non-Jewish)]
RENT, Jonathan Larson (w&m)
1776, Sherman Edwards (w&m)
SHENANDOAH, Peter Udell (w) and Gary Geld (m)
SHOW BOAT, Oscar Hammerstein II* (w) and Jerome Kern (m)
THE SOUND OF MUSIC, Oscar Hammerstein II* (w) and Richard Rodgers (m)
SOUTH PACIFIC, Oscar Hammerstein II* (w) and Richard Rodgers (m)
STATE FAIR, Oscar Hammerstein II* (w) and Richard Rodgers (m)


STOP THE WORLD - I WANT TO GET OFF, Anthony Newley 2 (w&m) [lyrics and music also by Leslie Bricusse]
STRIKE UP THE BAND, Ira Gershwin (w) and George Gershwin (m)
SUNDAY IN THE PARK WITH GEORGE, Stephen Sondheim (w&m)
SUNSET BOULEVARD, Don Black (w) [lyrics also by Christopher Hampton (non-Jewish) and music by Andrew Lloyd Webber (non-Jewish)]
SWEENEY TODD, Stephen Sondheim (w&m)
SWEET CHARITY, Dorothy Fields (w) and Cy Coleman (m)
THEY'RE PLAYING OUR SONG, Carole Bayer Sager (w) and Marvin Hamlisch (m)
THREEPENNY OPERA, Kurt Weill (m) [play and lyrics by Bertolt Brecht (non-Jewish)]
TITANIC, Maury Yeston (w&m)
UP IN CENTRAL PARK, Dorothy Fields (w) and Sigmund Romberg (m)
WEST SIDE STORY, Stephen Sondheim (w) and Leonard Bernstein (m)
THE WIZARD OF OZ, E. Y. Harburg (w) and Harold Arlen (m)
WONDERFUL TOWN, Betty Comden/Adolph Green (w) and Leonard Bernstein (m)
ZORBA, Fred Ebb (w) and John Kander (m)
NOTES
1. See Broadway Babies Say Goodnight: Musicals Then and Now, by Mark Steyn (Routledge, NY, 1999, p. 87). According to Steyn, "Cameron Mackintosh isn't Jewish, but his writers on Les Miz and Miss Saigon, Boublil and Schönberg, are. 'Claude-Michel Schönberg,' he says, 'is Hungarian-Jewish.'"
2. Jewish mother, non-Jewish father. In an interview with Francine Cohen published in the Arts and Leisure Guide of the November 4, 1994 issue of The Jewish Chronicle (London), Newley stated concerning his 'Jewish genes': "My mum's side is Jewish and so is Joan Collins's dad's side, so I suppose you could say we had a full set between us. We both always used to say that whatever talent we had came from our Jewish backgrounds."
* Oscar Hammerstein II and Frederick Loewe had Jewish fathers.

w = words m = music
ANNIE, Martin Charnin (w) and Charles Strouse (m)
ANNIE GET YOUR GUN, Irving Berlin (w&m)
APPLAUSE, Lee Adams (w) and Charles Strouse (m)
AS THOUSANDS CHEER, Irving Berlin (w&m)
BABES IN AR***orenz Hart (w) and Richard Rodgers (m)
BARNUM, Michael Stewart (w) and Cy Coleman (m)
BEAUTY AND THE BEAST, Howard Ashman (w) and Alan Menken (m)
BELLS ARE RINGING, Betty Comden/Adolph Green (w) and Jule Styne (m)
THE BOYS FROM SYRACUSE, Lorenz Hart (w) and Richard Rodgers (m)
BRIGADOON, Alan Jay Lerner (w) and Frederick Loewe* (m)
BYE BYE BIRDIE, Lee Adams (w) and Charles Strouse (m)
CABARET, Fred Ebb (w) and John Kander (m)
CAMELOT, Alan Jay Lerner (w) and Frederick Loewe* (m)
CANDIDE, Stephen Sondheim (w) and Leonard Bernstein (m) [lyrics also by Richard Wilbur (non-Jewish)]
CARNIVAL!, Bob Merrill (w&m)
CAROUSEL, Oscar Hammerstein II* (w) and Richard Rodgers (m)
CHICAGO, Fred Ebb (w) and John Kander (m)
A CHORUS LINE, Edward Kleban (w) and Marvin Hamlisch (m)
CITY OF ANGELS, David Zippel (w) and Cy Coleman (m)
COMPANY, Stephen Sondheim (w&m)
A CONNECTICUT YANKEE, Lorenz Hart (w) and Richard Rodgers (m)
CRAZY FOR YOU, Ira Gershwin (w) and George Gershwin (m)
DAMN YANKEES, Richard Adler and Jerry Ross (w&m)
THE DESERT SONG, Oscar Hammerstein II*/Frank Mandel (w) and Sigmund Romberg (m) [lyrics also by Otto Harbach (non-Jewish)]
DO I HEAR A WALTZ?, Stephen Sondheim (w) and Richard Rodgers (m)
DREAMGIRLS, Henry Krieger (m)
FALSETTOS, William Finn (w&m)
FAME, Jacques Levy (w) and Steve Margoshes (m)
FIDDLER ON THE ROOF, Sheldon Harnick (w) and Jerry Bock (m)
FINIAN'S RAINBOW, E. Y. Harburg (w) and Burton Lane (m)
FIORELLO, Sheldon Harnick (w) and Jerry Bock (m)
FLOWER DRUM SONG, Oscar Hammerstein II* (w) and Richard Rodgers (m)
FOLLIES, Stephen Sondheim (w&m)
42ND STREET, Al Dubin (w) [music by Harry Warren (non-Jewish)]
FUNNY GIRL, Bob Merrill (w) and Jule Styne (m)
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, Stephen Sondheim (w&m)
GIGI, Alan Jay Lerner (w) and Frederick Loewe* (m)
GODSPELL, Stephen Schwartz (w&m)
THE GOODBYE GIRL, David Zippel (w) and Marvin Hamlisch (m)
GUYS AND DOLLS, Frank Loesser (w&m)
GYPSY, Stephen Sondheim (w) and Jule Styne (m)

