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I've been hard at work on my proposed memoirs. Here's chapter 3:
I grew up in a somewhat obsessed-with-entertainment household tat helped mold and groom me for what I do today.
My uncle, Patrick Tuohey, was a singer who started in the business as one of the Startime Kids, a popular tv show in the 1950s. He was on at the time with Connie Francis and had a kiddie crush on her.
Her career took off but my uncle's didn't due to family setbacks of one or another.
"If your Uncle Pat couldn't make it, none of us can make it''' was one of the negative mottos I frequently heard around the house where I grew up with my mom and grandparents; my uncle's parents as well. They meant well, trying to protect us, but drilled a toxic message into my head.
This message only made me more determined as I matured. In high school, I joined the glee club. In college, I joined an acting troupe. After my days at University of Colorado, I moved from my humble roots in Paterson, NJ to Manhattan. I had a cabaret act, singing. I was an underground, Super-8 filmmaker. And I continued to write, which has always been my greatest talent and passion.
I found my niche as a celebrity blogger in 2009 that has gown and it's viewed internationally. with over 13,000 views monthly. Beat that, People magazine!
Flash forward: 20015 and I am press-passed to events, like Melba Moore's packed-to-the rafters sold-out show at the fabulous Metropolitan Room in downtown Manhattan. I finally found my calling. As Melba sings: "This is it!"
Again, I appreciate any feedback on my development of my memoir. Thanks!
Bernard Furshpan was on his way, driving to the Metropolitan Room, when I placed my call to do this Q&A. Bernie has become a friend over the year, and it has been nothing but a pleasure knowing him and his wife Joanne. He has had a great year at the club but a difficult one for him personally, as his beloved father passed away during the summer. Here, then, is our Q&A:
Buddy Beaverhausen: Hi, Bernie! Let's begin with my asking you something a lot of readers may not know. You had a prior career as a chiropractor. How did you segue from that to becoming Managing Director/ Booking Partner at the Metropolitan Room?
Bernard Furshpan: Yes, I started as a chiropractor but retired from that career to do something I loved more. Life's too short! I had a certain amount of fame in that profession, however, as I cured a girl with chronic hiccups. Her doctors said there was nothing they could do, but as a chiropractor, I cured her and it got a lot of media attention.
I went into managing companies on-line and, at the time, the Metropolitan Room's management, who also run Gotham Comedy Club in Chelsea, needed help. That's how I got involved. Ultimately, we thought it was best if I just took over.
Bernie, Joanne & Nick Lion
BB: It's always such a pleasure to see you and your beautiful and gracious wife, Joanne, at the club. How did you two meet?
BF: On-line, actually. We communicated back and forth a lot before we even dated. When we met, it was love at first sight.
BB: Can't wait for you to meet my great friends, Merv and Tracey, who also got into ballroom dance lessons, just like you and Joanne. And they, too, met on-line.
BF: Thank you. I never knew I could be so graceful, though Joanne studied ballet. I'd love you to bring your friends.
BB: I see Joanne is General Manager at Metropolitan Room, which I didn't know until I was researching for this interview. What does her job involve?
BF: Supervising the staff, basically.
BB: She does an excellent job as your staff is especially courteous and graceful.
BF: Yes, our current staff is wonderful, and we don't tolerate difficult people.
BB: Your show room has such an elegant Art Deco look to it. Who designed it?
BF: We brought people in to do that, with our ideas. When I took over the club, it looked like a mess.
BB: You have lived in NYC all your life, currently in Queens. However, you were born and raised in Brooklyn. What was your growing up there like and what music did you listen to growing up?
BF: Yes, I grew up in Brooklyn and, in our house, we always had the radio or the record player on. and I heard everything, especially jazz and pop.
BB: I moved to Bay Ridge from Manhattan and love it here. Have you ever been to Bay Ridge?
BF: Definitely. Love that neighborhood!
