Most people know that The Beatles (1960-1970) were the most famous pop group of all time, who were at the heart of 1960s counterculture and whose songs transformed the music world. What, perhaps, they don't know is that they have spent more than 1300 weeks, or 25 years, on the Billboard chart; that the artwork for Sgt. Pepper cost 60 times that of a normal album at the time; that their first live U.S. television performance was watched by 34 per cent of the population; and that they were the first band to include all the song lyrics in their album artwork. Biographic: The Beatles presents an instant impression of their life, work and legacy, with an array of irresistible facts and figures converted into infographics to reveal the musicians behind the music.

Born Norma Jeane Mortenson, Marilyn Monroe was an actress, singer, and sex symbol whose influence far outlasted her short life. Contributors to "Fan Phenomena: Marilyn Monroe "situate the platinum blonde starlet's omnipresent cultural relevance within the zeitgeist of current popular culture and explore the influence she has had on numerous elements of it. Her aesthetics and images have been reappropriated, recreated, imitated, and emulated by such celebrities as Lindsay Lohan, Jayne Mansfield, Drew Barrymore, Anna Nicole Smith, and Madonna. The quintessential American sex symbol, Monroe was an influential style icon for a spectrum of designers, including Dolce and Gabbana, Betsey Johnson, and Nike, all of whom have named lines of clothing, shoes, or accessories after the star.
The essays here explore representations of Monroe in visual culture by looking at the ways she is reimagined in visual art while also considering how her posthumous appearance and image are appropriated in current advertisements. With an inside look at the universe of Marilyn Monroe impersonators and look-alike contests for both males and females, the book also explores numerous homages to Monroe in music, from the 1979 opera "Marilyn "by Lorenzo Ferrero to Nicki Minaj's song "Marilyn Monroe." The definitive guide to one of the most famous women who ever lived, the book will be essential reading for any scholar of twentieth-century American popular culture.

Actor and director John Derek was born in Hollywood, where his striking good looks helped get him a contract with David O' Selznick. Derek's career took off after Humphrey Bogart made him his costar in the cultish noir Knock at Any Doors. Derek appeared in such Academy Award-nominated films as All the King's Men, Run for Cover, The Ten Commandments and Exodus, and worked with directors like Nicholas Ray, Cecil B. DeMille, Otto Preminger and others. He was a competent, dedicated performer even in his last, trivial roles. In the 1960s, his career in decline, he began directing his own films. Although critics panned the string of movies he made starring his three wives-Ursula Andress, Linda Evans and Bo Derek-some were box-office hits, like Tarzan, the Ape Man. This biography covers his extraordinary life and career, with extensive analysis of his films.

Oscar Hammerstein I came to New York in the 1860s, a Prussian runaway with $1.50 in his pocket, and found work at a cigar factory. A decade later he was publishing the nation's leading tobacco trade journal and held dozens of patents for cigar-rolling machinery. He made a fortune and turned his efforts to theater. He built eight of them, including four around Longacre Square-later Times Square-which became a thriving theater district. A daring impresario, he was involved at all levels, from booking to composition to stagecraft. Throughout the Gay Nineties and early 20th century, he billed the world's top actors, prima donnas and vaudeville acts. Then, as now, show business was speculation and high adventure, with rivalries fought in the headlines. Always a storm center, Hammerstein played a skillful chess game with both partners and performers while staging first-class shows for capacity crowds. This biography-from an unfinished manuscript by the son of one of his stage managers-recounts the heyday of his bold productions, his often turbulent relationships with associates, and the birth of Broadway.

This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century. -- .

In The Life of Training, John Matthews offers an accessible and original contribution to the philosophy of training for performance, building on his previous works Training for Performance (2011) and Anatomy of Performance Training (2014). With chapters on the seven characteristics of biological life - reproduction, stimulation, heritability, adaptation, growth, organisation and homeostasis - Matthews combines his unique approach with elements of Hannah Arendt's mature philosophy to reach surprising and essential conclusions about the role time plays in training practices, and about the function of training practices in producing time and its tenses. Ideal for readers seeking to understand the relationship between training practices and human experience, on and off stage, or for teachers looking for a new, innovative approach to performance.

