Tag Archives: Boogie Woogie Bugle Boy

Friday, August 17, 2018

BetteBack July 17, 1975: ABC Offers Bette Midler A Special Deal

Harrisburg Daily Register
July 17, 1975

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Bette Midler, the doyenne of glitter rock, may soon be doing her boogie woogie on ABC, a network spokesman said Wednesday.

“We have made her an offer,*’ the spokesman confirmed, “now, it’s up to her.” The spokesman declined to discuss the terms of the offer.

Miss Midler has risen from a cult following in a Manhattan steambath to successes on Broadway and television with her outrageous style of song and dance. Her first top seller was a parody of the Andrews’ Sister hit of the 1940’s “The Boogie Woogie Bugle Boy from
Company B Read More

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Thursday, August 9, 2018

Video: Bette Midler – Boogie Woogie Bugle Boy – Burt Bacharach Special – 1973

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Wednesday, May 16, 2018

Bette Midler – Boogie Woogie Bugle Boy – Kiss My Brass – 2004 #BetteMidler #BoogieWoogieBugleBoy #KissMyBrass

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Monday, March 5, 2018

The Oscar for best original song is a garbage category – Bette Midler Proves It In One Segment

The Washington Post
The Oscar for best original song is a garbage category
By Dan Zak
March 2 at 1:42 PM


CLOCKWISE FROM TOP LEFT: Phil Collins grasps his Oscar in 2000; Robin Williams performs “Blame Canada” the same year; Mariah Carey, left, and Whitney Houston perform “When You Believe” in 1999; and, from left, Peter Allen, Christopher Cross, Burt Bacharach and Carole Bayer Sager claim their shared prize in 1982. (Hector Mata/AFP/Getty Images; Timothy A. Clary/AFP/Getty Images; Clary/AFP/Getty Images; ABC/Getty Images)

Remember when Ann Reinking lip-synced — and danced to — “Against All Odds,” the No. 1 hit by Phil Collins from the movie of the same name, at the Academy Awards in 1985? No?

It was nearly five minutes of theatrical fog, odd lunges and wide-eyed emoting, and Collins had to watch the slow-motion oddity from his seat. The academy wanted a “variety” of entertainers to perform the nominees for best original song, so it didn’t enlist the English rocker, then at the peak of his career. Read More

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Tuesday, February 27, 2018

Bette Midler – Boogie Woogie Bugle Boy (Live Divine Miss Millenium)

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Wednesday, February 21, 2018

Bette Midler – Boogie Woogie Bugle Boy (Live Divine Miss Millenium)

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Saturday, February 10, 2018

BetteBack May 14, 1975: ‘Clams’ Does Nothing But Entertain

Lawton Constitiution
May 14, 1975 Read More

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BetteBack May 13, 1975: Bette Midler: Still divine

South Mississippi Sun
May 13, 1975

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NEW YORK (UPI) — So great has been the demand for tickets for the divine Bette Midler‘s show at the Minskoff Theater that her run has been extended from four weeks to 10 weeks, ending June 21. Small wonder. The mop-haired, raunchy-tongued, trashily dressed singer took a year out of her notably successful career as an entertainer and recording star to put together a revue called “Clams on the Half Shell.” It was well worth the effort, for this is the most bubbly, amusing entertainment in New York this side of “The Wiz.”

“Clams” allows the Queen of the Continental Baths to display her versatility with song, ranging from hot rock to sentimental ballads, and her way with an audience in chit chat that is both endearing and outrageous. Although she is the most frenetic of entertainers, on the move constantly, her timing is extraordinary.

Anything goes in this show, which is dazzlingly set by Tony Walton and directed and choreographed by Joe Layton. Its overture is a medley from “Oklahoma” and it opens with “darkie” fishermen on a levee who fish up a clam containing the star revealinglyy swagged in shimmering seaweed. She goes into “The Moon of Manakoora” and the rest of the three-hour show is equally non-sequitur.

The first section is a series of unrelated skits in which Miss Midler is assisted by three disdainful dollies called the Harlettes, for no apparent reason. It winds up with an unscrolling Empire State Building atop which a blue shag King Kong holds a supine Miss Midler in his paw. Suddenly she is up and singing “Lullaby of Broadway.”

