Category Archives: Music

Books, Celebrity Chatter, DVDs, Holiday Gift Guide, Movies, Music, Theater

Charles Busch’s “Leading Lady: A Memoir of a Most Unusual Boy” is a Delicious Romp

Charles Busch is not the boy next door.

He’s not the girl next door either.

What he is is a legendary drag performer who has proven throughout the decades that he is a damn good writer… think Vampire Lesbians of Sodom, The Lady in Question, Red Square on Sunset, Psycho Beach Party, Die Mommie Die!

Now Busch has unleased Leading Lady: A Memoir of a Most Unusual Boy (Smart Pop Books, $27.95), an autobiography that’s fast and furious and funny, funny, funny and at times, sad, but not as sad as you will be when you’re on the last page.

The LGBTG+ icon takes us from Hartsdale, New York (with references to dead celebrity-studded Ferncliff, Westchester County’s take on Forest Lawn) to losing his mother to a damaged heart before he turned eight to his love of theatre (given to him by his father, a failed opera singer) to losing his virginity at sixteen  to his colorful, outlandish friends and family members (including sisters Betsy and Margaret) to the onslaught of AIDS to being nominated for a Tony for The Tale of the Allergist’s Wife to his near-death experience to . . . well, you get the idea.

Busch is a rambunctious raconteur. There are no chapters, but dozens of short tantalizing time capsules. The book is a magnificent mosaic, crammed with so many delicious anecdotes that blindingly shine and rival any cubic zirconia jewel Joan Rivers sold during her QVC career. The gems will have you laughing and crying, though the emphasis is on laughing. The stories are sassy (this is where Claudette Colbert and Kim Novak come in); sinful (this is where Esther Williams and Michele Lee come in); sentimental (this is where Carol Channing and Stephen Sondheim come in) and (bitter)sweet (this is where Liza Minnelli and Valerie Harper come in).

Leading Lady is not the lugubrious diary of some displaced cross dresser who longs to tackle RuPaul; it’s the best (read: candid, honest) autobiography since Joan Rivers’ Enter Talking. Joan pops up several times, beginning on page one. “Joan was the most prominent in a long line of smart, bigger-than-life mother figures I’ve attached myself to,” he writes. “All my life I’ve been in search for a maternal woman whose lap I could rest my head on.”

His life was guided, perhaps sometimes misguided, by his mother’s oldest sister, Aunt Lil Blum, who Busch saw as an Auntie Mame and whose ritzy Park Avenue apartment is where he lived as a teen. Aunt Lil had faith in her nephew since Day One and began taking him to Broadway shows when he was nine years old. “Some, like the talky and sexually explicit John Osborne British drama Inadmissible Evidence, were a bit of an intellectual stretch for a third grader, but Aunt Lil never explained anything to me. There was the assumption that I’d either figure it out or let it pass over my head,” he writes.

Busch cannot remember not wanting to be on stage. “I was desperate to be a child star, but my ambitions were always foiled,” he writes. He recalls auditioning for a Yonkers, New York community theater production of Oliver! — losing the role after five auditions. “In the end, they cast some dreadful butch child without a shred of sensitivity.”

It was Aunt Lil who sent Busch to acting school on Saturdays; he recalls the very first lesson. “The teacher taught us how to make an entrance down a staircase wearing a gown with a long train without ever looking down at our feet—a skill that has proved invaluable in my career in the theater.” Ironically, Aunt Lil never saw Busch on stage in drag. “I’d be worried that the audience might not like you or be unkind,” he recalls she told him.

Aunt Lil supported him when Busch needed the money; before fame hit, part-time jobs usually didn’t work out. Busch acknowledges that in so many ways that she was the one who nourished his dreams, especially before he discovered his gift for writing plays and making a living as a male actress.

Busch witnessed Aunt Lil’s decline for eight years. Her death crumbled him. “Entering the hospital room . . . I climbed onto the bed, snuggling next to her, and buried my face in her long beautiful grey hair,” he writes. “Thank you. Thank you. Thank you. Thank you. . . I had so much to thank her for. She had saved my life. She made everything possible. . . . Everything leads me to Aunt Lil.”

The end of Aunt Lil, but not the end of Leading Lady. Even with all the sissified innuendos and campy asides, the book ends up centering around love: love of theatre, of film, of family, of friends and ultimately love of oneself.  To give away much more is to give away the heart and soul of the book. Read it, wander off to the 24 pages of (mostly) color photos, then roam back into Busch’s valentine of memories and magic, vim and vitality.

CDs, Celebrity Chatter, Live Events, Movies, Music, Theater, TV

Here’s Lucie! Lucie Arnaz on her one-woman show, gay icons, Michael Bennett and, of course, her mom