You had to decide to let yourself be turned upside down, you had to accept to see the idea you had forged about yourself progressively shatter. In the summer of 1969, at 19 years old, Didier Mouturat gave up on college, shattering his parents hopes that he follow a safe and conventional course. Fresh from the wild Parisian student revolt of 1968, with its street battles and slogans, he set out to find a life that would be truly alive, deciding to be a classical actor. When he met Cyrille Dives, however, the universe of masks quietly turned his world upside down. This book describes Mouturats apprenticeship to a unique theater artist. In the 1970s and early 80s, Dives created a theater of masks, a Western parallel to Japanese Noh. Dives was a true bohemian artist, a sculptor of masks, a painter and theatrical director. Cyrille Dives was also a spiritual master. Mouturats apprenticeship encompassed everything from walking in a way that brings a mask to life to cultivating a beginners mind. Slowly and subtly, the theater apprenticeship became an encounter with the deeper truth of his own being. I am speaking of an intimate, progressive discovery that we are not masters of our own being that it is only the result of a system of reactions that tyrannize us. Mouturat becomes Divess right-hand man, helping establish a theater and a school of masks. That work is evident here in enchanting illustrations, as well as words. Yet as translated by the scholar and author Roger Lipsey, Mouturat also offers a pithy chronicle of a search for meaning and inner being.

Beginning with The Jazz Singer (1927) and 42nd Street (1933), legendary Hollywood film producer Darryl F. Zanuck (1902-1979) revolutionized the movie musical, cementing its place in American popular culture. Zanuck, who got his start writing stories and scripts in the silent film era, worked his way to becoming a top production executive at Warner Bros. in the later 1920s and early 1930s. Leaving that studio in 1933, he and industry executive Joseph Schenck formed Twentieth Century Pictures, an independent Hollywood motion picture production company. In 1935, Zanuck merged his Twentieth Century Pictures with the ailing Fox Film Corporation, resulting in the combined Twentieth Century-Fox, which instantly became a new major Hollywood film entity. The Golden Age Musicals of Darryl F. Zanuck: The Gentleman Preferred Blondes is the first book devoted to the musicals that Zanuck produced at these three studios. The volume spotlights how he placed his personal imprint on the genre and how-especially at Twentieth Century-Fox-he nurtured and showcased several blonde female stars who headlined the studio's musicals-including Shirley Temple, Alice Faye, Betty Grable, Vivian Blaine, June Haver, Marilyn Monroe, and Sheree North. Building upon Bernard F. Dick's previous work in That Was Entertainment: The Golden Age of the MGM Musical, this volume illustrates the richness of the American movie musical, tracing how these song-and-dance films fit within the career of Darryl F. Zanuck and within the timeline of Hollywood history.

TO LIVE AND DREAM IS A WICKED DANCE. MY DREAMS OFTEN COME TRUE- A CURSE, AND A BLESSING. PAMELA ANDERSON's blond bombshell image was ubiquitous in the 1990s. Discovered in the stands during a Canadian football game, she was quickly launched into superstardom, becoming Playboy's favourite cover girl and an emblem of Hollywood glamour and sex appeal. Yet the Pamela Anderson we think we know was created through happenstance rather than careful cultivation. Love, Pamela brings forth her true story, that of a small town girl getting tangled up in her own dreams. Growing up on Vancouver Island, the daughter of young, wild, and unwittingly stylish parents, Pamela lived a hardscrabble childhood but developed a deep love for nature, populating her world with misfits, apparitional friends, and injured animals. Eventually overcoming her natural shyness, Pamela let her restless imagination propel her into a life few can dream of, in Hollywood and the Playboy Mansion. As her star rose, she found herself becoming a fixture of tabloid fodder, at the height of an era when paparazzi tactics were bent on destroying a person's image and self-esteem. Pamela forged ahead with grace, finding sanctuary in her love of art and literature, and emerged a devoted mother and activist. Now, having returned to the island of her childhood, after a memorable run starring as Roxie in Chicago on Broadway, Pamela is telling her story, a story of an irrepressible free spirit coming home and discovering herself anew at every turn. With vivid prose interspersed with bursts of original poetry, Love, Pamela is a pensive, layered, and unforgettable memoir.

