The Last Impresario

Almost single-handedly, from the 1920s to the 1960s, Hurok introduced American audiences to ballet and brought live dance, music, and theater to small towns and cities across the country for the first time. The dynamic rags - to - riches story of this Russian Jewish emigre reverberates with images of the American dream.

The Last Impresario--the most famous person you've never heard of--is now the subject of a major motion picture, directed by Gracie Otto. Michael White is one of the most inspirational producers of our time, responsible for changing the face of Britain's cultural scene in the 1970s. White has been involved in an amazingly wide range of shows, many of them hits, some of them disastrous failures, all of them unusual. His career encompasses the plays of Athol Fugard, Joe Orton's Loot, Oh! Calcutta!, the catastrophic Jeeves, the money-spinning Sleuth, The Threepenny Opera, starring Vanessa Redgrave, The Rocky Horror Show, and movies ranging from My Dinner with Andre to Monty Python cannot, by the wildest stretch of the imagination, be dubbed conventional. In this autobiography, originally published as Empty Seats in 1984, Michael White tells many marvelous stories and asks some wonderful questions. Why did Orson Welles make a one-armed Peter Daubeny carry his suitcases? What really happened during a performance of The Dirtiest Show in Town? What did Peter Sellers do to Spike Milligan's roast chicken? What were Kenneth Tynan, Joe Orton, and Dame Edna Everage really like? The reader discovers how a play is put on, what kind of money is involved, what techniques are used. "You, too," White seems to say, "can be a producer. And this is how you set about it." Drawing on all too many experiences he might prefer to forget, White would no doubt add, "And that way madness lies."

When the Swedish concert singer Jenny Lind toured the U.S. in 1850, she became the prototype for the modern pop star. Meanwhile, her manager, P.T. Barnum, became the prototype for another figure of enduring significance: the pop culture impresario. Starting with Lind's fabled U.S. tour and winding all the way into the twenty-first century, Live Music in America surveys the ongoing impact and changing conditions of live music performance in the U.S. It covers a range of historic performances, from the Fisk Jubilee Singers expanding the sphere of African American music in the 1870s, to Benny Goodman bringing swing to Carnegie Hall in 1938, to 1952's Moondog Coronation Ball in Cleveland - arguably the first rock and roll concert - to Beyoncé's boundary-shattering performance at the 2018 Coachella festival. More than that, the book details the roles played by performers, audiences, media commentators, and a variety of live music producers (promoters, agents, sound and stage technicians) in shaping what live music means and how it has evolved. Live Music in America connects what occurs behind the scenes to what takes place on stage to highlight the ways in which live music is very deliberately produced and does not just spontaneously materialize. Along the way, author Steve Waksman uses previously unstudied archival materials to shed new light on the origins of jazz, the emergence of rock 'n' roll, and the rise of the modern music festival.

Almost single-handedly, from the 1920s to the 1960s, Hurok introduced American audiences to ballet and brought live dance, music, and theater to small towns and cities across the country for the first time. The dynamic rags - to - riches story of this Russian Jewish emigre reverberates with images of the American dream.

Since 1776, millions of immigrants have landed at America's shores. To this day, their practical contributions are still felt in every field of endeavor, including agriculture, industry, and the service trades. But within the great immigrant waves there also came plucky and talented individualists, artists, and dreamers. Many of these exceptional folk went on to win worldly renown, and their names live on in history. Ellis Island's Famous Immigrants tells the story of some of the best known of these legendary characters and highlights their actual immigration experience at Ellis Island. Celebrities featured within its pages include such entrepreneurs as Max Factor, Charles Atlas, and "Chef Boyardee"; Hollywood icons Pola Negri, Bela Lugosi, and Bob Hope; spiritual figures Father Flanagan and Krishnamurti; authors Isaac Asimov and Kahlil Gibran; painters Arshile Gorky and Max Ernst; and sports figures Knute Rockne and Johnny Weissmuller.

At some point in their career, nearly all the dancers who worked with George Balanchine were told “don’t act, dear; just dance.” The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps—but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio. Drawing on fresh archival material, Don’t Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchine’s catch phrase as an invitation to explore the politics of Cold War culture—in particular, to examine the assumptions underlying the role of “apolitical” modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important works—Marianne Moore’s “Combat Cultural,” dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick’s Spartacus, and John Adams’s Nixon in China—Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War. Rather than read the dance through a received understanding of Cold War culture, Don’t Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.

Alla Osipenko is the gripping story of one of history's greatest ballerinas, a courageous rebel who paid the price for speaking truth to the Soviet State. She studied with Agrippina Vaganova, the most revered and influential of all Russian ballet instructors, and in 1950, she joined the Mariinsky (then-Kirov) Ballet, where her lines, shapes, and movements both exemplified the venerable traditions of Russian ballet and propelled those traditions forward into uncharted and experimental realms. She was the first of her generation of Kirov stars to enchant the West when she danced in Paris in 1956. But dancing for the establishment had its downsides, and Osipenko's sharp tongue and marked independence, as well as her almost-reckless flouting of Soviet rules for personal and political conduct, soon found her all but quarantined in Russia. An internationally acclaimed ballerina at the height of her career, she found that she would now have to prevail in the face of every attempt by the Soviet state and the Kirov administration to humble her. In Alla Osipenko, acclaimed dance writer Joel Lobenthal tells Osipenko's story for the first time in English, drawing on 40 interviews with the prima ballerina, and tracing her life from Classical darling to avant-garde rebel. Throughout the book, Osipenko talks frankly and freely in a way that few Russians of her generation have allowed themselves to. Her voice rises above the incidents as unhesitating and graceful as her legendary adagios. Candid, irreverent, and, above all, independent -- Osipenko and her story open a window into a fascinating and little-discussed world.