Lucie Arnaz can precisely remember the moment she wanted to be in show business. It had nothing to do with her mom, Lucille Ball, stomping around in a huge vat of grapes.  It had nothing to do with watching her dad, Desi Arnaz, bang out “Babalu“ on the bongos. It had to do with loving another lady: Mame. It was in 1966 and Lucie, then 15 and in New York City, caught Angela Lansbury in the Jerry Herman musical.
“I remember watching Angela having all this fun, getting to sing all these great songs and dance all these wonderful numbers,” Lucie recalls. “I thought, ‘That’s it! That’s what I’m going to do with my life. I’m going to sing and dance!’”
And she did. And then some.
Her career began with occasional appearances on her mother’s’ 60s  TV series The Lucy Show; Lucie was also a regular (along with her brother Desi Jr.) on Ball’s third series, Here’s Lucy. Regional tours followed; in 1979, Lucie won awards and accolades for her splashy Broadway debut in They’re Playing Our Song. On the day she left the show, Lucie flew to Los Angeles to begin work on the 1980 musical remake of The Jazz Singer starring Neil Diamond and Sir Laurence OIivier.
Other stage and screen work followed. In 1993,  Lucie produced the small-screen documentary Lucy and Desi: A Home Movie, for which she won an Emmy. In 2000, she starred in the London musical The Witches of Eastwick.  Since then, her resume has bulged and broken its seams. There were TV appearances (including the highly-regarded guest starring role in the 2003 episode of Law & Order, Bitch); the CD Latin Roots, the 2010 homage to her father; and various Broadway and national tours, including the 2014 revival of Pippin, in which Lucie jaw-droppingly performed on a trapeze .
All this while maintaining a life with actor Laurence Luckinbill, 16 years her senior, to whom she has been married since June 1980. (The couple have five children.) During the COVID self-isolation years, Lucie edited her husband’s autobiography, the two-volume slip-cased Effective Memories: How Chance  and the Theatre Saved My Life (Sunbury Press) being released this fall. She learned to cut her own hair; chronicled the growing years of her grandchildren; dabbled with Facebook and listened to “lots” of audible books.
This month, Lucie returns to New York City with I Got the Job! Songs From My Musical Past. She’s bringing the show back after four years of cancelling because of COVID and last year’s knee replacement surgery.
But that was then. On July 19, 2023, two days after her 72nd birthday, Lucie returns to Below 54 for four nights of proving life is a cabaret, accompanied by her good friend, musical director/pianist Ron Abel.  Call 646.476.3551 for reservations.
Here, Lucie proves she’s still on the ball as she chats about her one-woman show, her new hairdo, imitating Cher, working with Sir Laurence Olivier and Michael Bennett, and gay icons.
Before we go into any hair-raising topics, let’s chat about your gorgeous hair! It’s snow white!
This is my COVID cut and color do. What can I say? I couldn’t go anywhere to get it cut or colored, so when the roots got too long, I cut it all off down to the nubbies. I wore a hat for a few weeks and  thought , ‘Let me see what I look like.’ I’ve been able to cut it myself, and for two years, I have kept it cropped.  It’s white, my dad’s color, but sometimes it shocks me in the morning because I expect a brunette to pop up.  But I like it a lot.  It looks cute, doesn’t it?

Lucie now and with her mom, then

Tease us a bit about I Got the Job! 
This is the first show I’ve done that has a theme. I talk about what I learned from working with people. I remember mistakes I made. I sing songs— whether I sang them or someone else did—and tell stories from my musical theater career.  I’ve been indeed fortunate to have the opportunity being in shows written by some great composers.

One reviewer said you sound like a meld of Liza Minnelli and Barbra Streisand and a shot of Eydie Gorme. What think?
Oh my God! Kill me now! I’m so happy l’ll never have to sing again! It never occurs to me to sound like anybody else. With Liza, it must have to do with energy and tone and song interpretation. I certainly don’t sing like Streisand. I don’t have her notes at all. Maybe there’s a nasal quality. And Eydie! I love her. She and Rosemary Clooney are the kind of singers I listen to.

Speaking of Cher . . . you did a smash-on imitation of her (with Frankie Avalon doing Sonny) singing “I Got You Babe” on Here’s Lucy. Was that fun?
Oh yes! The writers knew Frankie could do Sonny and figured I could do Cher. We went to see Sonny and Cher doing their show to get some ideas. We watched the show and Cher—who I did not know—said, ‘C’mon to my dressing room.’ She asked, ‘Do you have a wig?’ I told her I did, but she handed me one and said, ‘Here, take this. It’s mine and it’s better.’ She also gave me the pair of earrings I wear. Everything that was Cher she gave me. I loved her for doing that. And I loved doing that song. It’s a favorite.

Frankie Avalon as Sonny and Lucie as Cher on “Here’s Lucy”

Any recollections of working with Sir Laurence Olivier on The Jazz Singer?
He was so ill making the movie. His cancer was not in remission and he was in terrible pain. He was always sitting in his dressing room with his head in his hands. When he heard his call—‘Sir Larry, we’re ready for you’—he’d get right up and get to the set.  I had only one scene with him, about two words. I would look at the call sheet to find out whenever he was going to be working and I’d make sure I was also on the set, watching his work. [Pauses] I think the film is underrated. The critics didn’t like it. It was as if they were thinking, ‘You’re Sir Laurence Olivier. How dare you be in a movie with a singer who can’t act [Neil Diamond].’ So they cut him and the film down a few notches.

A vintage 1980 promo ad for “The Jazz Singer”

What was it like working with Michael Bennett on Seesaw?
I was the luckiest girl on the planet.  I got my first legit equity tour working with him and Tommy Tune. He had a tough reputation and he wasn’t diplomatic.  If he didn’t like something he would hurt my feelings and make me cry all night long. We’d come in the next morning and fix what was wrong. It was usually a simple fix. And I’d think, ‘Michael, couldn’t you have been more tactful so I could have gotten some sleep?’ He was a complicated little character. One day he invited me to his apartment, made dinner and said, ‘You could be one of the great ladies of the American theater if you take it seriously.’ So I did exactly what he told me to do: I moved to New York, took acting classes with Herbert Berghof and made people know I was serious about my career. [Laughs] That changed my life. If I didn’t listen to Michael, I would have gotten back into a TV series  . . . and been much wealthier than I am today!

