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The Girl with the Bee-Stung Lips
Mae Murray (1885--1965), popularly known as "the girl with the bee-stung lips," was a fiery presence in silent-era Hollywood. Renowned for her classic beauty and charismatic presence, she rocketed to stardom as a dancer in the Ziegfeld Follies, moving across the country to star in her first film, To Have and to Hold, in 1916. An instant hit with audiences, Murray soon became one of the most famous names in Tinseltown.
However, Murray's moment in the spotlight was fleeting. The introduction of talkies, a string of failed marriages, a serious career blunder, and a number of bitter legal battles left the former star in a state of poverty and mental instability that she would never overcome.
In this intriguing biography, Michael G. Ankerich traces Murray's career from the footlights of Broadway to the klieg lights of Hollywood, recounting her impressive body of work on the stage and screen and charting her rapid ascent to fame and decline into obscurity. Featuring exclusive interviews with Murray's only son, Daniel, and with actor George Hamilton, whom the actress closely befriended at the end of her life, Ankerich restores this important figure in early film to the limelight.
A Who's Who of Cartoon Voice Actors
The Magic Behind the Voices is a fascinating package of biographies, anecdotes, credit listings, and photographs of the actors who have created the unmistakable voices for some of the most popular and enduring animated characters of all time.
Drawn from dozens of personal interviews, the book features a unique look at thirty-nine of the hidden artists of show business. Often as amusing as the characters they portray, voice actors are charming, resilient people-many from humble beginnings-who have led colorful lives in pursuit of success. Beavis and Butthead and King of the Hill's Mike Judge was an engineer for a weapons contractor turned self-taught animator and voice actor. Nancy Cartwright (the voice of Bart Simpson) was a small town Ohio girl who became the star protégé of Daws Butler-most famous for Yogi Bear, Huckleberry Hound, and Quick Draw McGraw. Mickey Mouse (Wayne Allwine) and Minnie Mouse (Russi Taylor) are a real-life husband-and-wife team. Spanning many studios and production companies, this book captures the spirit of fun that bubbles from those who create the voices of favorite animated characters.
In the earliest days of cartoons, voice actors were seldom credited for their work. A little more than a decade ago, even the Screen Actors Guild did not consider voice actors to be real actors, and the only voice actor known to the general public was Mel Blanc. Now, Oscar-winning celebrities clamor to guest star on animated television shows and features.
Despite the crushing turnouts at signings for shows such as Animaniacs, The Simpsons, and SpongeBob Squarepants, most voice actors continue to work in relative anonymity. The Magic Behind the Voices features personal interviews and concise biographical details, parting the curtain to reveal creators of many of the most beloved cartoon voices.
Tim Lawson is a freelance writer and filmmaker who lives in Galesburg, Illinois.
Alisa Persons is a freelance writer, artist, animator, and filmmaker, who lives in Superior, Wisconsin.
Walt Disney and the American Way of Life
The Magic Kingdom sheds new light on the cultural icon of "Uncle Walt." Watts digs deeply into Disney's private life, investigating his roles as husband, father, and brother and providing fresh insight into his peculiar psyche-his genuine folksiness and warmth, his domineering treatment of colleagues and friends, his deepest prejudices and passions. Full of colorful sketches of daily life at the Disney Studio and tales about the creation of Disneyland and Disney World, The Magic Kingdom offers a definitive view of one of the most influential Americans of the twentieth century.
The True Story of America's Most Notorious Stage Mother
Hers is the show business saga you think you already know--but you ain't seen nothin' yet. Rose Thompson Hovick, mother of June Havoc and Gypsy Rose Lee, went down in theatrical history as "The Stage Mother from Hell" after her immortalization on Broadway in Gypsy: A Musical Fable. Yet the musical was 75 percent fictionalized by playwright Arthur Laurents and condensed for the stage. Rose's full story is even more striking.
Born fearless on the North Dakota prairie in 1892, Rose Thompson had a kind father and a gallivanting mother who sold lacy finery to prostitutes. She became an unhappy teenage bride whose marriage yielded two entrancing daughters, Louise and June. When June was discovered to be a child prodigy in ballet, capable of dancing en pointe by the age of three, Rose, without benefit of any theatrical training, set out to create onstage opportunities for her magical baby girl--and succeeded.