The second part opens with Lionel Hampton and a 17-piece band for a trip down memory lane with Miss Midler in concert, whirling phonograph records and a jukebox as a backdrop.

Her “Sentimental Journey ” and “Boogie Woogie Bugle Boy ” has the audience—a cross section of ages weighted on the youthful side—screaming screaming for more. The Andrew Sisters never had it so good!

A critical report would not be complete without kudos to musical director Don York and orchestrator Jimmie Haskell. The sound is big but only when it should be, and there can be no objection to that. Producer Aaron Russo has not decided to take the show on the
road, though he has had many offers. He’d be crazy not to.

Concert Review: Bette Midler is bigger than any song. She is the full show! (Leeds)
Divine Intervention Review: Midler stayed on her A-game to the very last second (Chicago)
Bette Midler – Lullaby Of Broadway-Boogie Woogie Bugle Boy-Johnny Carson-1973 | BootLeg Betty

BetteBack March 28, 1973: Bette Midler – Concert In Review | BootLeg Betty Read More

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BetteBack April 30, 1975: Bette Midler Is Back Rashy And Gimmicky (‘Clams’)

Lawton Constitiution
April 30, 1975

2016-07-15_0-21-12

NEW YORK (AP ) — A strenuous comeback bid is being made in “Bette Midler‘s Clams on the Half Shell Revue” by one of the most highly publicized maybe-stars of showbiz.

Flashy, brassy and gimmicky, the production has moved into Broadway’s Minskoff Theater for a run until June 21. Management asked reviews be delayed until after the Thursday performance, but to make deadlines most of the press attended the late starting, 2 1/2 hour fray on Wednesday.

For those who have forgotten or never cared , the chubby little singer-comic disappeared about a year ago after a short but impressive eruption from the gay entertainment scene into a more general public round of concerts, and a couple of golden records. A Paris sortie flopped, followed by retreat for career reappraisal.

“Clams,” to get the title down to size, is much more elaborately staged than a stand at the Palace in December 1973. The professionally chaotic grabbag tends to make Miss Midler’s own limitations more obvious.

She is on almost nonstop with a hybrid assortment of tunes past and present — “Moon of Manakoora” at one end. “Young Americans” at the other — coupled with raunchy comments and low wisecracks. A couple of the most obscene, and hoary, she attributed to Sophie Tucker.

Front-row spectators were sprayed with scurrilous insults, a night club technique that needs a long rest. Costarred in the billing but allowed only 1-i minutes in the postimermission spotlight is Lionel Hampton. The grand old jazz pro brought the crowd to its feet in the only show-stopping ovation of the affair with his sheer artistry on vibes, piano and drums.

A Motown-style trio, the Harletles, back up the occasional, raspy Midler notes and heavy breathing with chic vocalizing. On the bill also is the Michael Powell Ensemble.

Everything centers on the yenta from Honolulu, with Joe Layton keeping the tempo fast and furious as director-choreographer. Tony Walton has provided some preposterously ponderous scenery, including gigantic dancing puppets, a moody barroom, massive jukebox’ and a mechanized King Kong clutching you know who in his hand.

Miss Midler likes to be known as “the Divine Miss M.” Dismal more accurately describes some of her work for the noncultist. At the end of the show, however, committed fans engaged in a screaming frenzy of acclaim.

BetteBack January 23, 1997: Tom Shales – Diva Las Vegas
Concert Review: What a remarkable woman Bette Midler is! (London)
On The Road To Making The Sophie Tucker Story With Bette Midler
Review: Bette Midler Brings Her Uniqueness to STAPLES Center

Bette Midler – I’m Wishing – A Dream Is A Wish Your Heart Makes – Lullabye Of Broadway – Live At Last – 1976 | BootLeg Betty Read More

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Thursday, February 1, 2018

Bette Midler – First time singing Boogie Woogie Bugle Boy on Johnny Carson

Bette Midler – First time singing Boogie Woogie Bugle Boy on Johnny Carson

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