BB: You have great talent booked which I'm sure is a large part of your success. Julie Budd always brings in a full crowd. What is your professional relationship like?
BF: Joanne and I adore her, just like she was family. She's been in the business for a very long time and is an absolute professional.
BB:Ever deal with less professional talent?
BF: We realize some artists are just insecure. You know, they're people too, so we smooth their feathers and reassure them everything will be fine.
BB: I once worked at The Bottom Line when I was young, and they had Esther Phillips there when she was hot off her success of the disco version of "What a Difference a Day Makes." She was so abusive to the technical people and staff that, despite her two sold-out shows, the club refused to ever have her back.
BF: Wow! Same here, we have zero tolerance for that kind of behavior. We will not allow our staff or technical people to be treated in a disrespectful manner. Luckily, we never had to deal with this.
BB: Melba Moore's recent birthday show packed the club to the rafters. What was that night like for you?
BF: Crazy but a total delight. Melba is a favorite, and so un-presuming off-stage.
BB: There's a resurgence of interest now in cabaret as one of NYC's unique and lively art forms. Why do you think that is?
BF: I think because it's become less "stodgy" and has embraced a wider spectrum or variety of sounds.
BB: What are the best and worst things about running a club in Manhattan!
BF: Best: Location and a very sophisticated audience. Worst: How expensive it all is.
BB: Before we ever met, I came to see Pia Zadora, at your club, as a guest of Bob Esty's. I brought Nick Lion, and Bob had us seated right up front. Pia made her Piatinis for Nick and I and handed them to us from the stage. What was it like dealing with her? BF: She was a complete professional in every way. Like Julie Budd, she has been in the business her whole life. She was a doll. Bob was a pleasure to deal with as well. And what a voice! We'd love to have her back sometime.
BB: So many artists enjoy dealing with you. Many feel you exude a warmth and feel you're like an old friend. Are you aware of this charm you seem to have?
BF: Well, Joanne and I both try to make artists feel comfortable with us and at home in the club.
BB: Any last shout-outs?
BF: Thanks to everyone who has come to see our shows and who has supported the Metropolitan Room. Thanks to our business partners and to our incredible and devoted staff. Thanks to you, Buddy Beaverhausen, for your wonderful reviews of our shows. We love reading your blog. And for introducing us to great talent like Denise Spann-Morgan and Debby Cole.
BB: And thank you, Bernie, for taking out the time to do this Q&A with me.
It was a night that I, for one, will never forget, and I am sure I'm not the only one.
Bernie Furshpan's Metropolitan Room, on West 22nd Street in Manhattan, was more than just simply a packed house; it was filled to the shaking rafters with an exceptionally appreciative crowd.
It was a love fest. It was a night of diva worship. It was a birthday celebration, as Ms Moore turned 70 yesterday. (Pieces of Melba's birthday cakes were shared with the room.) It was cabaret at its best. It was joy. It was heavenly. It was a part of entertainment history. It was dynamite!
When I entered the club with my pal Nick Lion, my very good friend Kevin Scott Hall was on a queue of people waiting to get in, which I assumed we'd have to join. Kevin was, after all, Melba's press guest and also did a q&a with her.
Nick went to the front desk and lo and behold, our good friend Denise-Spann Morgan of The "Marvelous" Marvelettes had us on her guest list, so we squeezed into her booth. Bernie greeted us in the lobby and ushered us in. It's always nice to see Bernie and his beautiful wife, Joanne, at the club.
Bernie, Joanne & Nick
NYC talk show host Barry Z sat in the booth directly behind me.
Richard Skipper was also in the house and we got to talk after the show. Always great to see Richard in the house!
I have to admit that I arrived in a bad mood after an awful traffic day into Manhattan. It's Halloween weekend, the Mets are playing, and a truck burst into flames in the Brooklyn Battery Tunnel, closing traffic there and making my commute complicated and my livery car driver nasty and difficult to deal with. But Melba lifted my spirits high with her performance after I finally arrived.
