Before he was a household name, Page was the “secret weapon” of the British music industry. Because he could read music and play almost any style, from rockabilly to jazz, he was hired for nearly every major recording session in London. It is estimated that Page played on 60% of the rock music recorded in England between 1963 and 1966. He played on hits for The Who (“I Can’t Explain”), The Kinks (“All Day and All of the Night”), Donovan (“Sunshine Superman”), and Joe Cocker (“With a Little Help from My Friends”).

In the studios, he was known as “Little Jim” to distinguish him from the other famous session guitarist, “Big Jim” Sullivan. During this time, he began experimenting with the violin bow technique and various distortion pedals (like the Tone Bender) that would later define his sound.

Page had originally turned down the Yardbirds twice (recommending his friend Jeff Beck instead) because he was making so much money in the studios. He finally joined in 1966, initially playing bass before switching to lead guitar. For a brief, legendary period in 1966, Page and Jeff Beck played lead guitar together in the same band, a “supergroup” lineup that paved the way for heavy metal.

After Beck left, Page became the sole leader and producer of the band. He pushed them toward a heavier, more psychedelic sound on the album Little Games (1967). It was during Yardbirds live sets that he perfected the iconic “violin bow” solo on songs like “Dazed and Confused” (which was a Yardbirds live staple before Zeppelin).

When the Yardbirds collapsed in mid-1968, Page was left with the band name and a string of tour dates to fulfill. He recruited session bassist John Paul Jones, then discovered singer Robert Plant and drummer John Bonham. They initially performed as “The New Yardbirds” to finish the tour. In late 1968, they changed their name to Led Zeppelin (a joke from Keith Moon, who said the band would go down like a “lead balloon”).

By the end of the decade, Page had produced and released Led Zeppelin I and Led Zeppelin II, effectively ending the “Swinging Sixties” and Ushering in the era of Hard Rock.

Jareth was designed specifically to represent a teenage girl’s complex feelings about the “adult world.” Rather than a simple monster, Jareth is a charismatic, manipulative figure who represents temptation. He is Sarah’s (Jennifer Connelly) fantasy made manifest—part rock star, part dangerous romantic hero. Conceptual designer Brian Froud drew inspiration from romantic figures like Heathcliff (Wuthering Heights) and Rochester (Jane Eyre), as well as medieval knights and “leather boys.”

Bowie’s look in the film is legendary for its “glam-rock meets fairy-tale” aesthetic. His wild, gravity-defying blonde wig became a hallmark of the 1980s. Jareth’s wardrobe shifts from high-collared velvet capes and glittery ball gowns to skin-tight leggings and leather jackets.

Bassey left school at age 14 to work in a packing factory, singing in local pubs and clubs in the evenings. She signed her first professional contract in 1953 (aged 16) to tour with a variety show called Memories of Jolson.

Her early career was briefly interrupted when she became pregnant with her first daughter, Sharon. She returned to Cardiff to wait on tables before returning to the stage in 1955. In 1955, the impresario Jack Hylton spotted her at the Astor Club and cast her in the West End revue Such Is Life. This led to her being noticed by record producer Johnny Franz.

Her debut single “Burn My Candle” was released in 1956. It became a “succès de scandale” because the BBC banned it for its suggestive lyrics, which only increased its notoriety and her popularity. In 1957, she achieved her first UK Top 10 hit with “The Banana Boat Song,” which reached No. 8. During this time, she began cultivating her signature “torch singer” persona, known for her powerful contralto voice, dramatic stage presence, and “cleavage-baring” gowns that would become her trademark look.

In January 1959, Bassey’s recording of “As I Love You” reached No. 1 on the UK Singles Chart. It was the first time a Welsh artist had ever topped the charts. While “As I Love You” was at the top, her other hit “Kiss Me, Honey Honey, Kiss Me” was also climbing, resulting in her having two songs in the Top 3 simultaneously. In April 1959, she signed with EMI’s Columbia label and released her debut studio album, The Fabulous Shirley Bassey, which reached No. 12 on the UK Albums Chart.

By the end of the decade, Bassey’s fame extended beyond the UK; she began touring the United States and became a popular act in Las Vegas. Her 1950s success laid the foundation for her later iconic status as the voice of James Bond themes.