Lifestyle
Betty Rowland, One of Burlesque’s Last Queens, Dies at 106
She was referred to as the “Pink Headed Ball of Hearth,” a title given her for her stature — she was a diminutive 5-foot-1 — and her fiery hair. She discovered the moniker, which was typically shortened to “Ball of Hearth,” corny. However Betty Rowland was a burlesque queen nonetheless. A headliner within the racy selection reveals’ glory years within the Thirties and ’40s, she labored properly into the ’50s.
Ms. Rowland had a languid, balletic fashion (hers was a delicate grind) and she or he typically threw in an undulating stretch and drop referred to as a German roll. Her costumes have been elegant: She favored lengthy skirts with a aspect slit to the hip, bandeau tops and night gloves. After a gradual burn, she shed most of her gear; however, like most burlesque stars, she stored her pasties and her G-string on.
One among her signature items was referred to as “Bumps within the Ballet,” a spoof of a ballet routine that she appreciated to introduce to her viewers with a little bit of patter: “Let’s put just a little juice within the Ballets Russes, and provides the dying swan a goose. In a classical kind of manner, would possibly I put a bump on this ballet?”
Ms. Rowland died on April 3 at an assisted-living dwelling in Culver Metropolis, Calif. She was 106.
Her dying, which was not extensively reported on the time, was confirmed by Leslie Zemeckis, the director of the 2010 documentary, “Behind the Burly Q,” which informed the tales of Ms. Rowland and different burlesque stars.
Outdoors the tribal world of burlesque, Ms. Rowland was maybe not as well-known — or as properly paid — as different headliners like Tempest Storm, one other redheaded queen, who dallied with John F. Kennedy and Elvis Presley, whose breasts have been stated to be insured by Lloyd’s of London, and whose earnings at her peak within the mid-Fifties have been about $100,000 a 12 months (roughly $950,000 right now). Ms. Rowland did properly, however not that properly; in 1945 she earned $500 each two weeks, the equal of greater than $200,000 a 12 months right now.
Nonetheless, it was “massive dough,” as Ms. Rowland informed The Los Angeles Occasions in 2009, including that she didn’t squander it on alcohol or cigarettes. “I by no means smoked or drank,” she stated. “It wasn’t in my household. After we have been in present enterprise, we took it severely. We noticed a number of of them fall by the wayside due to that.”
Ms. Rowland was of an early-vintage of burlesque star: She had a pre-teenage vaudeville act together with her sister Rozelle, performing a bit of soppy shoe and faucet. When vaudeville light out and its stars migrated to the livelier burlesque reveals, Betty and Rozelle went on the highway as refrain ladies.
Burlesque, typically referred to as “the poor man’s theater,” was, like vaudeville, a seize bag of acts — comedy, acrobatics, just a little music and dance — with the added zest of a striptease or two.
Betty had her first star flip when she was simply 14 and filling in for a performer who had sprained her ankle. She was so engrossed within the music that she forgot to take off any garments.
“We teased. That was the secret. You grow to be a fantasy to different folks,” she informed Liz Goldwyn, writer of “Fairly Issues: The Final Technology of American Burlesque Queens” (2006). However, she added, “folks whisper, for heaven’s sake, they are saying, ‘Have you learnt what she used to do?’ And so they’re saying it like I used to be a porno employee or one thing. Effectively they shouldn’t whisper — I used to be a dancer. It was the one factor I knew learn how to do, and I used to be successful at it.”
Betty Jane Rowland was born on Jan. 23, 1916, in Columbus, Ohio, one among 4 daughters of Alvah and Ida Rowland. The ladies took dancing classes, and beginning when Betty was about 11, she and her sister Rozelle helped out the household financially by performing collectively in beginner vaudeville reveals, and, later, as burlesque stars, touring a bit however principally primarily based in New York Metropolis.
Betty typically carried out on the flagship Minsky theater in Occasions Sq., amongst different venues. On the time, the Minsky identify was a burlesque franchise and an establishment, from which Abbot and Costello, Phil Silvers and Gypsy Rose Lee launched their careers.
