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American Union Made
was planned to be performed with
Michael Jackson on his This is It Tour
MJJC TV - The One-Michael Jackson Triller Biggest selling album of all time- This is a special remade teaser of "The One" video made by BigDB2B (B2B) which is now widescreen with clips of the O2 arena to hype everyone for the return of Michael Jackson to the stage. It is on...//

Michael Jackson Live @ the O2 Arena, London (OFFICIAL ADVERT/ Promo Video)
Video Created and Copyright by Bill Young Productions at Official Concert Tour Commerical Concert Spot Promos.// This is the official advert and prom...

The management of Chelsea Disaster, Dillon Storm, Johnny Disaster and their Stoned Holy Anarchy Band and Urban Distater Records, the producers of American Union Made, were planning to have the band perform their new hit music Video,
American Union Made, with Michael Jackson on his 

 "This Is It" Tour.
The idea was to have Michael Jackson dance the Factory Dance with the American Union Made dancers, mimes and clowns, which is performed on the American Union Made music video, which is set to be the new dance craze around the world.
The Factory Dance
was first made famous by the mime artist Marcel Marceau had been delighting the world in silence for 60 years. ... He launched immediately into a pastiche of Chaplin's dance routine with a cane and then ...... A grinder at the Kiev arsenal factory.... 
"In 1995, vocalist, dancer, choreographer and mime Michael Jackson and Marcel Marceau conceived a concert for HBO, but the project was never completed."
Michael Jackson performing the Factory Dance to American Union Made  would be a way of completing a planned project Michael Jacksob had with Marcel Marceau. However, sadky Michae; Jackson also dies before Michael Jackson could perform the Factory Dance to American Union Made.
1. Marcel Marceau. 2. Michael Jackson 3. Marcel Marceau 4. Marcel Marceau 5. Marcel Marceau

Michael Jackson & Marcel Marceau Crank Dat Soldier Boy

American Union Made, won his  The idea was to have Michael Jackson dance the with the dancers, mimes and clowns, which is performed on the was first made famous by the had been delighting the world in silence for 60 years. He launched immediately into a pastiche of Chaplin's routine with a cane and then A grinder at the Kiev arsenal .... 1.

Michael Jackson et le mime marcel marceau

Michael Jackson et le mime marcel marceau Le dernier numéro du magazine américain Jet rapporte quelques déclarations de Michael Jackson suite à la mort du
 Mime Marceau le 22 septembre dernier : J...

Marcel Marceau - l'escalier


   The management of Chelsea Disaster, Dillon Storm, Johnny Disaster and their Stoned Holy Anarchy Band and Urban Distater Records the producers of American Union Made are now looking at joining forces with the Michael Jackson Management Team and the Jackson Family to be part of a music concert dedicated to the joy Michael Jackson gave to the world through his music,  and dance performance, for which Michael Jackson rightly earned  the title of King Of Pop.
The planned condcert may also include the Emerge Fest which has been planed by the
 Fringe Shows Have Talent Team for some time to show case the most outstanding talent in Music, Theater, Arts, Film, Dance and Comedy emerging out the the alternative fringe festivals around the world each each such as
the Edinburgh Fringe Festival, in Scotland,
 the Dublin Fringe Festival, in Ireland,
the New York Fringe Festival, in the USA,
  the NYITFest, in New York,
 the MALI Womens Performing Arts Fest, and the womens comedy Fest in Austin Texas, USA,
 the Adelaide Fringe, Melbourne Fringe Festival, in Australia,
Athabasca Country Fringe Festival

Cowichan Fringe Festival
Edmonton International Fringe Theatre Festival
Hamilton Fringe Festival
Fringe London (Ontario)
Saskatoon Fringe Theatre Festival
St-Ambroise Montreal Fringe Festival
Ottawa Fringe Festival
Toronto Fringe
Vancouver Fringe Festival
Victoria Fringe Festival
Winnipeg Fringe Festival
in Canada
Prague Fringe Festival  in Czech Republic

Bath Fringe Festival
Brighton Festival Fringe
Buxton Festival Fringe
Chorlton Fringe festival
Malvern Fringe
The N16 Fringe (Stoke Newington)
Norwich Fringe Festival
Reading Fringe Festival
St.Ives September Fringe Festival
Stockton International Riverside Festival
Stroud Fringe

in England
City Fringe Festival  in Hong Kong

Dublin Fringe Festival   in Ireland

Wellington Fringe Festival  in New Zealand

M1 Singapore Fringe Festival  in Singapore

Capital Fringe Festival (Washington DC)
Cincinnati Fringe Festival
IndyFringe - Indianapolis Theatre Fringe Festival
Minnesota Fringe
New York International Fringe Festival (FringeNYC)
Orlando Fringe Festival
Philadelphia Live Arts Festival & Philly Fringe
San Francisco Fringe Festival
 in the USA
Llangollen Fringe Festival
It has been said that the idea of a 'fringe' arts festival started in Edinburgh in 1947 when the Edinburgh International Festival was launched. Since then many Fringe Festivals have been staged around the world .