Michael Bennett and Lucie Arnaz

Let’s talk about your creepiest role . . . Elizabeth Short.
Oh, The Black Dahlia. I was surprised I got the role because I hardly had any credits. A friend took me to [executive producer] Doug Cramer who had newspaper clippings of her death on his desk. He took a look at them and me and said, ‘Oh my God! You look just like her!’ I think that’s why I got the role.  It was a great film to make; the movie had lots of famous, amazing cameos. Mercedes McCambridge played my grandmother. But everything was so fast. I was asked to choose between two black stretch wigs and two black dresses and we began filming. The first scene was the one in the coffee shop in which I am named The Black Dahlia. There was no rehearsal period. We did a take, adjusted the lighting, did the take again and that was it. Thank God I had training from summer stock where I learned things fast. I am pleased with that movie and I get asked a lot about her, who wasn’t the sharpest pencil in the box.

Lucie as Elizabeth Short
Lucy and Lucie

I’ve heard your mom lowered her voice through an unusual way of driving. Do you know what I am talking about?
Yes. When she was starting out, someone at the studio told her that her voice was too tinny, that it had no tone or presence.  My mother asked, ‘What the hell am I going to do about that?’ She was told to drive her car down the middle of the road, screaming at the top of her lungs into the wind. I’ve heard my mother say this many times, but she may have exaggerated the story since she’s been known to exaggerate. I don’t know if she actually drove at 90 miles-per-hour or how long she did this. It’s suicide for any singer or actor who tries this today.

We’ve already mentioned Liza and Cher and Barbra. Let’s toss in Dolly and Bette . Are you a gay icon?
I don’t see myself as a gay icon—Minnelli, Cher and Dolly are significant arena fillers. I  think I have a respectable gay following. Let’s put it this way: We like each other.  I have lots of gay friends. They like fun. They like laughter. They like dressing up and having a good time. That’s what it’s all about, no?

.
A triumvirate of gay icons: Liza, Lucie and Joan

 

CDs, Celebrity Chatter, Music, TV

Steve Lawrence and Eydie Gorme’s son, David, resurrects their recording career

They were the greatest interpreters of the Great American Songbook. And then some. Steve Lawrence and Eydie Gorme—more often and most lovingly known in one fell swoop as SteveandEydie—entertained generations with pitch-perfect harmonies and playful banter for more than 50 years. Steve and Eydie cumulatively recorded 1,000 songs. According to executive producer/music guru Jim Pierson, “Eydie as a solo artist recorded more than 400 songs with Steve responsible for well over 300 on his own and together they duetted on approximately 200 masters.”

Their first album recorded together? The aptly-titled We Got Us, winning them a Best Vocal Group Grammy in 1960. They also kept the musical gems alive on the small screen; they were frequent guests on TV shows, winning Emmys for their television salutes to George Gershwin and Irving Berlin.

In 2000, the couple announced plans to reduce touring; in 2008 Eydie retired and Lawrence embarked on a solo music tour. Even recording was no longer begin done—with one important exception. In 2014, during the seventh decade of his career, Lawrence recorded what has become his last CD, When You Come Back to Me, dedicated to his beloved wife who died in 2013. (They married in 1957.)

As Steve says: “Eydie has been my partner on stage and in my life for more than 55 years. I fell in love with her the moment I saw her and even more the first time I heard her sing. While my personal loss is unimaginable, the world has lost one of the greatest pop vocalists of all time.”

And now, with the support and guidance and love of their son, David, Steve and Eydie are making a comeback. Think of it as two stars being born. Again.

In conjunction with Gordon Anderson, Co-President of Real Gone Music, Lawrence plans to remix and remaster the best of his parents’ multi-track recordings and reissuing them over the next two years. The first CD of this collaboration, the critically-acclaimed That Holiday Feeling, has been remastered from the original 1965 two-track master and was released on November 11, 2022.

Considered by many fans and music professionals as one of the best holiday recordings ever made, the CD was loaded with eight additional bonus tracks that were never part of the original 1964 release. these bonus tracks are from various recordings during their years at Columbia Records that Lawrence promises, “are sure to enchance that ‘holiday feeling as you listen.'”

Lawrence knows and understands the importance of his parents’ career; there’s no ego or conceit when he calls his mother “one of the top five vocalists of the 20th century.” (The others include Barbara Streisand, Ella Fitzgerald, Judy Garland and Billie Holiday.)

Steve and Eydie’s main office has all of the original 24-track masters from their recordings with Columbia Records. Los Angeles home is filled with his parents’ two-track master recordings. “When my parents signed a contract with Columbia [in 1962], part of the deal was that they got the masters back after 25 years,” Lawrence explains. So in the early 1990s, Steve and Eydie digitally transferred those recordings to CD and began selling them on their website through their label, GL Music.  Years later Real Gone Music entered the picture “on and off” until the company’s Co-President Gordon Anderson and Lawrence committed to properly remaster and remix (if possible) their recordings with Columbia.

“I am basically going through which masters are most important to their careers and are in the best physical shape with which to work,” Lawrence says.  The next remix and remaster will most likely be “Don’t Go to Strangers, Gorme’s 1966 seminal album that features her Grammy-winning single “If He Walked Into My Life”.

Another goal: A Legacy series box set of Eydie’s Spanish recordings with the Trio Los Panchos, and a “best of” series for both of them, together and individually. Vinyl collectors take note: There may also be limited-edition vinyl pressings. Anderson and Lawrence promise feedback from fans is important and will help shape future releases. “Real Good Music and I want to make sure that fans will be able to hear these magnificent recordings as pristinely as possible.”

Lawrence pauses. “My Mom and Dad were the first duo to introduce American Popular Music with amazing swing arrangements by the greatest arrangers and orchestrators of the time,” he says. “In that respect, they continued the legacy of this genre that began with Frank Sinatra and Nelson Riddle, only as a Duo. My hope is that these remasters will reach new audiences and continue to thrill their existing audience.”