Rozelle Rowland discovered fame as “the Golden Woman,” performing utterly nude — however painted head to toe in gold paint. Throughout a tour of London, she met a Belgian baron, Jean Empain, who was one among Europe’s richest males, inheritor to holdings that included the Paris subway. Because the story goes, they fell in love, she obtained pregnant, and the baron stated he’d marry her if she had a son. “Gilded Lily of 14th St. Burlesque Weds Baron,” learn a neighborhood headline in 1937, the 12 months of her marriage.
Ms. Rowland moved to Los Angeles in 1938, a 12 months after Mayor Fiorello La Guardia put the burlesque homes out of enterprise for corrupting the morals of the town. Her personal brushes with the regulation, nevertheless, have been uncommon.
She was fined $250 for lewdness in 1939, after a trial during which a burly cop imitated her act on the witness stand, leaving the court docket weak with laughter. In 1952, she was jailed when a box-office employee at a theater the place she was performing failed to acknowledge two vice squad officers who have been within the behavior of attending the reveals totally free. As payback, they arrested Ms. Rowland and the theater supervisor; a decide sentenced them each to 4 months in jail. A neighborhood columnist took up Ms. Rowland’s case, mentioning that the sentence was as extreme as that given the perpetrator of a latest capturing, and she or he was launched after three weeks.
In 1943, Ms. Rowland sued the Samuel Goldwyn Firm for utilizing her stage identify because the title of the 1941 movie “Ball of Hearth,” a screwball comedy starring Barbara Stanwyck as a mouthy nightclub singer on the run, and for breach of contract. Ms. Rowland stated she had been employed as a technical adviser to Ms. Stanwyck however was by no means paid. Ms. Rowland obtained a variety of publicity for her case, however she didn’t prevail.
Burlesque misplaced its luster within the postwar years. By the early Sixties, the crowds have been seedier, the golf equipment grubbier and the manufacturing all however gone. Quickly there have been solely hard-core strip joints, and most of the former burlesque theaters have been enjoying pornographic movies. Ms. Rowland was disdainful of her crude successors.
“What’s a lap dance, anyway?” she requested a reporter in 1997.
Ms. Rowland had a long-term relationship with a fellow Minsky burlesque star, a comic named Gus Schilling — a baggy-pants prime banana, in burlesque parlance. Newspapers typically described the couple as married, however Ms. Rowland informed Ms. Zemeckis and others that though she and Mr. Schilling lived collectively, he was married to another person. Her marriage in 1956 to Owen S. Dalton, a lumber service provider, resulted in divorce in 1963. She leaves no instant survivors.
Within the late Sixties, Ms. Rowland inherited an curiosity in a Santa Monica bar referred to as Mr. B’s. Within the mid-Nineteen Nineties, she misplaced management of its possession to traders, who renamed the place the 217 Lounge. She stayed on as a hostess, and was nonetheless working there in 2009, on the age of 93. She had filed for chapter safety in 2003.
Ms. Rowland stopped dancing when she married Mr. Dalton. However after her divorce, she got here out of retirement for every week or so in 1966, acting at a theater in downtown Los Angeles. (On the time, she informed The Los Angeles Occasions, she was writing her memoirs, with the working title “Ham and Legs.” Sadly, no manuscript was ever found, stated Ms. Zemeckis, who purchased Ms. Rowland’s costume assortment to assist together with her funds in her final years.)
“The theater was dingy past description, the band lowered to a drummer and a pianist and the midweek viewers painfully spare,” The Los Angeles Occasions wrote of that 1966 efficiency. “But to the unsteady strains of ‘Hi there, Dolly!’ got here out the petite Miss Rowland, as regal and redheaded as ever, to show that have can conquer youth, that grace and humor can beat the passing of time to a draw.”
Kitty Bennett contributed analysis.
Adam Moss allowed NPR into a space only two other people have seen: his painting studio.
