Résultats Éditeur "Charles River Editors" dans Divertissement et célébrités

In the history of television programming, no show was as consistently excellent in the ratings as The Ed Sullivan Show, a variety show that brought on all kinds of acts, from dancers to artists and singers. It was the longest-running show to maintain one time slot, and today it is widely remembered for introducing the nation to the likes of Elvis Presley and the Beatles. When Elvis was on the show in 1956, over 82% of the nation's entire television audience tuned in, a rating that would make even the Super Bowl blush.

In the 1940s, film noir was at its peak, and Hollywood was churning out dark, mysterious, exotic and erotic classics. In 1944, the premiere femme fatale was Barbara Stanwyck, who was the highest paid woman in America that year, thanks to roles in films like Double Indemnity (1944), in which she uses her persuasive powers to convince a man to commit murder. That film would earn Stanwyck the first of her four Academy Award nominations. After a nearly 60-year career in acting, the American Film Institute would recognize her as the 11th greatest female screen legend of the 20th century.

If Lon Chaney will forever be recognized as The Man with 1,000 Faces, Jackie Gleason holds a legitimate claim to being The Man with 1,000 Personas. Indeed, during his time hosting The Jackie Gleason Show on television, he developed numerous alter egos, including tough guy Rudy the Repairman, the energetic Joe the Bartender, and the alcoholic Rum Dum.

Sprightly swing music spills across the dimly lit club. The grayish curtains of cigarette smoke part every once in a while to reveal a sparkling stage and tables upon tables of patrons, some incurably inebriated and others high on the fast-paced nightlife. Fabulous flappers in shimmery cocktail dresses and stylish feather headbands throw their hands up and stomp their feet to the addictive beat on the dance floor. Smartly dressed men, their hair neatly parted and slicked back, toss fistfuls of dice onto the plush green baize of the craps tables.

Perhaps no actor has been able to retain their popularity into old age as well as Sean Connery. Despite retiring in 2006, Connery remains a venerable figure who continues to receive accolades for his handsome virility and status within the Hollywood elite. onsidering his personal acclaim as an actor, it is perhaps surprising that despite his status, most of the films in which Connery has appeared are not particularly acclaimed. Even the James Bond franchise initially received a largely lukewarm critical reception.

When the American Film Institute assembled a list of its top 100 actors, one of the top 10 was James Cagney, an actor whose acting and dancing talents spawned a career that spanned over five decades and once compelled Orson Welles to call him "maybe the greatest actor to ever appear in front of a camera." Ultimately it was portraying tough guys and gangsters in the 1930s that turned Cagney into a massive star, the kinds of roles he was born to play after growing up rough in Manhattan at the turn of the 20th century.

Despite the enormous esteem he has garnered from virtually every corner of the music world, Jerry Garcia has continued to elude both fans and music historians as they attempt to determine his origins and categorize his art and influence on American music. Part of their difficulty lies in the fact that his work as the frontman for the Grateful Dead, "one of the most prolific and iconic guitarists of the twentieth century", tended toward a blending of the traditional with the experimental.

Hollywood has never lacked leading men who could captivate viewers with dramatic performances that depict them as suave romantics or dashing heroes, especially during the Golden Age of Hollywood when stars like Humphrey Bogart, Clark Gable, and Cary Grant graced screens. But in 1940, the 4th most popular star in the U.S. was a foreign actor from Australia, and unlike other movie stars, he was more notorious for his pursuits off the screen than on it.

Despite a general dearth of African American names rising to musical prominence during the years of Reconstruction, Black talent existed in good measure for both popular and classical genres. And among the most notable musicians celebrated in the present day is composer Scott Joplin, who in his day earned the moniker “King of Ragtime”.

When the American Film Institute assembled its top 100 actors of all time at the close of the 20th century, Jimmy Stewart ranked third, behind only Humphrey Bogart and Cary Grant. There is a certain inevitability to these three actors ranking at the top of the list; after all, they were the dominant faces of Hollywood during the height of the era known as classical Hollywood cinema, a time before the onset of television when the movies still enjoyed relatively uncontested supremacy over American entertainment.

When people think of musicals, two of the first names that immediately spring to mind are Gene Kelly and Fred Astaire, two giants of one of Hollywood's most distinctive genres. Without question, both men played an instrumental role in popularizing and sustaining the musical from the 1930s through the 1950s, the final decades of Hollywood's Golden Age. Although they did collaborate on two occasions, in many ways Gene Kelly's rise to popularity in the 1940s amounted to a changing of the guard.

In the opening pages of his seminal book-length study of Alfred Hitchcock, Hitchcock's Films (1965), Robin Wood famously asked, "Why Should We Take Hitchcock Seriously?" Wood then proceeded to offer a detailed examination of Hitchcock's career to that point, arguing that the Master of Suspense belonged among the ranks of the preeminent directors in Hollywood, and that his films were among the most important in American culture.

In the 1940s it was William Holden who became America's first choice among films requiring a shy, cynical, and sexually potent "broken hero" on the screen, less thoughtful, perhaps, than Gregory Peck, and less rigid than Gary Cooper. Perhaps Holden's many unwilling heroes filmed over a 40 year career were aided by the reality that Holden was much like them, an actor who was uncomfortable on the set and terrified of screen intimacy.

Recent research has revealed that the richest person of all time lived in the 14th century in West Africa and went by many names, including Kankan Musa Keita, Emir of Melle, Lord of the Mines of Wangara, Conqueror of Ghanata, and the Lion of Mali II, but today he is usually referred to as Mansa Musa. Adjusting his wealth to modern values, he was worth about an estimated $400 billion as the Sultan of ancient Mali, which controlled the trade routes across the Sahara Desert.

Today, the name Clint Eastwood conjures up many different and unforgettable images. While many will always associate him as the quintessential Western hero in classics like The Good, the Bad, and the Ugly, new generations know him as a critically acclaimed director and even an outspoken conservative firebrand.

It is something of a cliché to say that an actor’s life was like a movie he or she might have starred in, but in the case of Myrna Loy, the cliché is true. It is easy to picture her as a little girl, riding the range with her rancher father, sitting around the table and participating charmingly in family discussions of current events.

In 1940, the 4th most popular star in the US was a foreign actor from Australia, and unlike other movie stars, he was more notorious for his pursuits off the screen than on it. In an era long before social media, Errol Flynn represented the epitome of a swashbuckling playboy, with enough mystery and intrigue surrounding him and his background to fascinate even those who didn’t see his movies.

By the turn of the 20th century, American entertainment was still preoccupied with European-style operetta, as embodied in the works of cellist-composer Victor Herbert. Traditional dance forms moved from European stories to the American prairie in Oklahoma by the late 1940s, and what was once the property of Bavarian princes became the singing standards of cowboys riding through the corn fields in "Oh What a Beautiful Morning" and "Out of My Dreams".

Exhibitionism and narcissism coupled with talent are not the sole property of modern entertainment, as some might suppose. From the beginnings of American theater and film, various personality types prone to self-intoxication by the status of their own careers have acted-out at will in their public lives. For them, there is no barrier between the professional and the private.

In terms of original choreography, it was the age of Jerome Robbins that marked the first real departure from traditional dance on stage and in film. Only 10 years Robbins’ junior, Robert Louis Fosse, better known as Bob Fosse, followed his colleague’s example by mixing daring new jazz forms with virtually every traditional and popular genre to produce previously unseen modes of dance expression on Broadway and in film. Fosse forever changed the way the modern audience viewed dance on stage and film.