Melba & Me
Hers was an eclectic selection, kicking off with "Don't Rain on My Parade." Melba did her disco hit, "This Is It," sang "I've Got Love" ~ a beautiful number written especially for her, from her Broadway breakthrough Purlie. She even covered The Beatles' "The Long and Winding Road" beautifully. Yes, it has been long and winding for us all.
Melba's dad, who is 100 years old now, even came onstage to play piano and sing with his daughter aside the piano. His gravelly "Satin Doll" was a delight! Melba had some wonderful duets as well.
Fans brought Melba bouquets of beautiful flowers, and gifts. My own Nick and Denise even went up to the stage to give her presents. Can you believe the diva is 70?! She is still a beautiful babe. Melba wore a white, dressy pantsuit with black trim and a train. The top had a peplum to it. She wore heels but doffed them at some point. Actually, somebody took them off for her. Now, that's true divahood!
Melba's fantastic back-up consisted of a three-piece band and three back-up, all-male vocalists. All were superb.
Nick gifts Melba
This was it, and we all knew it was a good thing. A great thing, in fact! Nothing but kudos and eternal love, Melba! Come back to Metropolitan Room soon.
Melba Moore basically needs no introduction. She is a diva to be reckoned with; one who has conquered the Broadway stage, the recording industry and, now, cabaret. I am thrilled, then, to present to you our exclusive Q&A. This is it! Buddy Beaverhausen: Besides working with such luminaries, you are an icon in your own right! What was it like to win a Best Performer in a Musical Tony for Purlie! at such a young age? Melba Moore: It was so exciting! I had no idea what was going on around me. Dizzying! I have to watch the videotape today to know what was going on. [laughs] I mean, I spent so much time learning how to be that character and have her accent, and even learning what was stage right and stage left at that time! At the Awards ceremony, because it was on tv, all the lights were on and I could see Pearl Bailey! I could see Lauren Bacall! It was incredible! Jack Jones was the announcer on that show and he was always drunk! So he said my name all wrong. Suddenly, I heard the audience chant "Melba Moore! Melba Moore!" I was so discombobulated that night. But it still has had such a dramatic effect on my life because people truly appreciate and respect the Tony Awards. BB: Before Purlie!, you were in Hair. And you did the famous nude scene in that? MM: Right. BB: Were you in Hair at the Public Theater or when it moved to Broadway? MM: When it moved to Broadway. BB: I've interviewed Lala Brooks and know she was in that. MM: I love her! We sang "White Boys" together. We had a ball. She is wonderful! BB: What directed you towards being a disco diva? MM: My label knew that was what was happening at the time and, so, I had many hits in that genre, happily! But it was the times; I mean, even Ethel Merman put out a disco album. BB: [laughs] Well, it wasn't quite the same as yours! MM: "This Is It" was very successful for me. Van McCoy helped usher this sound in and I had a big hit with "This Is It"! BB: What drew you to the Metropolitan Room as a room you'd like to perform in? MM: Well, my team and I scoped it out and thought it had a great vibe. Also, Bernie and Joanne are wonderful to deal with. The Metropolitan Room has such a great feel and style to it, and I can have an intimacy with my audience which is wonderful! And cabarets are making a great comeback now. It's so great to meet with our audiences. BB: Can't wait to see you at Bernie's place! BB:You were marvelous at the Sarah Dash birthday brunch at 54 Below. How long have you known Sarah and Nona Hendryx? MM: Well, Sarah used to work for my production company. She and Nona are like family to me! They're both wonderful. Sarah is so sweet, generous and kind. And so genuine. BB: My blog has a lot of LGBT readers. I think they'd be curious if you've ever seen yourself impersonated or lip-synched to live. MM: No, actually I'm aware of all this but I've never seen myself impersonated. Very flattering though! BB: You have a new cd coming out. Please talk about that. MM: Yes, it has a new single from it called "What Can I Do to Survive?". It will be available on-line and at stores everywhere. BB: Any last shout-outs? MM: Yes,thank you! I want to thank all your readers for their support. It means so much to me. I think my show at the Metropolitan Room on October 30 will sell out, so please buy tickets now while they last. Thank you, Buddy Beaverhausen! And I hope you'll enjoy my soon-to-be-releases album! Bless you all! Lots of love! http://www.melbamoore.com
Melba Moore basically needs no introduction. She is a diva to be reckoned with; one who has conquered the Broadway stage, the recording industry and, now, cabaret. I am thrilled, then, to present to you our exclusive Q&A. This is it!
