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The tepid reception put her film career on pause for four years, inflaming Midler’s insecurity and depression. Unfortunately, Midler’s break with Russo was followed by two unsuccessful film projects-the filmed adaptation of her stage show Divine Madness and the ill-reviewed Jinxed (1980). By 1979, she broke with Russo and took charge of her own career.
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Throughout the 1970s, Midler continued to win popular and critical acclaim with the Emmy-winning TV special Ol’ Red Hair is Back and the Tony-award-winning revue Clams on the Half Shell. The performance was awarded a BAFTA and Oscar nomination, two Golden Globes, and a Grammy. Midler’s film debut, The Rose depicted the incredible stress associated with touring, and the added tension of a domineering manager.
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They had a tumultuous personal and professional relationship, however, which Midler channeled in her tour-de-force performance as a Janis Joplin-like character in The Rose (1979).
In 1972, Aaron Russo became Midler’s manager he is credited with organizing her career and arranging the tours and records ( The Divine Miss M and Bette Midler ) that galvanized her stardom. She also developed a comedy resume that would make any stand-up envious, performing at institutions like Downstairs at the Upstairs, the Copacabana, The Improv, and The Bitter End, and even opening for Mort Sahl at Mr.
Her live performance career took off as she garnered rave reviews in the role of the Acid Queen in the Seattle Opera’s premiere of the first rock opera, Tommy, in 1971.
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Her support for gay men, who have remained a loyal contingent of fans of her shows and records, added to her free and flamboyant persona.Īn appearance on the Johnny Carson Show in 1970 helped give Midler a national audience, opening up a variety of media. Midler’s enthusiastic irreverence and eagerness to publicly discuss sexuality fit into the revolutionary changes in sexual behavior and discourse. In the late 1960s, while Midler flourished at the Continental Baths, the country was experiencing a social upheaval. In between songs, she told off-color jokes, charging the audience with her humor, energy, and theatricality. The most famous of these personae is The Divine Miss M, a giddily gaudy woman who wore black lace bustiers and gold lamé pedal pushers while singing songs of the 1940s and 1950s. It was in this setting-supported by then-little-known piano player Barry Manilow-that Midler (whom critic Rex Reed dubbed “Jewish Tinker Bell”) developed many of the outrageous personae that became the standards of her concert show and the basis for her spectacular success. But her real “break” was a singing gig at the Continental Baths, a gay gathering place where entertainers performed near the pool area. She stayed with the show for three years. After multiple rejections, she finally gained a small part in the chorus of Broadway’s Fiddler on the Roof in 1965 and later was given the part of Tevye’s eldest daughter, Tsaytl. While working in a pineapple-canning factory and studying at the University of Hawaii, Midler got a small part in the film Hawaii (released in 1966), prompting her to move to the mainland for a career in show business.
Although she was elected senior class president and graduated as the class valedictorian, she always felt “othered.” I became a clown to win people’s acceptance,” she later remarked (Mair). “I learned that I could be popular by making people laugh. Witty responses, quick retorts, and a ready smile became Midler’s defense against unpleasant home and school realities.
Ashkenazi Jewish background set her apart from her mostly Polynesian neighbors. Her family’s Jews of European origin and their descendants, including most of North and South American Jewry. In school, she felt like an outsider as well. She was the third daughter in a lower-middle-class family where both parents had to devote much of their attention to her younger brother, who had special needs. Born in Honolulu on December 1, 1945, to Fred and Ruth Midler, Bette (named after Bette Davis) was an outsider in many ways.
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