A season of sizzlers

books

‘Go the ---- to Sleep’ by Adam Mansbach

Mansbach’s hilarious, profane picture book for exhausted parents, from renegade independent publisher Akashic Books.

By the numbers: 11 weeks on the L.A. Times bestseller list; four weeks at No. 1 on the L.A. Times bestseller list (including Aug. 21); 115 days in Amazon’s Top 100; six printings, totaling 450,000 copies.

Why it worked: This profane, irreverent book is just short enough for even the most sleep-deprived parent to get through before nodding off - and the bleary-eyed can opt for the audio version, read by actor Samuel L. Jackson. It went viral in April, forcing Akashic to move up its publication date, after he did a reading in Philadelphia.

What’s next: To follow up, Akashic is planning a child-friendly, dirty-word-free version of the book, which will be published next spring.

T.S. Eliot’s ‘The Waste Land: The App’

Take a breather, Angry Birds. T.S. Eliot proved that if April is the cruelest month, June is the kindest to long-deceased poets when his notoriously complex 1922 “The Waste Land” hit big in the app store.

By the numbers: No. 1-grossing book app in the U.S. for 17 days; No. 1-grossing book app in 25 countries; No. 3-grossing iPad app overall in the U.K.

Why it worked: Touch Press, the company behind the surprisingly thrilling periodic table app The Elements, produced the T.S. Eliot app of “The Waste Land.” The poem is brought to life with archival readings by actor Alec Guiness, poet Ted Hughes and even Eliot himself, plus new footage with Fiona Shaw and Viggo Mortenson; it’s enhanced by detailed critical takes on his work. “Just as The Elements awakens an unexpected interest in science,” says company founder Theodore Gray, “ ‘The Waste Land’ for iPad is an experience that will make you realize just how much you love the power of poetry, whether you knew it or not.”

What’s next: Future Touch Press projects include nonfiction narratives, a children’s book and original works that are “book-like in nature” that will make their debut as ebook apps.

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arts

‘Art in the Streets’ at MOCA Geffen Contemporary

A wide-ranging survey on the history of street art and graffiti. (Closed Aug. 8.)

By the Numbers: 201,352 visitors in about 16 weeks. Until then, MOCA’s record holder was its 2002 Andy Warhol retrospective, which drew 195,000 visitors in 12 weeks.

Why It Worked: The youth appeal of street art brought out people who wouldn’t normally attend a museum exhibition. MOCA also offered free admission on Mondays, sponsored by British street artist Banksy.

What’s Next: “Under the Big Black Sun: California Art 1974-1981,” a survey in partnership with the Getty for Pacific Standard Time, opening Oct. 1; and “Naked Hollywood,” an exhibition devoted to celebrity photographer Weegee, opening Nov. 13.

‘Tim Burton’ at LACMA

A retrospective of drawings, costumes, installations and more from the cult filmmaker and his collaborators. (Through Oct. 31)

By the Numbers: 197,657 visitors (as of Aug. 21, or about 12 weeks so far). LACMA’s top record holder is 2005’s “Tutankhamun and the Golden Age of the Pharaohs,” which saw 937,613 visitors in about 22 weeks.

Why It Worked: “Burton’s anxieties and enthusiasms are at levels at which everyone can connect. He can balance the horror and the humor, the child-like and the adult, the dark and the light,” said Britt Salvesen, a curator at LACMA.

What’s Next: Future exhibitions at LACMA include shows dedicated to Edward Kienholz, the Chicano performance group Asco as well as California Midcentury design as part of Pacific Standard Time.

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pop music

British singing sensation Adele

By the numbers: The British R&B-soul; singer’s sophomore album, “21,” is the runaway bestseller of 2011 to date, having logged slightly more than 3 million copies in the U.S. since it was released in February. Additionally, last month “21” notched its 12th week in the No. 1 slot on the national sales chart, the longest total at the top for any album since Santana’s “Supernatural” in 1999-2000. And just since June, it has spent three weeks at No. 1, more than any other album released this summer.

