DOES JUDY GOT A GIMMICK?

Is Judith Miller grandstanding? When she went to jail rather than testify about her confidential sources in the Plame case, did she go as a matter of principle or because she thought it was a good career move? Only Judy knows. But put the question that way -- some of Miller's critics have -- and you get into Ethel Merman territory, i.e.: David Ehrenstein's riff on "Rose's Turn," from "Gypsy."

GYPSYcoverMERMAN.jpg
David E. adjusts the lyrics (with apologies to Arthur Laurents, Jule Styne and Stephen Sondheim) and calls the number "Judy's Turn." It's clever, and funny, and my staff of thousands thinks it's apt. But you have to hear Merman sing the original and know where David E. is coming from to fully appreciate the riff.

Now comes Chris Schneider, a Straight Up reader, putting more "Gypsy" material to Miller-ite purposes. This time the lyrics have been adjusted from "You Gotta Get a Gimmick," which was performed in the original Broadway show by Faith Dane. Schneider writes, "Since David's reaction to it was very positive, I thought I'd take a chance and pass the results on to you."

So here tiz, untitled (but copyrighted):

You can pull all the stops out
Till Bill Goldman pops out,
Make with the mouth till you're blue ...
But Ya Gotta Look Like Redford
If you wanna get your due.

You can activate your aggro
Till they start a S.A.G. row,
Spiel till they reel at Elaine's ...
But Ya Gotta Look Like Redford
Just to justify your pains.

You can "blah," you can "blah," you can "blah blah blah";
That's how "Front Page" got made.
So you "blah" and you "blah" and you "blah blah blah ..."
And just hope that you'll get paid.

Put your trust in Pakula
And pray you look spec-tac-ulah
(Not like that head in Nichols' "Heartburn");
Just radiate like Redford
And p'raps they'll call it "Judy's Turn."

Possible interlude for Nora and Delia Ephron:

Judy,
You'd best take our tip,
You're not built like Cher,
You haven't Streep's zip.
Judy,
The press corps won't flip.
We'll warn you, we're fair ...
Just button your lip.

© by Chris Schneider

Schneider calls himself a "writer on the performing arts" -- "read: theater critic whose job was pulled out from under him" -- currently working as "a dramaturge and all-purpose know-it-all" for a theater company in San Diego. He's also "a bass-baritone, a jazz enthusiast, and someone unashamed (almost) of his love of musical comedy." He claims Cole Porter was "one of the three fairies surrounding [his] cradle, 'Sleeping Beauty'-style." His "Higher Power" is listed under the name "Sarah Vaughan." And he was born on the same day as Gloria Grahame in the same town as Dennis Cooper -- "both of whom have been role models for safe 'n' sane behavior ever since."

Just for the record: I part company with my staff of thousands. I think Miller is doing something right by going to jail. Even if it is a good career move, even if she secretly were to regard her incarceration as penance for the propagandized reporting she did on WMD in Iraq, which the regime used to justify the Iraq invasion, and even if the sources she's protecting are, ironically, high government officials who are liars serving a rotten U.S. regime, her willingness to go to jail still stands for the principle of a free press. And yet ... and yet ... the Miller tale keeps getting curiouser and curiouser.

July 13, 2005 9:17 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
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About this Entry

This page contains a single entry by Straight Up | published on July 13, 2005 9:17 AM.

D'ARCY: 'I'M NOT EVEN ROADKILL' was the previous entry in this blog.

PALAST ON THE 'ACCESS TO EVIL' is the next entry in this blog.

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