Book Description

In this candid biography, the beloved dancer, choreographer, actor, and director is depicted for the first time not just as the genius and star whom millions still watch with awe, but as the complex and difficult man his family, intimates, and colleagues knew. Documenting Kelly's astonishing gifts--his innovations in movie choreography in such films as An American in Paris and Singin' in the Rain--the book also examines his late career struggles, stormy relationships, and political convictions. Structured as a retrospective of the star's life and artistry, this multi-dimensional portrait is the first to be drawn since Kelly died in 1996, and includes rare photos. Alvin Yudkoff, a producer of television, film, and video documentaries, is also a published fiction author. He lives in Water Mill, Long Island, New York. ... Read more

Reviews (18)

An Semi-Adequate Biography
I agree with many of the other reviews of this book, there has been no author that has really captured the life of Gene Kelly. I truly wish that Kelly's wife, who was working on a book with Gene at the time of his death, would write about this complex genius. However, this book does a "pretty good" job at telling us about Gene Kelly.

The best part of this book is the early years in Pittsburgh,Pennsylvania. The author goes in great detail about the early years, but after "Singin' In The Rain"(1953), he condenses the next 45 years into 40 pages. I think Gene's life deserved a more thorough examination. Gene did some magnificant work after 1953, such as "Invitation To The Dance" and "Xanadu" (which the author despises), not to mention Mr. Kelly's many works for charity.

There is also some blaring errors like the mention that Vera-Ellen attended the 1985 AFI show for Kelly. She could not have because she died in 1981 and from the 1960s on was a recluse. But again, all in all, the bio is not that bad. To be honest, it would do until a better one comes along. Hopefully one will, because the memory of Gene Kelly deserves better...

POSTSCRIPT
This is a postscript to my review titled "The Book Who Couldn't Dance." For me, the last straw comes on Page 218, when Yudkoff botches his description of the "Singin' in the Rain" number. It's one thing for Yudkoff to botch the numbers in LIVING IN A BIG WAY, which after all is a fairly obscure film -- though NOT impossible to view -- but to botch the most famous Kelly number in SINGIN' IN THE RAIN, the most famous Kelly film of all time?! Well, how can you trust ANYTHING in the book after that?

THE BOOK WHO COULDN'T DANCE
I'm up to page 185, and fully intend to finish the whole book, but I thought I'd look it up here at Amazon.com to see if I could learn anything about the author's credentials -- the paperback offers none -- and, also, see how other readers had felt about the book. For me, it started strong with the Pittsburgh material and New York days, the formative years of Kelly's life with which I was so unfamiliar. But the deeper I've gotten into the book, the more I've discovered such careless mistakes (see the other Reader Reviews) that I can't help but worry about the veracity in the earlier passages as well. (Incidentally, one whopper which no one else has mentioned is that Yudkoff completely reverses the production sequence of THE PIRATE and EASTER PARADE, which in turn leads to many misstatements of fact.) I was willing to tolerate the infamous AFI interior monlogues -- at least, unlike Reagan's biographer, Yudkoff didn't attempt to pass himself off as one of Kelly's dancing partners -- but by this point in the book I'm finding myself very annoyed with all the sloppy mistakes. And now, thanks to the Reader Reviews, I see that Yudkoff is going to leave me in the lurch after 1952, which is frankly infuriating. And, yes, disappointing.

POSTSCRIPT: I kept on reading, and it got even worse. Yudkoff's description of the title number in SINGIN' IN THE RAIN, incredibly, is erroneous in its description. It's one thing for Yudkoff to fudge the descriptions of the dances in LIVING IN A BIG WAY, an obscure -- though not IMPOSSIBLE to view -- Kelly movie, but to blow the facts on his most famous number in his most famous film...!

Learned About Gene Kelly
I'm glad I read this book. I've admired Gene Kelly's dancing and his movies, and I learned enough from this book to really enhance my appreciation the next time I watch his work. I enjoyed the glimpses provided by this book of Broadway, Hollywood, and politics of his time. It was fun to get to know some of the famous characters Kelly encountered, and imagine what the evenings might have been like at Gene and Betsy Kelly's open houses.

That having been said, the book clearly could have been more. In most of the text, I felt like I was observing Kelly from a distance, seeing interesting pieces of him that begged for more elaboration, more insight. I had a hard time trusting the device the author used to get us closer to him, Gene's internal dialog while at the awards show, because it seemed to go beyond what the author could have known about him, based on the rest of the text. And the writing itself could have used closer editing: I found unclear sentences, erratic paragraph transitions, and the same Gene Kelly quote repeated in the space of about ten pages.

Not having read anything else substantial about Gene Kelly, I would recommend this book as a good way to learn a lot about him.

A mixed bag
I don't know why I'm writing a review since I agree with most everybody's comments, but perhaps I can help you decide if this book is for you. First off, this book is both good and bad. Good because it is the first book to be written about Gene Kelly in quite a while, but bad because the author uses techniques and makes little mistakes that weaken his work. Many readers complain that Yudkoff pretends to know what Gene was thinking during certain points. Indeed, Yudkoff does use a technique that makes the book more of a novel than a strict biography. For instance, he doesn't use the "In 1940, this happened. Later that same year, this happened. In early 1941 he did this." Yudkoff creates conversations that he has no knowledge of actually occuring but I believe he did this to make the biography more readable and enjoyable. Some parts I disagreed with, but I can see why he uses this approach. One thing that hurts Yudkoff's work is his fact checking. For instance, Gene Kelly was quoted as saying that Fred Astaire retired after his wife's death. This was not true, Astaire retired years before his wife passed away. What is true is that Gene Kelly was wrong when he said this. However, if the author had done any research and doublechecked sources, he could have added a note something like "although Gene said this, it was not true that Fred retired because of his wife's death" or something along those lines. Its not a major mistake but I think it shows that Yudkoff may not have researched his topic thoroughly. In another instance, Yudkoff states that Frank Sinatra, a friend and costar of Gene's, almost intentionally angered studio head Louis B. Mayer so he would be fired and able to make "From Here To Eternity". The truth is that Sinatra was fired and didn't make "Eternity" until a year or two later, the film hadn't even been mentioned at the time he was released from MGM. I'm sure that Gene Kelly knew this and its another example of the author not knowing his subject well enough. Good biographers are able to tell you about the lives of people close to their subject, as both Fred Astaire and Frank Sinatra were to Gene Kelly. Like I said, the fact that Yudkoff doesn't know these things shows a lack of research. Yudkoff also doesn't provide notes, which I always appreciate in a biography. It lets the reader know what sources were checked, who said what, etc. For instance, if unsure about a quote you can check the notes and see if it came from a close friend, acquaintance, or a different biographer. The good side, as mentioned earlier, is that this is the first biography of legendary song and dance man Gene Kelly to come out in a long time. Kelly's life is interesting not only for films but also for his time in history. He was a committed liberal and during the times of McCarthy this could prove a liability. Though this was an interesting period, it was only one part of Kelly's life. Unfortunately, Yudkoff barely talks about his later life. There is not even a mention of Gene's third child being born. I would have appreciated more detail on Kelly's very happy second marriage, but Yudkoff barely gives any.