Why it worked: With “21,” Adele took a significant step forward with songs she wrote largely on the topic of a romantic breakup, material that was emotionally bigger than she brought to her debut, “19.” The new songs better fit her exceptionally powerful voice, and the single and music video for the album’s cornerstone song, “Rolling in the Deep,” have helped give the album the kind of shelf life that record executives once took for granted but now often only dream about.

What’s next: Throughout September she’s back home touring around the United Kingdom, but she returns to the U.S. for another round of shows in the fall. And expect her to have a major presence when Grammy Award nominations are announced in November.

Odd Future

L.A.-based rappers hit the big time.

By the numbers: The local rap collective known as Odd Future Wolf Gang Kill Them All has released an assortment of albums and mixtapes, but the biggest showcase so far has been from the controversial crew’s de facto leader, Tyler, the Creator. His XL debut, “Goblin,” grabbed the No. 1 spot on the R&B;/Hip Hop charts upon its release in May, and has kept in the Top 40 since then.

Why it worked: In a handful of months, Odd Future skyrocketed from underground skate punks cutting tracks in the Washington-Crenshaw district to deified exemplars of rap’s cutting edge. At the VMAs in August, Tyler, the Creator took home the Best New Artist statue.

What’s next: Odd Future will take its act on the road this fall with its first national tour.

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television

‘The Voice’

A singing competition hit that wasn’t “American Idol.”

By the numbers: NBC finally joined TV’s chorus of bona fide hit reality (singing) shows with “The Voice,” which ended its first season in late June. The Mark Burnett-produced series demonstrated its power by sending contestants climbing up the iTunes singles charts. It averaged 12 million viewers, a feat for NBC, which struggled in the time period.

Why it worked: Unlike “American Idol,” the judges could only hear, not see, contestants during auditions. And all-star judges Adam Levine, Christina Aguilera, Cee Lo Green and Blake Shelton not only mentored talent, they performed (often together) too. Unlike some other singing shows (not naming any names), “The Voice” did not mock its contestants but celebrated their passion.

What’s next: The show’s second season premiere will air in the much-coveted slot after the Super Bowl.

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fashion

‘Alexander McQueen: Savage Beauty’

Organized by the Costume Institute, the show, at the Metropolitan Museum of Art in New York City, celebrated the 19-year-career of the designer, who died in February 2010. (Closed Aug. 7.)

By the numbers: The exhibition attracted 661, 509 visitors, making it the eighth-most visited exhibition in the museum’s 141-year history. It joins other blockbuster shows such as “Treasures of Tutankhamun” (1978), “Mona Lisa” (1963) and “Picasso in the Metropolitan Museum of Art” (2010).

Why it worked: McQueen’s work transcended fashion to become part of the cultural discourse. Curator Andrew Bolton attributes the show’s success to the broad appeal of McQueen’s fantastical clothing. “I heard one guy in the exhibition say about McQueen, ‘He’s like the Jack Kerouac of fashion,’ ” said Bolton.

What’s next: “Savage Beauty” is not scheduled to travel. But its huge attendance will likely encourage other museums to pursue fashion exhibits and programming.

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nightlife

ColLAboration Craft Beer Gardens

A roving craft beer garden that popped up in various outdoor locations across the city during the summer.

By the numbers: ColLAboration popped up in five locations, including the corner of Magnolia and Parish in Burbank, and on the Sunset Strip; 7,500 people attended the five events.

Why it worked: ColLAb’s founders are at the forefront of L.A.’s craft beer scene. Ryan Sweeney (Verdugo Bar, the Surly Goat), Brian Lenzo (Blue Palms Brewhouse), Clay Harding (38 Degree Ale House & Grill) and Tony Yanow (Tony’s Darts Away, Mohawk Bend) were eager to share their love and knowledge of craft beer with the public.

What’s next: The ColLAb crew is planning a new series of beer gardens for Octoberfest.

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movies

‘Midnight in Paris’

A time travel rom-com/fantasy that evokes Paris of the ‘20s.

By the numbers: Allen might be forever linked to New York, but it was his excursion to the City of Lights that yielded the highest-grossing movie in the writer-director’s lengthy career. Since opening in limited release May 20, “Midnight in Paris” has brought in $50 million in the U.S., and $33 million more abroad.

