Kevin Winkler is not a fan of Bette Midler. He is obsessed with her, ever since “the first time I saw her on The Tonight Show when I was in high school.” Then, after reading a few entries in Oxford University Press’ series of Opinionated Guides, which are deep dives into the creative accomplishments of major pop culture figures such as Stephen Sondheim, Barbra Streisand and Marilyn Monroe, he felt that “this format would be ideal for delving into Midler’s work as a multi-platform artist,” explains Winkler. “There’s been surprisingly little investigation of her creative life, and since I knew her work so intimately I thought, why don’t I write this book?”
And so he did. The slim volume title On Bette Mider: An Opinionated Guide ($29.99) “is not a standard biography,” Winkler says, “but a critical analysis of Midler’s creative output written by someone who has been there from nearly the beginning of Midler’s career and followed it with love and dedication for over half a century.”
Consider the book a best Bette. We spent a few minutes with Winkler, speaking about his Big O. Such Divine inspiration!
After the book was finished, did you come away even more obsessed? I came away with a deeper appreciation for the path Midler has taken as an artist, one who has made her own particular brand of art within the strictures of commercial theater, film, television and recordings. It wasn’t always easy, and inevitably compromises impacted some of her work. But I came away with a renewed respect for the boundaries she pushed, the battles she fought, and of course, all the great performances she gave us across media.
What did you learn about Midler—something you never knew?
I enjoyed digging into the media coverage of Midler’s early days, particularly as she was becoming well-known following her performances at the Continental Baths. [See footage below.] The extent to which she was perceived in some circles as just the latest flash in the pan really surprised me. And of course, she proved all those skeptics wrong!
What did you not include in the book and why?
I pretty much included everything I wanted in the book. I focused on four key areas of Midler’s art: her theater, her films, her TV appearances and her recordings. Her performances have been touchstones throughout my life. I went pretty deep in discussing her work in each of these areas, placing her accomplishments in the context of the time periods in which they were made. As I said, it’s not a biography, so I didn’t discuss her personal life in any significant way.
Did you contact Midler about the book? What did she say?
The key to the book’s tone and content is its subtitle: An Opinionated Guide. It’s not a standard biography but a critical analysis of Midler’s creative output. I didn’t want to speak to the book’s subject or to anyone who knew or had ever worked with her, which would have colored my opinion. As I say in the introduction, it’s not just opinionated, it’s highly opinionated, written by someone who has been there from nearly the beginning of Midler’s career and followed it with love and dedication for over half a century. However, we did send Midler an advance copy of the book. I hope she likes it!
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 recently released autobiography Effective Memories: How Chance and the Theatre Saved My Life (Sunbury Press, $34.95). 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. On July 16, 2023, a day after her 73rd birthday, Lucie returns to Below 54 for five 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 ShortLucy 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?
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.”
There’s nothing like keeping it all in the family.
One of the most popular series in television history is making a comeback, fully restored, in association with the UCLA Film & Television Archive, and from the original 35mm picture and sound elements. Welcome The Adventures of Ozzie and Harriet: Seasons 1 and 2(MPI Media Group), arriving to entertain old fans and new viewers on four-DVD sets on June 21, 2022. The two sets contain 39 episodes each, representing the complete first two seasons (78 episodes) of the long-running sitcom ranked number 6 on Vulture’s list of “The 50 Most Definitive Family TV Shows.”
For a record-breaking 14 seasons and 435 episodes, the series aired on ABC from 1952 through 1966, becoming one of the most cherished cultural touchstones of the 20th century. The positive, wholesome series epitomized an idyllic American ’50s lifestyle, its gentle humor brought to the screen by the real-life Nelson family: Ozzie and wife Harriet with their sons, David and Rick, all portraying themselves in a trend-setting blend of fact-meets-fiction comedy decades before Seinfeld and other semi-reality-based shows.
