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Daily Archives: April 7, 2017
Friday, April 7, 2017
BetteBack April 29, 2002: Even In 2002 They’re Asking Bette Midler To Play ‘Hello Dolly’ But For Television
Bette Midler On Her Awful Recordings: “Everyone is so happy to hear that stuff again. They’re all so pleased to go to that terrible place.” (European Stars And Stripes, December 11, 1999)
Like any decent, self-respecting American, all Jacqueline Susann wanted was to be a star. She became one by being in the right place at the right time with her sex-pills-and-debauchery novel “Valley of the Dolls” – the dolls of the title being drugs, not women. The more the book was dismissed as trash, the higher up the bestseller list it climbed and the longer it stayed there. It was a zeitgeist book. There’s always a place for trash novels, but this one came along at a time when high and low culture were changing places in America, and it reinforced a dynamic still going strong today. Susann was hardly the only one who assumed that the world is driven by sex, but her years of showbiz experience as a wannabe sniffing around the edges of success enabled her to put a believably lascivious context around the steamy, gossipy prose one observer likened to overhearing a ladies’ room conversation.
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Bette Midler On Her Ticket Prices: “I can’t even afford those tickets. That’s why I’m standing.” (European Stars And Stripes, December 11, 1999)
Chester Delaware County Daily Times
September 2, 1974
In 1946 Carmen Miranda was the highest-paid woman ($201,OOO J in show business.
While .starring in “Streets of Paris,” she doubled into the Versailles night club, making three taxi trips back and forth in two hours. She was also in “Sons Oâ€™Fun” with Olsen and Johnson. .And sheâ€™s remembered for a famous photograph dancing with Ceasar Romara in “The Road to Rio.â€
“Whoâ€™ll plav Carmen Miranda on Broadway?”
The Washington Post
A divine showing of divas put the ‘broad’ in Broadway
By Karen Heller April 6 at 2:03 PM
NEW YORK — In the beginning, there was Ethel.
Merman, the legend who required no introduction or microphone.
In musical theater, there is nothing like a dame, a star of great voice, astonishing presence and dazzling wattage. A diva’s acting chops match her vocal power. She masticates the scenery. She leaves a mark. She sports her pain like pearls. Hurt and indomitability define her, conveyed in a multi-octave, act-concluding anthem that tears down the house and obliterates all memory of everyone else on stage.