In conclusion, this biography does leave a lot to be desired. It is by no means a definitive book. However, its a decent introduction to Kelly and is the most commercially available bio on him. I recommend that you read it with an open mind, try to corroborate with other books, and if you can find Clive Hirschhorn's excellent biography of Gene Kelly. Its hard to find, but its more fulfilling and accurate than this. ... Read more

Amazon.com

Broadway icon Tommy Tune rummages through the packed attic of his eventful life as a nine-time Tony-winning dancer, director, and choreographer for his colorful memoir, Footnotes. Tune brings forth a surprising amount of grit from the glitter and froufrou, plus several startlingly graphic passages. His Texas boyhood amid supportive parents lead to a quick rise in the world of 1970s Broadway, and brought this modern-day Fred Astaire to success at the helm of shows such as Nine, My One and Only, Grand Hotel, and The Club. There are regrets, philosophy, affairs with men and women, and soft-focus reminiscences of Fred Astaire, Gene Kelly, Agnes de Mille, and others. But behind it all he reveals an unaccountable feeling of emptiness and hunger for light, movement, and beauty. A sidelining foot injury in 1995 left him in the reflective mood conveyed in Footnotes, but Tune's story isn't over yet. ... Read more

Reviews (6)

A Definite Ten
Like a wonderful Broadway play, FOOTNOTES keeps its audience spellbound from the opening scene. This beautiful memoir is deeply moving, extremely interesting, and at times, delightfully humorous. All of Tommy Tune's stories, from dance recitals and backyard musical productions of his childhood to his personal relationships and professional triumphs in New York, are fascinating. Generosity and loyalty are abundant as he praises many who have influenced and supported his artistry as well as those who have contributed to his personal sense of well-being. In the theatre, Tommy Tune has always enlightened us with beauty and truth, and he does it again in this book as he bares his soul so we can see the truth in his heart. What we discover is a caring, compassionate man of integrity who also happens to be an artistic genius. I didn't want this book to end. ....

Not what most theatre buffs would hope for
As one of the last important figures in 20th Century musical theatre, Tommy Tune was part of many important shows. One would hope his autobiography would include at least some insight into his performing and directing techniques -- but such is not the case here. As for his personal life, Mr. Tune shares a great deal -- but it is hard to rely on the frankness of someone who seems to change his sexual preferences as easily as most of us change clothes. And the chapter discussing the woman he wronged but refuses to name is so obvious in who it refers to that the author's sincerity rings false. Some interesting anecdotes and photos not found elsewhere, but overall a great disappointment.

A Piece of Tommy Tune's Heart
Footnotes was one of the most honest and heartwarming memoirs I have ever read. Tommy Tune's honesty and openness with his readers is incredible. He has definately shared a part of himself with all of us. This kind and generous man is tops with me. While reading Footnotes I laughed, cried, and truly came to know this wonderful man. I highly recommend this book to everyone.

A Great Book!!!!!!
This is a wonderful book. It is written with such a casual and relaxed tone. It tells of Tommy's professional experiences and all of the wonderful people he has worked with including Twiggy and Lucie Arnaz. A wonderful "must'have" book.

What a heartwarming memoir
I have always admired Tommy Tune and this was a treat to read about him in his own words. It was very well written and lavishly illustrated with photos of Tommy and his friends/co-workers. It was a very quick read but very rich in insights. One insight that especially angered me was his experience interacting with Lucie Arnez and was happy they worked it out. I am very glad he exposed his soul to the world and will treasure this book ... Read more

Amazon.com

She was George Ballanchine's muse for 20 years and his wife for 6; together they made the New York City Ballet an essential part of American culture with his choreography and her dazzling, technically bravura dancing in "Firebird," "Swan Lake," and other modern classics. Maria Tallchief's dignified autobiography describes their groundbreaking artistic collaboration with satisfying thoroughness. She is reserved about their personal relationship but candid about the increasing favor Ballanchine showed to younger dancers, which led to her departure from the company in 1966. Her story captures a key moment in ballet history. ... Read more

Reviews (3)

A very interesting account of a dancer's life
I had not taken ballet lessons for several years when I picked up this book, but just by reading it, I was inspired to sit up straight, pull my shoulder blades together, and even (occasionally) point my toes. The book is especially intriguing because it integrates Ms. Tallchief's private and professional lives so closely, and because it contains many pages of beautiful photos. I cannot say, however, that this book is impossible to put down; I read a bit of it every few months.

Divine
Before you ever decide to become a ballerina read this book! It tells what being a ballerina is really about! from the begining to the end of her dancing career and the beginning of a whole new life Maria TAllChief is trully a ballet legend! every ballet person past present and future owes Maria a great huge thank you for all the work that she has done to bring ballet into the forefront in the 21st century. She is a true superstar and a great woman.

Wyoming Ballet Students
My 6th grade reading group read this story (excerpt) from the book and we throughly enjoyed the segment. We used the internet to find more information about Maria Tallchief. They found the story helpful especially the two girls who find studying ballet in Wyoming is a less recognized pursuit than elk hunting and snowmobiling. Maria Tallchief's story is timeless and inspiring even 35 years away from her peak fame years. Our group enjoyed reading about a Native American who has made an impact on the arts world. Thanks. Mrs. Clark's 6th grade reading group, Afton Wyoming. ... Read more

Book Description

Maya Plisetskaya, one of the world's foremost dancers, rose to becomea prima ballerina of Moscow's Bolshoi Ballet after an early life filled with tragedy andloss. In this spirited memoir, Plisetskaya reflects on her personal and professionalodyssey, presenting a unique view of the life of a Soviet artist during the troubled periodfrom the late 1930s to the 1990s.Plisetskaya recounts the execution of her father in theGreat Terror and her mother's exile to the Gulag. She describes her admission to theBolshoi in 1943, the roles she performed there, and the endless petty harassments sheendured, from both envious colleagues and Party officials. Refused permission for sixyears to tour with the company, Plisetskaya eventually performed all over the world,working with such noted choreographers as Roland Petit and Maurice Béjart. Sherecounts the tumultuous events she lived through and the fascinating people she met-- among them the legendary ballet teacher Agrippina Vaganova, George Balanchine, FrankSinatra, Rudolf Nureyev, and Dmitri Shostakovich. And she provides fascinating detailsabout testy cocktail-party encounters with Khrushchev, tours abroad when her meager perdiem allowance brought her close to starvation, and KGB plots to capitalize on herfriendship with Robert Kennedy. Gifted, courageous, and brutally honest, Plisetskayabrilliantly illuminates the world of Soviet ballet during an era that encompasses bothrepression and cultural détente. ... Read more

Reviews (3)

interesting, revealing
I loved the book even though at points it was hard to follow. Sometimes it got a little too confusing with lot of russian names and positions. But it was great reading about her life and ballets.