American Union Made

American Union Made.. Chelsea Disaster is a young union organizer who is chased, busted, hooded and then interrogated for union organizing. ... [more]


American Union Made

Chelsea Disaster is a young union organizer who is chased, busted, hooded and then interrogated for union organizing. She leads a zany bunch of clowns, mimes and magicians who although unarmed, help Chelsea escape custody. Great dance and mime scenes choreographed by Rich Kuperberg of KoMotion Theater. Costumes by Ann Morris. Filmed, edited and Directed by Urban Disaster Records Johnny Disaster. Music written and recorded by Dylan Storm and Johnny D of The Stoned Holy Anarchy Band

Category: Music

The Fringe Shows Have Talent Team have chosen 
                                   American Union Made
as the Best Music Video of the year for 
July 2008 June 09...

Click here to see this amazing music video brought to you by Urban Disaster Records where you see Chelsea Disaster live in action....

Chelsea Disaster is a young union organizer who is chased, busted, hooded and then interrogated for union organizing. She leads a zany bunch of clowns, mimes and magicians who although unarmed, help Chelsea escape custody. Great dance and mime scenes choreographed by Rich Kuperberg of
KoMotion Theater. Costumes by Ann Morris. Filmed, edited and Directed by Urban Disaster Records Johnny Disaster. Music written and recorded by Dylan Storm and Johnny D of The Stoned Holy Anarchy Band

The Stone Holy Anarchy Band


Dylan Storm

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Marcel Marceau
Marcel Marceau Remembered
Tu Vas Nous Manquer,
an Ode to Marcel Marceau

By thepoetryman

As in silent motion
white faced petals
polish our living

nestled near, ready to rise
and outshine the sorrow
etched upon our face;
hate, that rusty nail
on the floor of hell piercing
the naked feet of our foul specter.

As in silent motion
dream’s painted face
fetches our melody…

Je dois y aller maintenant.

Mime Legend Marcel Marceau passed away at 84

Marcel Marceau, the master of mime who transformed silence into poetry with lithe gestures and pliant facial expressions that spoke to generations of young and old, has died. He was 84.

Wearing white face paint, soft shoes and a battered hat topped with a red flower, Marceau breathed new life into an art that dates to ancient Greece. He played out the human comedy through his alter-ego Bip without ever uttering a word.

Offstage, he was famously chatty. "Never get a mime talking. He won't stop," he once said.

A French Jew, Marceau escaped deportation to a Nazi death camp during World War II, unlike his father who died in Auschwitz. Marceau worked with the French Resistance to protect Jewish children, and later used the memories of his own life to feed his art.

He gave life to a wide spectrum of characters, from a peevish waiter to a lion tamer to an old woman knitting, and to the best-known Bip.
Marcel Marceau Spoke once

A quiet man.... never uttering a word.... that was the trademark of the world's most famous Mime.... the man that turned silence into an art. When one thinks of Marcel Marceau, one thinks of a funny little man with a painted face going through all sorts of body movements to make a point... bringing joy to millions while doing just that..

But once he spoke; in 2001 he granted an interview to a freelance journalist named Jeremy Josephs... what he said are words to be remembered... especially the last ones in the interview... "All wars are criminal"...... those words are from a holocaust survivor... a true believer in 'NEVER AGAIN'----- TO ANYONE!

An excerpt from the interview mentioned follows, courtesy of The Forward...

Marcel Marceau Remembered

Marcel Marceau, the legendary master of mime, died September 22 at age 84. Born Marcel Mangel to a Jewish family in Strasbourg, France, Marceau escaped the Nazis, joined the French Resistance and worked as a liaison to General Patton’s army. In 1946 he began studying acting in Paris, where he quickly established his career. The following excerpt was taken from a 2001 interview with Marceau by freelance journalist Jeremy Josephs:

I was once asked about my “Jewish sensitivity,” to which I replied that I would prefer to discuss human sensitivity. Jews are sensitive, like other people, but in the modern world religion should not be so high up [in] the order of the day. I was brought up in a Jewish home, but I was brought up to be human, not fanatical, which is something that I don’t appreciate at all. I learned to become a humanist, and not to dwell on the differences between Jews and Christians.