必须饮用这个
It’s not just for gays
The gays and the Jews
And cousins in from out of town you have to amuse
And the sad, embittered malcontents who write the reviews
And also foreing tourists
And the groups of senior Citizens
And well-to-do suburbanites
And liberal intellectuals
Though that group is really only Jews and homosexuals
I’ve lost my train of thought
Oh yes, It’s not just for gays anymore!


谢谢女巫提供信息。。。
去GOOGLE了，已经不能用“不少”这个词

You Won't Succeed On Broadway Lyrics
by Spamalot
ARTHUR:
Have you heard of this "Broadway?"
ROBIN:
Yes sire...and we don't stand a chance there.
ARTHUR:
Why not?
ROBIN:
Because...Broadway is a very special place,
filled with very special people,
people who can sing and dance, often at the same time!
They are a different people, a multi-talented people,
a people...who need people...and who are, in many ways, the
luckiest people in...the world. I'm sorry sire, but we don't stand a chance.
ARTHUR:
But why?
ROBIN:
Well...let me put it like this.
In any great adventure,
that you don't want to lose,
victory depends upon the poeple that you choose.
So, listen, Arthur darling, closely to this news:
We won't succeed on Broadway,
If you don't have any Jews.
You may have the finest sets,
Fill the stage with penthouse pets,
You may have the loveliest costumes and best shoes.
You my dance and you may sing,
But I'm sorry, Arthur king,
You'll hear no cheers,
Just lots and lots of boos.
ENSEMBLE:
Boo.
ROBIN:
You mahve have butch men by the score
Whom the audience adore,
You may even have some animals from zoos,
Though you've Poles and krauts instead,
You may have unlevened bread,
But I tell you, you are dead,
If you don't have any Jews.
They won't care if it's witty,
or everything looks pretty,
They'll simply say it's shitty and refuse.
Nobody will go, sir,
If it's not kosher then no show, sir,
Even Goyem won't be dim enough to choose!
Put on shows that make men stare,
With lots of girls in underwear,
You may even have the finest of reviews.
CRITIC:
You're doing great!
ROBIN:
The audience won't care, sir,
As long as you don't dare, sir,
To open up on Broadway
If you don't have any Jews.
You may have dramatic lighting,
Or lots of horrid fighting,
You may even have some white men sing the blues!
Your knights might be nice boys,
But sadly we're all goys,
And that noise that you call singing you must lose.
So, despite your pretty lights,
and naughty girls in nasty tights,
and the most impressive scenery you use...
You may have dancing mana-mano,
You may bring on a piano,
But they will not give a damn-o
If you don't have any Jews!
You may fill your play with gays,
Have Nigerian girls in stays,
GIRLS:
You may even have some schizas making stews!
ROBIN:
You haven't got a clue,
If you don't have a Jew,
All of your investments you are going to lose!
There's a very small percentile,
Who enjoys a dancing gentile,
I'm sad to be the one with this bad news!
But never mind your swordplay,
You just won't succeed on Broadway,
You just won't succeed on Broadway,
If you don't have any Jews!
Arthur, can you hear me?
To get along on Broadway,
To sing a song on Broadway,
To hit the top on Broadway and not lose,
I tell you, Arthur king,
There is one essential thing...
There simply must be, simply must be Jews.
There simply must be,
Arthur trust me,
Simply must be Jews.