For more information: realgonemusic.com

Music, Theater, Travel & Leisure

Norwegian Cruise Line offers three (Donna) Summers and lots of “Hot Stuff”

Norwegian Cruise Line (NCL), the innovator in global cruise travel with a 55-year history of breaking boundaries, has risen the curtain to announce the cast of its highly-anticipated headlining show, Summer: The Donna Summer Musical, premiering aboard the all-new Norwegian Prima beginning in August 2022.

The Tony-nominated musical narrates the story of Summer’s prolific rise to fame, showing the Queen of Disco at three of the most pivotal stages of her career: Diva Donna, Disco Donna and Duckling Donna. The Brand has announced the cast who will take on the mantle of Donna Summer through her most memorable moments in life:

· Beloved American Idol season two finalist, Kimberley Locke, takes on her first theater project at sea and will star in the breakout role of Diva Donna, playing Summer as she reaches the height of her career. Fans will be able to see the same charisma that got Locke to the final three contestants on her season of American Idol in this role. Locke is also well known for her work on television and Broadway, where she most recently performed in Kristin Chenoweth’s one-woman show, For the Girls.

· Taking on the role of Disco Donna is Valerie Curlingford, an extraordinary talent from the Netherlands. Curlingford will play Summer in her late teens and early twenties as she first finds success in the iconic ’70s disco era. 

· Duckling Donna will show Summer as she grows up in Boston in the 1960s. The role will be played by D’Nasya Jordan, who most recently starred as Little Inez in Hairspray.

“It is an incredible honor to play Donna Summer along a very talented cast in this highly-rated musical,” said Locke. “Summer’s inspirational story and pioneering talent led the way for so many of today’s brightest vocalists. She has left an immeasurable impact on music and culture, and I am excited to bring her story to guests around the world aboard the beautiful Norwegian Prima.” 

A group of people holding microphones Description automatically generated with medium confidence

The show-stopping production will feature more than 20 of Summer’s mega-hits, including “Bad Girls,” “Last Dance, and “Hot Stuff,” and will also provide viewers with a deeper understanding of the inspiration behind some of Summer’s most memorable songs. The 85-minute musical will be a first at sea, where the Prima Theater itself transforms into a full disco, allowing guests to become part of the show and live out their on-stage dreams as they dance along to Summer’s greatest melodies. 

“The legendary Donna Summer is an inspiration to many, and we cast performers who would honor her and match the same level of star power and talent,” says Richard Ambrose, senior vice president of Entertainment and Cruise Programs for Norwegian Cruise Line Holdings Ltd. “We continue to bring Broadway-level entertainment and world-class talent to our fleet, and we are excited for guests to be able to watch a musical they actually get to be part of. The new Prima Theater allows for a truly exciting show, and we know guests will find themselves enthralled with Donna Summer’s moving life story and timeless music.” 

Kimberley Locke, one of the Summers daze

Summer: The Donna Summer Musical is just one of the captivating shows available aboard Norwegian Prima. Also sharing a residency at the Prima Theater will be Noise Boys! an original, award-winning beat boxing experience produced by Nic Doodson, creator of “Choir of Man,” NCL’s best-rated entertainment show currently residing on Norwegian Encore and Norwegian Escape.

As part of the additional entertainment offerings on Norwegian Prima, the Brand will also debut live game show experiences that allow the audience to be part of the show and have an opportunity to win incredible grand prizes. These immersive productions take the Prima Theater and Nightclub and transforms it into a larger-than-life production set where guests can be participants in some of the world’s most iconic game shows including, The Price is Right LIVE, Supermarket Sweep LIVE and Press Your Luck LIVE. The ship also features “Sensoria”—a Vegas-style nightclub party presenting a journey through Coachella, Woodstock and Burning Man, all in one.  Plus, guests will be able to experience the first “Improv @ Sea” Comedy Club, and the guest-popular “Syd Norman’s Pour House” and so much more.

For more information about Norwegian Cruise Line’s award-winning 17-ship fleet and worldwide itineraries, or to book a cruise, please contact a travel professional, call 888-NCL-CRUISE (625-2784) or visit www.ncl.com.

Books, Celebrity Chatter, Just Plain Odd, Movies, Music, Pittsburgh Events

“Pack rat” doesn’t begin to describe Andy Warhol . . . Hoarder, indeed!

He wore a toupee and a girdle, suffered from bad, pasty skin and disdained physical contact. Yet he would be seen at all the big events and major openings, rubbing tuxedo-clad elbows with the rich and (in)famous, the high and the sober. He was a celeb’s celeb, posing with, then photographing, the likes of Liza and Dolly and Diana and Liz, then painting their portraits … then asking them for their autographs.

You and I know him as Andy Warhol, the Pop Art prophet whose posthumous profits have earned him first place among artists at auction and who is forever honored with his own artful museum.

Yet to paint an accurate portrait of Andy, we need to forget (just for a few paragraphs) Marilyn and Mao and those dollar signs he so obsessively silk-screened. The real star in Andy’s life was his obsession with “stuff.” He collected everything — and, after a recent visit to the Warhol archives proved — I mean everything.

He was the ultimate Pack Rat, and I don’t use the capitalization lightly.

Starting in 1974 and continuing through 1987, Andy would toss this and that into corrugated cardboard boxes — things he bought, things he was given, things he got for free, things he “borrowed” from hotels — “time capsules,” he called them.