I must be honest and tell you that I do feel slightly uncomfortable with people dwelling on this Jewish aspect of my life. I have the greatest respect for the sufferance of the Holocaust — my father died in Auschwitz — so I am perfectly well aware of what happened. But this did not make me superior to other people.

I don’t want to be part of a community. I want to be part of the world. I have never been a victim of antisemitism — if you put to one side my war-time experience. That said, I am lucky not to have been sent into a concentration camp. I produced false papers, I took Jewish children to Switzerland when I was a teenager… and [after the war] I went to drama school with Etienne Decroux. But I never denied that I was Jewish. I wanted to give my art to the people.

The memory of the Holocaust is so important though. The 20th century was the most criminal century. Despite this, it has been a great century too. There is a balance between good and evil. But I am happy that the memory of the Holocaust is kept alive, so that such a tragedy can never begin again. But I would not put a Jew who died in the Holocaust above a Catholic soldier who died in the trenches of the First World War. All wars are criminal.

Silence falls on Marcel Marceau,
master of the mime

By John Lichfield

When great actors die, they are said to "fall silent". The mime artist Marcel Marceau had been delighting the world in silence for 60 years.

In Paris on Saturday, he, and his restless alter-ego "Bip", fell still. He was 84. Marceau was perhaps the most loved and internationally admired of all French people. "Bip" – a pale, elastic-limbed clown with a striped shirt and limp red flower in his battered hat – was instantly recognisable from the United States to China.

"Bip" was inspired by the work of Charlie Chaplin, Harpo Marx and other early film stars. He also drew on – and revived – older, European traditions of silent theatre, such as the Italian Commedia dell'arte.

Marceau once suggested another, darker, reason for his wordless art. He was born into a French Jewish family in 1923. His father, Charles Mangel, a butcher, was deported from France in 1944 and died in Auschwitz concentration camp.

"The people who came back from the camps were never able to talk about it," he once said. "My name is Mangel. I am Jewish. Perhaps that, unconsciously, contributed towards my choice of silence."

The French Prime Minister, François Fillon, said yesterday: "A talent for telling stories without words conferred on Marcel Marceau a rare gift: the ability to speak to everyone, with no barriers of language or culture." The Culture Minister, Christine Albanel, said Marceau's "poetry and tenderness" had inspired performers in other theatrical disciplines for more than half a century.
Marceau claimed that mime was able to convey a more profound, or at least more universal, message than words. "Pantomime is a hypnotic art," he said. "It is a universal language". Marcel Marceau was born in Strasbourg on 22 March 1923. He fled the Nazi invasion of Alsace with his family in 1940 and eventually joined a resistance movement near Limoges.

After the war, he joined Charles Dullin's School of Dramatic Art, and studied under the celebrated mime artist Etienne Decroux. Marceau first made his name with his own company in a tiny theatre on the Paris Left Bank – the Théatre de Poche, where "Bip" was born 60 years ago this year.

A tour of the United States in the mid-1950s – the first of many – turned him into an international celebrity. In 1967, he bumped into his boyhood hero, Charlie Chaplin, at Orly airport in Paris. He launched immediately into a pastiche of Chaplin's dance routine with a cane and then burst into tears and threw his arms around the ageing star.

One of Marceau's most loved sketches was "Public Garden," where "Bip" became in turn all the characters in a park, from a small boy playing football, to the park warden to an old lady knitting. At other times, he might be a bad-tempered waiter, an incompetent lion-tamer, a man chasing butterflies or a flirt at a cocktail party. In one of his later routines – he was making 250 appearance a year until the late 1990s – he mimed all the ages of mankind, from youth to death, in a couple of minutes.

Although Marceau never spoke on stage, he did once famously speak in a film. He appeared in Mel Brooks' Silent Movie in 1976 and said the only word: "non". Off stage, like one of his heroes, Harpo Marx, he was a very talkative man. "Never get a mime talking," he once said. "He won't stop." Marcel Marceau was a modest man, except when describing his own achievements. "I have a feeling that I did for mime what Segovia did for the guitar, what Casals did for the cello," he once said.

In the 1950s and 1960s, his company was the only troupe of mime artists in the world. He founded the Ecole Internationale de Mimodrame in Paris in 1978, which is still the only school of its kind. The pop star Michael Jackson based his moonwalk routine on Marceau's sketch of a man walking against the wind.

Marceau is survived by his four children.