Fabulous!!
Read this and know what a great artist is all about. She is the ballerina par excllence, and Makarova would agree.

Her dying swan was so overwhelingly great in person, which I saw three times, that audiences yelled for thirty minutes for her to just bow to them again and again. She repeated the dying swan or part of it at one performance I attended and there was pandemoinium. Her arms are perfect wings, waving naturally in the winds that she made you belive in. She metamorphosed herself into a swan before our eyes. Indeed, her other ballet scenes were of the smae magnitude. Her examples from Giselle, Manon Lescaut etc. made huge fans out of haters of ballet.

When we went back stage to get autographs there were over a thousand people waiiting to see her, touch, applaud her once more.

To read her book is to know the horrors of the Soviet system of old, with its repression of people like her. We had only small samples of her art, and now her great Autobiography...Plisetskaya will live forever in the records of ballet, even Nureyev and Barishnikov in thier spheres can only touch her greatness..Makarova is the closet , very much so, but Madame Plisetskaya is the ballet Diva of the universe, and this book will help you see why.

There are films of her dancing that mezmerize, even through the weirdness of TV imagery and snow.

Buy this book and begin to know about the art of ballet by its supreme practioner.

A great story by a great ballerina
Written with honesty, in a personal and intimate way, this is the fascinating yet horrifying story of life for the foremost ballerina in Russia under Stalinist, and after his death, equally cruel communist rule. While she was being used to show off the brilliance of Russian ballet, dancing for visiting foreign dignitaries, she was followed, spied on, given little money, and for fear of defection, not allowed to leave the country with the rest of the Bolshoi company.
Although by then she was in her forties, I was lucky enough to have seen her dance here in the USA and in Paris. Her 'Odette/Odile' and her 'Dying Swan' were, I think, the best in the history of dance. Her book is a page-turner. I couldn't put it down.
I also highly recommend the videotape, "Plisetskaya Dances". Wait til you see her leaps where her foot touches the back of her head! ... Read more

Amazon.com

American Indian Ballerinas includes authorized mini biographies of ballerinas Rosella Hightower, Yvonne Chouteau, Maria Tallchief (who recently published her autobiography), and her sister Marjorie Tallchief. All four dancers share a common ethnicity (Native American) and state of origin (Oklahoma), and all came to prominence at the roughly the same time, the 1940s-1960s--though the four had markedly different temperaments. Without working too hard to compare them, the book shows how their common heritage of dance and spirituality suffused their respective artistic careers. ... Read more

Reviews (1)

Fascinating
This book gives a very nice over-view of the four American Indian Ballerinas, tracing their careers and rise to stardom in a parallel fashion. You get a sense of where each dancer was in her training and her performance years with respect for the others. The easy going style paints a clear and accurate picture that dancers and non-dancers alike can enjoy. ... Read more

Book Description

Written with wit, insight, and candor, Balanchine is a book thatwill delight lovers of biography as well as those with a special interest indance. For this edition the author has added a thoughtful yet dramatic accountof the working out of Balanchine's legacy, from the making of his controversialwill to the present day. The author explores the intriguing legal, financial,and institutional subplots that unfolded after the death of the greatestchoreographer of the century, but the central plot of his epilogue is theaesthetic issue: In the absence of their creator, can the ballets retain theirwondrous vitality? Taper illuminates the fascinating transmission ofBalanchine's masterworks from one generation to another, an unprecented legacyin the history of ballet, that most evanescent of the arts. ... Read more

Reviews (3)

Tough but Good Read
This is no easy, inspirational biography. It really goes in depth. But you finish thinking you understand this enigmatic man about as well as possible.

If you like or are curious about Balanchine, READ THIS BOOK!

The best Balanchine's biography!
I've so happy I bought this book, it's a pleasure to read. I'm a long time ballet fan, but I would stronly recommend this book for anyone who is interested about ballet, you can learn so much reading it!

One of my favorite books!!
Taper's Balanchine biography is one of the best books I have ever read! It combines the biographical information with personal accounts and stories that really give you the feeling of getting to know the amazing George Balanchine. Some may have read other books, like Gelsey Kirkland's "Dancing on my Grave", that give a bad impression of Mr. Balanchine, but I promise if you read this book, you will have a change of heart. Although no biography can be completely free of bias, this author describes Mr. Balanchine in a truly honest and real way. I really do feel like I know Mr. Balanchine and I promise that if you read this incredible book, you will too ... Read more

Book Description

This book is a fascinating personal story of what happened to a young Englishman, fresh out of a Japanese prison camp, and his Javanese wife who settled in a small house in Bali in the midst of the political turmoil that gripped postwar Indonesia. There they immersed themselves in Balinese music and dance and made ambitious plans to bring a troupe of Balinese dancers and musicians to Europe and America. Dancing out of Bali tells of the Coasts' daring and remarkable adventure that took them from revolution in Indonesia to the footlights of London and Broadway, where in a few short weeks the Balinese captured the hearts of audiences and John Coast was acclaimed as a leading dance impresario. Here are pictures and stories of the enchanting Balinese and their magic island, including the beautiful 12-year-old Ni Gusti Raka, who became a star overnight and who delighted audiences during the troupe's triumphal tour. It is also a story of life on Bali, of music and dancing on Bali, of many of the island's great dancers and musicians, and of the charm and humor and friendliness of the Balinese people. Dancing out of Bali is a truly remarkable personal adventure story for all readers, dance lovers included. ... Read more

Book Description

The larger-than-life story of an American dance icon. ... Read more

Reviews (1)

Examining Isadora's international fame
Done Into Dance: Isadora Duncan In America by Ann Daly (Associate Professor of Dance History and Criticism, The University of Texas, Austin) is the exciting story of that legendary American dance icon, Isadora Duncan. Examining Isadora's international fame, as well as her profound and pervasive influence on a rising generation of American women, Done Into Dance links Isadora with the social and historical currents of her era, including her own personal association with feminism, and her racial notion of "Americanness", while striving to answer just what it was about her dancing that captivated so many people. Numerous excerpted sources and black-and-white photographs round out this telling and highly recommended biographical portrait. ... Read more

Book Description

The origins of the art of exotic dancing lie in English drama and Viennese opera: Oscar Wilde's 1893 play Salome, and Richard Strauss's 1905 opera based on it, brought onto the stage a female character who captured and dominated the audience with the raw power of her naked body. Her Dance of the Seven Veils shocked and fascinated, and Salome became a pop icon on both sides of the Atlantic. Toni Bentley explores how four influential women embraced the persona of the femme fatale and transformed the misogynist image of a dangerously sexual woman into a form of personal liberation. Toni Bentley danced with George Balanchine's New York City Ballet for ten years. Her books include Winter Season: A Dancer's Journal, Holding On to the Air, Costumes by Karinska, and The Surrender: An Erotic Memoir. ... Read more

Reviews (8)

An interesting slice of history
This is not really a book about dance.It's an informal work of history that focusses on 4 women who were prominent erotic dancers in the early 20th century, but the book sets out to describe the lives of these women in all their various aspects instead of just their dance careers.The common background for all 4 of these women is a peculiar cultural phenomenon, a widespread popular obsession (triggered by Wilde's play "Salome") with the dance of Salome.All 4 of these women exploited this Salome craze for their own advantage and self-aggrandizement, but in quite different ways (and often with tragic results).The book has a refreshingly informal style and the prose is direct and clear.