The series humorously chronicled the daily lives of the Nelsons as David and Ricky grew up before millions of weekly viewers. While Ozzie had been a real-life bandleader and Harriet a singer, the series would help launch the musical career of their younger son, Ricky, who would become a teen idol with such enduring hits as “Travelin’ Man” and “Hello Mary Lou.”
The Adventures of Ozzie and Harriet was the longest running live-action sitcom in U.S. television history until It’s Always Sunny in Philadelphia surpassed it on December 1, 2021, when that series debuted its 15th season. But Ozzie and Harriet still hold the record for most episodes produced: 435. Among its Emmy nominations and many other accolades, TV Guide placed Ozzie Nelson at number 21 on its list of “50 Greatest TV Dads of All Time.”
And now, for the very first time, in association with the Nelson family, the entire series has been digitally restored for its 70th Anniversary with complete episodes from the original film negatives for superior picture quality.
Season One contains all 39 full, fun-filled episodes on four DVDs, starting with the premiere show and other rare adventures not seen on television in decades. Don DeFore appears as Ozzie’s neighbor pal Thorny along with guest stars from classic television and films, including Hal Smith, Ellen Corby, Janet Waldo, Joseph Kearns, Frank Nelson and other familiar faces. Season Two also contains 39 episodes––with more lost moments appearing for the first time since originally broadcast—and features such guest stars as Frank Cady, John Carradine and Lurene Tuttle.
Old-time actor [read: great actor] Brian Donlevy stars in the old-time TV series [read: great TV series from yesteryear] DangerousAssignment: The Complete Series (MPI Media Group]. Here, the veteran plays U.S. Government Agent Steve Mitchell, who travels the globe investigating cases of espionage, sabotage and threats to National Security.
Sound familiar? Donlevy originated the character on NBC Radio. The set includes all 39 episodes of the action-packed TV series from the 1950s.
Interested in binging on an arresting (but forgotten) police series? All 1020 minutes spanning 39 episodes? Then mark July 20 on your must-get list; that’s the date Code 3: LA Sheriff’s Case Files hits the shelves.
In 1957, Hal Roach Studios and producer Ben Fox brought the fast-paced drama to television, starring Richard Travis as Sheriff George Barrett of the Los Angeles County Police Department, Denver Pyle as Sgt. Murchison and Fredd Wayne as Sgt. Bill Hollis.
Like its sister series Dragnet, Code 3 featured true crime cases–this time from the files of the search and rescue branch of the Los Angeles Police Department–always “changing the names to protect the innocent.” At the end of most of the broadcasts, the real-life Sheriff of Los Angeles County, Eugene W. Biscailuz, made an appearance to recap that night’s adventure.
Code 3 enjoyed a healthy run in television syndication and featured lots of guest stars. Instead of naming names, we are going to tease you by tossing out the names of other TV series from which the guests were imported . . . Star Trek, The Patty Duke Show, Bewitched, Gilligan’s Island, Mannix, Zorro and The Dukes of Hazard.
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.
Black lives matter. And 15-Time Grammy Winner Alicia Keys knows it so well, she executive produced How It Feels to Be Free (PBS Distribution), an essential documentary that takes an unprecedented look at the intersection of African American women artists, politics and entertainment and tells the story of how six trailblazing performers—Lena Horne, Abbey Lincoln, Diahann Carroll, Nina Simone, Cicely Tyson and Pam Grier—changed American culture through their films, fashion, music and politics while challenged by entertainment industry deeply complicit in perpetuating racist stereotypes, and transformed themselves and their audiences in the process.
The film features interviews and archival performances with all six women, as well as original conversations with contemporary artists influenced by them, including Keys, Halle Berry, Lena Waithe, Meagan Good, LaTanya Richardson Jackson, Samuel L. Jackson and other luminaries, as well as family members, including Horne’s daughter Gail Lumet Buckley.
Based on the book How It Feels To Be Free: Black Women Entertainers and the Civil Rights Movement by Ruth Feldstein, the film highlights how each woman — singer, dancer and actress Lena Horne; jazz vocalist, songwriter and actress Abbey Lincoln; Tony-winning actress, singer and model Diahann Carroll; jazz, blues and folk singer Nina Simone; actress and model Cicely Tyson; and actress Pam Grier — harnessed their celebrity to advance the civil rights movement.
