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Tag Archives: Celine Dion
Thursday, February 7, 2019
Bette Midler performed via satellite from the Hard Rock Hotel, singing “One Monkey Don’t Stop No Show, with the Royal Crown Revue, then showed up later at the MGM Grand wearing a billboard of her latest album, “Bathhouse Betty.”
“Well, it’s the Billboard awards. So, I thought you’d like to take a peek at mine,” she said
Friday, August 3, 2018
Billboard Magazine BILLBOARD HOT 100 celebrates 60 YEARS with the List of the 60 FEMALE ARTISTS of ALL TIMES August 1, 2018 List BASED on DATA from August 4, 1958 … to July 21, 2018 AAA 60. Juice Newton 59. Carole King 58. Stevie Nicks 57. Amy Grant 56. Missy Elliott 55. Faith Hill 54. Chaka Khan 53. Jody Watley 52. Avril Lavigne 51. Pat Benatar 50. Anne Murray 49. Ashanti 48. Bette Midler 47. Aaliyah 46. ??Natalie Cole 45. Fergie 44. Petula Clark 43. Miley Cyrus 42. Brandy 41. Carly Simon 40. Sheena Easton
39. Debbie Gibson ...
Wednesday, June 27, 2018
Out Smart Magazine HOUSTON PRIDE HEADLINER TODRICK HALL: ‘BE YOURSELF AND BE TRUTHFUL’ Posted On 18 Jun 2018 By Gregg Shapiro If you put out great work, people will listen to it. They will respond and purchase it. In this world, where everyone gets a trophy just for participating, you sometimes forget that real talent will shine through, and it will always win. People can come and go with their hits about big booties or popping bottles in the club. But the people who have truly stood the test of time are Bette Midler and Barbra Streisand and Celine Dion and Mariah Carey and Whitney Houston and Aretha Franklin. People who have an undeniable, God-given gift and a different perspective to show. Now that I know that, and have proven that to myself accidentally, while the cameras were watching me, I’m so charged up and ignited and ready to enter the next chapter of my life. I know that if I work hard and put out something great, that it can be successful, whereas before I didn’t necessarily believe that was the truth.
Sunday, July 30, 2017
Appleton Post Crescent February 13, 1975 Once upon a time there lived a couple named Sonny and Cher. Their names went together as well as salt and pepper, bacon and eggs or spareribs and sauerkraut. Sonny and Cher were not your average couple. They did things most couples never do, such as recording hit songs and naming their daughter Chastity. Later, they had a hit television show. More recently upon a time, Sonny ” and Cher decided “for better or worse” did not mean “till death us do part,” and they decided to divorce. This caused all sorts of problems with their TV series, which they quit despite high ratings. Now on their own, it appeared doubtful either could retain stardom, because their individual talents seemed less impressive than their collective efforts. In what struck me as a surprising move, ABC gave Sonny Bono his own comedy/music/variety series which, as almost every TV critic in the land predicted, bombed faster than a squadron of Zeroes at Pearl Harbor. Now it’s Cher’s turn. CBS has decided the sultry (?) singer might have more appeal than “Apple’s Way,” so Chastity’s mommy is back on the telly. Her series, which will be seen at 6:30 p.m. Sundays, actually debuted Wednesday night, but it was billed as a special. “Cher” (9-10 p.m.) was a racy hour, with sexy costumes, numerous sexual overtones and, in short, a markedly adult approach, which makes me wonder why CBS is planning it for early Sunday evenings. Whatever, Cher appears to have retained enough of the formula she and Sonny milked to considerable rewards to guarantee success. The impress:-? guest list helped. Flip Wilson, Bette Midler and Elton John were lively, although Flip was used less than I had expected. The comedy segments were hit and miss, but the music was outstanding, especially the duets with Cher and Bette and Cher and Elton and the combination of all three. The settings were spectacular and the costumes were, well, not all that modest. I would speculate that during the hour, we were exposed to almost all of Cher’s skin, save that portion a string bikini might cover. Perhaps the theory is that if the producers put her in pseudo-see through outfits, we won’t really notice the quality of Cher’s presentation. It’s a needless concern for CBS, because she has talent. A subtle comedy sense could be the key to this series making it. I would like to see some improvement in the comedy, would hope the music maintains the’level it had Wednesday and would like to have the pace continue sprightly. Whether the same level of raunchiness can be maintained remains to be seen
Sunday, July 23, 2017
A Bootleg Betty Exclusive – The missing lyrics: “I Put My Hand In” from Hello, Dolly! For now, Bette’s extra verse can only be heard on Broadway
