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NOW UPDATED WITH A NEW EPILOGUE In the summer of 1964, aged twenty, Ray Davies led the Kinks to fame with their number one hit ‘You Really Got Me’. Within months, they were established among the pop elite, swamped by fans and fast becoming renowned for the rioting at their gigs. But Ray’s journey from working-class Muswell Hill to the Rock ’n’ Roll Hall of Fame was tumultuous in the extreme, featuring breakdowns, bitter lawsuits, spectacular punch-ups and a ban from entering the USA. His relationship with his brother Dave is surely the most ferocious and abusive in music history. Based on countless interviews conducted over several decades, this richly detailed and revelatory biography presents the most frank and intimate portrait yet of Ray Davies.
“Staging Memory and Materiality in Eighteenth-Century Theatrical Biography” examines theatrical biography as a nascent genre in eighteenth-century England. This study specifically focuses on Thomas Davies’ 1780 memoir of David Garrick as the first moment of mastery in the genre’s history, the three-way war for the right to tell Charles Macklin’s story at the turn of the century and James Boaden’s theatrical biography spree in the 1820s and 1830s, including the lives of John Philip Kemble, Sarah Siddons, Dorothy Jordan and Elizabeth Inchbald. This project investigates the extent to which biographers envisioned themselves as artists, inheriting the anxiety of impermanence and correlating fear of competition that plagued their thespian subjects. It traces a suggestive, but not determinative, outline of generic development, noting the shifting generic features that emerge in context of a given work’s predecessors. Drawing heavily on primary sources, then-contemporary reviews and archival material in the form of extra-illustrated or “scrapbooked” editions of the biographies, this text is invested in the ways that the increasing emphasis on materiality was designed to consolidate, but often challenged, the biographer’s authority. This turn to materiality also authorized readerly participation, allowing readers to “co-author” biographies through the use of material insertions, asserting their own presence in the texts about beloved thespians.
This text chronicles and assesses the little-known involvement of US diplomat George F. Kennan - renowned as an expert on the Soviet Union-in US policy toward East Asia, primarily in the early Cold War years.