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Not Bad for a Shy Girl

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Thank you to Cher scholar Laurie Dudley who pointed out that Cher has hit a new milestone today: she has been recording for officially 50 years! Not bad for such a shy gal.

Laurie says:

"...pleasingly, Cher's release history now officially spans 50 years from backing vocals on "Be My Baby" in 1963 to Georgia's album in 2013."

After this post, I'll be downloading Georgia's album and watching the TV appearances over the next few days. I won't be back to post until mid-May due to our big celebration here for Mr. Cher Scholar's graduation. I'm very proud of Mr. Cher Scholar. He's now an official archaeologist. Now I have to clean the house before my mom gets here next week.

Enjoy the Cher stuff everyone and I'll see you on the other side for some explication and scholarin!


Last Week of TCM with Cher: Women Taking Charge

This was the last weekend for Cher co-hosting TCM's Friday Night Spotlight in April. This week's theme was Women Taking Charge.

GreatlieThe Great Lie (1941) stars Bette Davis, Mary Astor and George Brendt. I've now seen 37 Bette Davis movies. In high school I went through quite the Bette Davis phase and checked them off in a list in the back of the Lawrence Quirk Bette Davis biography Fasten Your Seatbelts, which was a better book than Quirks biography of Cher. My favorite Bette Davis movie is The Petrified Forest but I also loved Dangerous, Marked Woman, Jezebel, Dark Victory, The Old Maid, All This and Heaven Too, The Letter, Mrs. Skeffington, A Stolen Life, Phone Call From a Stranger and many more. I am so attracted to Davis' preciseness and surliness. She's a very engaged actor and I love to watch her in the process of thinking, hatching up a scheme. So different to what I love about Katharine Hepburn, her joie de vivre, her wild uncatchable being as a character I wanted to become.

Cher and Robert Osbourne talk about how Davis fashioned for herself an understated part, how George Brent was a sturdy leading man. I hadn't seen this movie yet and I loved it. Had never seen Mary Astor in a movie and loved her bitchy-star performance. The movie has some great lines like "I'm tired of being your haven," "Dates bore me" and my favorite, "Supposing you go!" The sets are crisp and neat and the story is a battle of the wills between Davis and Astor. The script is smart and understated and the women repeat each others' lines with implied venom and double entendres.Themes involve work vs. marriage, country vs. city, and gender bending in the Arizona scenes where Davis dresses like a man and paces outside the birthing room like a new father. This is a weird time when pregnant women aren't allowed to eat pickles or ham. There are great, stark shots of the southwest.

Bette Davis is always good for the angry line, "Yes...I see" and I can't help but think she has a Madonna face. Or maybe Madonna has a Bette Davis face. The black servents have some good lines but they live to serve and are treated like children. Maybe this is how it was but it deserves a tsk tsk mention.

Davis makes herself vulnerable in the movie when she makes the great lie and Astor when moves in for the kill. By the end, the characters are fully cut enough that you can see both sides.

Cher says she's not a fan of Mary Astor and they talk about her range, from this movie to the mother in Meet Me in St. Louis, Cher remembers, stirring tomato sauce.

KittyKitty Foyle (1940) - Cher has won me over to the charms of Ginger Rogers but not always to Ginger Rogers movies. Cher appreciated this movie for giving Rogers a serious role and Cher acknowledged that comedy is more difficult than drama. This is a story about a woman hung up on a rich man but too proud to accept his family's requirements of finishing schools and social events. I actually felt sorry for the rich guy in this movie. He did try. Her doctor beau is salt-of-the-earth by comparatively manipulative. The effect of having Rogers talk to herself in the mirror felt too much like a comedy effect but I appreciated the discussion about Cinderella stories with Rogers and her father in the beginning, the thrill of the Franklin Roosevelt election in play, and Rogers' hilarious condescending affectation as a perfume seller. I notice there have been four movies this set with department store locations and I'm always reminded of Cher working one of her first jobs at Robinson May in Los Angeles. The movie is a bit of a soap opera and although Rogers won an oscar for it, her performance in Tender Comrade was more dramatic.

Cher thought Dennis Morgan, the rich boyfriend, was too fluffy and "couldn't hold William Holden's coat." I agree. He looked too Guy Smiley for me. She and Robert Osbourne talk about how much more adult the novel of this movie was (with abortion and other topics) and they discuss the movies Rachel and a Stranger, Stalag 17 and Sunset Boulevard.

PalmbeachThe Palm Beach Story (1942) - I'm on the fence about this one. It was a sweet and funny Preston Sturges movie. I loved seeing Claudette Colbert playing a sassy, sexy blue collar lady in comparison to her prim war movie roles. Mary Astor was also good as the nutty sister (a far cry from her performance in The Great Lie). Cher and Robert Osbourne talk about George Sanders and Cher forgets his name although she starred with him in her first movie, Good Times.