Why it worked: The 75-year-old filmmaker recaptured a bit of his mojo with his tale of a Hollywood screenwriter (Owen Wilson) who finds unlikely romance and inspiration during a Parisian vacation. The literary-minded romantic comedy earned almost universally glowing reviews (it has a sky-high 93 rating at Rotten Tomatoes). Distributor Sony Pictures Classics also went out of its way to target adult moviegoers. “You’re always thinking -- where is that older audience?” noted SPC co-president Tom Bernard. “We bought time on the Weather Channel and the Cooking Channel, but we also did buys on a lot of local baseball games, especially on Friday night and Saturday day games, because baseball broadcasts definitely deliver an older audience.”

What’s next: The prolific Allen will be back next year with “The Bop Decameron,” whose cast includes Jesse Eisenberg, Ellen Page, Penelope Cruz, Greta Gerwig and Alec Baldwin. It is being shot in Rome.

‘Harry Potter and the Deathly Hallows -- Part 2’

The final installment of the most successful movie franchise in history, based on the “Harry Potter” books by J.K. Rowling, a worldwide publishing phenomenon.

By the numbers: Having brought in well in excess of $1 billion around the globe, “Deathly Hallows -- Part 2” is the highest-grossing movie of the year. In its opening weekend, the film broke records by pulling in upwards of $169 million, whizzing past the $158.4-million record set by 2008’s “The Dark Knight.” The movie also had the biggest global debut ever, grossing $307 million.

Why it worked: The culmination in the decade-long blockbuster franchise delivered the kind of cinematic spectacle fans were expecting, as Harry Potter and his allies finally faced off against the evil Lord Voldemort in an epic battle. But director David Yates and screenwriter Steve Kloves also wisely shaded the movie with bittersweet emotion; after all, it’s not easy saying goodbye to characters beloved by a generation of audiences.

What’s next: Star Daniel Radcliffe will continue working to create an identity beyond the bespectacled boy wizard. He’s already managed several high-profile turns on the stage; early next year, he’ll star in the supernatural thriller “The Woman in Black,” based on the Susan Hill novel.

‘Bridesmaids’

The raunchy comedy that made a star out of Kristen Wiig.

By the numbers: The R-rated female-driven comedy played strongly through most of the summer, bolstered by strong reviews and positive word of mouth. As of late August, it had taken in $168 million at the box office in the U.S. The movie’s also performed well overseas, upending conventional wisdom that comedy doesn’t translate well abroad.

Why it worked: Working with her writing partner Annie Mumolo, Wiig penned her Judd Apatow-produced movie about a thirtysomething woman struggling with the emotions (and zany antics) that spring up as one of her closest friends prepares to tie the knot. Wiig told The Times earlier this year that she and Mumolo set out to write “a comedy, not a female comedy, just a comedy that has a lot of women in it.” That comedy happened to include awkward sex with Jon Hamm, a very bad case of food poisoning and a breakout performance from Melissa McCarthy, all of which resonated with moviegoers.

What’s next: Wiig will star opposite Annette Bening in “Imogene,” set for release in 2013. McCarthy, meanwhile, will appear in Apatow’s upcoming “This Is 40,” working with Leslie Mann and Megan Fox.

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theater

‘Les Miserables’

25th Anniversary Tour, Ahmanson Theatre (June 14-July 31)

By the numbers: Attendance totaled 109,996, or 2,000 per performance -- 97% of the Ahmanson’s capacity for the 55-show run. The show grossed $176,121 per performance, a house record.

Why it worked: “Les Miz” is one of the top-grossing musicals of all time (its original Broadway run lasted 16 years, ending in 2003) and has a huge built-in fan base. Douglas Baker, producing director of Center Theatre Group, felt L.A. audiences were primed for the

anniversary tour. Among the attractions were new production elements, including a set design adapted from paintings by Victor Hugo, author of the classic 19th century novel on which the musical is based.

What’s next: Los Angeles was the 12th and longest stop on the “Les Miz” U.S. tour, which is booked through May.