My kind of history
As a painter I've always loved the image of Salome, so emblematic of the fuzzy line between manipulation and exploitation (the line we walk so proficiently these days.)
I'd had a vague notion of these women who danced the part of Salome at the turn of the century (Maud Allen, Mata Hari, Ida Rubenstein and Colette) but I had no idea how fabulous and frankly whacked, they were. None of our Madonna's or Paris Hilton's has anything on these girls.
But the thing I loved most about this book is that though it is literate and historically informative, it still manages to be personal in a way unlikely for any historian. It's a story that pretty much had to be written by a woman not only with dance credentials (Toni Bentley danced for Balanchine for ten years and wrote what is considered to be the definitive book on what it's like to be a young dancer (Winter Season) but someone who understands the particular mix of art and exhibitionism that was called upon by these strange and remarkable women. A lovely book written with a light touch and a unique perspective. I look forward to Ms Bentley's next book.

If only I could give negative stars...
While I agree with the other one-star review here that this book is not worth reading, what astonishes me is that the reviewer considers Bentley's book "a very scholarly history" when there is nothing scholarly about it. Bentley's narcissistic introduction and glamour shot on the book jacket reveal this to be little more than a vanity project. While the book has some usefulness in terms of providing details that aren't often found in dance histories about these women's lives, Bentley's purple prose makes it difficult to discern which details are accurate and which fell victim to her embellishment. A pastiche of factual but sensational details and farfetched comparisons and conclusions regarding the psychological and cultural implications of Salome, this book bears little resemblance to real contemporary dance scholarship. If it did, she would have engaged in the ongoing discussion of gaze theory and its advantages and disadvantages when applied to dance. OR, she would have discussed more deftly the role of exotic imagery in the age of late imperialism by way of Said's concept of orientalism and other subsequent postcolonial theory. OR, she would have utilized poststructuralist theory and considered how such acts of exhibitionism as striptease actually maintained dominant power structures. Instead, she falls victim to free associations that to some readers may appear like a kind of truth, but really are not. In one passage, Bentley ruminates on the significance of the veil, jumping from one culture and religion to another as if the symbolic and social meanings of "the veil" are universal: "In Eastern harems, women are veiled like nuns, while their bodies are receptacles for male desire. Veils conceal but are penetrable. Opaque, translucent, and diaphanous, they allow light to be filtered through the threads, building illusion while implying truth. They allow for fantasy and mystery and suggest the ultimate veiling-a naked woman still conceals the darkness where life begins. The hymen veils the womb, the womb veils the origin of life itself." The conflation of the veil and the woman below it with the hymen and the womb deploys the same kind of rhetoric 1970s feminist theory was guilty of, which essentialized "woman" as an archetype of fertility and sensuality. And sure, why not jump from Salome to nun to harem girl? Yeah, that's all the same thing. By the way, I thought we all learned in fifth grade science class that materials were either opaque, transparent, OR translucent. Something cannot be both opaque AND translucent. There's either light filtering through, or there's not, Ms. Bentley. So, yes, as you can see, Bentley's book has put me in a very cranky mood, precisely because on both a scholarly AND a writerly level, IT'S JUST PLAIN BAD.

By the way, one of the reviewers seemed impressed that Bentley's book was published by such a prestigious press as Yale U P. Look, if you want to read good and cutting edge dance scholarship, Yale is not the way to go. Check out the presses at Indiana U, Wesleyan, Routledge, or the University of California.

Also, a good general hint for discerning whether a text is "scholarly" or not--if the author continually refers to her subjects by their first names (i.e. "Maud" instead of "Allen"), chances are, it's not all that scholarly.

Trollops and Harlots
Sorry to dissent, but Toni Bentley's ode to undressing leaves me, well, chilly. Her opening chapter is risque, but don't be misled. All you will read in the following chapters is a very scholarly history of a particular type of dancer, the striptease artiste. The only nudity you will see is one undraped mammelle. The book is dull, the opening chapter a tasteless come on. Ms. Bentley's investigation into nudity, both first hand and vicarious, is by her own admission an attempt to overcome a lifetime's inhibitions and her own innate modesty. It is a mistaken attempt. Ms. Bentley has gone downhill since her days as a Balanchine dancer, and has lowered her artistic standards considerably.

The Strange Origins of Striptease
Oscar Wilde is responsible for striptease.Well, not directly, perhaps, but there is a surprising connection drawn in _Sisters of Salome_ (Yale University Press) by Toni Bentley, an examination of four women who interpreted Salome around the turn of the last century.Wilde took his story from legend (not the Bible story), and invented the famous "Dance of the Seven Veils" for his French play _Salome_.It initiated the craze for "Salomania" and there was even a school for Salomes that churned out dancers to go into the variety halls.Bentley's introduction inserts herself into the history of striptease, and she gives a good account of ending her career as a ballerina and going onto the stage (just once?) as a stripper.She felt power; "... there was no victimization on either side of these footlights."It was a revelatory experience: "I was unmasked and, for a miraculous minute, thrilled in my body, unafraid of my life.I was in - for me - Paradise."

Her research into how striptease originated centered on four women who had initially interpreted to the theatrical Salome.Maudie Durant was the sister of a serial killer, and escaped to Europe and to the stage as Maud Allan as a way to free herself from disgrace.She became "the least dressed dancer of our time," and she then portrayed Salome in 1906.She became involved in a ridiculous trial which she lost in large part because it was shown that she knew what a clitoris was.Ida Rubenstein was the child of Russian aristocrats, and the only Salome here who had few worries about money.She liked expensive, self-aggrandizing shows and ended up derided for her vanity.She did, however, sponsor artists of real ability; Ravel composed _Bolero_ for her.Everyone knows the name of the spy Mata Hari, but everyone knows wrong.She performed all over Europe, and took lovers; she had a special weakness for those in uniform.As a result, she did take money for spying, but didn't do any.She was framed and executed in France in 1917.With Colette, perhaps Bentley is guilty of over-application of her theme, because Colette never played Salome, although she did once perform on the same billing as Mata Hari.Unlike the other three women profiled here, Colette had a genuinely happy and long life.She graduated from virgin bride to lesbian, to happily married housewife, although she did seduce a former husband's son.She used her success in scandals, including her stage nakedness, to become an author whose fiction and memoirs have inspired far more readers than just Bentley.

