Ethel Merman: A Life“Kellow’s chronology is dishy and seamless; he understands the dynamics of the theater world and makes you feel the exhilaration of an evolving hit and the frustrations inherent in working with a performer like Merman.”—The New York Times Book Review “[Kellow] has painted a vivid portrait of a Broadway diva who shone brighter and sang louder than anyone else.”—The Washington Post BookWorld More than twenty years after her death, Ethel Merman continues to set the standard for American musical theater. The stories about the supremely talented, famously strong-willed, fearsomely blunt, and terrifyingly exacting woman are stuff of legend. But who was Ethel Agnes Zimmermann, really? Brian Kellow’s definitive biography of the great Merman is superb, and the first account to examine both the artist and the woman with as much critical rigor as empathy. Through dozens of interviews with her colleagues, friends, and family members, Kellow (author of Can I Go Now?: The Life of Sue Mengers, Hollywood's First Superagent) traces the arc of her life and her thirty-year singing career to reveal many surprising facts about Broadway’s biggest star. |
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He was embroiled in so many business projects that he kept irregular office hours; he was frequently late, and there were many consecutive days when he didn't show up at all. Often, when Bragg telephoned to say he wouldn't be coming in ...
He was embroiled in so many business projects that he kept irregular office hours; he was frequently late, and there were many consecutive days when he didn't show up at all. Often, when Bragg telephoned to say he wouldn't be coming in ...
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... Street's Apollo Theatre, where the Scandals were always staged and where White gave her the once-over. He had high standards of feminine beauty and was known for dismissing chorus girls who didn't make the grade as “dog faces.
... Street's Apollo Theatre, where the Scandals were always staged and where White gave her the once-over. He had high standards of feminine beauty and was known for dismissing chorus girls who didn't make the grade as “dog faces.
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Onstage he could make her laugh until she cried, with his victimized Everyman who didn't get no respect, long before the world had ever heard of Rodney Dangerfield. One writer vividly described how Durante “beat the air with his arms ...
Onstage he could make her laugh until she cried, with his victimized Everyman who didn't get no respect, long before the world had ever heard of Rodney Dangerfield. One writer vividly described how Durante “beat the air with his arms ...
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Ethel was grateful for the mentions, but she didn't think that she sounded like Holman, or anyone else for that matter. She wanted to sound like herself. And right from the start, she did. Early on, Pop and Mom Zimmermann probably ...
Ethel was grateful for the mentions, but she didn't think that she sounded like Holman, or anyone else for that matter. She wanted to sound like herself. And right from the start, she did. Early on, Pop and Mom Zimmermann probably ...
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When Etting sang “I'm Nobody's Baby” or her signature hit, “Ten Cents a Dance,” she sounded like a good-time girl who didn't take herself too seriously. If Ethel owed aspects of her singing style to any one performer, it was probably ...
When Etting sang “I'm Nobody's Baby” or her signature hit, “Ten Cents a Dance,” she sounded like a good-time girl who didn't take herself too seriously. If Ethel owed aspects of her singing style to any one performer, it was probably ...
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Inhalt
Chapter Five | |
Chapter Seven | |
Chapter Eight | |
Chapter Nine | |
Chapter Fourteen | |
Chapter Fifteen | |
Chapter Sixteen | |
Chapter Seventeen | |
Chapter Eighteen | |
Chapter Nineteen | |
Chapter Twenty | |
Chapter Twentyone | |
Chapter | |
Chapter Eleven | |
Chapter Twelve | |
Chapter Thirteen | |
Chapter Twentytwo | |
Acknowledgments | |
Notes | |
Bibliography | |
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Häufige Begriffe und Wortgruppen
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