Adam Moss
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Adam Moss
Adam Moss allowed NPR into a space only two other people have seen: his painting studio.
Adam Moss
In a small brick building in the Lower East Side of Manhattan, you can find Adam Moss’s “den of torture.”
Prior to this interview, almost no one has been allowed in.
“Just my husband and my teacher. That’s it.” Moss said. “Two people in my entire life and I’ve had this thing for five years. So welcome.”
This space is less menacing than most dens of torture; there aren’t any medieval instruments of pain after all. Instead, the small, light-filled room overflows with brushes and palettes, and paintings of various sizes and stages of completion rest on every surface.
Adam Moss’ so-called “den of torture.” Instead of Medieval instruments of torture, he has paintbrushes and palettes.
Adam Moss
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Adam Moss
When Adam Moss gave up his job as editor-in-chief of New York Magazine five years ago, he started painting. He loved it, but it was agonizing.
“I really wanted to be good, and it made the act of making art so frustrating for me,” said Moss. “This [studio] is where I come many days and wrestle with trying to make something.”
Trying to make something is exactly the subject of Adam Moss’s new book, The Work of Art: How Something Comes from Nothing.
“The book is called The Work of Art,” says Moss. “And that is kind of what it’s about.”
It’s about the work.
Adam Moss’ The Work of Art: How Something Comes from Nothing features interviews with more than 40 creatives about their process, from blank page to final product.
Penguin Press
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Penguin Press
The book has 43 chapters, each one dedicated to a single artist, and their process of creating a single work. They come from a wide range of disciplines. There are poets, painters, chefs, sand castle sculptors and crossword puzzle makers.
And through this collection of interviews, the book tries to answer the questions: How does a sketch become a painting? How does a scribbled lyric become a song? How does an inspiration become a masterpiece?
The book is a visual feast, full of drafts, sketches, and scribbled notebook pages.
A sample of pages from chapter 9 of the book, which profiles poet and essayist Louise Glück.
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Penguin Press
A sample of pages from chapter 9 of the book, which profiles poet and essayist Louise Glück.
Penguin Press
Every page shows how an idea becomes a finished design.
In one chapter, Moss speaks with Amy Sillman, an abstract painter who Moss admires for her unique use of color and shape.
“Amy was also a dream subject for this project,” Moss writes. “Because to reach the finish line of most of her paintings, she paints dozens of paintings, or even more, each usually pretty wonderful.”
Amy Sillman’s artistic process
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
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Amy Stillman/Penguin Press
The chapter contains 39 images, demonstrating the full evolution from first draft to finished product of her work, Miss Gleason.
Each image is accompanied by a quote from Sillman, explaining what step that particular draft represented in her process.
In another chapter, Moss speaks with the musician Rostam, who describes the process of writing the song “In a River.”
Musician Rostam Batmanglij, pictured here performing in 2017, shared his songwriting process with Adam Moss.
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Musician Rostam Batmanglij, pictured here performing in 2017, shared his songwriting process with Adam Moss.
Emma McIntyre/Getty Images
For Rostam, the creative process occurred in large part on his iPhone, in a collection of draft lyrics written in the notes app, and melodies in recorded as voice memos.
Voice memo draft of Rostam’s “In a River”
Eventually, those notes and recording on his phone evolved into a completed song.
Rostam’s animation video for his song “In a River.”
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So, what is the key to creating a masterpiece? Moss did not find an answer. All of artists featured across the book are unique, and so are their creative processes.
However, Moss did point to some frequently shared traits.
One commonality Moss found was that many artists describe themselves as having ADHD.
“Whether they have ADHD or not, [they have] the elements that we associate with ADHD,” Moss said, describing a balance of distractedness and focus.
“You need to be distracted enough for your mind, for your imagination to go fishing, and you need to be focused enough to know what to do with it.”
Moss also found that his subjects consistently found ways not to let the fear of failure or mistakes prevent them from starting.
“They tried to get through that as quickly as possible and with as little thought as possible,” Moss said. “Many of them write in longhand, giving themselves explicit permission to fail.”