“These revolutionary Black women embody stories of courage, resilience and heroism. They fought for representation and economic, social and political equality through their artistry and activism,” said Michael Kantor, American Masters series executive producer. “We are proud to share the stories of how each left an indelible mark on our culture and inspired a new generation.”
Executive producer Alicia Keys adds, “I am proud to be a part of such a meaningful, important project. Art is the most powerful medium on the planet, and I continue to be inspired by and learn from these powerful, brave and stereotype-shattering women who leveraged their success as artists to fearlessly stand up against racism, sexism, exclusion and harassment. I honor their courage by celebrating their stories and continuing the work they started.”
Henry Louis Gates Jr. hosts some pretty heady programs. His latest: The Black Church: This is Our Story, This is Our Song(PBS Distribution). This powerful history of the Black church in America takes us from his own experience onto a 400-year journey throughout which the church has been the Black community’s abiding rock and its fortress. As Gates brilliantly shows, the Black church has never been only one thing, and its story lies at the vital center of the civil rights movement, having produced leaders such as Reverend Martin Luther King, Jr.
Gates
also penned an essential companion to the series of the same name (Penguin Press, $30); a tome loaded with countless photos, as written as the special is hosted.
Also hosted by Gates: Gates Finding Your Roots: Season 6(PBS Distribution).
And the password is . . .
Animals.
Every one knows that Betty White loves animals, especially dogs. Every one she still loves Allan Ludden, her husband of a mere 17 years, who died from complications of stomach cancer on June 9, 1981, at age 63.
Fifty years ago, the Luddens came up with an idea that remains a a project still close to White’s heart: The Pet Set, a TV series that she conceived, wrote and produced (and on which Ludden served as announcer).
The show, alas, lasted just one year, and 39 episodes.
According to her autobiography, White recalls that the show was cancelled when Carnation Company decided to put their advertising budget exclusively to commercials rather than having an amount aside for programming.
Finally, the show is back making its debut on digital platforms and DVD on February 23, 2021. Celebrating the show’s 50th anniversary and renamed for publicity push, Betty White’s Pet Set will be released by MPI Media Group in partnership with Darren Wadyko Media and Albets Enterprises. The three entities have come together to make this series available to fans, marking the first time it will be seen in decades. “If I haven’t told you already, I will now. The Pet Set is one of my favorite shows. I’m thrilled it’s going to be seen again after all these years,” coos White.
The show featured Ludden and White welcoming their celebrity friends with their dogs, cats and horses, in addition to a wide range of wild animals including tigers, bears, elephants, lions, wolves, gorillas, chimps, cougars, cheetahs, seals, kangaroos, zebras, eagles, snakes and penguins––both in the studio and on location. The 39 episodes of the series, unseen for decades, feature such guests as Carol Burnett, Doris Day, Eva Gabor, Paul Lynda, Agnes Moorehead, Jimmy Stewart, Mary Tyler Moore, Burt Reynolds, Shirley Jones, Michael Landon, Bob Crane, Amanda Blake, Vikki Carr, Barbara Eden, James Brolin, Della Reese, Vincent Price and Rod Serling.
Special features on the set includes a look behind the scenes of the series, original promotional spots, the featurettes Betty White: Game Show Goddess and Daytime Hostess: The Betty White Show, Betty’s Photo Album and her public service ads.
Bet it becomes your pet set!
The 39 episodes of the series, unseen for decades, feature such guests as Carol Burnett, Doris Day, Eva Gabor, Paul Lynda, Agnes Moorehead, Jimmy Stewart, Mary Tyler Moore, Burt Reynolds, Shirley Jones, Michael Landon, Bob Crane, Amanda Blake, Vikki Carr, Barbara Eden, James Brolin, Della Reese, Vincent Price and Rod Serling.