A Bootleg Betty Exclusive The missing lyrics: “I Put My Hand In” from Hello, Dolly! For now, Bette’s extra verse can only be heard on Broadway BY TODD SUSSMAN July 22, 2017 By golly, Miss Dolly…say it isn’t so. For the complete version of Bette Midler‘s vocal performance of her opening number, “I Put My Hand In,” you have to see Hello, Dolly! live at the Shubert Theatre. The song quickly introduces Dolly Levi as the meddlesome matchmaker who gets the job done, and lucky ticket holders get to hear the entire song with all of composer Jerry Herman’s verses. However, for owners of the cast CD, it’s another story. That’s because the final verse of the song has been omitted for the recording. On the CD, the song ends with this verse: I put my hand in here I twist a little, stir a little Him a little, her a little Shape a little, mold a little Some poor chap gets sold a little When I use my fist a little Some young bride gets kissed a little Pressure with the thumbs Matrimony comes When, I put my hand in there. In the show, Bette follows up that verse with a heartfelt, spoken plea to her dearly departed Ephraim. She is looking for a sign to move on with her life – hoping to find the two divine M’s (marriage and money). Following her request, she reprises the song with these final lyrics: For when my little pinky wiggles Some young maiden gets the giggles Then I make my knuckles active “My” he says “She’s so attractive.” Then I move my index digit And they both begin to fidget Then I clench my palm The preacher reads a psalm When I put my hand in there! On Broadway, Bette “acts out” the lyrics with matching finger movements – hand choreography that would make even Celine Dion jealous. And her nine extra vocal lines drive home Dolly’s special matchmaking powers. With the new cast recording’s running time of just under 50 minutes, there would have been room to include the brief “I Put My Hand In” reprise. So I went back and listened to the Carol Channing original cast CD from 1964 and guess what. The verse does not appear there either. However, three decades later, on the Broadway revival cast CD, Channing’s vocal with the extra verse remains intact. In 2003, the original cast CD was also re-issued in a deluxe collector’s edition digipak with bonus tracks, and one of those tracks is Mary Martin’s version of “I Put My Hand In” from the 1965 London cast recording. That one also contains the “bonus” verse! In both Channing’s 1994 revival and Martin’s 1965 London version, the spoken plea does not appear; the music simply and seamlessly segues into the final vocal. Completists may wonder about the Pearl Bailey 1967 cast CD. Nope, no extra verse there. By the way, there’s an entire musical number not included on any of the cast recordings: “The Contest.” It’s an Act II instrumental that sets music to the special dance contest taking place at the Harmonia Gardens, where Ermengarde and Ambrose – hey, those would make good names for pet cats, but I digress – are hoping to win the prize money. “The Contest” instrumental contains a rollicking portion of “I Put My Hand In,” cleverly (if subtly) tying the scene back into Act I. While it may be “the little song that could,” when Barbra Streisand signed on to star in the big screen version of Hello, Dolly! in the late 1960s, “I Put My Hand In” was pulled out, and a new song written just for Miss Barbra was added in. The song: “Just Leave Everything To Me.” According to the composer (from the book, Jerry Herman: The Lyrics), “Barbra asked for a new opening number and mentioned that she loved singing ‘list songs’ with lots of complicated lyrics. That’s all I had to hear. And boy, was it wonderfully sung.” However, “I Put My Hand In” was not totally gone. Its introductory verse, “I have always been a woman who arranges things…” remained as the opening verse for “Just Leave Everything To Me.” Interestingly, there was speculation in advance of the Midler/Dolly previews that Bette would perform “Just Leave Everything To Me” in the Broadway revival. When she started to sing, “I have always been a woman…” at the Shubert, many a baby boomer who grew up on Barbra’s film but missed Carol Channing’s characterization may have momentarily thought Bette was indeed starting to sing the song written especially for Barbra. Alas, with Jerry Herman’s ingenious songwriting skills, it is nice to have both songs available for the listening ear. Maybe one day we will get a deluxe CD of Bette’s Dolly performance, with the entire version of “I Put My Hand In,” dialogue from the show, and additional instrumentals (including the gorgeous exit music). Until then, let’s be thankful for what we have.