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the ""Mother of the New Wave"" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the prevailing studio system, Varda completely abandoned the ""tradition of quality"" that Truffaut was at that very time condemning in the pages of Cahiers du cinema. Her work, however, was not ""discovered"" until after Truffaut and Godard had broken onto the scene in 1959. Varda's next film, Cleo from 5 to 7, attracted considerably more attention and was selected as France's official entry for the Festival in Cannes. Ultimately, however, this film and her work for the next fifty years continued to be overshadowed by her more famous male friends, many of whom she mentored and advised. Her films have finally earned recognition as deeply probing and fundamental to the growing awareness in France of women's issues and the role of women in the cinema. ""I'm not philosophical,"" she says, ""not metaphysical. Feelings are the ground on which people can be led to think about things. I try to show everything that happens in such a way and ask questions so as to leave the viewers free to make their own judgments."" The panoply of interviews here emphasize her core belief that ""we never stop learning"" and reveal the wealth of ways to answer her questions.

Lindsey R. Swindall examines the historical and political context of acclaimed African American actor Paul Robeson's three portrayals of Shakespeare's Othello in the United Kingdom and the United States. These performances took place in London in 1930, on Broadway in 1943, and in Stratford-upon-Avon in 1959. All three of the productions, when considered together, provide an intriguing glimpse into Robeson's artistry as well as his political activism.

"The Politics of Paul Robeson's Othello" maintains that Robeson's development into a politically minded artist explicates the broader issue of the role of the African American artist in times of crisis. Robeson (1898-1976) fervently believed that political engagement was an inherent component of the role of the artist in society, and his performances demonstrate this conviction.

In the 1930 production, audiences and critics alike confronted the question: Should a black actor play Othello in an otherwise all-white cast? In the 1943 production on Broadway, Robeson consciously used the role as a form for questioning theater segregation both onstage and in the seats. In 1959, after he had become well known for his leftist views and sympathies with Communism, his performance in a major Stratford-upon-Avon production called into question whether audiences could accept onstage an African American who held radical-and increasingly unpopular-political views. Swindall thoughtfully uses Robeson's Othello performances as a collective lens to analyze the actor and activist's political and intellectual development.

The first authorised biography of eternal legend Elizabeth Taylor. Known for her glamorous beauty, soap-opera personal life and magnetic screen presence, Elizabeth Taylor was the twentieth century's most famous film star. Including unseen photographs and unread private reflections, this authorised biography is a fascinating and complete portrait worthy of the legend and her legacy. Elizabeth Taylor captures this intelligent, empathetic, tenacious, volatile and complex woman as never before, from her rise to massive fame at the age of twelve in National Velvet to becoming the first actor to negotiate a million-dollar salary for a film, from her eight marriages and enduring love affair with Richard Burton to her lifelong battle with addiction and her courageous efforts as an AIDS activist. Using Elizabeth's unpublished letters, diary entries and off-the-record interview transcripts as well as interviews with 250 of her closest friends and family, Kate Andersen Brower tells the full, unvarnished story of the classic Hollywood star who continues to captivate audiences the world over.

Hollywood's first sex symbol, the ' It ' girl, Clara Bow was born in the slums of Brooklyn in a family plagued with alcoholism and insanity. She catapulted to fame after winning Motion Picture magazine's 1921 " Fame and Fortune" contest. The greatest box-office draw of her day-she once received 45,000 fan letters in a single month, Clara Bow's on screen vitality and allure that beguiled thousands, however, would be her undoing off-camera. David Stenn captures her legendary rise to stardom and fall from grace, her success marred by studio exploitation and sexual scandals.

Long before the screen placed the face of Mary Pickford before the eyes of millions of Americans, this girl, born August 13, 1860 as Phoebe Anne Oakley Moses, had won the right to the title of "America's Sweetheart." Having grown up learning to shoot game to help support her family, Annie won first prize and met her future husband at a shooting match when she was fifteen years old. He convinced her to change her name to Annie Oakley and became her husband, manager, and number-one fan for the next fifty years. Annie quickly gained worldwide fame as an incredible crack shot, and could amaze audiences at her uncanny accuracy with nearly any rifle or pistol, whether aiming at stationary objects or shooting fast-flying targets from the cockpit of a moving airplane. Despite struggles with her health and even a long, drawn-out legal battle with media magnate William Randolph Hearst, Annie Oakley poured her energy into advocating for the U.S. military, encouraging women to engage in sport shooting, and supporting orphans.

