Provides a close-up look at the many stage productions of the musical and its film adaptation of Patrick Dennis's best-selling novel Auntie Mame, looking at the creation of this legendary fictional character and the impact it had on the lives and careers of such celebrities as Rosalind Russell, Angela Lansbury, and Lucille Ball who took on the role of Mame. Reprint. 15,000 first printing.
With a wit as sharp as a vodka stinger and a heart as free as her spirit, Auntie Mame burst onto the literary scene in 1955--and today remains one of the most unforgettable characters in contemporary fiction. Wildly successful when it was first published in 1955, Patrick Dennis’ Auntie Mame sold over two million copies and stayed put on the New York Times bestseller list for 112 weeks. It was made into a play, a Broadway and a Hollywood musical, and a fabulous movie starring Rosalind Russell. Since then, Mame has taken her rightful place in the pantheon of Great and Important People as the world’s most beloved, madcap, devastatingly sophisticated, and glamorous aunt. She is impossible to resist, and this hilarious story of an orphaned ten-year-old boy sent to live with his aunt is as delicious a read in the twenty-first century as it was in the 1950s. Follow the rollicking adventures of this unflappable flapper as seen through the wide eyes of her young, impressionable nephew and discover anew or for the first time why Mame has made the world a more wonderful place. "Outrageous, hilarious, ribald, sophisticated, slapsatiric." The Denver Post
Under his pseudonyms of Patrick Dennis and Virginia Rowans, Edward Everett (Pat) Tanner III was the author of sixteen novels—most of them best sellers—including the now-classic Little Me and Auntie Mame. Tanner made millions, became the toast of Manhattan society, and had his works adapted into wildly successful plays, musicals, TV shows, and films. But he also spent every cent he made, worked incognito as a butler to the wealthy, and constructed a persona so elaborate that not even his wife and children ever quite knew the real Pat. Based on extensive interviews with coworkers, friends, and relatives, Uncle Mame is a revealing, intimate portrait of the man who brought camp to the American mainstream and even in his lowest moments personified—even in his lowest moments— the glamour and wit he captured on the page.
An aunt is not just another mother—and aunts defy any sort of archetypal image. Like humanity, they span the spectrum, from down-home Auntie Em to the uninhibited Auntie Mame. Some aunts are smart, others are crazy. Some act bravely, others downright foolish. Now in Ingrid Sturgis’s marvelous Aunties, she gives these extraordinary women their due, sharing a wonderful, eclectic collection of thirty personal essays that explore the complex, seldom-profiled bond between aunts and their nieces and nephews. Profiling a variety of aunts from different cultures, temperaments, and walks of life—the surrogate mother, the wild aunt, the eccentric aunt, the mentor—the essays are written by well-known journalists and authors such as Pearl Cleage and M.J. Rose, as well as everyday people . . . all of whom bring their subjects to stirring life in their own unique ways. “Tia Sonia” made her living as an old-world witch in Honduras, providing her niece, Beverly James, with a tenuous connection to the country of her birth—and imparting a valuable lesson after she fails to predict her own tragic demise; the dramatic and glamorous “Tropical Aunts”—also known as Aunt Debs and Aunt Ava—ventured north from Florida only twice, but left an indelible mark on Enid Shomer’s ideas about being an independent woman; in the heartwarming “Bloodsense,” Mark Holt-Shannon’s magical Aunt Lolly, a woman with a heart as big as the ocean, provided unconditional love—and a bridge between three boys and the father who left them all behind. A wonderful celebration of family, Aunties is a labor of the heart and a show of reverence to the women whose intangible gifts of love and respect often pass without recognition. Through the vivid memories of real relationships, these narratives pay tribute to aunts everywhere.