Rose followed her own star and created two more in dramatic and colorful style: "Baby June" became a child headliner in vaudeville, and Louise grew up to be the well-known burlesque star Gypsy Rose Lee. The rest of Mama Rose's remarkable story included love affairs with both men and women, the operation of a "lesbian pick-up joint" where she sold homemade bathtub gin, wild attempts to extort money from Gypsy and June, two stints as a chicken farmer, and three allegations of cold-blooded murder--all of which was deemed unfit for the script of Gypsy. Here, at last, is the rollicking, wild saga that never made it to the stage.
Life on Stage and Screen
An Armenian national raised in Russia, Rouben Mamoulian (1897--1987) studied in the influential Stanislavski studio, renowned as the source of the "method" acting technique. Shortly after immigrating to New York in 1926, he created a sensation with an all-black production of Porgy (1927). He then went on to direct the debut Broadway productions of three of the most popular shows in the history of American musical theater: Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945). Mamoulian began working in film just as the sound revolution was dramatically changing the technical capabilities of the medium, and he quickly established himself as an innovator. Not only did many of his unusual camera techniques become standard, but he also invented a device that eliminated the background noises created by cameras and dollies. Seen as a rebel earlier in his career, Mamoulian gradually gained respect in Hollywood, and the Directors Guild of America awarded him the prestigious D. W. Griffith Award for Lifetime Achievement in 1983.
In this meticulously researched biography, David Luhrssen paints the influential director as a socially conscious artist who sought to successfully combine art and commercial entertainment. Luhrssen not only reveals the fascinating personal story of an important yet neglected figure, but he also offers a tantalizing glimpse into the extraordinarily vibrant American film and theater industries during the twenties, thirties, and forties.
A Biography of Paul Jarrico
As part of its effort to expose Communist infiltration in the United States and eliminate Communist influence on movies, from 1947–1953 the House Committee on Un-American Activities subpoenaed hundreds of movie industry employees suspected of membership in the Communist Party. Most of them, including screenwriter Paul Jarrico (1915–1997), invoked the Fifth Amendment and refused to answer questions about their political associations. They were all blacklisted. In The Marxist and the Movies, Larry Ceplair narrates the life, movie career, and political activities of Jarrico, the recipient of an Oscar nomination for his screenplay for Tom, Dick and Harry (1941) and the producer of Salt of the Earth (1954), one of the most politically besieged films in the history of the United States. Though Jarrico did not reach the upper eschelon of screenwriting, he worked steadily in Hollywood until his blacklisting. He was one of the movie industry's most engaged Communists, working on behalf of dozens of social and political causes. Song of Russia (1944) was one of the few assignments that allowed him to express his political beliefs through his screenwriting craft. Though MGM planned the film as a conventional means of boosting domestic support for the USSR, a wartime ally of the United States, it came under attack by a host of anti-Communists. Jarrico fought the blacklist in many ways, and his greatest battle involved the making of Salt of the Earth. Jarrico, other blacklisted individuals, and the families of the miners who were the subject of the film created a landmark film in motion picture history. As did others on the blacklist, Jarrico decided that Europe offered a freer atmosphere than that of the cold war United States. Although he continued to support political causes while living abroad, he found it difficult to find remunerative black market screenwriting assignments. On the scripts he did complete, he had to use a pseudonym or allow the producers to give screen credit to others. Upon returning to the United States in 1977, he led the fight to restore screen credits to the blacklisted writers who, like himself, had been denied screen credit from the late 1940s to the mid-1960s. Despite all the obstacles he encountered, Jarrico never lost his faith in the progressive potential of movies and the possibility of a socialist future. The Marxist and the Movies details the relationship between a screenwriter’s work and his Communist beliefs. From Jarrico’s immense archive, interviews with him and those who knew him best, and a host of other sources, Ceplair has crafted an insider’s view of Paul Jarrico’s life and work, placing both in the context of U.S. cultural history.
Queen of the Movies
In the early days of cinema, when actors were unbilled and unmentioned in credits, audiences immediately noticed Mary Pickford. Moviegoers everywhere were riveted by her magnetic talent and appeal as she rose to become cinema's first great star.