Marcel Marceau, Mime artist and teacher

Marcel Mangel (Marcel Marceau), mime: born Strasbourg, France 22 March 1923; Director, Compagnie de Mime Marcel Marceau 1949-64; Director, Ecole Internationale de Mimodrame de Paris Marcel Marceau 1978-2005; three times married (two sons, two daughters); died Paris 22 September 2007.

Wearing white trousers, a crumpled top hat adorned with a bedraggled red artificial flower and a striped vest with big buttons, and with a mask of a face that was able to suggest a thousand different impressions, the celebrated mime Marcel Marceau produced an astonishing variety of brief dramatic scenes and comical encounters with himself – The Cage, Walking Against the Wind, The Maskmaker, The Park, among others – and a gallery of unforgettable characters – head waiters, mad sculptors, matadors, dictators and ballet dancers. Of Marceau's moving depiction of the four ages of man, Youth, Maturity, Old Age and Death, one critic said, "He accomplishes in less than two minutes what most novelists cannot do in volumes."

He was born Marcel Mangel, the son of a butcher, in Strasbourg in 1923. He attended schools in Strasbourg and Lille and even as a child was a gifted mimic of animals and human beings. He enjoyed the silent movies of the 1920s, in which his favourite stars were Buster Keaton, Harry Langdon, Stan Laurel and above all Charlie Chaplin ("To us, he was a god"), whom he was to meet later in life. Their films were silent, so they had to express their feelings through mime.

When Marcel was 16, the Second World War began and in September 1939, Strasbourg had to be evacuated. For a while he took courses in painting and enamelling at the Ecole des Arts Décoratifs in Limoges, and he was to become a gifted illustrator of his own works. His father was deported to Auschwitz, where he later died, and Marcel joined the Resistance, moving to Paris. On one occasion, in 1944, as he was coming out of the Métro, he was stopped by two plain-clothes policemen who asked to see his papers. They were perfect fakes, for Marcel Mangel, as both a Resistance spy and a Jew, was on the wanted list. The narks kept examining his papers and looking at his face, while he stared back at them without batting an eyelid, showing no trace of fear. The men were baffled, and let him go. It was an early demonstration of the powers of mime.

In 1945, he began attending Charles Dullin's famous school of dramatic art in the Théâtre Sarah Bernhardt, where he also followed classes given by Etienne Decroux, who had invented the system of "mime corporel" – corporeal mime. It became the basis for Mangel's own art of facial and bodily control. One of his fellow students was Jean-Louis Barrault, who appreciated his exceptional talents as both actor and mime. Mangel became a member of Barrault's own company and was cast in the role of Arlequin in the "mimodrama" Baptiste, a role Barrault had made famous in the 1945 film Les Enfants du Paradis.

Mangel was such a success that Barrault encouraged him to present his own mimodrama, "Praxiteles and the Golden Fish" (1946), at the Théâtre Sarah Bernhardt. Its popularity made Mangel decide to embark upon the career of a mime. The stage name he chose was Marcel Marceau, taken from a line in a poem by Victor Hugo about a great general, Marceau-Desgraviers. But the character he created was "Bip".

Marceau borrowed Bip's name from the character of Pip in Charles Dickens's Great Expectations and indeed Bip resembled the wan-faced waifs of Dotheboys Hall in Nicholas Nickleby. He had the woebegone orphan look of children in early silent movies, like Jackie Coogan in The Kid or Oliver Twist.

"Born in the imagination of my childhood," Marceau once wrote of his greatest success, "Bip is a romantic and burlesque hero of our time. His gaze is turned not only towards heaven, but into the hearts of men."

Marceau's scenarios for his sketches were minimal, given body by his weird physical agility and an acute sense of "scenic time". In 1949 he started his own mime company at the tiny Théâtre de Poche in Montparnasse. Its first performance, in 1951, was a mime drama based on Gogol's tale The Overcoat. It was such a popular success that Marceau enlarged the company and produced classic period mime dramas including Pierrot de Montmartre (1952) and the more ambitious Le Mont de Piété ("The Pawn Shop", 1956).

But unlike the "straight" theatre, mime in France has never enjoyed official financial sponsorship, so Marceau had on occasion to abandon his company and start to make a living on tour as Bip in celebrated solo turns.

He toured Europe for eight years. His big break in America came in 1955-56 and Marcel Marceau and mime became inextricably linked in the public mind across the world.

"Americans are like big children – they never lose their sense of amazement and wonder," he once said of his transatlantic fans. "I show them something they have never seen before."

