Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0002
- Subject:
- Music, History, American
This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When ...
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This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When Dorothy was born, Lew and Rose Fields already had three children, a girl and two boys. Dorothy's family environment differed from that of her siblings, even beyond the fact that she was the baby and that her father was no longer an itinerant entertainer. Some things remained much the same. The family pattern of Rose making the household decisions continued. Although he was no longer touring, Lew was seldom at home because he spent long hours at the theater. No longer partnered with Joe Weber, Lew Fields was very active as a producer and actor. Moreover, one could say that Rose represented Lew's aspirations of what the family would become—something more solidly middle class and secure.Less
This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When Dorothy was born, Lew and Rose Fields already had three children, a girl and two boys. Dorothy's family environment differed from that of her siblings, even beyond the fact that she was the baby and that her father was no longer an itinerant entertainer. Some things remained much the same. The family pattern of Rose making the household decisions continued. Although he was no longer touring, Lew was seldom at home because he spent long hours at the theater. No longer partnered with Joe Weber, Lew Fields was very active as a producer and actor. Moreover, one could say that Rose represented Lew's aspirations of what the family would become—something more solidly middle class and secure.
Andrew L. Erdman
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801449703
- eISBN:
- 9780801465727
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449703.001.0001
- Subject:
- History, American History: 20th Century
In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that ...
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In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that stretched until the early 1930s, she was a trend-setting performer who embodied the emerging ideal of the bold and sexual female entertainer. She was a precursor to subsequent generations of performers, who have been both idolized and condemned for simultaneously displaying and playing with blatant displays of female sexuality. This book tells Eva Tanguay's remarkable life story. Born into the family of a country doctor in rural Quebec and raised in a New England mill town, Tanguay found a home on the vaudeville stage. The book follows the course of her life as she amasses fame and wealth, marries (and divorces) twice, engages in affairs closely followed in the press, declares herself a Christian Scientist, becomes one of the first celebrities to get plastic surgery, loses her fortune following the Wall Street Crash of 1929, and receives her last notice, an obituary in Variety. The arc of Tanguay's career follows the history of American popular culture in the first half of the twentieth century. Tanguay's appeal, so dependent on her physical presence and personal charisma, did not come across in the new media of radio and motion pictures. The book is a dynamic portrait of a dazzling and unjustly forgotten show business star.Less
In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that stretched until the early 1930s, she was a trend-setting performer who embodied the emerging ideal of the bold and sexual female entertainer. She was a precursor to subsequent generations of performers, who have been both idolized and condemned for simultaneously displaying and playing with blatant displays of female sexuality. This book tells Eva Tanguay's remarkable life story. Born into the family of a country doctor in rural Quebec and raised in a New England mill town, Tanguay found a home on the vaudeville stage. The book follows the course of her life as she amasses fame and wealth, marries (and divorces) twice, engages in affairs closely followed in the press, declares herself a Christian Scientist, becomes one of the first celebrities to get plastic surgery, loses her fortune following the Wall Street Crash of 1929, and receives her last notice, an obituary in Variety. The arc of Tanguay's career follows the history of American popular culture in the first half of the twentieth century. Tanguay's appeal, so dependent on her physical presence and personal charisma, did not come across in the new media of radio and motion pictures. The book is a dynamic portrait of a dazzling and unjustly forgotten show business star.
Julian Jackson
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780198207061
- eISBN:
- 9780191677465
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207061.003.0014
- Subject:
- History, European Modern History
This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested ...
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This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested their actions with huge significance. The trials of intellectuals at the Liberation attracted as much publicity as those of Pétain and Laval: they were punished more for who they were than what they had done. The surest way to avoid compromising oneself was to go abroad. A considerable number of French artists and intellectuals chose exile. These include the film directors Jean Renoir, René Clair, Julien Duvivier, and Max Ophuls; the actors and actresses Michèle Morgan, Jean Gabin, Louis Jouvet, Françoise Rosay, and Jean-Pierre Aumont; the artists Marc Chagall, Tanguy, Man Ray, Amédée Ozenfant, Jacques Lipchitz, and Fernand Léger; the writers André Breton, Saint–John Perse, Georges Bernanos, Julien Green, Jules Romains, André Maurois, Antoine de Saint–Exupéry, and Jacques Maritain. For those who stayed in France, their post-war reputations have often been based more on rumour and innuendo than a balanced assessment of their conduct during the Occupation.Less
This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested their actions with huge significance. The trials of intellectuals at the Liberation attracted as much publicity as those of Pétain and Laval: they were punished more for who they were than what they had done. The surest way to avoid compromising oneself was to go abroad. A considerable number of French artists and intellectuals chose exile. These include the film directors Jean Renoir, René Clair, Julien Duvivier, and Max Ophuls; the actors and actresses Michèle Morgan, Jean Gabin, Louis Jouvet, Françoise Rosay, and Jean-Pierre Aumont; the artists Marc Chagall, Tanguy, Man Ray, Amédée Ozenfant, Jacques Lipchitz, and Fernand Léger; the writers André Breton, Saint–John Perse, Georges Bernanos, Julien Green, Jules Romains, André Maurois, Antoine de Saint–Exupéry, and Jacques Maritain. For those who stayed in France, their post-war reputations have often been based more on rumour and innuendo than a balanced assessment of their conduct during the Occupation.