In this engaging collection, copublished with the Library of Congress, an eminent group of film historians sheds new light on this icon's incredible life and legacy. Pickford emerges from the pages in vivid detail. She is revealed as a gifted actress, a philanthropist, and a savvy industry leader who fought for creative control of her films and ultimately became her own producer. This beautifully designed volume features more than two hundred color and black and white illustrations, including photographs and stills from the collections of the Library of Congress and the Academy of Motion Picture Arts and Sciences. Together with the text, they paint a fascinating portrait of a key figure in American cinematic history.author of South of the Border with Disney: Walt Disney and the Good Neighbor Program, 1941-1948
I Know I've Seen That Face Before
Moviegoers know her as the housekeeper in White Christmas, the nurse in Now, Voyager, and the crotchety choir director in Sister Act. This book, filled with never-published behind-the-scenes stories from Broadway and Hollywood, chronicles the life of a complicated woman who brought an assortment of unforgettable nurses, nuns, and housekeepers to life on screen and stage.Wickes was part of some of the most significant moments in film, television, theatre, and radio history. On that frightening night in 1938 that Orson Welles recorded his earth-shattering "War of the Worlds" radio broadcast, Wickes was waiting on another soundstage for him for a rehearsal of Danton's Death, oblivious to the havoc taking place outside. When silent film star Gloria Swanson decided to host a live talk show on this new thing called television, Wickes was one of her first guests. When Lucille Ball made her first TV appearance anywhere, Wickes appeared with her--and became Lucy's closest friend for more than thirty years. Wickes was the original Mary Poppins, long before an umbrella carried Julie Andrews across the rooftops of London. And when Disney began creating 101 Dalmatians, it asked Wickes to pose for animators trying to capture the evil of Cruella de Vil. The pinched-face actress who cracked wise by day became a confidante to some of the day's biggest stars by night, including Bette Davis and Doris Day. Bolstered by interviews with almost three hundred people, and by private correspondence from Ball, Davis, Day, and others, Mary Wickes: I Know I've Seen That Face Before includes scores of never-before-shared anecdotes about Hollywood and Broadway. In the process, it introduces readers to a complex woman who sustained a remarkable career for sixty years.
From her first appearances on the stage and screen, Maureen O'Hara (b. 1920) commanded attention with her striking beauty, radiant red hair, and impassioned portrayals of spirited heroines. Whether she was being rescued from the gallows by Charles Laughton (The Hunchback of Notre Dame, 1939), falling in love with Walter Pidgeon against a coal-blackened sky (How Green Was My Valley, 1941), learning to believe in miracles with Natalie Wood (Miracle on 34th Street, 1947), or matching wits with John Wayne (The Quiet Man, 1952), she charmed audiences with her powerful presence and easy confidence.
Maureen O'Hara is the first book-length biography of the screen legend hailed as the "Queen of Technicolor." Following the star from her childhood in Dublin to the height of fame in Hollywood, film critic Aubrey Malone draws on new information from the Irish Film Institute, production notes from films, and details from historical film journals, newspapers, and fan magazines. Malone also examines the actress's friendship with frequent costar John Wayne and her relationship with director John Ford, and he addresses the hotly debated question of whether the screen siren was a feminist or antifeminist figure.
Though she was an icon of cinema's golden age, O'Hara's penchant for privacy and habit of making public statements that contradicted her personal choices have made her an enigma. This breakthrough biography offers the first look at the woman behind the larger-than-life persona, sorting through the myths to present a balanced assessment of one of the greatest stars of the silver screen.
Joe Davis and the New York Music Scene, 1916-1978
Joe Davis, the focus of The Melody Man enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s, copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee, oversaw hundreds of recording session, and operated several record companies beginning in the 1940s. Davis also worked fearlessly to help insure that black recording artists and song writers gained equal treatment for their work.
Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Joe Davis was not a music "great" but he was one of those individuals who enabled "greats" to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the "Race talent" for Ajax records, he had already worked in the music business for most of a decade and there was more than five decades of musical career ahead of him. The fact that his fascinating life has gone so long under-appreciated is remedied by the publication of Never Sell A Copyright.
Originally published in England, in 1990, Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916-1978 was never released in the United States and available in a very limited print run in England. The author, noted blues scholar and folklorist Bruce Bastin, has worked with fellow music scholar Kip Lornell to completely update, condense, and improve the book for this first-ever American edition.