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“... are in glamorous black-and- white, assertively staring out next to Germaine, Bardot, Twiggy and Lulu, Dusty and Yoko, Bassey, Babs, Sandy, Diana Dors. And London was safer then on account of us. Look at the letters we get – Dear Twins, them were the Good Old Days Duffy has always been able to throw her voice, and the monologue is her perfect ...”

“... marriage, which even the sceptical Lowe describes as ‘made in hell’. Tilly, a fascinating Lulu-like gold digger, believed she was marrying a homosexual, with a view to divorcing him later in exchange for a substantial settlement. She was wrong in that: not only was he in love with her, but when he eventually turned, he not only divorced her but ...”

“... and receives a series of texts in response:I don’t know who anyone is! :(Is Lenu Lina or is Lena Lulu? Argh!V confused. Too many names. Argh!Still waiting for ‘Ferrante Fever’.These exchanges can be played for comedy but the point isn’t to mock Helen: Riley wants to draw attention to how decorative our taste can be – and how little it does to assuage ...”

“... to say, and in one dizzying paragraph (admittedly her agent is speaking here) she is compared to Lulu, Petula Clark, Judy Garland and Barbra Streisand. She appears on Opportunity Knocks (Hughie Green himself gets a soliloquy or two in this book), wins the competition time after time, makes it to the Palladium and Las Vegas, appears with Dean Martin and Les ...”

“... the workshop of ideas, materials and players that Kentridge put together for his production of Lulu, performed at the Met last year and coming to ENO on 9 November. Right into Her Arms restages the conception, design and history of the production as a kinetic notebook, full of surprise and comedy. As the panels go this way and that, the projected images ...”

“... film was alternately called The Sins of/The Fall of Lola Montez, but was Lola – like Pabst’s Lulu – ritually sacrificed to frighten virgins? Her own far wickeder career faded out in semi-repentance and quasi-respectability, and the haunting 1860 photograph of a worn, soft, handsome matron is far away from the naughty prints of earlier days. By that ...”

“... was co-opted into this chorus line of dangerous beauties, alongside Zola’s Nana, Wedekind’s Lulu, and Baudelaire’s Creole belle, Jeanne Duval. The famous paragraph by Walter Pater, first published in the November 1869 issue of the Fortnightly Review, was certainly influenced by this extended bout of Gallic swooning. In his introduction to The Oxford ...”

“... of emotion, with a subtlety never before known on the operatic stage ... Not until Alban Berg’s Lulu did opera again achieve such a versatile treatment of dialogue and such an exact musical reflection of the text. ’ Quite sensibly in the circumstances, Braunbehrens restricts his discussion of the poetry and music to these general terms when arguing an ...”

“... home to you, and perished vegetation from the pit escaping insubstantial up the flue. Listening to Lulu, in our hearth we burn, as we hear the high Cs rise in stereo, what was lush swamp club-moss and tree-fern at least 300 million years ago. Shilbottle cobbles, Alban Berg high D lifted from a source that bears your name, the one we hear decay, the one we ...”

“... a curious detail: when Ingravallo arrived at the victim’s house for lunch, he was greeted by ‘Lulu, the little Pekinese bitch, a ball of fluff’, who first barked quite angrily then sniffed and licked at his shoes. ‘The vitality of those little monsters is incredible,’ Gadda says (something that is true of the whole world as he describes it). And he ...”

“... Donald Wolfit’s Iachimo of ‘a vast, gloating reptile’, while to evoke Louise Brooks’s Lulu in Pabst’s silent film he summoned comparisons with a swan, a gazelle and a tropical fish. He could use animal imagery to be scathing, as well. Alan Badel’s Romeo brought to his mind a restless marmoset, Dorothy Tutin’s Ophelia ‘a mouse on the ...”

“... on good terms with Berg until his death in 1935, and offered to complete the unfinished opera Lulu; but he soon decided he couldn’t live with the way one of its Jewish characters was represented. In most of Europe, though Verklärte Nacht and Gurrelieder remained popular, Schoenberg’s serialist pieces were reviled by the mainstream. Sir Thomas ...”

“... was ‘a weak, vicious and cruel boy of 16, completely in the hands of his favourite eunuch, Lulu’. In 1968 with The Great Church in Captivity, a study of the Orthodox Church under Ottoman rule, Cameron suggests he ‘came into his own as a historian of religion’. It was a pioneering work and Runciman, though not himself a believer, was always ...”

“... mentioned above; a play inspired by his Louise Brooks profile, Janet Munsil’s Smoking with Lulu; and now the diaries, which Tynan bequeathed on his deathbed to his daughter Tracy. They have been edited by John Lahr, the perfect choice for the task – indeed, an inescapable one. Lahr is Tynan’s true successor at the New Yorker, reviewing theatre for ...”

“... British entry for the Eurovision Song Contest in 1969, it came last. (All six songs were sung by Lulu, and the winner was called ‘Boom Bang- a-Bang’.) To make money, Elton began to work as a session musician, singing backing vocals for Tom Jones and playing piano with the Hollies. He also worked for a label called Marble Arch which knocked out versions ...”