Image 1 - Andy Warhol Signed Photo with Beckett Letter of Authenticity 8" x 11"

Armed with a $650,000 grant from The Andy Warhol Foundation for the Visual Arts, The Andy Warhol Museum is embarking on an effort to photograph, digitally scan, catalog and preserve the contents of hundreds of capsules. They’ve already opened and begun to inventory 100, and have 472 more to go, a project that should take six years.

During a recent visit, I browsed through Time Capsule No. 20, the contents of which spanned 1982-85. The latter was the year Andy went to Los Angeles for a guest spot on “The Love Boat” — there’s a healthy stack of unused stationery from Beverly Hills Hotel, a box of bath soap, a pile of phone messages, one of which is from B-actress Mamie Van Doren.

Wearing ill-fitting white gloves that allow me to safely handle the “art,” I open a small sampling of the many letters and notes addressed to the artist (no gossip, no secrets, just cryptic missives from unknowns). There’s a rough skin scraper (bought in Manhattan at Duane Reade), hair dye, mascara, nail polish, lipstick, vials of perfume samples. There’s junk jewelry, a gay porno magazine, a promotional brochure from a Russian airline, several bottles of homeopathic drugs and enough pimple medicine to keep the teens of Fox Chapel acne-free for years.

And I haven’t even begun to snoop what’s on the other shelves.

Some people would call it junk. It’s a word at which archivist and project supervisor Matt Wrbican bristles. “Andy considered the capsules to be works of art — they are pieces of a larger historical timeline,” he  said, adding that the “strangest thing” found to date was a mummified human foot, analyzed by scientists at the Carnegie Museum of Natural History and confirmed to be a relic from Ancient Egypt.

But sometimes even timelines show their age, and lines must be drawn. For a Time Capsule, that means destruction. Collections manager Allison Smith reveals the museum junked a “leaking half-empty bottle of Chloraseptic,” but not before the over-the-counter medicine was photographed and all pertinent info logged into the database.

Many people have trashed Warhol while he was alive, but this causes a lump in my throat. Maybe a spritz of Chloraseptic would help?

Matthew points to a sandwich bag of AA batteries that have leaked; they will also hit the garbage bin. “Actually,” he explains, “we’ll put them in a battery recycling program.” Once, of course, they are photographed and cataloged.

I ask nicely if I can have the batteries, sort of an awesome alkaline souvenir from my visit.

I also figure that in some circles, I could claim to have an original Warhol.

I am nicely told, “No.”

I leave empty-handed, but brimming with reminders to do some spring cleaning.

And have that garage sale.

IF YOU GO
The Andy Warhol Museum
117 Sandusky Street
Pittsburgh, PA 15212
412.237.8300
warhol.org

Books, DVDs, Movies, Music, TV

How and why Dolly and I are bosom buddies and breast friends…from 9 to 5 and beyond

I knew Dolly Rebecca Parton and I would become fast friends when she let me hold her left breast. Before you start calling the tabloids or TMZ, let me explain. It was 1987, and we were in a photographer’s studio on the Upper East Side where Dolly was being photographed for the cover of Redbook.

She was dressed in a handmade denim blouse (size 0), the wig was perfectly placed, the makeup flawless. She eyed the catered buffet and picked up a piece of chicken with her two fire-engine red (fake) fingernails, brought it to her mouth and, plop!, the sliver landed on her blouse, smack-dab on her left . . . well, you get the picture.

The adrenaline kicked in. “Quick, Dolly!” I said. “You hold and I’ll wipe.” I poured water on a paper towel and began to very gently dab the spot. Dolly grabbed a portable hair-dryer and with that infectious giggle cooed, “Now quick! You hold and I’ll dry.”

With those seven simple words, my entry into the dizzy, delightful world of Dolly Parton—40DD-17-36—had begun. “One day,” I thought to myself, “I will live to write about this.”

The shoot was a success, and as Dolly climbed into her limo, I whispered, “I feel like your bosom buddy.” Without missing a beat, she said, “And my breast friend.”

And so Dolly—so surgically streamlined so many times she’s starting to look like a Siamese cat—continues to be honored and remembered, in books, TV specials, films, a failed Broadway musical, a Time-Life super-duper (and expen$ive) DVD box set and the marvelous PBS program Dolly Parton: 50 Years at the Opry.

The Queen of Country Music celebrates 50 years as a member of the Grand Ole Opry. Recorded live in Nashville, this amazing special pays tribute to her songs and career with special performances from Dolly and her star guests, including Lady A, Emmylou Harris and Hank Williams, Jr. This incredible concert brings together five decades of hits & memories into one unforgettable evening of entertainment for everyone to enjoy.

DVDs, Movies, Music

“White Riot” chronicles Rock Against Racism’s fight to end racism. Music to our ears!

We’ll do anything to end racism.  Perhaps we should take a lesson from Rock Against Racism (RAR).

Flashback: Britain, late-’70s. The country is deeply divided over immigration. The National Front, a far-right and fascist political party, is gaining strength. And countering this was Rock Against Racism, a movement that swept across the U.K. and Europe and culminated in a 100,000+ person march and a legendary concert event, think Woodstock meets the March on Washington, punk-style.

Capturing this incredible moment in time when music changed the world is director Rubika Shah’s award-winning documentary,  White Riot.

Expanding on her documentary short White Riot: London, Shah’s energizing film charts the rise of Rock Against Racism (RAR), formed in 1976, prompted by “music’s biggest colonialist” Eric Clapton and his support of racist MP Enoch Powell. The brisk, informative White Riot  blends fresh, engaging interviews with RAR staff and musicians with archival footage to recreate a hostile environment of anti-immigrant hysteria and National Front marches.

