Famous Impersonators . Who are the top impersonators in the world? This includes the most prominent impersonators, living and dead, both in America and abroad. This list of notable impersonators is ordered by their level of prominence, and can be sorted for various bits of information, such as where these historic impersonators were born and what their nationality is. The people on this list are from different countries, but what they all have in common is that they're all renowned impersonators. List people include Rich Little, Sammy Davis, Jr. From reputable, prominent, and well known impersonators to the lesser known impersonators of today, these are some of the best professionals in the impersonator field. If you want to answer the questions, . Primarily a dancer and singer, he was also an actor of stage and screen, musician, and impressionist, noted for his impersonations of actors, musicians and other celebrities. At the age of three Davis began his career in vaudeville with .. Age: Died at 6. 5 (1.
Birthplace: New York City, USA, New York, Harlem. Profession: Television producer, Musician, Film Producer, Actor Singer, + more. Credits: Ocean's 1. Sammy and Company. Photo: Freebase/Public domain Richard Caruthers . Greg Jeloudov said he was gang-raped by men less than two weeks after arriving at Fort Benning, Georgia, and more soldiers are now reporting male-on-male sexual assault. Before they were famous, before they were hit makers, before they made their cultural mark on their respective generations, they were all just kids with a dream. Reserve Branson offers the best deals on show tickets to all Branson shows, including Dixie Stampede, Showboat Branson Belle, and Shoji Tabuchi. The parting of the Red Sea. In 2. 00. 7 and 2. Frank TV, which aired on TBS. He is known for his .. Age: 4. 1Birthplace: USA, Chicago, Illinois. Profession: Comedian, Screenwriter, Actor, Impersonator Impressionist. Credits: Hot in Cleveland, Mad TV, The Comebacks, Mike & Mike Frank TV, + more. Photo: David Boocock/Flickr Mike Yarwood, OBE, in Bredbury, Cheshire is an English impressionist and comedian. He was one of Britain's top- rated entertainers, regularly appearing on television from the mid- 1. He left Bredbury Secondary Modern School in 1. Age: 7. 4Birthplace: Bredbury, United Kingdom. Profession: Comedian, Actor, Impersonator. Credits: Will The Real Mike Yarwood Stand Up?, Mike Yarwood In Persons. Photo: Freebase/Public domain Steve Bridges was an American comedian, impressionist, and actor who . Bush, Barack Obama and .. Age: Died at 4. 9 (1. Birthplace: Texas, USA, Dallas. Profession: Comedian, Actor, Impersonator. Credits: Lange Flate Ball. She started in a reality show in ABS- CBN and subsequently appeared in dramas and sitcoms of the network. She also received the Best Comedy Actress award from .. Age: 4. 5Birthplace: Iloilo City, Philippines. Profession: Businessperson, Comedian, Musician, Actor Impersonator, + more. Credits: Banana Split, The Healing, A Mother's Story, D' Anothers Cinco, + more. Photo: user uploaded image Reynold Garcia, known as Pooh, is a Filipino actor, comedian, impersonator, singer, host. He is known for currently starring in the comedy gag show Banana Split. He is also known for impersonating boxer and congressman Manny Pacquiao. He was the 2. 00. Aliw Award best male .. Age: 4. 1Birthplace: Samar, Philippines. Profession: Businessperson, Comedian, Actor, Impersonator Singer. Credits: Banana Split, Kung Tayo'y Magkakalayo, Care Divas. Photo: Freebase/Public domain Awilda Carbia was an actress, comedian, and impersonator. There is no reason for her to be a part of my consciousness as I walk down a midtown New York street frilled with color and action and life. In a shop window display of white summer dresses, I see several huge photographs – a life- size cutout of Marilyn standing in a white halter dress, some close- ups of her vulnerable, please- love- me smile – but they don’t look dated. Oddly, Marilyn seems to be just as much a part of this street scene as the neighboring images of models who could now be her daughters – even her granddaughters. I walk another block and pass a record store featuring the hit albums of a rock star named Madonna. She has imitated Marilyn Monroe’s hair, style, and clothes, but subtracted her vulnerability. Instead of using seduction to offer men whatever they want, Madonna uses it to get what she wants – a 1. Nevertheless, her international symbols of femaleness are pure Marilyn. A few doors away, a bookstore displays two volumes on Marilyn Monroe in its well- stocked window. The first is nothing but random photographs, one of many such collections that have been published over the years. The second is one of several recent exposes on the circumstances surrounding Monroe’s 1. Could organized crime, Jimmy Hoffa in particular, have planned to use her friendship with the Kennedys and her suicide – could Hoffa and his friends even have caused that suicide – in order to embarrass or blackmail Robert Kennedy, who was definitely a mafia enemy and probably her lover? Only a few months ago, Marilyn Monroe’s name made international headlines again when a British television documentary on this conspiracy theory was shown and a network documentary made in the United States was suppressed, with potential pressure from crime- controlled unions or the late Robert Kennedy’s family as rumored reasons. I knew I belonged to the public and to the world, not because I was talented or even beautiful but because I had never belonged to anything or anyone else.—From the Unfinished Biography of Marilyn Monroe. As I turn the corner into my neighborhood, I pass a newsstand where the face of one more young Marilyn Monroe look- alike stares up at me from a glossy magazine cover. She is Kate Mailer, Norman Mailer’s daughter, who was born the year that Marilyn Monroe died. Now she is starring in “Strawhead,” a “memory play” about Monroe written by Norman Mailer, who is so obsessed with this long- dead sex goddess that he had written one long biography and another work – half fact, half fiction – about her, even before casting his daughter in this part. The next morning, I turn on the television and see a promotion for a show on film director Billy Wilder. The only clip chosen to attract viewers and represent Wilder’s entire career is one of Marilyn Monroe singing a few breathless bars in Some Like It Hot, one of two films they made together. These are everyday signs of a unique longevity. If you add her years of movie stardom to the years since her death, Marilyn Monroe has been a part of our lives and imaginations for nearly four decades. That’s a very long time for one celebrity to survive in a throwaway culture. In the 1. 93. 