This revelatory biography of Folies Bergere dancer Josephine Baker (1906-1975) is a study of struggle, truimph and tragedy.

Examining changing role models for masculine identity--from cowboy in the 1950s to Terminator in the 1990s, from flesh-and-blood man to machine--this book suggests that men need new role models and that sufficient room needs to be left for the expression of male vulnerability, a psychic space that would accept attitudes and behaviors traditionally labeled as "feminine." This new model, Badinter argues, may reduce the profound effects of homophobia and misogyny.

While the 1960s may have been a decade of significant upheaval in America, it was also one of the richest periods in musical theatre history. Shows produced on Broadway during this time include such classics as Bye, Bye Birdie; Cabaret; Camelot; Hello Dolly!; Fiddler on the Roof; How to Succeed in Business without Really Trying; Oliver!; and Man of La Mancha. Performers such as Dick Van Dyke, Anthony Newley, Jerry Orbach, and Barbara Streisand made their marks, and other talents—such as Bob Fosse, John Kander, Fred Ebb, Alan Jay Lerner, Frederick Loewe, Jerome Robbins, and Stephen Sondheim—also contributed to shows. In The Complete Book of 1960s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1960s. In addition to providing details on every hit and flop, Dietz includes revivals and one-man and one-woman shows that centered on stars like Jack Benny, Maurice Chevalier, Marlene Dietrich, Danny Kaye, Yves Montand, and Lena Horne. Each entry consists of: Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions In addition to entries for each production, the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, the New York City Opera Company, and the Music Theatre of Lincoln Center. A treasure trove of information,this significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

Paris is the crowning jewel of France, and this literary guide for travellers explores its 20th century history, from 1900-1950. Paris at the turn of the twentieth century had become the cultural capital of the world. Artists and writers came to contribute to flourishing avant-garde movements, as the Left Bank became a new centre of creativity. It drew tourists and travellers, but also many exiled from their home countries or escaping political persecution, and those seeking freedom from social constraints. The romantic myth of Paris persists, but Marie-José Gransard explores the darker side of the City of Lights. She brings her subjects to life by describing where and how they lived, what they wrote and what was written about them, through a wide-ranging literary legacy of diaries, memoirs, letters, poetry, theatre, cinema and fiction. In Twentieth-Century Paris: A Literary Guide for Travellers (1900-1950) both the visitor and the armchair traveller alike will find familiar names, from Ernest Hemingway and George Orwell to Virginia Woolf and Katherine Mansfield, and they will encounter unfairly forgotten or neglected writers, and many artists and musicians, famous and less well-known Russians, and writers and thinkers from as far as the Caribbean and Latin America.