As neo-Nazis recruited the nation’s youth, RAR’s multicultural punk and reggae gigs provided rallying points for resistance. The campaign grew from “Temporary Hoarding,” the movement’s fanzine to 1978’s huge antifascist concert in Victoria Park, featuring X-Ray Spex, Tom Robinson, Steel Pulse and, of course, The Clash, whose rock star charisma and gale-force conviction took RAR’s message to the masses. White Riot chronicles this “extraordinary fusion of culture and politics that changed society for the better.” (Jackson Caines, Glass Magazine).

Books, CDs, Celebrity Chatter, DVDs, Movies, Music

I tell Dolly we are “bosom buddies”. She coos, “and my breast friend”. Dolly’s life busts out on 19 DVDs!!

My next book is entitled Dolly Parton’s Boob in My Hands . . . and Other True, Titillating Stories From My 35 years of Hollywood Hobknobbing.

Let me explain.

I knew Dolly Rebecca Parton and I would become fast friends when she let me hold her left breast. Before you start calling the tabloids or TMZ, let me explain. It was 1987, and we were in a photographer’s studio on the Upper East Side where Dolly was being photographed for the cover of Redbook.

She was dressed in a handmade denim blouse (size 0), the wig was perfectly placed, the makeup flawless. She eyed the catered buffet and picked up a piece of chicken with her two fire-engine red (fake) fingernails, brought it to her mouth and, plop!, the sliver landed on her blouse, smack-dab on her left . . . well, you get the picture.

The adrenaline kicked in. “Quick, Dolly!” I said. “You hold and I’ll wipe.” I poured water on a paper towel and begin to very gently dab the spot. Dolly grabbed a portable hair-dryer and with that infectious giggle cooed, “Now quick! You hold and I’ll dry.”

With those seven simple words, my entry into the dizzy, delightful world of Dolly Parton—40DD-17-36—had begun. “One day,” I thought to myself, “I will live to write about this.”

The shoot was a success, and as Dolly climbed into her limo, I whispered, “I feel like your bosom buddy.” Without missing a beat, she said, “And my breast friend.”

Oh! The stories I can tell.

It’s the sassy and self-effacing side of Dolly that has always made her look better than a body has a right to. “I’m not a natural beauty, so when I started out, I needed to be as flamboyant and outrageous as possible,” she recalls. “My trashy look started from a sincere place — a country girl’s idea of glamour. I always wanted to be sexy even before I knew what the word meant. I thought that town tramps were beautiful. They had more hair, more color, more of everything. And they had men always hanging ’round them. So I copied those girls. And I owe them a lot.”

She giggles. “When I realized my trashy look was working, I kept it. It’s cost me a lot to look so cheap,” she adds. “I wear the fake hair because it’s so tacky. I wear high heels because I have short legs. And I wear fake fingernails because I have short, fat arms. I have no taste and no style and I love it! When I am 90, I’m going to look like Mae West. I may be in a wheelchair, but I’ll still have the big hair, big boobs and big fingernails. I’ll probably end up this way in my coffin. But I won’t be a fat hog!”

You can call her the Queen of Country, an award-winning songwriter, actress, TV star, philanthropist, business mogul, gay icon and American treasure, but to her millions of fans, she’s known simply as Dolly. From her start out of Nashville in the ’60s to her Hollywood debut and beyond Dolly has done it all . . . and in 6 inch heels!

Now, for the first time ever, the incredible highlights of Dolly’s remarkable career are together in a one-of-a-kind 19-DVD set – DOLLY: THE ULTIMATE COLLECTION. From her early appearances in the ’60s through her own star-studded variety shows in the ’70s and ’80s, to concerts, interviews, TV appearances and blockbuster collaborations with her closest friends, she’s still going strong and lookin’ spectacular!
“It’s been an amazing journey and you’ll find some of my most precious highlights included here in this collection,” says Dolly. “Thank you to the wonderful folks at Time Life for putting this together. What a delightful trip down memory lane….just the hair styles and outfits alone are worth a look and I’m surprised there are still any rhinestones left in this world! I hope you enjoy these moments as much as I did.”
Time Life cordially invites Dolly Parton fans everywhere to come along on the journey of a lifetime. Available now exclusively at TimeLife.com/DollyParton, this dazzling, carefully curated 19-DVD deluxe collection includes:
  • 22 star-studded episodes of Dolly’s variety shows from the ’70s & ’80s with guest appearances by Oprah Winfrey, Kenny Rogers, Emmylou Harris, Linda Ronstadt, Willie Nelson, Freddy Fender, Burt Reynolds, Miss Piggy, Merle Haggard, Smokey Robinson & The Temptations, Tammy Wynette, Loretta Lynn and more!
  • 7 episodes of The Porter Wagoner Show, from 1967 – 1974 featuring historic Dolly Parton performances including Jolene, I Will Always Love You, Coat of Many Colors, Mule Skinner Blues, and her very first appearance where she sang Dumb Blonde.
  • A special Christmas disc featuring A Down Home Country Christmas with Mac Davis and Burl Ives, and Bob Hope’s Jolly Christmas Show
  • Dolly’s spectacular Live and Well concert from 2002
  • Dolly’s unforgettable Live from London concert from 2009 plus bonus features
  • Rare TV appearances of Dolly throughout her career from The Tonight Show Starring Johnny Carson, The Oprah Winfrey Show, and Crook & Chase
  • The entire Song by Song: Dolly Parton series, highlighting Dolly’s most iconic songs and how they came to be
  • Bonus features include Dolly’s University of Tennessee Commencement Address and Imagination Library Dedication Ceremony at The Library of Congress
  • Classic duets with Dolly & Porter Wagoner taped live at the Grand Ole Opry
  • Unforgettable Dolly Parton performances from the CMA Awards in the ’70s
  • New bonus features created just for this collection featuring Dolly Parton reminiscing about memorable moments from throughout her career
  • Exclusive, complete, and never before seen interviews with Brandi Carlile, Miley Cyrus, Vince Gill, Miranda Lambert, Brad Paisley, Kellie Pickler, Kenny Rogers, Marty Stuart, Lily Tomlin, and Carrie Underwood!
  • Plus your FREE Bonus DVD with the complete authorized BBC documentary Dolly Parton: Here I Am
  • An Exclusive Collector’s Book filled with photos, Dolly in her own words, and loving tributes from her famous friends.
  • And it all comes in a beautiful Collector’s Box!
Dolly Parton remains as vibrant and relevant as ever. Her songs have captured the hearts of generations. Her electric smile has brightened the lives of millions. And her trademark style is recognized across the globe. Join Time Life for a celebration of her iconic, unforgettable career with DOLLY: THE ULTIMATE COLLECTION, only available via direct response or online at TimeLife.com/DollyParton.
 