However, there was one trait between Moss’s subjects that was truly ubiquitous.
“They all have a compulsion, an obsession to make something. It gets into their system and they can’t let go of it,” Moss said, explaining that the vision or the final product is secondary to the process.
“The end product is not the point,” Moss said. “what they were consumed by, why they did what they did is because they were consumed by the work. “
In 1976, Barbara Walters became the first woman to co-anchor a national news show on prime time television. She was only in that role for two years, but her arrival changed news media.
“She’s such a consequential figure for journalists, not just for women journalists,” biographer Susan Page says. “The path she cut is one that many of us have followed.”
Page is the Washington bureau chief at USA Today and the author of The Rulebreaker: The Life and Times of Barbara Walters. Though they never met, Page says speaking to hundreds of Walters’ friends and colleagues and watching hours of her interview tapes gave her a sense of her subject.
Page describes Walters as a fearless journalist who didn’t shy away from controversy or tough questions. She battled sexism throughout her career — especially from her first co-anchor, Harry Reasoner, who, Page says, scowled at Walters’ presence and tracked how many words she spoke on-air compared to him.
After leaving the nightly news post, Walters became known for her long-form interviews. Her conversations, which blended news and entertainment, featured a wide range of subjects, including Fidel Castro, Vladimir Putin, Richard Nixon, Monica Lewinsky, Michael Jackson and Charles Manson. In 1997, she created The View, a daily talk show with an all-women cast of co-hosts.
“One thing that I thought was interesting about Barbara Walters is that she thought all sorts of people were interesting and worth talking to,” Page says. “She really expanded the world of interviews that [national] journalists were doing to include not just presidents, but also notorious murderers.”
For Page, Walters’ success feels personal: “It never occurred to me when I was looking at a career in journalism that I couldn’t do big interviews with important people because Barbara Walters did. … Even though I’ve been in print journalism, not TV journalism, I benefited from the battles that Barbara Walters fought.”
Interview highlights
On her family life that drove her to work hard
Understanding the source of her drive was hard to understand and I think crucial. And I decided after doing all this reporting about her that, that there was a moment that ignited the drive in Barbara Walters, and that was when her mother called her and told her that her father had attempted suicide. Her mother didn’t call an ambulance. … [Barbara] called the ambulance. [Barbara] rode in the ambulance with her father to the hospital. And she realized almost in an instant that while she was going through her first divorce, she didn’t really have a career that as of that moment, she was going to be responsible for supporting her father, who had just tried to commit suicide, her mother, who was perpetually unhappy, and her special needs sister. And that that was going to require her to get serious, to make some money and to sustain that. She always had the sense that it could all disappear in an instant.
On news co-host Harry Reasoner’s hostility about working with Walters
He was so openly contemptuous of her on the air that the director stopped doing two shots. That is a shot where you could see Harry Reasoner watching Barbara Walters speak because he was always scowling. It was so bad that they got many letters from mostly women viewers complaining about how she was being treated. … It was really an untenable situation and one that took a while to unravel, and it was one that unnerved Barbara Walters. It was the one time in her career when she thought perhaps she had made an error so great that she would not recover. She said that she felt not only like she was drowning, but that there were people trying to hold her head under the water.
On a turning point in her career, when she interviewed Fidel Castro
So this was in 1977. She was still officially the anchor [of ABC Evening News], but things were not going well. And she landed this interview with Fidel Castro, who had been interviewed only infrequently by Western journalists. And … she got in a boat and crossed the Bay of Pigs with him. He drove his jeep across the mountains with her sitting next to him, holding aloft his gun to keep water from splashing on. It was a great interview. A very tough interview. She asked him about freedom of the press, which didn’t exist in Cuba. She pressed him on whether he was married. This was a question that he had refused to answer. … So he finally gave up and answered it and said formally, no. So it was a great interview and it was a comeback interview for her. It both showed what she could do in an interview, and it made her feel more confident again.