Marceau's beautiful Bip Hunts Butterflies had obviously influenced the great ballet dancer Jean Babilée when in the 1950s I saw him dancing in London in the ballet Le Papillon. Bip toured the whole world, to universal acclaim. He enchanted the Japanese, who after the war were still trying to learn foreign languages. They adored Bip because he was able to express every human feeling without words, and when I arrived in Japan in 1959 the Japanese were still under his spell.

By the end of his life, by Marceau's reckoning he had toured in 65 countries. He gave a rare touch of originality to television shows and appeared in several films, including the cult sci-fi adventure Barbarella (1968), starring Jane Fonda (with Marceau in the role of Professor Ping) and Mel Brooks's Silent Movie (1976), in which Marceau spoke the only line (in fact the only audible word), "Non!"

The list of Marceau's prizes and academic honours is enormous. He was an Officier de la Légion d'honneur, Grand Officier de l'Ordre nationale du Mérite, Commandeur des Arts et des Lettres de la Republique Française, and received honorary doctorates from American universities including Princeton, Michigan and Columbia. Bip received a "Molière d'honneur" in Paris in 1999. And the city of Paris finally endowed the art of mime and Marcel Marceau with enough money to run a permanent school there.

Tu Vas Nous Manquer, Marcel Marceau (Ben Heine)


(--> The article and obituary appeared on

Marceau, as Bip the clown, 16 June 1977
Born Marcel Mangel
22 March 1923
Strasbourg, France
Died 22 September 2007 (aged 84)
Cahors, Lot, France
Occupation Actor, mime artist
Spouse(s) Anne Sicco (1975-2007)<>Ella Jaroszewicz (m. 1966)
Huguette Mallette (div. 1958)

A Minute’s Silence for Marcel Marceau

Marcel Marceau




He was inspired to act after seeing Charlie Chaplin.

He was born in Strasbourg. His father was killed in Auschwitz.

He spoke about Chaplin in Richard Schickel’s 2003 documentary:

Charlie: The Life and Art of Charles Chaplin

22.iii.1923 – 22.ix.2007

With United States PresidentJimmy Carter, Rosalynn Carter, andAmy Carter, June 16, 1977

Marcel Marceau (Marcel Mangel)


Early years

Marcel Marceau (Marcel Mangel) was born in Strasbourg, France, to Jewish parents, Anne Werzberg and Charles Mangel.[1] When he was four, the family moved to Lille, but returned to Strasbourg when he was in his early teens.[2] When France entered World War II, Marceau, 16, fled with his family to Limoges.[2] His father, a kosher butcher, was arrested by theGestapo and deported to Auschwitz concentration camp, where he perished in 1944.[2]

Marcel and his older brother, Alain, adopted the last name "Marceau" in order to hide their Jewish origins; as a gesture of defiance, however, the name was chosen as a reference toFrançois Séverin Marceau-Desgraviers, a general of the French Revolution.[2][3] The two brothers joined the French Resistance in Limoges, where they saved numerous Jewish children from concentration camps, and later joined Charles de Gaulle's Free French Forces.[2] Owing to Marcel's excellent command of the English language, he worked as a liaison officer with General Patton's army.[2][4]

Marcel was married and divorced three times, first to Huguette Mallet with whom he had two sons, Michel and Baptiste. Secondly, to Ella Jaroszewicz. His third wife was Anne Sicco. They had two daughters, Camille and Aurélia.[5]

Gifted in gymnastics and acting, and inspired by the physical comedy of Charlie Chaplin, Buster Keaton, and the Marx Brothers, Marcel became an actor.[2] After the war, he enrolled in 1946 as a student in Charles Dullin's School of Dramatic Art in the Sarah BernhardtTheatre in Paris, where he studied with teachers like Joshua Smith and the great master, Étienne Decroux, who had also taught Jean-Louis Barrault. Marceau joined Barrault's company and was soon cast in the role of Arlequin in the pantomime, Baptiste - which Barrault himself had interpreted in the world-famous film Les Enfants du Paradis.[6] Marceau's performance won him such acclaim that he was encouraged to present his first "mimodrama", called Praxitele and the Golden Fish, at the Bernhardt Theatre that same year. The acclaim was unanimous and Marceau's career as a mime was firmly established.

Before beginning his career as a mime, Marcel Marceau danced with Rina Shaham (née Rosalind Gologorsky); she ended their partnership to pursue a successful career in modern dance in Israel.