The Golden Age lasted for about a quarter of a century, from Pal Joey (1940)
and Oklahoma! (1943) to Fiddler on the Roof (1964). In between came Carousel,
South Pacific, Wonderful Town, Guys and Dolls, My Fair Lady, West Side Story,
and three of the shows discussed at length in Making Americans: South Pacific,
Annie Get Your Gun and The King and I.
Jews, while defining themselves in the new world, helped America define itself
as an egalitarian democracy -- precisely the kind of place where Jews wanted to
live. This meant dramatizing sympathetically the American idea of community.
Each musical, Most suggests, tells a story about difference and community. Each
contains outsiders who are converted, assimilated, or simply accepted.
Sometimes, as in The Jazz Singer, specifically Jewish characters play out the
story; more often, the characters enacting the theme were non-Jews who were
nevertheless groping, like the Jews, for new roles.
The King and I, by Rodgers and Hammerstein, has an exotic setting but
nevertheless delivers (as Most puts it) a rewrite of the American immigrant
melodrama that goes back to The Jazz Singer and beyond. It focuses on a racially
defined Old World father, the king, who can't assimilate the new ways of
democracy brought to Siam (Thailand) by his children's teacher, Anna.
Most points out that in many cases it's musical theatre itself that
demonstrates the point of the story. Those who sing and dance together learn to
make a community. Anna teaches the royal children to sing, and the crown prince
learns the theatrical convention of bowing. When he demonstrates that he
understands human dignity and freedom, "The American audience, watching this
American play in an American theatre, is triumphant as the play ends, witnessing
a Siam on the road to Western-style individualism and American-style democracy."
The king will die and make way for his son's progress into a new and better age.
In becoming Americans, Jewish writers found it natural to associate
themselves with the founding myths of America. They understood, through a long
back-and-forth exchange with the older America to which their parents had
immigrated, that they themselves were already Americans.
But they also imagined that in some sense Americans were already Jews. Among
American Jewry 60 or 70 years ago you could hear it said that Columbus was
Jewish, that American Indians were the Ten Lost Tribes of Israel, and that the
Puritans were in truth a Hebraic sect. Andrea Most points out that Mel Brooks in
his movies carries this farther than anyone else, grounding his comedy in the
notion that everyone is Jewish: The Indians are Jewish in Blazing Saddles,
medieval English outlaws are Jewish in Robin Hood: Men in Tights, the past is
entirely Jewish in History of the World, and the future is Jewish in Spaceballs.
The reader of Making Americans comes to understand why good musicals are no
longer written. The audience has changed, of course, and so has music in
general. More important, so have the people who choose to write musicals and the
people who rush to see them. As Andrea Most says, the musical was rooted in a
historical moment, a period whose transitions we can see with clarity only now.
It was a time when Jews were becoming Americans, and America, in a significant
way, was becoming Jewish.

楼主快回来跪谢飞大

影响是在不知不觉中的，街上的犹太人和亚洲人多了，人们的关注就会多。但是缺乏了解同时造成了偏见和不符合事实的想象。
犹太人当年做的都是英国裔美国人不愿意做的事情：律师，医生，银行，娱乐产业。这些都是伺候人的工作，并不是英国裔美国精英愿意做的，优秀的美国人不愿意从事这些行业，至今优秀的美国孩子最愿意去的是学费昂贵的文理学院而非哈弗、斯坦福这样的综合大学。可是随着时间的改变，尤其是在战后，娱乐和银行等一系列犹太人集中参与的行业成为聚宝盆。当美国人发现这些行业已经被犹太人控制时已经为时已晚。

因为含蓄内敛的文化不喜欢进入一些个性外露的行业，譬如政治和娱乐。上世纪中期后亚裔在美国数量大量增加，现在已经超过南美等国家的移民，成为外来移民最主要部分。其中华裔最多，且逐渐进入美国高收入人群。随着移民数量的增加，美国人对亚裔的关注和认识加深，美国各地区学校都大量开设中文课程，会说中文的美国人越来越多。周围的亚洲人越来越多，高傲无知的美国大众却对亚洲人了解甚少。

音乐剧是粗俗平民化的舞台表演，为了迎合大众口味自然会有很多歪曲的亚洲形象。但是美国的精英群体和上层社会是有世界观的，这只是少数。