Saturday, March 18, 2017
Daily Record (Glasgow, Scotland) January 20, 2000 | Houston, Simon A TOP funeral firm are urging teenagers to pick the music they would like to have played at their funerals. Bosses at the Co-op want to know what will be popular in years to come – after releasing their own survey of the top 10 funeral tunes in the UK last year. Young people can click on to the firm’s website and select their favourite song at www.funeral-services.co.uk until the end of the month. The Co-op’s Ben Jason said: “People are increasingly choosing songs which say more about their life. “We thought this year we would give everybody a chance to vote for the song or hymn they would like at their own funeral.” Popular music is fast taking over from hymns as the tunes being chosen to say a final goodbye to a loved one. Top funeral track last year was Celine Dion‘s hit My Heart Will Go On from the movie Titanic. It is the latest in a long list of accolades for the record-breaking film starring Leonardo Di Caprio and Kate Winslett. The song ousted last year’s No 1, Candle in the Wind, a version of which was sung by Elton John at Princess Diana’s funeral, but the song still managed second slot. =&0=& =&1=&‘s Wind Beneath My Wings – also from a movie soundtrack – came third, while M People‘s Search For The Hero, was fourth. Frank Sinatra has two in the top 10 – My Way at No5 and Strangers In The Night at No9. His death the year before may well have influenced such selections just as football has helped You’ll Never Walk Alone into the top 10. But some Internet surfers reckon the Co-op’s funeral poll is a little morbid. Robert McGowan, from Paisley, said yesterday: “It’s not the kind of question people want to answer when they visit a website. “They would generally visit a site like that because they have recently suffered a bereavement. “For the Co-op to trivialise death like this is an outrage. “TOP 10 FUNERAL SONGS 1 My Heart Will Go On Celine Dion 2 Candle In The Wind Elton John 3 Wind Beneath My Wings =&0=& =&1=& 4 Search For The Hero M People 5 My Way Frank Sinatra 6 You’ll Never Walk Alone Gerry and the Pacemakers 7 Please Release Me Engelbert Humperdinck 8 Memories Elaine Paige 9 Strangers In The Night Frank Sinatra 10 Bright Eyes Art Garfunkel
Sunday, December 11, 2016
Time Sept. 21, 1998 It’s not fair that the Diva Divine makes albums only as vacations from movies and motherhood, for her genius is as a singer-entertainer. Midler‘s vocal voltage and pristine song salesmanship are on display here in tunes by Leonard Cohen, Chuckii Booker, Carole King, Ben Folds–lots of fine folk. Her voice can ache with hard-won wisdom (on the first single, My One True Friend) or smile with the sweet clarity of her Honolulu youth (Gus Kahn‘s 1925 Ukulele Lady). Songs like Laughing Matters, I’m Beautiful and I’m Hip give the album the sassy intimacy of a pep talk from an old friend. But Midler is not aging; those pipes are still brass-bold and silk-smooth. At 52, Bette’s still best.