In 1947, Marceau created "Bip" the clown, who in his striped pullover and battered, beflowered silk opera hat — signifying the fragility of life — has become his alter ego, just like Chaplin's "Little Tramp" became that star's major personality. Bip's misadventures with everything from butterflies to lions, on ships and trains, in dance-halls or restaurants, were limitless. As a style pantomime, Marceau was acknowledged without peer. His silent exercises, which include such classic works as The Cage, Walking Against the Wind, The Mask Maker, and In The Park, as well as satires on everything from sculptors to matadors, were described as works of genius. Of his summation of the ages of man in the famous Youth, Maturity, Old Age and Death, one critic said: "He accomplishes in less than two minutes what most novelists cannot do in volumes."

In 1949, following his receipt of the renowned Deburau Prize (established as a memorial to the 19th century mime master Jean-Gaspard Deburau) for his second mimodrama, Death before Dawn, Marceau founded Compagnie de Mime Marcel Marceau - the only company of pantomime in the world at the time. The ensemble played the leading Paris theaters - Le Théâtre des Champs-Élysées, Le Théâtre de la Renaissance, and the Sarah Bernhardt, as well as other playhouses throughout the world. From 1959 to 1960, a retrospective of his mimodramas, including the famous The Overcoat by Gogol, ran for a full year at the Amibigu Theatre in Paris. He has produced 15 other mimodramas, including Pierrot de Montmartre, The Three Wigs, The Pawn Shop , 14 July, The Wolf of Tsu Ku Mi, Paris Cries—Paris Laughs and Don Juan (adapted from the Spanish writer Tirso de Molina).

World recognition

Marceau performed all over the world in order to spread the "art of silence" (L'art du silence). He first toured the United States in 1955 and 1956, close on the heels of his North American debut at theStratford Festival of Canada. After his opening engagement at the Phoenix Theater in New York, which received rave reviews, he moved to the larger Barrymore Theater to accommodate the public demand. This first US tour ended with a record-breaking return to standing-room-only crowds in San Francisco,Chicago, Washington, D.C., Philadelphia, Los Angeles, and other major cities. His extensive transcontinental tours included South America, Africa, Australia, China, Japan, South East Asia, Russia, and Europe. His last world tour covered the United States in 2004, and returned to Europe in 2005 and Australia in 2006.

Marceau's art became familiar to millions through his many television appearances. His first television performance as a star performer on the Max Liebman Show of Shows won him the television industry's coveted Emmy Award. He appeared on the BBC as Scrooge in A Christmas Carol in 1973. He was a favorite guest of Johnny Carson, Merv Griffin, Mike Douglas and Dinah Shore, and he also had his own one-man show entitled "Meet Marcel Marceau". He teamed with Red Skelton in three concerts of pantomimes.

Marceau also showed his versatility in motion pictures such as First Class, in which he played 17 roles, Shanks, where he combined his silent art, playing a deaf and mute puppeteer, and his speaking talent, as a mad scientist; as Professor Ping in Barbarella, and a cameo as himself in Mel Brooks' Silent Movie, in which, with purposeful irony, his character has the only audible speaking part, uttering the single word "Non!" when Brooks asks him (subtitled) if he would participate in the film. He also had a role in a low-budget film roughly based on his life story called Paint It White. The film was never completed because another actor in the movie, a life-long friend with whom he had attended school, died halfway through filming.

As an author, Marceau published two books for children, the Marcel Marceau Alphabet Book and the Marcel Marceau Counting Book, and poetry and illustrations, including La ballade de Paris et du Monde (The Ballad of Paris and of the World), an art book which he wrote in 1966, and The Story of Bip, written and illustrated by Marceau and published by Harper and Row. In 1982, Le Troisième Œil, (The Third Eye), his collection of ten original lithographs, was published in Paris with an accompanying text by Marceau. Belfond of Paris publishedPimporello in 1987. In 2001, a new photo book for children titled Bip in a Book, published by Stewart, Tabori & Chang, appeared in the bookstores in the US, France and Australia.

In 1969, Marcel Marceau opened his first school, Ecole Internationale de Mime, in the Théàtre de la Musique in Paris. The school was open for two years with fencing, acrobatics, ballet and five teachers of Mime.

In 1978, Marceau established his own school, École Internationale de Mimodrame de Paris, Marcel Marceau (International School of Mimodrame of Paris, Marcel Marceau). In 1996, he established the Marceau Foundation to promote mime in the United States.