This is a book of a peculiar history, not only of four dancers, but of one period of the dance itself.None of them were very good dancers, but nakedness and scandal made up for that.All four reinvented themselves and used the Salome role for gains in power and money, although such gains were mostly temporary.None had a conventional life or marriage, and perhaps there is some sort of lesson in the sad ends most of them experienced.Bentley has not forced any didacticism from the four stories and her own.Her research and bibliography are good, and she has a light and amused way of telling the stories, full of detail."Why did these women dance naked?" she asks, and the answers she gives, far from simple, but satisfying while undoubtedly incomplete, are wise and fun to read. ... Read more

Book Description

Dramatically candid conversations about the creative life with 59 leading American choreographers.

"Eichenbaum's firsthand knowledge of dance, her passion for dancing and the people who do it, and her appreciation of the minutiae of lives, both everydayand Olympian, all combine to open windows onto the soul of dance and the lives of those who helped to define and shape the art in the 20th century."—Jennifer Dunning, dance critic, New York Times

Where does the impulse to create originate? What is the choreographer's responsibility to the dancers, the audience, the self? These are just a few of the probing questions that Rose Eichenbaum asks some of America's most celebrated choreographers in her quest to understand the secrets of creativity. A collection of photographic portraits and vignettes based on intimate conversations, Masters of Movement is a rare journey into the world of dance. Whether through her lens—David Parsons, in a business suit, standing on the branch of a Central Park tree; Anna Halprin lying naked at the base of a giant California redwood—or through the revelations from her thoughtful interviews, Eichenbaum captures the essential character of her subjects, who have confided the experiences and emotions that have driven their creativity and defined their styles. 118 duotones. ... Read more

Book Description

Suzanne Farrell, world-renowned ballerina, was one of George Balanchine's most celebrated muses and remains a legendary figure in the ballet world. This memoir, first published in 1990 and reissued with a new preface by the author, recounts Farrell's transformation from a young girl in Ohio dreaming of greatness to the realization of that dream on stages all over the world. Central to this transformation was her relationship with George Balanchine, who invited her to join the New York City Ballet in the fall of 1961 and was in turn inspired by her unique combination of musical, physical, and dramatic gifts. He created masterpieces for her in which the limits of ballet technique were expanded to a degree not seen before. By the time she retired from the stage in 1989, Farrell had achieved a career that is without precedent in the history of ballet. One third of her repertory of more than 100 ballets were composed expressly for her by such notable choreographers as Balanchine, Jerome Robbins, and Maurice Bejart. Farrell recalls professional and personal attachments and their attendant controversies with a down-to-earth frankness and common sense that complements the glories and mysteries of her artistic achievement. ... Read more

Reviews (10)

Incredible
Suzanne Farrell's life story was immensely enjoyable to read ~ very touching at times, very interesting all the way through. I cried several times, and fell in love with the dancer through the words. It's a must if you're a ballet fan. :)

One of the more interesting dancer autobiographies
Suzanne Farrell was often regarded as Balanchine's ultimate "muse", although she was neither the first nor really the last. Balanchine in the 1960s became obsessed with this willowy, mysterious dancer, and choreographed many ballets for her. Their personal relationship was much gossiped about. But Balanchine was married (to another "muse", Tanaquiel le Clerg), and Farrell was a staunch Catholic. She was also frightened by the intensity of the much older Balanchine's attentions. Eventually, she married another dancer, and left the New York City Ballet. When she returned 5 years later, Balanchine's personal obsession was over. They worked professionally till his death but it seems as if Balanchine never became emotionally invested in her again. Farrell for her part loftily insists that the relationship was consummated through "dance" and not the traditional way. One wonders if it was this remoteness and unattainability that made Balanchine so hurt when Farrell married and left the company.
Farrell's book is a moving personal story, and I'm too young to have seen her dance but surviving videoclips make it easy to understand Balanchine's obsession. She was indeed a beautiful, electrifying dancer. However, like a lot of singer autobiographies, Farrell can't help but sound a bit self-centered. She was isolated at the NYCB due to resentment from the other dancers, but it seems impossible that she'd remain so completely oblivious to the company's other members. Thus, 1960s mainstays of the NYCB like Edward Villela, Patricia McBride, Karin von Arnoldigen, that all figure so prominently in any chronology of the NYCB, are completely absent in Farrells story. From someone reading her book you'd think Balanchine choreographed solely for her, that she was the only important ballerina in his life, and that the company essentially revolved around her. This is not a criticism, but it's something to keep in mind when reading the book. I'd suggest also getting a biography of Balanchine, to keep this in perspective.
To Farrell's credit, she never self-aggrandizes or vilifies anyone. She admits Balanchine could be selfish and smothering, but overall she treats him very sensitively. She is also fair about her mother, a typical stage-mom. Overall, this is one of the best autobiographies of a dacner that I've read. Its candid and personal. However, like most autobiographies I wouldnt read it as an entirely accurate history of ballet either.
As an interesting footnote, Farrell's frequent stage partner and new NYCB dancermaster Peter Martins fired Farrell from teaching at the NYCB after a blowup in the late 1990s. In a preview of the book Farrell mentions the firing.

A genuine gem
The most moving book by a dancer I have read. It conveys Suzanne Farrell's enthusiasm, engergy and love for dancing Mr Balanchine's choreographies, but it is also the self-portrait of a woman whose humility is a lesson to all of us.
It inspires respect, admiration and love for Ms Farrell and for her art.
And the pictures are great too!

THE LEGEND CONTINUES
After reading (or, in my case, rereading) Suzanne Farrell's wonderful book, one feels a tremendous debt of gratitude. It isn't just that her life and views on dance and art are fascinating, though that is certainly true. It's the tremendous sense of generosity and compassion that flow from these pages. I remember when I first read her mother's words to her young daughters, that if they had "the arts in their life they would never be lonely", that I quietly marked the page, closed the book, and wept appreciatively. This was the first time I had heard these words expressed by anyone and it confirmed the feelings I've had since being very young.
Many may find the Balanchine references the definitive biography of this section of his life, but there is so much more to this glorious volume, gratefully back in print from the University of Florida. This paperback edition is very well-bound, pages are highest quality; the price may seem a tad high, but is in truth worth more than pricier hardcovers. This, along with the DVD of Farrell's exquisite "Elusive Muse" documentary make an outstanding gift idea for young people uncertain of how to attain their dreams. Ms. Farrell's life is certainly a great inspiration.