YouTube
On her interview with Richard Nixon when she asked him if he wished he burned the Watergate tapes
That was in a particularly difficult interview, because the only way the Nixon people agreed that she could do it was to do it live. There was no cutting out some extraneous matter to get that last question in, she had to be incredibly alert about controlling the interview so that she would have time to ask that question. And the other thing that we should know about that question is she always wanted to ask the question that everybody wanted to hear, even the toughest question possible, like would you have burned the tapes? She wanted to ask the one that people wanted to hear the answer to. That was one of [her] great gifts. And she figured out that by preparing for hours and hours and writing down proposed questions on small 3×5 cards and shuffling them and revising them, and finally having them typed on 5×7 cards to ask. She would let an interview go where it went. She didn’t always follow the cards, but she always had a plan in mind for how she wanted to get the interview started. What she wanted to do in the middle and the thing that she wanted to do at the close to give it a real kick.
On her friendship with Donald Trump
They were transactional friends. She went to his wedding. He went to the celebration of her third marriage. He was often a guest on The View when The View started in 1997. He was then a real estate developer in New York. And if they were short a guest, they could call up Donald Trump and he would come over and be on the show or even do a cameo skit. … And, in fact, one ABC executive told me, when Donald Trump got involved in politics, that there was a feeling, some discomfort, that she had given him a platform and a legitimacy that maybe he wouldn’t have had otherwise.
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On her preparation for her infamous Monica Lewinksy interview
Barbara Walters was working on asking the questions, but at the same time, Monica Lewinsky was working with her team on how to answer the questions. The question that gave the Monica Lewinsky team the most trouble was that question, “Do you still love him?” Because at the beginning of their practice sessions, she said yes. And then she said she couldn’t say no because she did love him. And she loved him some of the time. And, they warned that that was not an effective answer to have. So you hear her, in this interview giving the answer they had worked out, which was no. But then in her follow up, she does acknowledge that sometimes she does still have warm feelings for him. On the Barbara Walters side, they worked a long time on what the closing question would be, because that’s a powerful position in an interview like this, that last question. And they settled on, “What will you tell your children?”
YouTube
On Gilda Radner’s impression of her as “Baba Wawa,” mocking the way she spoke
She was wounded when she heard this. For one thing, even though there was this exaggerated lisp that Gilda Radner used, nobody had any doubt who she was parodying. And, Barbara Walters had this speech anomaly. She called it a bastard Boston accent. Other people called it a lisp. Whatever it was she had tried, she’d gone to voice coaches early in her career to try to fix it, and it failed. So her feelings were hurt when the skit was done on Saturday Night Live. Now, it also made her famous. She came to terms with it, but I think she always found it kind of hurtful. … When Gilda Radner died … Barbara Walters wrote a sympathy note to her widower, Gene Wilder, expressing sympathy on her death, and signed it, “Baba Wawa.”
On her reluctant retirement
She worked into her 80s. … When she was in her 70s, she was working at a time when most women had been involuntarily retired. So she worked as long as they would keep her on the air. But as she started to sometimes miss a step, there was concern that she would embarrass herself or undermine some of the professional work she had done. … The people at ABC convinced her it was time to retire. And then CNN came in with a secret offer to put her on the air at CNN, which she was considering when her friends came back and said, no, it’s time. … There was a grand finale on The View, where two dozen women prominent in journalism came and paid tribute to her. And on her last, big show on The View. And when she was backstage afterwards, one of them came up and said … “What do you want to do in your retirement?” And Barbara said, “I want more time.” Meaning I want more time on the air.
On if she was happy
I asked 100 people who knew her that question: Was she happy? And a few people said yes. Joy Behar of The View said “happy-ish,” which is not a bad answer, but most people said while she was proud of what she had done and that she loved the money and the prominence that she had won, that she paid this huge price on the personal side — she had three failed marriages. She was estranged for a time from her only daughter. She never lost that feeling that she was always competing and could never stop and be content. So she had the most successful possible professional life, but I think she had kind of a sad, personal one.
Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
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