CDs, DVDs, Movies, Music

Time Life chers the life and legacy with the super special 9-DVD set, “The Best of Cher”

Two days before my birthday, the pros at Time Life issues a most welcome  birthday present. I promised to cher the news.

For the first time ever, all the spectacular highlights of Cher’s remarkable career are together in one electrifying collection: The Best of Cher.

 Cher initially rose to stardom as part of a singing act with then husband Sonny Bono in the ’60s, hitting No. 1 with the single “I Got You Babe” before they starred together on The Sonny and Cher Comedy Hour. Following a parting of ways, the incredibly talented artist spread her wings, established a chart-topping solo career of her own, starred in her own variety show, and sold out music venues across the globe. The inimitable multi-hyphenate continues to shine brightly and  this collection brings together the stunning scope of her sensational life in the spotlight like never before across two loaded volumes and 9 DVDs, as well as a collectible look book featuring Bob Mackie’s original wardrobe sketches.                    
In a new interview included in the set, Cher said, “I love looking back at these shows. They’re so much fun to watch and they were so much fun to make. While I’m not done yet, it’s great that Time Life has put this set together.”
THE BEST OF CHER VOLUME 1: 5 DVDS
When America’s favorite musical couple parted ways in 1974, effectively ending The Sonny & Cher Comedy Hour, CBS quickly decided to give Cher her own variety show. Simply titled Cher, the new series starring the soon-to-be superstar aired its first episode in February 1975. In the opening, Cher told the audience: “My future is in your hands. I am really happy to be back. No, I am thrilled to be back.” Now 10 episodes of Cher’s very own show are available for the first time in over 40 years! Home audiences will thrill to have front row seats to see Cher flying solo with a nonstop cavalcade of the hottest stars including Charo, Ray Charles, Elton John, The Muppets, Linda Ronstadt, Raquel Welch and more! Also included:
  • Exclusive new interviews with Cher, Designer Bob Mackie, comedy icon Lily Tomlin and Cher executive producer George Schlatter
  • TV appearances on The Dick Cavett Show and Dinah (1975)
  • Cher CBS Promo
  • Newly produced featurette, Cher: Then & Now
THE BEST OF CHER VOLUME 2: 4 DVDS
Cher is one of a kind and her legendary TV specials hit our screens as family-friendly, psychedelic, counterculture kaleidoscopes. Whether playing all the parts in West Side Story, a roller-skating goddess, the snake in the Garden of Eden, a synchronized secretary, or simply Laverne—no one puts on a show like Cher. Her Vegas shows (and outfits!) were even more spectacular, and they’re all on incredible display in VOLUME 2, which features:
  • Both of Cher’s legendary TV Specials from the ’70s: Cher…Special (1978), Cher…and Other Fantasies (1979)
  • Two unforgettable concerts in Vegas, live from the Mirage (1991) and MGM Grand (1999), as well as exclusive extras including backstage home movies, rehearsal songs and more
  • The full-length documentary Dear Mom, Love Cher offering a rare peek into Cher’s fascinating family history
  • Plus bonus features including a 2018 appearance on The Late, Late Show with James Corden
As a young girl, Cher’s mom promised her that she was special and that one day she would believe it. Audiences around the world have been believing since she burst onto the scene in the ’60s, and we haven’t stopped—The Best of Cher captures Cher’s incredible, undeniable talents to enjoy again and again.
DVDs, Movies, Music

One special ticket or ride: the must-have 5-DVD collection, “The Soul of the Midnight Special”

We offer you one special ticket to ride: The Soul of the Midnight Special. This must-have 5-DVD (Time Life) brings home audiences and music lovers everywhere an unforgettable collection of legendary soul artists performing their hits in the prime of their careers—uncut performances, just straight-from-the-heart soul singing with live musicians in front of a live audience.
In the period between American Bandstand and MTV, there were sev­eral shows that tried to bring new music to television, but it wasn’t until The Midnight Special, premiered on August 19, 1972, that live music found a home on the air. Burt Sugarman, producer of Grammy Awards telecasts, was frustrated by television’s lack of programming after The Tonight Show ended; the screen reverting to test patterns at 1:00 a.m. Recognizing this valuable airtime could cater to a brand-new audience that craved its latest musical heroes, he created The Midnight Special, which ran every Friday night on NBC from 1972 to 1981.