"Within the realm of U.S. culture and its construction of its citizenry, geography, and ideology, who are Southerners and who are queers, and what is the South and what is queerness? Queering the South on Screen addresses these questions by examining "the intersections of queerness, regionalism, and identity" depicted in film, television, and other visual media about the South during the twentieth century. From portrayals of slavery to gothic horror films, the contributors show that queer southerners have always expressed desires for distinctiveness in the making and consumption of visual media. Read together, the introduction and twelve chapters deconstruct premeditated labels of identity such as queer and southern. In doing so, they expose the reflexive nature of these labels to construct fantasies based on southerner's self-identification based on what they were not"--
Music and queerness interact in many different ways. The Oxford Handbook of Music and Queerness brings together many topics and scholarly disciplines, reflecting the diversity of current research and methodology. Each of the book's six sections exemplifies a particular rhetoric of queer music studies. The section "Kinds of Music" explores queer interactions with specific musics such as EDM, hip hop, and country. "Versions" explores queer meanings that emerge in the creation of a version of a pre-existing text, for instance in musical settings of Biblical texts or practices of karaoke. "Voices and Sounds" turns in various ways to the materiality of music and sound. "Lives" focuses on interactions of people's lives with music and queerness. "Histories" addresses moments in the past, beginning with times when present conceptualizations of sexuality had not yet developed and moving to cases studies of more recent history, including the creation of pop songs in response to HIV/AIDS and the Eurovision song contest. The final section, "Cross-cultural Queerness," asks how to understand gender and sexuality in locations where recent Euro-American concepts may not be appropriate.
THE STORY: This fabulously successful hit hardly needs introduction. Besides being the source for one of America's most popular musicals, AUNTIE MAME set a standard for Broadway comedy that's been sought after ever since. Auntie Mame was a handsom
The story of Henry Pulling, a retired and complacent bank manager, who meets his septuagenarian Aunt Augusta for the first time at what he supposes to be his mother's funeral. She soon persuades Henry to abandon his dull suburban existence to travel her to Brighton, Paris, Istanbul, Paraguay. Through Aunt Augusta, one of Greene's greatest comic creations, Henry joins a shiftless, twilight society; mixes with hippies, war criminals, and CIA men; smokes pot and breaks all currency regulations.
Betty Comden and Adolph Green were the writers behind such classic stage musicals as On the Town, Wonderful Town, and Bells Are Ringing, and they provided lyrics for such standards as "New York, New York," "Just in Time," "The Party's Over," and "Make Someone Happy," to name just a few. This remarkable duo, the longest-running partnership in theatrical history, also penned the screenplays for such cinematic gems as Singin' in the Rain and The Band Wagon. In the process they worked with such artists as Leonard Bernstein, Gene Kelly, Fred Astaire, Judy Holliday, and Jule Styne. They Made Us Happy is the first book to tell the full story of their careers, lives, and work, starting with their acclaimed appearances as part of the sketch troupe the Revuers and moving through their bi-coastal lives as a pair of Broadway's top writers and two of Hollywood's most valued scribes. The book takes readers on a trip through almost the entirety of the twentieth century, and along the way there are appearances by the likes of Jacqueline Kennedy Onassis, Greta Garbo, and Charlie Chaplin. Author Andy Propst brings both their produced work to life as well as many of the projects that that never made it to the stage or the screen, including an aborted musical version of Thornton Wilder's The Skin of Our Teeth, a bio-pic about director-choreographer Busby Berkeley, and their version of the book for Cole Porter's musical Out of This World. Comden and Green's wit and deft satire inspired laughs during their lives, and their musicals and movies have endured, amusing generation after generation. It's work that will always be making audiences happy.
When it comes to living life to its fullest, Rosalind Russell's character Auntie Mame is still the silver screen's exemplar. And Mame, the role Russell (1907–1976) would always be remembered for, embodies the rich and rewarding life Bernard F. Dick reveals in the first biography of this Golden Age star, Forever Mame: The Life of Rosalind Russell. Drawing on personal interviews and information from the archives of Russell and her producer-husband Frederick Brisson, Dick begins with Russell's childhood in Waterbury, Connecticut, and chronicles her early attempts to achieve recognition after graduating from the American Academy of Dramatic Arts. Frustrated by her inability to land a lead in a Broadway show, she headed for Hollywood in 1934 and two years later played her first starring role, the title character in Craig’s Wife. Dick discusses all of her films along with her triumphal return to Broadway, first in the musical Wonderful Town and later in Auntie Mame. Forever Mame details Russell's social circle of such stars as Loretta Young, Cary Grant, and Frank Sinatra. It traces an extraordinary career, ending with Russell's courageous battle against the two diseases that eventually caused her death: rheumatoid arthritis and cancer. Russell devoted her last years to campaigning for arthritis research. So successful was she in her efforts to alert lawmakers to this crippling disease that a leading San Francisco research center is named after her.
