A feeling of perpetual motion without even standing up: Bette Midler during her 90-minute monologue in “I’ll Eat You Last” at the Booth Theater. Credit Sara Krulwich/The New York Times Or rather she would so cradle us, if both hands were not otherwise engaged. As she welcomes us, Sue does not deign to rise from the pillow-bestrewn couch on which she sits, or rather slinks (“Forgive me for not getting up,” she says, unapologetically. “Think of me as that caterpillar from ‘Alice in Wonderland,’ the one with the hash pipe”), but her silver-taloned fingers are in continual motion: slicing the air to accentuate a point, fiddling with the white-blond tresses framing her face, adjusting her signature glasses — oversize circles that symbolize a lifelong obsession with stargazing — or grabbing another cigarette or a joint, if not both at the same time. And of course we are treated to the boilerplate life summary that’s de rigueur in bio-plays: How a young immigrant from Germany, burning with the shame of “always feeling outside looking in,” escaped into the movies, became obsessed (“That’s why I still talk like a gum-cracking Warner Brothers second lead”), quickly abandoned acting ambitions for a role behind the scenes, and climbed the Hollywood agenting ladder rung by rung until she became one of the first women to reach the top in a male-dominated world.
Bette Midler Live At Last Limited Edition Lyrics
Tangy and funny as much of Mr. Logan’s writing is, the play would hardly transmit the contact high it does without the presence of Ms. As a performer she shares certain qualities associated with her subject: an ability to make the crassest vulgarities sound like crystalline repartee, an earthy glamour and a preening, kittenish imperiousness that’s somehow warmly endearing. It is hard to imagine any other actor imbuing the character with the same seductive effervescence — or giving a feeling of perpetual motion to a 90-minute monologue without even standing up. (Dressed in a shapely blue tent adorned with silvery spangles designed by Ann Roth, Ms.
Provided to YouTube by Warner Records Be My Baby Bette Midler Be My Baby ℗ 2014 East West Records, a division of Warner Music UK Limited Cello: Andrew Shul. Bette Midler, Soundtrack: The First Wives Club. Multi Grammy Award-winning singer/comedienne/author Bette Midler has also proven herself to be a very capable actress in a string of both dramatic and comedic roles. Midler was born in Honolulu, Hawaii, on December 1, 1945. She is the daughter of Ruth (Schindel), a seamstress, and Fred Midler, a painter. Search for auction results of rare vinyl records. Artist Release Name Cat.No. Label Format Year Country; Bette Midler: Bette Midler.
Midler looks smashing enough to single-handedly revive the muumuu.) We learn early that Sue has little interest in politics or the wider world of culture (she acidly describes Vanessa Redgrave “downing glass after glass of my best Veuve Clicquot like a good socialist”), and Mr. Logan does not force-feed us pathos involving the diminution of her power in Hollywood. In one of the play’s few darker passages Sue laments the rise of the bottom-line-oriented, more technocratic agencies like. The aesthetic ferment of Hollywood during the 1970s may have been due in part to the Mengers style of mixing pleasure and business, but it could be argued, too, that the inflation of star salaries that she stoked helped usher in the Hollywood of the 1980s and beyond.In any case, the exuberantly shallow Sue we meet in “I’ll Eat You Last” would bridle at any attempt to analyze her legacy. “I’ve seen the future, and, kids, it’s not a lot of laughs,” she says at one point, and that’s about as close as she comes to making grand statements on the changing Hollywood culture. As the shadows of evening begin to gather, and she begins to slouch deeper into the pillows, as if seeking to become one with her couch, Ms. Midler subtly conveys that Sue has begun to feel the soft sting of her feisty heedlessness beginning to bite back.
As she dismisses us to prepare for her dinner — minus a star who called to cancel at the last minute, ominously — we sense that her need for the sweet release of a joint (or two or three) is perhaps more urgent than usual because she can see the credits beginning to roll on her glory years. Sue has learned that if you seek out the pleasures of living in intimate proximity to the hot glare of movie fame, eventually you’re going to get burned.