Good Read
An honest, touching, and very well written book about a great dancer with an extraordinary story to tell. ... Read more

Book Description

An intimate portrait of American modern dance and gay life in the 1930s. ... Read more

Reviews (1)

A FASCINATING JOURNEY
I had the pleasure of a casual acquaintanceship with Mumaw in New York in the 40' and 50's. Always enticing, the narrative is impeccable, and the story itself one well worth telling. The prime student and then lover of Ted Shawn, Mumaw was enriched by the pairing, and when later in life after he had cut the umbilical chord with Shawn, though devastated by Shawn's treacherous behavior, could never bring himself to bring an end to the friendship. ... Read more

Reviews (4)

Why isn't this still in print?
Winter Season: A Dancer's Journal is the exquisite chronicle of a ballet dancer's experiences with the New York City Ballet. The dancer, Toni Bentley, claims a certain naivetee, but I don't believe it's innocent ignorance as much as it is simple yearning for experiences she rarely has.

She has a delicate flair for words, and her prose couldn't be any less lovely than her pliees and tondus.

Dancing with a world-famous ballet company is gruelling. The dancers are overworked, underfed, and have little understanding of how the "real world" works, yet it would seem they like it that way. Ballet companies thusly have much in common with military outfits: soldiers and dancers work brutally hard, but have their concerns looked after by the higher-ups. Balanchine is the dancers' general.

With the incredibly long hours and the accompanying mental and physical exhaustion, how did Toni get the time to write this book?

She writes,

"We are hairless. We have no leg hairs, no pubic hair, no armpit hair, no facial hair, no neck hair and only a solid little lump at the top of our heads. Any sign of stubble must be closely watched out for and removed.

"That is not all. We don't eat food, we eat music. We need artistic sustenance only. Emotional, inspiring sustenance. Al our physical energy is the overflow of spiritual feelings. We live on faith, belief, love, inspiration, vitamins and Tab."

Toni eventually does break free of the NYC Ballet machine, but she's drawn inexorably back. After all, as she says, "We live only to dance. If living were not an essential prerequisite, we would abstain."

Wonderful glimpse into an intriguing, demanding world
With "Winter Season," Toni Bentley allows her audience to see a real picture of the incredibly tough, demanding and creative world of professional ballet. We see George Balanchine at the end of the career, and such greats as Suzanne Farrell and Peter Martins. The incredible, difficult, almost insane demands put on the dancers are clearly drawn, as is Ms. Bentley's love for her art. Especially evocative is her struggle with reconciling art with her demanding profession.

Often, artistic memoirs focus on the superstars, the Tallchiefs and Nureyevs, for instance. The view from the corps de ballet is all the more interesting for being so rare. This book is beautiful, wry, humorous and exquisitely-written. I wish Ms. Bentley had written several other volumes.

Excellent, revealing, thouroughly enjoyable
I really enjoyed this book. It gave a wonderful glimpse into the real world of professional dancing. Miss Bentley told this story with beautiful language, her words flowed like water. I found it wonderful to know what it was like to live the life of a dancer, to know the struggles and the victories, the fantasies and the realities. I recommend this book for all who love dance and for anyone interested in show business or simply anyone who enjoys a good read.

Excellent, Fascinating, Absorbing
I enjoyed this book. It was an absorbing, eye-opening look into the world of the ballet written by an insider - a young, intense and highly intelligent young woman, a dancer with the NYC Ballet, who exposes life in this elite and unique world. ... Read more

Book Description

He was, for decades, one of the most recognizable figures in the cultural landscape, his image epitomizing a golden age of American show business. His career spanned a lifetime, but for years he has remained hidden behind the persona he so vigorously generated, and so fiercely protected. Now, in this surprising, illuminating, and compulsively readable biography, we are taken beyond the icon, into the extraordinary, singular life of Sammy Davis, Jr.

In scrupulous detail and with stunning powers of evocation, Wil Haygood takes us back to the era of vaudeville, where it all began for four-year-old Sammy who ran out onstage one night and stole the show. From then on it was a motherless childhood on the road, singing and dancing his way across a segregated America with his father and the formidable showman Will Mastin, struggling together to survive the Depression and the demise of vaudeville itself.

With an ambition honed by poverty and an obsessive need for applause, Sammy drove his way into the nightclub circuit of the 1940s and 1950s, when, his father and Mastin aging and out of style, he slowly began to make a name for himself, hustling his way to top billing and eventually to recording contracts. From there, he was to stake his claim on Broadway, in Hollywood, and, of course, in Las Vegas.

Haygood brings Sammy’s showbiz life into full relief against the backdrop of an America in the throes of racial change. Sammy grew up trapped between the worlds of blacks and whites, with so much invested in both. He made his living entertaining white people but was often denied service in the very venues he played. Drafted into a newly integrated U.S. Army in the 1940s, he saw up close the fierce tensions that seethed below the surface.Dragged into the civil rights movement, he witnessed a hatred that often erupted into violence. In his broad and varied friendships and alliances (with Frank Sinatra; Martin Luther King, Jr.; Richard Nixon; Sidney Poitier; Marilyn Monroe, to name just a few), not to mention his romances (his relationship with Kim Novak and his marriage to the blond beauty May Britt drew death threats), he forged uncharted paths across racial lines. Admired and reviled by both blacks and whites, he was tormented all his life by raging insecurities, and never quite came to terms with his own skin. Ultimately, his only true sense of his identity was as a performer.

Based on painstaking research and more than 250 interviews, Wil Haygood brings us a sweeping and vivid cultural history of the twentieth century, chronicling black entertainment from its beginnings and the birth of popular culture as we know it. In Black and White transcends simple biography to become an important record, both celebratory and elegiacal, of a vanished America and its greatest entertainer. ... Read more

Reviews (19)

Impressive and entertaining biography of Sammy Davis jr.
Wil Haywood, staff writer for the Washington Post, won the 2004 Hurston-Wright Legacy Award in Nonfiction, plus a host of other awards for In Black And White: The Life Of Sammy Davis Jr., so it's only fitting his impressive and entertaining biography of the life of Sammy Davis Jr. be reprinted in paperback to reach new generations of audiences with his award-winning life of one of America's most popular and versatile performers and entertainers of the 20th Century.

Black and Blue
This impressive biography of SDJ does a stellar job of presenting a portrait not only of this showbiz legend, but of his times. Some Amazon reviewers have criticized a) the structure of the book, b) what they feel is a lack of Sammy focus, or c) a potential bias against Sinatra. To those detractors I say a) read the WHOLE book, because the structure is perfectly accessible and not "fragmented," b) Sammy is CLEARLY the centerpiece of this book; we get plenty of Sammy, and c) get a life. Sinatra is presented in all his complexity. There's the generous Frank; the singer-without-peer Frank; and the slightly unsavory, sometimes megalomaniacal Frank.

Wil Haygood is masterful in presenting a deep and complex portrait of a Sammy who is troubled, gregarious, enormously talented, and, ultimately, scarred by his childhood vaudeville days as well as his gargantuan inferiority complex. Haygood's admirable attempt at objectivity enables us to both disdain some of Sammy's behavior and feel great sympathy for the early life he was forced to live.