0’s, when English critic Cyril Connolly proposed a definition of posterity to measure whether a writer’s work had stood the test of time, he suggested that posterity should be limited to 1. The form and content of popular culture were changing too fast, he explained, to make any artist accountable for more than a decade. Since then, the pace of change has been accelerated even more. Everything from the communications revolution to multinational entertainment has altered the form of culture. Its content has been transformed by civil rights, feminism, an end to film censorship, and much more. Nonetheless, Monroe’s personal and intimate ability to inhabit our fantasies has gone right on. As I write this, she is still better known than most living movie stars, most world leaders, and most television personalities. The surprise is that she rarely has been taken seriously enough fur us to ask why that is so. One simple reason for her life story’s endurance is the premature end of it. Personalities and narratives projected onto the screen of our imaginations are far more haunting – and far more likely to be the stuff of conspiracies and conjuncture – if they have not been allowed to play themselves out to their logical or illogical ends. James Dean’s brief life is the subject of a cult, but the completed lives of such “outsiders” as Gary Cooper or Henry Fonda are not. Each day in the brief Camelot of John Kennedy inspires as much speculation as each year in the long New Deal of Franklin Roosevelt. The few years of Charlie “Bird” Parker’s music inspire graffiti (“Bird Lives”), but the many musical years of Duke Ellington do not. When the past dies there is mourning, but when the future dies, our imaginations are compelled to carry it on. Would Marilyn Monroe have become the serious actress she aspired to be? Could she have survived the transition from sex goddess to mortal woman that aging would impose? Could she had stopped her disastrous marriages to men whose images she wanted to absorb (Beloved American Di. Maggio, Serious Intellectual Miller), and found a partner who loved and understood her as she really was? Could she have kicked the life- wasting habits of addiction and procrastination? Would she have had or adopted children? Found support in the growing strength of women or been threatened by it? Entered the world of learning or continued to be ridiculed for trying? Survived and even enjoyed the age of 6. Most important, would she finally have escaped her lifetime combination of two parts talent, one part victim, and one part joke? Would she have been “taken seriously,” as she so badly wanted to be? We will never know. Every question is as haunting as any of its possible answers. But the poignancy of this incompleteness is not enough to explain Marilyn Monroe’s enduring power. Even among brief public lives, few become parables. Those that endure seem to hook into our deepest emotions of hope or fear, dream or nightmare, of what our own fates might be. Successful leaders also fall into one group or the other: those who invoke a threatening future and promise disaster unless we obey, and those who conjure up a hopeful future and promise reward if we will follow. It’s this power of either fear or hope that makes a personal legend survive, from the fearsome extreme of Adolph Hitler (Did he really escape? Might he have lived on in the jungles of South America?) to the hopeful myth of Zapata waiting in the hills of Mexico to rescue his people. The same is true for the enduring fictions of popular culture, from the frightening villain to the hopeful hero, each of whom is reincarnated again and again. In an intimate way during her brief life, Marilyn Monroe hooked into both those extremes of emotion. She personified many of the secret hopes of men and many secret fears of women. To men, wrote Norman Mailer, her image was “gorgeous, forgiving, humorous, compliant and tender. Both the roles she played and her own public image embodied a masculine hope for a woman who is innocent and sensuously experienced at the same time. This will continue as long as children are raised almost totally by women, and rarely see women in authority outside the home. That’s why male adults, and some females too, experience the presence of a strong woman as a dangerous regression to a time of their own vulnerability and dependence. For men, especially, who are trained to measure manhood and maturity by their distance from the world of women, being forced back to that world for female companionship may be very threatening indeed. A compliant child- woman like Monroe solves this dilemma by offering sex WITHOUT the power of an adult woman, much less of an equal. As a child herself, she allows men to feel both conquering and protective; to be both dominating and admirable at the same time. For women, Monroe embodies kinds of fear that were just as basic as the hope she offered men: the fear of a sexual competitor who could take away men on whom women’s identities and even livelihoods might depend; the fear of having to meet her impossible standard of always giving – and asking nothing in return; the nagging fear that we might share her feminine fate of being vulnerable, unserious, constantly in danger of becoming a victim. Aside from her beautiful face, which women envied, she was nothing like the female stars that women moviegoers have made popular. Those stars offered at the least the illusion of being in control of their fates – and perhaps having an effect on the world. Stars of the classic “women’s movies” were actresses like Bette Davis, who made her impact by sheer force of emotion; or Katherine Hepburn, who was always intelligent and never victimized for long; or even Doris Day, who charmed the world into conforming to her own virginal standards. Their figures were admirable and neat, but without the vulnerability of the big- breasted woman in a society that regresses men and keeps them obsessed with the maternal symbols of breasts and hips. Watching Monroe was quite different: women were forced to worry for her vulnerability – and thus their own. They might feel like a black moviegoer watching a black actor play a role that was too passive, too obedient, or a Jew watching a Jewish character who was selfish and avaricious. In spite of some extra magic, some face- saving sincerity and humor, Marilyn Monroe was still close to the humiliating stereotype of a dumb blonde: depersonalized, sexual, even a joke. Yet few women yet had the self- respect to object on behalf of their sex, as one would object on behalf of a race or religion, they still might be left feeling a little humiliated – or threatened – without knowing why.“I have always had a talent for irritating women since I was fourteen,” Marilyn wrote in her unfinished auto- biography.
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