The’70s was a special time for soul music and The Midnight Special truly had an affinity for the genre. Week after week, home audiences would have virtual front row seats for performances by the greatest soul performers of the time including Al Green, Earth Wind & Fire, Patti LaBelle, Bill Withers, Marvin Gaye, Aretha Franklin, Spinners, The O’Jays, Teddy Pendergrass, The Stylistics, Chaka Khan, Gladys Knight and the Pips and so many more. The Midnight Special was the only show where you could see real live performances week after week.

Now, the first time ever,  The Soul of the Midnight Special brings together the greatest soul performances handpicked from thousands in one very special collection. Included is an incredible collection of true soul classics, many of which haven’t been seen since their original broadcast: from Let’s Stay Together to Midnight Train to Georgia to love songs like the Stylistics’ Betcha by Golly, Wow to dance grooves like Sly & the Family Stone’s Dance to the Music and Ohio Players’ Fire. All-time classic performances include Back Stabbers by the O’Jays, Tired of Being Alone by Al Green, Could It Be I’m Falling in Love by Spinners, Lean on Me by Bill Withers, The Love I Lost by Harold Melvin and the Blue Notes, and I Want to Take You Higher by Sly & the Family Stone. Also included are exclusive interviews with James Brown, Gladys Knight, Patti LaBelle, Maurice White of Earth, Wind & Fire The O’Jays, Russell Thompkins Jr. of The Stylistics, Bobby Womack, Ted Mills of Blue Magic, Kenny Gamble & Leon Huff, Gerald Alston, The Manhattans and George Benson.
The Soul of the Midnight Special includes (in alphabetical order):
  • Al Green — Tired of Being Alone (8/3/73), How Can You Mend a Broken Heart (8/3/73), I’m Still in Love with You (11/29/74), Let’s Stay Together (11/29/74)
  • Al Wilson — Show and Tell (3/1/74)
  • Barry White — You’re the First, the Last, My Everything (11/15/74), Can’t Get Enough of Your Love, Babe (12/13/74), Never, Never Gonna Give You Up (12/13/74)
  • Bill Withers — Ain’t No Sunshine (3/22/74), Lean on Me (3/22/74)
  • Billy Preston — Will It Go Round in Circles (1/4/74)
  • Blue Magic — Sideshow (12/13/74)
  • Bobby Womack — Lookin’ for a Love (12/13/74)
  • Chuck Berry — Johnny B. Goode (11/2/73)
  • Curtis Mayfield — Back to the World (6/8/73), Freddie’s Dead (Theme from Superfly) (9/21/73), Superfly (1/4/74)
  • Earth, Wind & Fire — Devotion (4/18/75)
  • George Benson — This Masquerade (7/30/76)
  • Gladys Knight & the Pips — Neither One of Us (Wants to Be the First to Say Goodbye) (4/6/73), I Heard It through the Grapevine (4/6/73), Midnight Train to Georgia (10/5/73), Best Thing That Ever Happened to Me (12/20/74)
  • Gladys Knight/B. B. King —The Thrill Is Gone (10/5/73)
  • Harold Melvin and the Blue Notes — Bad Luck (5/23/75), The Love I Lost (5/23/75), Let’s Get Together Soon (Hope That We Can Be Together Soon) (5/23/75)
  • James Brown — Sex Machine (8/6/76), Get Up Offa That Thing (8/6/76), Cold Sweat/Papa’s Got a Brand New Bag (10/8/76),
  • Johnnie Taylor — Who’s Making Love (11/2/73)
  • Kool & the Gang — Hollywood Swinging (12/20/74), Jungle Boogie (12/20/74)
  • LaBelle — Lady Marmalade (4/18/75)
  • Love Unlimited Orchestra — Love’s Theme (11/15/74)
  • Minne Riperton — Lovin’ You (7/18/75), Inside My Love (7/18/75)
  • Ohio Players — Fire (4/4/75), Skin Tight (4/4/75)
  • Ohio Players — Love Rollercoaster (12/19/75), Honey (12/19/75)
  • Ray Charles — Georgia on My Mind (3/30/73), What’d I Say (3/30/73)
  • Ray Charles/Aretha Franklin — Takes Two to Tango (3/30/73)
  • Rufus featuring Chaka Khan — Sweet Thing (12/12/75), Once You Get Started (12/12/75)
  • Sly & the Family Stone — Stand! (10/26/73), I Want to Take You Higher (10/26/73), Thank You (Falettinme Be Mice Elf Agin), (10/26/73), Dance to the Music (10/26/73)
  • Spinners — Could It Be I’m Falling in Love (2/9/73), I’ll Be Around (2/9/73), One of a Kind (Love Affair) (6/8/73), Sadie (2/14/75), Then Came You (2/14/75)
  • The Brothers Johnson– I’ll Be Good to You (10/8/76)
  • The Chi-Lites — Oh Girl (9/21/73)
  • The Main Ingredient — Just Don’t Want to Be Lonely (10/11/74), Everybody Plays The Fool (10/11/74)
  • The Manhattans — Kiss and Say Goodbye (12/3/76)
  • The Miracles — Love Machine (12/3/76)
  • The O’Jays — Back Stabbers (3/23/73), Love Train (3/23/73), Put Your Hands Together (913/74), Sunshine (9/13/74)
  • The Staple Singers — Let’s Do It Again (1/16/76), Respect Yourself (1/16/76)
  • The Stylistics — Betcha by Golly, Wow (6/1/73), Break Up to Make Up (6/1/73), I’m Stone in Love with You (6/1/73), You Make Me Feel Brand New (3/1/74)
  • The Sylvers — Boogie Fever (7/30/76)
  • Wilson Pickett — In the Midnight Hour (9/21/73)