Rolling Stone Review: Generations of brassy, slyly winking female rebels – from Deborah Harry and Madonna to Miley Cyrus – all owe Bette Midler a debt ...
Friday, March 25, 2016
Galley Cat Carole Bayer Sager Lands Deal With Simon & Schuster By Maryann Yin on Mar. 24, 2016 – 9:45 AM Carole Bayer Sager has signed a deal with Simon & Schuster. The renowned songwriter has written a memoir entitled Theyâ€™re Playing Our Song. The title of Sagerâ€™s book comes from the 1978 hit musical; she wrote the lyrics for the songs featured in this show. The publisher has scheduled the release date for October 2016. Hereâ€™s more from the press release: â€œFor five decades, Carole Bayer Sager has been among the most admired and successful songwriters at work, responsible for lyrics to â€˜Nobody Does It Better,â€™ â€˜A Groovy Kind of Love,â€™ â€˜Donâ€™t Cry Out Loud,â€™ and the theme from the movie Arthur, â€˜The Best That You Can Do.â€™ In her memoir, she describes her many collaborations, including work with Peter Allen, Neil Diamond, Celine Dion, Bob Dylan, Clint Eastwood, Kenny â€œBabyfaceâ€ Edmonds, Michael Jackson, Carole King, Melissa Manchester, Bette Midler, Carly Simon, and Frank Sinatra.â€ (
Saturday, December 26, 2015
Thursday, May 28, 2015
It was in 1982 when Nashville songwriters Jeff Silbar and Larry Henley wrote and recorded the demo for this. They had a hard time finding anyone to record the song, and it was a full year before Roger Whittaker became the first artist to take it on. Following Whittaker’s version, several artists recorded the song, including Sheena Easton, Lee Greenwood, B.J. Thomas, Lou Rawls (who was the first to chart with the songs, hitting #65 US), Gladys Knight & The Pips and Gary Morris. Morris’ version became a #4 country hit, which led to Silbar & Henley winning the Country Music Association (CMA) Award for Song of the Year. Gladys Knight & The Pips had a R&B hit with their version, which they retitled, “Hero.” (thanks, Brian – Funchal Madeira, Portugal)
Larry Henley came up with the title and Jeff Silbar loved it, especially since he was learning to fly planes at the time. The title came out of a poem Henley had written. Instead of writing the chorus first (like Silbar and Henley usually did), they wrote it from start to finish. They were done writing it by the end of the day.
The demo that Silbar and Henley recorded had a medium tempo. Their music publisher had the idea of slowing it down and making it a ballad.
This was conceived as a love song from a man to a woman or vice versa, but it ended up with lyrics that were more universal, and could apply to many different types of relationships (friends, family, etc.). This is a major reason why the song was so successful.
The most famous version of this song was Midler’s. She recorded it in 1988 for her movie Beaches. It was used in a dramatic scene at the end of the movie after the character played by Barbara Hershey died. After Midler’s version became a hit, many other artists recorded the song, including Willie Nelson, John Tesh, Patti LaBelle, Perry Como and Judy Collins. It is one of the most performed songs of all time.
Gary Morris still performs this ballad live and usually precedes it by saying, “Bette is free to sing this however she wants but personally I think she butchered it.” (thanks, David – Lubbock, TX)
The Gladys Knight & the Pips version, renamed “Hero”, was on the soundtrack of the 1986 film The George McKenna Story. (thanks, Ron – Los Angeles, CA)
Midler revealed to The London Times February 14, 2009, that she initially disliked this song, but it later grew on her. She explained: “It’s really grown on me. When I first heard it, I said, ‘I’m not singing that song,’ but the friend who gave it to me said, ‘If you don’t sing it I’ll never speak to you again’, so of course I had to sing the damned song. Whatever reservations I might have had I certainly don’t have any more.”
This won the Grammy Awards for Record of the Year and Song of the Year in 1990.
Midler performed this song following the death montage at the Oscars in 2014. It was her first time singing at the Oscars.