What greater compliment can I give than to say that Haygood takes us into Sammy's world with depth and clarity and raw beauty. Knowing Sammy's life, warts and all, only adds to my great respect for his amazing, mid-century achievements.

A Truly Boring Story
It is amazing that a writer could take such an interesting subject like Sammy Davis and make a truly remarkably boring book.There are no Sammy stories that you want to remember much less tell one of your friends about.His two autobiographies were filled with great stories that made you choke up or laugh out loud, this has none of that.It was full of psycho babble that got tedious after awhile.The author's hatred of President Nixon, obvious dislike for Sinatra and misinforming of the "Archie Bunker" episode were just a few examples of where this falls woefully short of good reporting and story telling.In addition, I listen to this on an unabridged CD version; the performer was the worse I've ever heard.His gulping sounds took away from a story that could hardly afford any distractions.Bottom line, this is the worse book, that I've finished,that I have ever listen too.

A biography of what?
I disliked the way this book was organized. It did not read like a typical bio at all. The first two chapters were about the previous collaborative biographers of Sammy's and their writing and publishing nightmares of _Yes I Can_. I couldn't tell if this book was about Sammy or his previous biographers. The narrative is fragmented and repetitive. The story was too roundabout to capture my interest. I found it infuriating and I gave up half way through.Sorry I cannot give this bio a good recommendation.

a pretty decent bio
Sometimes when reading a bigraphy, the author makes the mistake of idolizing the subject too much and thus leaves thje reader with a rather distorted fazine in book form. This book startes off this way and I was tempted to put it down but then a third of the way into the author presents critical analysis of Mr. Davis and the storyline is much more engaging. I would have liked a few more photos other than from the Sammy Davis jr. or firnds of Sammy Davis Junior collection to go beyond a snapshot image of this subject. This books ends on a high note by the author when an excellent critique is made. A worthwhile read. ... Read more

Book Description

A long time ago, when I was a young dancer in
New York City, I fell in love with Jimmy Dean
and he fell in love with me.

So begins this beguiling memoir of Liz "Dizzy" Sheridan's passionate yet ill-fated romance with the young, magnetic, soon-to-be-supernova James Dean. The year was 1951. Dean had recently arrived in Manhattan in search of Broadway stardom. Sheridan was a tall, graceful aspiring dancer. They met one rainy afternoon in the parlor of the Rehearsal Club, a chaperoned boardinghouse for young actresses -- and before long Dizzy and Jimmy were inseparable. Together they hunted for jobs, haunted all-night bars and diners, and gloried in the innocent rebellion of early-'50s bohemian New York. Dizzy Sheridan and James Dean were lovers; they lived together; as even ardent Dean fans may be surprised to learn, they were engaged to be married. But when Dean began to find success on the Broadway stage and then was lured to Hollywood, the couple parted amid tears and broken dreams -- dreams that would be dashed forever when Dean died in a car crash in 1955, not long after seeing Dizzy for the last time.

Dizzy & Jimmy marks the first time Liz Sheridan has written about this joyous yet ill-starred romance. She brings us closer than we have ever been to the vibrant young actor before he became a Hollywood icon, capturing his unstudied charm, his complicated psyche, the spontaneous delight he took from the world around him, and the passion he invested in his work and life. It is a journey that takes in many locales, from Dean's boyhood home in Fairmount, Indiana, to Sheridan's recuperative travels through the Caribbean after their breakup. But at its heart Dizzy & Jimmy is the story of a love affair with Manhattan -- of nights spent stealing kisses in Times Square, sharing a walkup in the Hargrave Hotel, dancing after hours beneath the stars in Grand Central Station. And in Sheridan's bittersweet, embraceable telling, it becomes a story no reader, Dean fan or otherwise, will soon forget. ... Read more

Reviews (14)

An Intensely Beautiful Love Story . . . A Classic Romance
This book clearly deserves many more than five stars! It is one of the best books I have read in many years.

Romantic novels and love stories are not my first choice for fiction, usually because the authors cannot carry off the stories in effective ways. To enjoy these novels and plays, you usually have to overlay your own sense of romance . . . because the authors don't provide enough of their own.

Imagine my pleasure when I found this "true" romance that exceeds all but a handful of fictional ones. What a great treat!

"A long time ago . . . I fell in love with Jimmy Dean and he fell in love with me." You can see the fairy tale quality of the book in this simple sentence. What woman who felt a closeness to James Dean can help but be attracted by this opening? Liz Sheridan has the great gift of being a romantic person, and of being able to write about that perspective in a way that brings the reader into the relationship.

As a man who admired James Dean's acting, I was curious to learn more about his life as an aspiring actor and was greatly rewarded. Dean was even more interesting in real life than he was on the stage and screen.

Together, Liz (Dizzy) Sheridan and James (Jimmy) Dean were unbelievably alive and in love . . . in a way that almost anyone can admire and perhaps even envy a bit. "It was 1951, and he hadn't yet become James Dean, public property . . . the Rebel, the Icon." They would sing corny songs together, split a beer and talk until the bar closed, and dance down the streets like Gene Kelly in Singin' in the Rain. Two talented theatrical people were always on-stage with each other, finishing each other's lines and hugging with laughter.

They had almost no money, and met by accident while Dean was waiting to get some food from a new friend in Dizzy's chaperoned boarding house. Dean borrowed her umbrella, probably to have an excuse to see her again the next day. Within hours, they were inseparable. The physical, emotional, and psychic bonds were powerful. "He was shy and broke and he mumbled. And I adored him." In fact, one of the charms of the book is that it portrays the transforming power of love. Dizzy's emotional and financial support meant a lot to Dean at a time when he was prey to those who wanted to exploit him, and he went to unsuccessful audition after unsuccessful audition.

Dizzy was a dancer, who often appeared in an Apache trio. She has a kinesthetic and open approach to everything, which made her a perfect fit for Dean. Whatever mood came over him, she was ready . . . whether this was becoming lovers, dropping everything to hitchhike to Indiana, or scraping up the money to move in together. "Someone needs to remember the Jimmy who was warm and fuzzy, sweet and polite, and capable of profound love."

Dizzy has to speak for them both, because Dean was dead in four years after a brief, but spectacular career that would leave him as one of the central performing legends of the 20th century. In doing so, she is writing a "duet for one."

But a duet for one was perhaps unavoidable because Dean was so shy. But, "his shyness was irresistible."

The book is full of romantic sequences, like practicing bullfighting with each other (Dean was the matador and Dizzy was the bull). Dean also liked to sketch, and loved to share his perspectives with Dizzy about the difficulties of capturing an egg perfectly because of the quick way that natural light shifted.

Dean had incredible charm, and you will be thrilled to read how he related to a blind street person and each person in Dizzy's family.