In 1995, vocalist, dancer, and choreographer Michael Jackson and Marceau conceived a concert for HBO, but the concert was cancelled because Jackson had collapsed due to a panic attack prior to the concert. In 2000, Marceau brought his full mime company to New York City for presentation of his new mimodrama, The Bowler Hat, previously seen in Paris, London, Tokyo, Taipei, Caracas, Santo Domingo, Valencia (Venezuela) and Munich. From 1999, when Marceau returned with his classic solo show to New York and San Francisco after 15-year absences for critically-acclaimed sold-out runs, his career in America enjoyed a remarkable renaissance with strong appeal to a third generation. He latterly appeared to overwhelming acclaim for extended engagements at such legendary American theaters as The Ford's Theatre in Washington, D.C., the American Repertory Theater in Cambridge, Massachusetts, and the Geffen Playhouse in Los Angeles, demonstrating the timeless appeal of the work and the mastery of this unique artist.

Marceau's new full company production Les Contes Fantastiques (Fantasy Tales) opened to great acclaim at the Théâtre Antoine in Paris.

Personal life

At the age of 84, Marcel Marceau died at his home in Cahors, France, on Yom Kippur, 22 September 2007. His burial ceremony was accompanied by Mozart's Piano Concerto No. 21, and the sarabande of Bach's Cello Suite No. 5. Marcel Marceau was interred in the Père Lachaise Cemetery in Paris.[7]

Legacy and honours

Marceau was made a commander of the Ordre des Arts et des Lettres, an Officer of the Légion d'honneur, and in 1978 he received theMédaille Vermeil de la Ville de Paris.[8] In November 1998, he was made by President Jacques Chirac a grand officer of the Ordre national du Mérite, and he was an elected member of the Academy of Fine Arts in Berlin, the Academy of Fine Arts Munich, the Académie des Beaux-Arts of the Institut de France. The City of Paris awarded him a grant, which enabled him to reopen his International School, which offered a three-year curriculum.

Marceau held honorary doctorates from Ohio State University, Linfield College, Princeton University and the University of Michigan.

In 1999 New York City declared March 18 "Marcel Marceau Day".

He became the eleventh recipient of the Raoul Wallenberg Medal on April 30, 2001. The Auditorium was standing-room-only that night. “This year the person chosen to be the Wallenberg Medalist is unlike all previous medalists in that he is famous all over the world,” said University of Michigan professor emerita Irene Butter in her introduction. “Yet he is not widely known for his humanitarianism and acts of courage, for which we honor him tonight.”

Marceau accepted the honor and responsibilities of serving as Goodwill Ambassador for the United Nations Second World Assembly on Aging, which took place in Madrid, Spain, in April 2002.



  1. ^ "Marcel MarceauBiography". filmreference. 2008. Retrieved on 2009-01-22.
  2. ^ a b c d e f g "Marcel Marceau - In Memorium". Jewish Free Press, Calgary, Alberta, Canada,. 19 October 2007.
  3. ^ Luther, Claudia (24 September 2007). "Marcel Marceau, 84; legendary mime was his a$$’s standard-bearer for seven decades". Los Angeles Times. Retrieved on 2008-09-27.
  4. ^ Marcel Marceau, Master of Silence.
  5. ^ Marcel Marceau, Renowned Mime, Dies at 84-NY Times.
  6. ^ Master of Mime passes away.
  7. ^ Associated Press (26 September 2007). "Marcel Marceau laid to rest". CNN. Retrieved on 2008-01-04.
  8. ^ James Kirkup (24 September 2007). "Marcel Marceau: Mime Artist and Teacher". The Independent. Retrieved on 2009-02-06.

"The Horse: A miscellany of equine knowledge" Ian Whitelaw and Judy Whittaker ISBN: 978-0-312-37108-1.

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Michael Jackson and Motown: the boy behind the marketing

Even when Michael Jackson karoomed to fame, there was a lie behind the image of the adorable child star.

By Helen Brown
Published: 4:42PM BST 26 Jun 2009

Michael Jackson's Thriller, interview with director John Landis
Changed the course of pop music: Michael Jackson's Thriller

It's been said that Michael Jackson was a God who became a mere celebrity. And for pop fans, his early recordings really do have something transcendent, otherwordly – call it divine if you want – about them. The first single he released with The Jackson Five, 1969's "I Want You Back" is arguably the greatest pop record of all time and certainly the fastest man-made route to pure joy.

Much of this is down to superb songwriting and production from Berry Gordy's Motown hit factory (it was the most expensive song they'd produced to that date) but the key, thriller factor is the voice of pre-teen Michael Jackson. Somehow, the eleven-year-old boy had wrapped his head and heart around lyrics of adult romance (originally written for Gladys Knight or Diana Ross), performed them with the professionalism of a musician who'd listened hard to the likes of Sam Cooke, James Brown and Ray Charles – and then injected them with the sheer, unadulterated exuberance of childhood. It was an extraordinary sound. No wonder the record karoomed straight to number one in the US, and number two in the UK.