Buddy Beaverhausen: I understand you come from a musical family. Could you tell us more about that?
Melba Moore: Absolutely. My father was a musician as was my mother, who also sang. She married my stepfather, also a musician. My brother, who passed away, was a wonderful pianist who majored in Music in college. I went to college at Montclair State Teacher's College, New Jersey, majoring in Music. So music was the centerpiece of our lives.
BB: You'll be performing at the Metropolitan Room on October 30th. What might audiences expect?
MM: I hope to do a few little surprises because this is going to be my third or fourth time at the Metropolitan Room. Cabaret audiences have really evolved and they have even more sophisticated tastes nowadays. I'll probably perform songs from Broadway shows and some things from the Great American Songbook. Maybe something by Ella Fitzgerald or Frank Sinatra or Streisand. Of course, I'll be singing songs from my own Broadway shows.
BB: And will you be singing "This Is It?"
MM: You know, we're getting several request for that song. So I'll consult with some people and, if we feel it's appropriate for the room, well do it.
BB: You've worked with so many great people throughout your career. Who were some of your favorites?
MM: Oh, so many, it's hard to think. I just worked with Jeanie Tracy, who worked with the late, great Sylvester. Recently sang with Jean Carne. So many wonderful voices!
BB: Anyone you've worked with, then thought, "Mmmm... Maybe not again?"
MM: You know, I'll work with anyone. We don't need to have an ideal relationship personally. I've had some bad experiences with promoters, but not talent. Even Anita Baker, who is known for being not easy to get along with. She was always nice to me. Maybe because I don't compete with other singers when I sing.
BB: I remember seeing you as a guest on Bea Arthur's variety special in 1980. What was it like working and singing with the late Ms Arthur?
MM: Oh, she was so sweet and kind to me. She also came from a stage background and had a really good voice. I enjoyed singing Fats Waller songs with her. A gentle lady and a kind spirit. And, of course, she was so tall and white and I am so short and dark, we made a good pair. I sang "Your Feets Too Big" to her. [laughs] And the costumes and gowns were to die for. It was great fun. Great, great fun! And everything on that show was top-notch: the production, the musicians. Rock Hudson was on that show too, and Wayland Flowers and Madame, his wonderful puppet. I had a ball!
Thanks to Ron Richardson, Bernie Furshpan and Sarah Dash for helping set up this Q&A.
We surried down to a stoned soul picnic that was happening in Damrosch Park Saturday night. It was the free concert celebrating the music of Rock & Roll Hall of Famer, Laura Nyro and it was nothing short of magnificent at a compact 90-minutes. But what a tribute, what talent, what a dazzling experience of songs and voices!
We arrived an hour early for the event that officially kicked off at 6 pm so we could get choice seats. On my way back for a pino grigio at the concession stand, I ran into one of the back-up singers from Nona Hendryx's new album, Mutatis Mutandis, Kenyata Hawkins. She was quite sweet and demure. The last time I saw her, onstage at Nona's B.B. King's gig, she was decked out in hot pants and a tight white tank top. She informed me she helped write the album's stirring funk-disco "Mad As Hell," though she is noticeably not credited on the liner notes. No matter, she was there to support Nona.