With time, the passion cooled and Dean became obsessed with his career. When he got a role in the play, The Jaguar, all he wanted to do was rehearse. "I just don't have any time for you. I'm working!"

Dizzy handled it about as well as anyone could whose love has grown away from her. The places they used to haunt suddenly didn't seem so beautiful anymore. The poignance of her time in the West Indies is remarkably bittersweet.

One of the last things Dean ever said to her was, "I'll always love you." "And I believed him."

Although her mourning was long and difficult, she eventually came out of it. "I knew Jimmy would be laughing in the stars, just as he always promised."

Get out your hankies, you'll need plenty of them.

After you have finished this wonderful story, think about how you could make your life more romantic.

Be spontaneous and be in love!

I Loved This Book !
I have always thought that Liz Sheridan was a classy lady and a fantasic actress, but this book brought me even more respect for her. I'll admit that a tough cookie like me bawled like a baby at the end of the book, not so much over the death of Dean, but over the aching sense of loss that this book brought. Being a huge Dean fan, I have often lamented the death of such a wonderful man, but this book brings it to a personal level. I would highly recommend this book to anyone, even if they are not a fan of James Dean, because everyone can relate to this story of love lost. Kudos to Liz Sheridan for sharing such a personal part of her life.

GREAT LOVE STORY
Well I've read a few James Dean books..I just love him. I personally liked this one the best because you get an inside look on what it was like to date James Dean. I recommended it to my best friend who also loves him, and her whole family has now read it too because it's so great. If you want a good book on how Jimmy was as a boyfriend, this is the one you should get. It's great!

Twinkle in my eyes
Two thumbs up! Earlier last year, I was so eager to read this book at the minute it arrived at my door...it's so obvious how deep the author, Liz Sheridan, know hearttrob James Dean is from inside and outside. Love the part of her describing him at first sight. It's rare for me to cry over the written stories but for some reasons, this book make my eyes misty. Living in NYC is quite an adventure and impulse for glowing in adulthood. Perfect for James Dean fan...

Liz is hoping for a movie deal
Liz's style hints at hopes for a movie deal. The book reads like the screenplay of a made for TV movie. I must confess that this annoyed me. She tells her story in dialog and descriptions that could double as scene notes. Who can remember their past to the point of everything being in quotations? especially conversations from at least a half century ago! She denys wanting to be one of those profiting from a relationship with James Dean, yet I can see not other reason for her writing this book. Money must have gotten tight after Sienfeld. If she really wanted people to know the "Jimmy" she knew, better to have kept his letters. She says she burned them after he died.
The women I know only burn letters from lovers when they get dumped. No Offense Liz, but I was not impressed. ... Read more

Book Description

Dancer, award-winning choreographer, show producer, stand-up comedienne, TV/film actress and author, Norma Miller shares her touching historical memoir of Harlem's legendary Savoy Ballroom and the phenomenal music and dance craze that "spread the power of Swing across the world like Wildfire."

It was a time when the music was Swing, and Harlem was king. Renowned as 'the world's most beautiful ballroom" and the largest, most elegant in Harlem, the Savoy was the only ballroom not segregated when it opened in 1926. The Savoy hosted the best bands and attracted the best dancers by offering the challenge of fierce competition. White people traveled uptown to learn exciting new dance styles. A dance contest winner by fourteen, Norma Miller became a member of Herbert White's world-famous Lindy Hoppers and a celebrated Savoy Ballroom Lindy Hop champion.

Swingin' at the Savoy chronicles a significant period in American cultural history and race relations, as it glorifies the popularized home of the Lindy Hop, and the birthplace of such memorable dance fads as the Big Apple, Shag, Truckin', Peckin', Susie Q, Charleston, Peabody, Black Bottom, Cake Walk, Boogie Woogie, Shimmy, and tap dancing.

Miller shares fascinating anecdotes about her youthful encounters with many of the greatest jazz legends in music history including Ella Fitzgerald, Count Basie, Benny Goodman, Billie Holiday, Artie Shaw, Duke Ellington, Ethel Waters, and even boxer Joe Louis. ... Read more

Reviews (4)

Fluffy but Fun
In the 1930s and 1940s, Swing jazz captivated America in a way no musical style ever had before. Swing was largely developed in Harlem and its driving beat made dance an inevitable component of this new music. The new dance created was the lindy hop, a non-classic couples dance largely created on the floor of the Savoy Ballroom.

Swinging at the Savoy traces the life of Harlemite Norma Miller, who came of age just at the perfect time to invest her entire future in a faddish dance despite protests from her disapproving mother.

Of course, Norma beat the odds and made a decent living as a performer, but this is not what the book is about. The real draw of this book is the chance to glean musical and dance history straight from the horses mouth. Indeed, Norma discusses the bands, the clientele, the lifestyle, the celebrities she met, and racial issues, but more often than not the bubbly Norma gets caught up in the warmth of her very dear memories.

Swinging at the Savoy follows Norma through innumerable dance
performances, which were far from dull thanks to infectious Norma's joy and enthusiasm for dance. However, I would have preferred that her performances had been given a bit less weight and more had been included a few more anecdotes on Duke Ellington and Chick Webb, more discussion on issues such as the development of the music and dance, and how interracial dancing was possible in the dark ages of the 1930s.

Of course, the book is subtitled The Memoir of a Jazz Dancer and so I cannot really fault the book for putting the events of Norma's life at the center. Furthermore, the book is prefaced with an excellent essay by jazz expert Ernie Smith that provides a solid historical perspective on the music and dance of Swing.

Swinging at the Savoy is a breeze to read and includes a good number of photographs that help bring the book to life. I recommend this book to anyone interested in African-American culture, jazz, dance, or U.S. history.

True Original
Norma Miller, the youngest member of the original swing dance troupe, Whitey's Lindy Hoppers, had to do some sneaking around in order to dance at the Savoy Ballroom in Harlem some 60-odd years ago.

If the spunk she has now is any indication of what she was like at 15, though, it's no surprise she helped invent a whole new dance form.

This down-to-earth personal memoir by an effervescent woman whose first and last love is the excitement of swing is an invigorating read for almost anyone.

It might make you want to drop everything and go out and dance . . .or it might just give you a better understanding of the history of Harlem and the extraordinary people who helped keep it on the map all these years with their artistic spirits and rich energy.

For the true lindy hopper... the first book of choice.
Forget those neo-swing books... this is the one to get if you want to know about the tales and stories from the start of it all. Wonderfully told from a first person account...

Very Good Swing Dance Book
Norma Miller is one of the Whitey's Lindy Hoppers who danced at the Savoy Ballroom in Harlem. It has some nice Pictures and some great information ,although it is about her personal bio at the Savoy and other dance spots she was in over the years, it is a little biased about Norma (understandably) and The role that she and the Hoppers played in the Making of popular Lindy Hop. It could have had more stories about the other dancers and places. It is however a major recomendation for any Swing Dancer/Fan. ... Read more