But, from the beginning, there was a lie behind the image of this adorable child star: Motown records told the public Jackson was only nine to make him appear cuter. A record label might have tried the same stunt with a white child, although there lurks the uncomfortable suspicion that the American public (which had just lived through five years of race riots) were more likely to be won over by a pre-pubertal black boy. From the beginning, his sexuality (or lack of it) was subject to spin. While much of the blame for his later personality issues has been placed on Michael's abusive father, some of his confusion must have spring from the way in which the music industry felt the need to manipulate his image. The idea that the public might not love the 'real' Michael would have conveyed a potentially damaging message to a boy who was already feeling far from loved at home. A less troubling Motown myth was that the Jackson Five had been 'discovered' by Diana Ross, whose post-Supremes solo career was just being launched.

In fact, the first big name stars to 'discover' the family band from Gary, Indiana were R&B stars Sam & Dave. The Jackson Brothers had originally formed back in 1964, the group's first incarnation composed of Michael's older brothers Jackie, Tito and Jermaine joined by their friends Reynaud Jones and Milford Hite. But by 1965, younger brothers Michael and Marlon had joined the band on tambourine and congas, with Michael beginning to exhibit extraordinary talent for singing and dancing just before his eighth birthday. After winning a school talent contest the boys began professional gigging around Indiana and Chicago, including playing at strip clubs. They got a deal with local label Steeltown and scored local hits which drew the attention of Sam & Dave, who helped them move up the circuit where they were seen by Gladys Knight and the Pips who told Motown's Berry Gordy about them and he bought them out of their Steeltown contract, initially giving them covers of Smokey Robinson and Sly & The Family Stones songs to cover in Detroit, before shipping them out to California. Here Gordy put together a team of songwriters and producers called "The Corporation" specifically for the band. He'd had enough of "backroom superstars" like songwriters Holland-Dozier-Holland who'd left his label back in 1967. The Corporation's job was to combine the classic Motown sound with teen-themed lyrics they nicknamed "bubblegum soul". And the team would create most of the band's most memorable singles including "I Want You Back", "ABC", "The Love You Save" and "Mama's Pearl".


Gordy's slick marketing had taken the black family into the mainstream, and alongside the music came the merchandise. As Jacksonmania swept America at the dawn of the 1970s, there were stickers, posters, even a cartoon series. As Berkeley-based music critic Greil Marcus wrote: "Jacksonism produced the image of a pop explosion, an event in which pop music crosses political, economic, geographic and racial barriers; in which a new world is suggested.

Michael Jackson occupied the centre of American cultural life: no other black artist had ever come close. But a pop explosion not only links those otherwise separated by class, place, color and money; it also divides. Confronted with performers as appealing and disturbing as Elvis Presley, the Beatles or the Sex Pistols – people who raise the possibility of living in a new way – some respond and some don't. It became clear that Michael Jackson's explosion was of a new kind […] It was the first pop explosion not to be judged by the subjective quality of the response it provoked, but to be measured by the number of objective commercial exchanges it elicited. Michael Jackson was absolutely correct when he announced, at the height of his year [1984], that his greatest achievement was a Guinness Book of World Records award certifying that Thriller had generated more top-ten singles (seven) than any other LP – and not, as might have been expected ... "to have proven that music is a universal language," or even "to have demonstrated that with God's help your dreams can come true."

Listening to the news and reading the obituaries today, those sales figures keep coming up. And it is worth asking if that would be the case if it was, say, Paul McCartney who'd just died. Michael Jackson is – and always was – a star whose place in musical history was measured in units not critical plaudits.

Berry Gordy saw Michael's solo potential from the start and launched a spin-off solo career for him in 1971. But by the mid 1970s the Jacksons were frustrated by Motown's failure to update their image, let them write their own songs and play their own instruments. They wanted to be musicians, not sticker album stars. Jermaine stayed behind with Motown (having married Berry's daughter Hazel Gordy 1973) but the rest of the Jacksons moved to CBS in 1976, and released their biggest post-Motown single Shake Your Body (Down to the Ground) (written by Michael and Randy) in 1978.

Motown had helped shape the man Michael was to become – for better and for worse. And the label would not have another success of their calibre for the duration of the Berry Gordy era. Gordy often referred to The Jackson 5 as "the last big stars to come rolling off the assembly line." But listening to those early records now is still an exceptionally uplifting experience. Although we now know how unhappy little Michael was at that time, he has also said he was only happy while performing. It's as though he saved up and released all his pre-teen joy on those jubilant: "A buh buh buh buys" Not a God at all, just a little boy with a great gift.

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