The back-up singers on the park's stage, fronting a full orchestra, included back-up singers Ula Hedwig and Charlotte Crossley (two of Bette Midler's original Harlettes). Is there a hot gig in Manhattan at which Ula does not turn up as a back-up girl?
Songwriter, producer, musician, ex-member of The Young Rascals, Felix Caviliere, conducted and even performed "Blowin' Away." Mr Caviliere was the producer of Ms Nyro's Christmas and the Beads of Sweat album.
"They had voices then" is a message one might take away from this show's line-up of seasoned veterans, though it opened with relative newcomers, Jan Nigel & the Ebony Hillbillies who nicely presented Laura Nyro's classic, "And When I Die," and Kate Ferber who strongly put across "Stony End" with a lively arrangement.
But it was the seasoned diva superstars who really drove the musical legacy of Laura Nyro home for us.
Desmond Child & Rouge were a welcome sight (and sound) from halcyon days. Their extended version of "Eli's Coming" (a huge hit for Three Dog Night) was wonderful. Ms Nyro's son, known theatrically as Gil T, joined in during the bridge to do a rap that, unfortunately, seemed to add nothing to the number, aesthetically, and was off-topic as far as I could tell.
I was in college when the Gonna Take a Miracle album was released. As part of fulfilling her contract with Columbia records, Nyro put together an album of her favorite '60s pop tracks (including a forever haunting version of "The Bells") that has become a classic. At the time of its release, it largely received tepid reviews. At a party on campus, I overheard the album being dismissed by many as "decadent nostalgia" that was hoping to cash in on Bette Midler's then-trending reinvention of pop standards for a '70s rock'n'roll audience; something that rose up from the gay camp underground. Culturally, the '60s were just over and early-'70s music wanted to move in a different direction. Still, the album was then, and now remains, a favorite that spoke to me in a special way. It still does. Aching, haunting, soulful and dance-oriented; something new was being born from what was freshly old.
Columbia also brought in the group Labelle to do back-up for Ms Nyro. At the time, Patti Labelle & the Bluebelles were transforming into the glam-rock Labelle, to take flight after their work on this iconic album.
In concert, then, Sarah Dash and Nona Hendryx powerfully put across Nyro's arrangements on tracks like "I Met Him on a Sunday," "You've Really Got a Hold on Me," "Gonna Take a Miracle," and the "Monkey Time/Dancing in the Streets" medley that brought all of Damrosch Park to its collective feet, dancing in the park and clapping to the beat. It didn't matter what we wore just as long as we were there. And we were -- not just in body, but in heart, spirit and intellect. Unfortunately, Patti was not there as she has a lot of Lady Marmalade brand marinades to sell. It was irrelevant, as the diva combination of Dash & Hendryx already was through-the-roof sonically, their vocal power and soulfulness inspiring.
Tony award-winner Melba Moore established something of a comeback at this show, looking swell and svelte in black, and in great voice. She belted out "Time & Love," an L.N. song she'd recorded, and the popular "Wedding Bell Blues," shaking the stage rafters with her voice, and even returning for a series of bows while holding her exiting high note.
Melissa Manchester, Grammy winner and a recipient of last year's Bistro Awards, was a goddess in white as she danced across the stage to her piano and launched into "Save the Country," with such force and theatrical flare (not to mention excellent timing of the title message), it roused the crowd once more.
She concluded the show by singing "Stoned Soul Picnic," but not before talking about the influence of Laura Nyro on her own work. Manchester discussed Nyro's rich and inventive vocabulary.
"Anyone know what 'surry' means?" We all did, of course, in our souls. We were all connected in spirit. We were all, artists and audience, paying tribute to the legendary and unique Ms Laura Nyro. It was communion, it was perfection, it sent us into the streets with joy and hope.
I last saw Laura Nyro perform at The Bottom Line. A live recording was made from that show. I will never forget her. She led me, musically, through adolescence to young adulthood, and the concert was a peon to that voice, that uniqueness, that influence. Bless you, Laura, we were together to celebrate and remember.