Wenqing Kang
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099807
- eISBN:
- 9789882207233
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099807.003.0006
- Subject:
- Society and Culture, Asian Studies
The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and ...
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The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and literati. Prior to the shift, men who patronized these male actors were initially regarded to be of high-class and have refined taste. After the shift, however, the practice was perceived to be unacceptable for the new republic. This literati-actor sexual relations practice had to be stopped because it represented a threat to contaminate the nation's body politic, as well as provide a reason for foreigners to express contempt. Eradicating the practice is believed to have contributed in building China's subsequent strong image. This chapter illustrates the rise and fall of the popularity of xianggong as forms of entertainment.Less
The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and literati. Prior to the shift, men who patronized these male actors were initially regarded to be of high-class and have refined taste. After the shift, however, the practice was perceived to be unacceptable for the new republic. This literati-actor sexual relations practice had to be stopped because it represented a threat to contaminate the nation's body politic, as well as provide a reason for foreigners to express contempt. Eradicating the practice is believed to have contributed in building China's subsequent strong image. This chapter illustrates the rise and fall of the popularity of xianggong as forms of entertainment.
Beverly Bossler
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520254435
- eISBN:
- 9780520941519
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520254435.003.0013
- Subject:
- History, World Medieval History
The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in ...
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The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in parlaying her entertainment skills into political power, she was far from unique. Yet entertainers—especially female entertainers—were highly anomalous figures at the court during the Song dynasty of China: they fell outside (or in between) regular categories of court women; they moved freely between the court and the outside world; they were among the most despised of social groups, but they circulated among the highest reaches of Song society. They were deployed as symbols of power and prestige, and invoked as signs of decadence and decline. The power of entertainers to attract imperial attention, together with the helplessness of the outer court in the face of such attraction, is nowhere more evident than in the biographies of two women who entered the court as entertainers and rose to become empresses of the realm: Empress Liu and Empress Yang.Less
The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in parlaying her entertainment skills into political power, she was far from unique. Yet entertainers—especially female entertainers—were highly anomalous figures at the court during the Song dynasty of China: they fell outside (or in between) regular categories of court women; they moved freely between the court and the outside world; they were among the most despised of social groups, but they circulated among the highest reaches of Song society. They were deployed as symbols of power and prestige, and invoked as signs of decadence and decline. The power of entertainers to attract imperial attention, together with the helplessness of the outer court in the face of such attraction, is nowhere more evident than in the biographies of two women who entered the court as entertainers and rose to become empresses of the realm: Empress Liu and Empress Yang.
Richard Haynes
- Published in print:
- 2005
- Published Online:
- September 2012
- ISBN:
- 9780748618804
- eISBN:
- 9780748670994
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748618804.003.0007
- Subject:
- Society and Culture, Media Studies
Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and ...
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Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and policed by leading celebrities and their agents. The concept of image rights opens up wider philosophical questions around intellectual property that have a direct impact on the political economy of the media. Despite the concept of image rights gaining purchase within the entertainment industries, there is no legislation that recognises a statutory right of an individual to control the commercial use of their image. This chapter examines the inroads into media rights that have been made by, or on behalf of, leading entertainers and sports stars. It first discusses the philosophy of image rights and trademark law providing monopoly rights to personalities. It then considers the common-law tort of ‘passing off’ and sports-star endorsement, and legal means to protect the commercial worth and privacy of celebrities.Less
Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and policed by leading celebrities and their agents. The concept of image rights opens up wider philosophical questions around intellectual property that have a direct impact on the political economy of the media. Despite the concept of image rights gaining purchase within the entertainment industries, there is no legislation that recognises a statutory right of an individual to control the commercial use of their image. This chapter examines the inroads into media rights that have been made by, or on behalf of, leading entertainers and sports stars. It first discusses the philosophy of image rights and trademark law providing monopoly rights to personalities. It then considers the common-law tort of ‘passing off’ and sports-star endorsement, and legal means to protect the commercial worth and privacy of celebrities.
Garth Fowden
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780520236653
- eISBN:
- 9780520929609
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520236653.003.0002
- Subject:
- Classical Studies, Archaeology: Classical
Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so ...
