Tag Archives: The Rose (film)

Friday, October 19, 2018

Video: Bette Midler – Sold My Soul To Rock ‘N’ Roll – The Rose

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Wednesday, September 12, 2018

Video: The Rose – Bette Midler – 1979 – Film – English (Spanish Subtitles)

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Saturday, January 28, 2017

Bette Midler On Her Dad:

Bette Midler On Her Dad:”He was one of those poohpooher’s You’ll never amount to a hill of beans Maybe it was reverse psychology, hoping against hope that I would amount to something, but it was pretty painful for a long time. However, I used to fight back a lot. He couldn’t keep me down. I had too much inner belief. That cane from my mother, who always said, “Kid.you’re going to be fine”(Syracuse Herald, February 5, 1989)

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Monday, July 13, 2015

BetteBack February 25, 1990: Bette Midler Admits There Are Two People Inside Her

Galveston Daily News
February 25, 1990


Bette Midler admits there are two people inside her.

“One’s a prude, the other loves trash with flash. A duchess mentality and a tramp mentality.”

Bette soon takes up the baton and will star in the film about 1940s bandleader Ina Ray Hutton.

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Wednesday, June 9, 2010

From The Foxy Frenzy: Who doesn’t like a little Bette Midler?

Justin Rose won The Memorial Tournament on Sunday. As he nailed the putt to take home his first victory on U.S. Soil, the great Jim Nantz honored Roses’ performance with a quote from Bette Midler. I wish I could make this stuff up.

Here is exactly what Nantz quoted:

“This is the putt that wrapped it up. And what’s that Bette Midler song? How does that go? Think about his journey here.

When the night has been too lonely and the road has been too long …
Just remember in the winter
far beneath the bitter snows
lies the seed
that with the sun’s love
in the spring
becomes the rose”

I wouldn’t have guessed that he was a Bette Midler fan, at all

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Monday, June 7, 2010

BetteBack: The High Priestess Of Pop Culture

New York Times
September 16, 1993
Review/Pop; Midler, Closer to the Mainstream But Still Creating Quite a Splash

Wisecracking, jiggling her flesh and whooping it up in a voice that has never sounded stronger, Bette Midler retook New York on Tuesday evening.

The entertainer made her entrance at Radio City Music Hall, where she is to perform 30 shows through Oct. 23, floating over the stage inside a cardboard cloud. Its fleeces quickly parted to reveal a sun whose golden rays were dimmed by the glare of the star’s ferociously mischievous grin.

“You were expecting a beefier person,” teased the 47-year-old entertainer, who was in svelte fighting shape. She plunged immediately into an amusing theatrical rap song, in which she declared she had been “Walt Disneyized” and “Jurassicized,” then delivered a scathingly funny monologue that concentrated on tabloid horror stories set in Long Island. Special attention was devoted to pondering the mysterious charms of Joey Buttafuoco.

Those who feared that Ms. Midler might have been been “Disneyized” into giving a G-rated performance can breathe easily. Her show, “Experience the Divine,” has the usual Midler quota of raunchy humor. At the same time, it is no more extreme than what Ms. Midler has been doing for the last two decades. It offers the same high-powered mixture of stand-up comedy, burlesque show humor, campy production numbers and cabaret singing as earlier Midler extravaganzas like “Divine Madness” and “Clams on the Half Shell.”

Weaving these disparate elements together with a brash good humor and plenty of heart is a performer who defines the contemporary red-hot mama: Sophie Tucker, Ethel Merman and Judy Garland rolled into one furiously energetic package.

“Experience the Divine” has a familiarity that is almost reassuring. Not only is her trio the Harlettes (now jokingly introduced as “the politically correct Harlettes”) back, but so are Ms. Midler’s stage alter egos. The most amusing is the lounge singer Delores Del Lago who slithers around in mermaid fins and sings hilariously inappropriate renditions of pop tunes you never wanted to hear again.

At the high point of Delores’s act, she and a chorus of seven mermaids in motorized wheelchairs do a ridiculous choreographed twirling routine with white billiard balls attached to ropes. The ensemble’s pumped-up disco version of “Greatest Love of All,” which builds to an exclamatory “Me, me, me!,” thoroughly trashes the song, which has replaced “I Will Survive” as the object of Delores’s triumphant demolition.

Equally high-spirited is a tribute to burlesque in which Ms. Midler body-paints the torsos of female dancers with faces (the pasties become eyes) and crowns them with giant top hats that slip below the neck. No Midler show would be complete without a round of dirty jokes in the Tucker tradition, and “Experience the Divine” has several. The funniest involves mistaking a slangy sexual come-on for the name of a Japanese car.

The two-act show, which emphasizes campy frolic in its first half, becomes more musically oriented in Act II. The happiest surprise of “Experience the Divine” is the superb condition of Ms. Midler’s voice. Plagued in the past with pitch problems and a tendency to scream when trying to belt, Ms. Midler has finally built a voice that is full, secure, brassy and soulful.

A gospel fervor that Ms. Midler has tried for years to express, without always being able to summon the voice for it, came through resoundingly on Tuesday in her renditions of “Delta Dawn” and “Stay With Me.” “From a Distance” had a warmth and stately balance that eclipsed her recent hit recording. “The Rose” and “Do You Wanna Dance?” were sweet and sultry.

The show’s most luminous moment was her performance of John Prine’s “Hello, in There.” The chatty but sad-hearted monologue of a retired Middle American factory worker facing a lonely old age brought out a tenderness in Ms. Midler that is the flip side of her campy insouciance.

The adoration expressed by the celebrity-filled opening-night audience was one indication of how the times have caught up with Ms. Midler. What was marginal, gay bathhouse entertainment in the early 1970’s is now thoroughly mainstream. The New York theater, in particular, abounds with campy revues and musicals that owe a major debt to Ms. Midler’s free-for-all stage shows.

Proclaiming the value of uninhibited self-expression and the freedom to raid the most esoteric corners of pop culture history for whatever is valuable, the genre embodies the urban cultural tone of a liberated era. Ms. Midler reigns as its radiant high priestess.

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Wednesday, June 2, 2010

BetteBack: Gypsy Treated Like Feature Film

Brassy Bette Midler bowls over TV columnists here when she shows up to plug CBS‘ adaptation of “Gypsy,” set for a December holiday airing.

“This was treated like a feature film,” says the Divine Miss M. “Nothing was skimped on, except my salary.”

Having tackled the bravura role of domineering Mama Rose, Midler remains smitten with the irresistible charm of musicals. She now wants to do “Mame” and “Annie Get Your Gun.” Or, as she puts it: “All those broad parts.”

Reminded of her beautifully sentimental duet with Johnny Carson on “Here’s That Rainy Day” on Carson’s next-to-last show, Midler says she’s never seen the tape of it.

“I just want to remember it the way I remember it,” says Midler, who calls that moment “one of the happiest nights of my life.”

She even included it on one of her albums because “to me, it was one of my greatest hits.”

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