In "American on Purpose", Craig Ferguson delivers a moving and achingly funny memoir of living the American dream as he journeys from the mean streets of Glasgow, Scotland, to the entertainment capital of the world. Along the way he stumbled through several attempts to make his mark - as a punk rock musician, a modern dancer, a bouncer, a construction worker and a stand-up comedian. To numb the pain of failure, Ferguson found comfort in drugs and alcohol, addictions that eventually led to an aborted suicide attempt. (He forgot to do it when someone offered him a beer.) But his story has a happy ending: in 1993, the washed up Ferguson washed up in the United States - which, from the age of seven, he had always seen as a beacon of goodness and possibility. Finally sober, Ferguson landed a breakthrough role on the hit sitcom "The Drew Carey Show", a success that eventually led to his current starring role as the host of CBS' "The Late Late Show". By far Ferguson's greatest triumph was his decision to become a U.S. citizen, a milestone he achieved in early 2008, just before his command performance.

An enthralling biography about one of the most intriguing women of the Victorian age: the first self-invented international social celebrity. Lola Montez was one of the most celebrated and notorious women of the nineteenth century. A raven-haired Andalusian who performed her scandalous "Spider Dance" in the greatest performance halls across Europe, she dazzled and beguiled all who met her with her astonishing beauty, sexuality, and shocking disregard for propriety. But Lola was an impostor, a self-invention. Born Eliza Gilbert, the beautiful Irish wild child escaped a stifling marriage and reimagined herself as Lola the Sevillian flamenco dancer and noblewoman, choosing a life of adventure, fame, sex, and scandal rather than submitting to the strictures of her era. Lola cast her spell on the European aristocracy and the most famous intellectuals and artists of the time, including Alexandre Dumas, Franz Liszt, and George Sand, and became the obsession of King Ludwig I of Bavaria. She then set out for the New World, arriving in San Francisco at the height of the gold rush, where she lived like a pioneer and performed for rowdy miners before making her way to New York. There, her inevitable downfall was every bit as dramatic as her rise. Yet there was one final reinvention to come for the most defiant woman of the Victorian age-a woman known as a "savage beauty" who was idolized, romanticized, vilified, truly known by no one, and a century ahead of her time.

Arriving in New York at the tail end of what has been termed the "Golden Age" of Broadway and the start of the Off Broadway theater movement, Terrence McNally (1938-2020) first established himself as a dramatist of the absurd and a biting social critic. He quickly recognized, however, that one is more likely to change people's minds by first changing their hearts, and-in outrageous farces like The Ritz and It's Only a Play-began using humor more broadly to challenge social biases. By the mid-1980s, as the emerging AIDS pandemic called into question America's treatment of persons isolated by suffering and sickness, he became the theater's great poet of compassion, dramatizing the urgent need of human connection and the consequences when such connections do not take place. Conversations with Terrence McNally collects nineteen interviews with the celebrated playwright. In these interviews, one hears McNally reflect on theater as the most collaborative of the arts, the economic pressures that drive the theater industry, the unique values of music and dance, and the changes in American theater over McNally's fifty-plus year career. The winner of four competitive Tony Awards as the author of the Best Play (Love! Valour! Compassion! and Master Class) and author of the book for the Best Musical (Kiss of the Spider Woman and Ragtime), McNally holds the distinction of being one of the few writers for the American theater who excelled in straight drama as well as musical comedy. In addition, his canon extends to opera; his collaboration with composer Jake Heggie, Dead Man Walking, has proven the most successful new American opera of the last twenty-five years.

First biography of the comedian Andy Kaufman, soon to be played by Jim Carrey in Milos Forman's new film Man On The Moon. In the 1970s a handful of young American comedians revolutionised US comedy. At the forefront was Andy Kaufman. From his debut on Saturday Night Live, lip-synching Mighty Mouse's cry of "Here I come to save the day!", to his role as Latka on the sitcom Taxi, Andy was breaking new ground, and hiding a vastly darker side. Whether creating an alter-ego - lounge lizard Tony Clifton - or wrestling women, whatever the "gag" was, Andy Kaufman was living it. Part performance artist and part prankster, Kaufman lived his life as a relentless performance, and he inspired, and enraged those around him in equal measure. So when he was diagnosed as having cancer at 34, hardly anyone believed him, not even when they saw his body in the coffin... With the full cooperation of Kaufman's family, friends and colleagues, this is a trip into the dark side of a comic genius.