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Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so characteristic of other sites in the steppe and desert, it is unclear to what extent its irregular water supply could be stored and spread out over dry periods. In this chapter, it is noted that Quṣayr 'Amra's heyday was brief. Even during that short period, the bath house may have been used only seasonally. Among the bath's more bodily pleasures, athletic exercise had long been assigned an honored place by Greeks and Romans. Among the features of Quṣayr 'Amra that have always caught the attention of art historians is the abundance of naked, mainly female flesh displayed. The poetic and musical culture its depictions of entertainers and decorative women allude to was thoroughly Arab, even if it had analogues elsewhere.Less
Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so characteristic of other sites in the steppe and desert, it is unclear to what extent its irregular water supply could be stored and spread out over dry periods. In this chapter, it is noted that Quṣayr 'Amra's heyday was brief. Even during that short period, the bath house may have been used only seasonally. Among the bath's more bodily pleasures, athletic exercise had long been assigned an honored place by Greeks and Romans. Among the features of Quṣayr 'Amra that have always caught the attention of art historians is the abundance of naked, mainly female flesh displayed. The poetic and musical culture its depictions of entertainers and decorative women allude to was thoroughly Arab, even if it had analogues elsewhere.
Todd Decker
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268883
- eISBN:
- 9780520950061
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268883.003.0002
- Subject:
- Music, History, American
Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely ...
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Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely empowered position as a dancer and dancemaker on film, television, and records, the signature creative media of the twentieth century. This chapter considers Astaire's peers in four categories: dancing leading men, singing leading men, tap dancers, and musicians. The first three situate Astaire in the Hollywood film industry; the fourth inserts him into the realm of popular music, specifically among jazz musicians of the swing era. That Astaire finds a meaningful place in each of these categories testifies to the breadth of his talents. And yet, in the entertainment industry as he knew it, the musical content of these four areas might easily overlap. Astaire's uniqueness lies in his historic ability to be, at once, dancer, singer, tapper, and musician. This context-setting chapter explores large patterns, using synoptic views of the careers of select entertainers as the unit of comparison.Less
Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely empowered position as a dancer and dancemaker on film, television, and records, the signature creative media of the twentieth century. This chapter considers Astaire's peers in four categories: dancing leading men, singing leading men, tap dancers, and musicians. The first three situate Astaire in the Hollywood film industry; the fourth inserts him into the realm of popular music, specifically among jazz musicians of the swing era. That Astaire finds a meaningful place in each of these categories testifies to the breadth of his talents. And yet, in the entertainment industry as he knew it, the musical content of these four areas might easily overlap. Astaire's uniqueness lies in his historic ability to be, at once, dancer, singer, tapper, and musician. This context-setting chapter explores large patterns, using synoptic views of the careers of select entertainers as the unit of comparison.
Alexia Bloch
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781501713149
- eISBN:
- 9781501709418
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501713149.003.0006
- Subject:
- Anthropology, Asian Cultural Anthropology
Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of ...
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Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of trafficking. Entertainers often see new forms of mobility as creating a possibility of feeling cosmopolitan and modern, and unlike many other post-Soviet women migrants, they are comfortable with the possibilities sexuality affords. The chapter portrays how entertainers flaunt sexuality “without hang-ups”, along with ideals about intimacy, love, and romance, in their effort to provide the authentic “girlfriend experience” that Turkish men they encounter appear to seek. The chapter also reflects on the forms of agency post-Soviet exotic dancers have as they navigate within the constraints of a sexualized sphere of labor in Turkey.Less
Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of trafficking. Entertainers often see new forms of mobility as creating a possibility of feeling cosmopolitan and modern, and unlike many other post-Soviet women migrants, they are comfortable with the possibilities sexuality affords. The chapter portrays how entertainers flaunt sexuality “without hang-ups”, along with ideals about intimacy, love, and romance, in their effort to provide the authentic “girlfriend experience” that Turkish men they encounter appear to seek. The chapter also reflects on the forms of agency post-Soviet exotic dancers have as they navigate within the constraints of a sexualized sphere of labor in Turkey.
Sandra Jean Graham
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780252041631
- eISBN:
- 9780252050305
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041631.003.0008
- Subject:
- Music, History, American
By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves ...
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By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves as tradition bearers, giving rise to frequent skirmishes over legitimacy that were played out in marketing. As traditional spirituals, contrafacta, parodies, answer songs, and parodies of parodies cycled back on each other, the boundaries between them and their performers blurred. Some troupes, like the Wilmington Jubilee Singers, began as concert artists but ended up as minstrel or variety entertainers. Others, like the Nashville Students, successfully incorporated variety entertainment in their programs while maintaining their reputation as concert artists. The career of Sam Lucas demonstrates the nexus between folk and popular song traditions as the boundaries between the altruistic and the purely commercial, between the folk and the popular, and between “high” and “low” began to dissolve.Less
By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves as tradition bearers, giving rise to frequent skirmishes over legitimacy that were played out in marketing. As traditional spirituals, contrafacta, parodies, answer songs, and parodies of parodies cycled back on each other, the boundaries between them and their performers blurred. Some troupes, like the Wilmington Jubilee Singers, began as concert artists but ended up as minstrel or variety entertainers. Others, like the Nashville Students, successfully incorporated variety entertainment in their programs while maintaining their reputation as concert artists. The career of Sam Lucas demonstrates the nexus between folk and popular song traditions as the boundaries between the altruistic and the purely commercial, between the folk and the popular, and between “high” and “low” began to dissolve.