'Live at Last' is the first live album by American singer Bette Midler, a two-disc set released in 1977, Midler's fourth album release on the Atlantic Records label. The album spawned from her live, recorded performance, 'The Depression Tour' in Cleveland, entitled 'The Bette Midler Show'. 'Live at Last' documents a full-length live performance at the Cleveland Music Hall, Cleveland, Ohio on the 1976 Depression Tour, and sees Midler, her backing group The Staggering Harlettes and her band Betsy and the Blowboys covering material from her three first albums as well as The Supremes' 'Up the Ladder to the Roof', Neil Young's 'Birds', Ringo Starr's 'Oh My My', the mock lounge act The Vicky Eydie Show doing a 'global revue' and the song cycle The Story of Nanette. The album also captures Midler's rapport with - or loving heckling of - the Cleveland audience, a monologue about fried eggs and a part that since has become a staple of her live performances: the raunchy Sophie Tucker jokes. 'Live at Last' features two new studio recordings. 'You're Moving Out Today', co-written by Midler and Carole Bayer Sager and produced by Tom Dowd was the only single release from the album (#42 Billboard's Single Chart, #11 Adult Contemporary). 'Bang, You're Dead', which was also not performed during the Cleveland show, replaced 'I Sold My Heart To The Junkman' on the album because writers Nick Ashford and Valerie Simpson - who wrote the song for Bette - laid down an ultimatum that if she didn't release the song on her next album they would give it to another singer.
Therefore, the song was recorded in a studio and squeezed onto the album. The album was released on CD for the first time in 1993. A limited edition remastered version of the album was released by Friday Music in 2012. 'Live at Last' reached #49 on Billboard's album chart in the autumn of 1977.
Wikipedia Release of this album: 1977, June 2xLP Atlantic, Cat.# SD 2-9000, USA Release of this CD: 1993, October, 19 CD Atlantic Records / WEA (USA), Cat.# 81461-2 / UPC: 21 (p)(c) 1977 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the U.S.A. Manufactured by Sony Music Japan international Inc. Printed in U.S.A. Credits: Bass – Francisco Centeno Drums – Ira 'Buddy' Williams Guitar – Lou Volpe Harp – Elizabeth Kane Keyboards – Don York, Richard Trifan Percussion – Joseph Mero Trumpet – Miles Krasner Tracklist: Disc 1: 01.
'Backstage' - 00:19 02. 'Friends'/'Oh My My' - 04:15 (Mark Klingman, Buzzy Linheart)/(Richard Starkey, Vincent Poncia) 03. 'Bang You're Dead' - 03:28 (Valerie Simpson, Nickolas Ashford) 04.
'Birds' - 05:09 (Neil Young) 05. 'Comic Relief' (Monologue) - 02:38 06.
'In The Mood' - 02:15 (Joe Garland, Andy Razaf) 07. 'Hurry On Down' - 02:22 (Nellie Lutcher) 08. 'Shiver Me Timbers' - 04:55 (Tom Waits) 09. 'The Vicki Eydie Show' - 14:00 a) 'Around The World' (Victor Young, Harold Adamson) b) 'Istanbul' (Jimmy Kennedy, Nat Simon) c) 'Fiesta In Rio' (Bette Midler, Jerry Blatt) d) 'South Seas Scene' / 'Hawaiian War Chant' (Rik Carlok)/(Freed, Leleiohaku, Nobel) e) 'Lullaby Of Broadway' (Al Dubin, Harry Warren) 10. 'Intermission: You're Moving Out Today' (Studio Recording) - 05:38 (Bette Midler, Carole Bayer Sager, Bruce Roberts) Disc 2: 01. 'Delta Dawn' - 06:22 (Alex Harvey, Larry Collins) 02.
'Long John Blues' - 04:36 (Tommy George) 03. 'Those Wonderful Sophie Tucker Jokes' (Monologue) - 02:41 04. 'The Story of Nanette' - 14:02 a) 'Nanette' (Howard Dietz) b) 'Alabama Song'/'Drinking Again' (Bertholt Brecht, Kurt Weill)/(Doris Tauber, Johnny Mercer) c) 'Mr. Rockefeller' (Bette Midler, Jerry Blatt) d) 'Ready To Begin Again'/'Do You Wanna Dance' (Jerry Leiber, Mike Stoller)/(Bobby Freeman) 05. 'Fried Eggs' (Monologue) - 02:37 06.
'Hello In There' - 03:25 (John Prine) 07. 'Finale' (Monologue) - 11:08 a) 'Up The Ladder To The Roof' (Vincent DiMirco, Frank Wilson) b) 'Boogie Woogie Bugle Boy' (Don Raye, Hughie Prince) c) 'Friends' (Mark Klingman, Buzzy Linhart) Recorded live at The Cleveland Music Hall, Cleveland, Ohio, USA 1976, 1977.