The movie opens with a great stop-frame sequence and clips along through crazy situations on a train, a boat and in Palm Beach where the Rockefeller-type character, John D. Hackensacker, lives with his sister. Cher loved the scene where Rudy Vallee wardrobes Colbert at a department store and calls it a "girl moment." The movie hit somewhere between funny and silly and I can't quite place it.

After the movie Cher said she enjoyed comedies but would like to do dramatic things too.

WomenThe Women (1939) - I've been hearing about this movie for a while and I'm glad I finally saw it. Typical with MGM, the long opening made a long movie even longer. Norma Shearer, Joan Crawford, and Rosalind Russell were all very good. Crawford played a pitch-perfect gold digger and Russell was the bad-friend comedy foil. Cher liked the movie for representing every type of woman. She says it would be impossible to get together such a star-studded cast these days. Even Ma Kettle, Margoire Main, makes an appearance in the Reno scenes.

The movie is full of girls and dogs. Not a single man appears in the movie. Like Cher, I loved the gossipy manicurist character. I also appreciated that every character had something really right to say about men and what Shearer's character should do when forced to deal with her husband's infidelity. The movie let every woman be a little right and a little wrong, from Shearer's mother to her catty friends. Although so many women here hurt by wandering husbands, the movie presented the most sage advise from the point-of-view of the Other Women, Paulette Goddard, who steals the husband of Rosalind Russell. Even Russell has a right point of view from time to time. The best scenes are when the original mean girls come out and scratch their claws. The Reno bitch fight was great. And what a weird scene of exercises at the spa with Russell! This movie was also our tear jerker of the week, definitely an over-the-top, girls-only, chick flick.

Cher liked the colorful fashion show sequence but Robert Osbourne didn't. I wished today's runway shows were more animated and staged instead of the dead-pan boring strut-fests they are today. Cher talked about her special with her mother coming up (and how her mother's album songs were first cut with Elvis Presley's band) and how Cher and Georgia planned to sing a duet on the Country Music Awards (it didn't happen, the awards were early April).

My favorites of the series by week were:

Motherhood: Bachelor Mother (funny and great chemistry between Ginger Rogers and David Niven)
War: Three Came Home (Totally harrowing but memorable)
Women at Work: His Girl Friday (great performances and a great script)
Women Taking Charge: The Great Lie (can't resist a Bette Davis movie)

Cher's Third Week of TCM: Women at Work
Cher's Second Week of TCM: War Movies
Cher's First Week of TCM: Motherhood
Cher's first set of TCM Movies in September of 2011, links to my reviews of The Big Street, Follow the Fleet, Hobson's Choice, and Lady Burlesque.

Cher at AFI Event

Afi2Cher introduced Moonstruck at a recent AFI event. You can watch the video of photographers yelling at Cher on the red carpet at Cher World.

Cher was photographed with Demi Moore Cherdemiand the website The Stir commented on how good they looked and how much they look alike.








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The class photo included Kathy Bates, Kevin Spacey, Demi Moore, Shirley MacLaine, Sally Field, Sidney Poitier, Harrison Ford, Samuel L. Jackson, Kurt Russel and Peter Fonda. Mike Myers not pictured. From Cher World:

The event was 'Target presents AFI Night at The Movies', and other stars included: Cher's 'If These Walls Could Talk' co-star Demi Moore presenting 'Ghost'; Shirley MacLaine presenting 'Terms of Endearment'; Samuel L. Jackson presenting 'Pulp Fiction'; Harrison Ford presenting 'Blade Runner: The Final Cut'; Peter Fonda presenting 'Easy Rider'; Sally Field presenting 'Norma Rae'; Kathy Bates presenting 'Misery'; Mike Myers presented 'Shrek'; Sidney Poitier presented 'In The Heat of The Night'; Cher's 'Silkwood' co-star Kurt Russell presented 'The Thing'; and Kevin Spacey presented 'The Usual Suspects'.

More photos at Cher World.

Cher also attended a TCM event at Grauman's Theatre Friday night looking like an old-style movie star with TCMs Robert Osbourne.

Oldstyle Robby


Video Fun: Old and New


Extra has posted a clip of the upcoming Dear Mom, Love Cher special.

Is that the top Cher wore for the cover of The First Time book?


PreggersCher scholar Robrt Pela sent me the link to this clip, S&C during their second show singing "Put a Little Love in Your Heart" which is atypical because its breakout segment (the annoying thing the second show did to break up the opening song) contains the full clip of their blooper reel introducing Raymond Burr. The clip is significant for many reasons. First, you get to see Cher in one of her glamour outfits somewhat (but not really) hiding the fact that she's pregnant with Elijah. This is maternity dress ala Cher, which is very jiggly. Is it me or do we need to get that woman from Witches of Eastwick to complain, "She's not wearing a bra."

Secondly, it's also a very slick example of the high style of Sonny & Cher from their later show, The Sonny & Cher Show, after they were divorced. It's polished, smooth and more colorful, which I guess is something audiences of the time didn't like well enough.

LaughYou might have seen the blooper reel before. It's been on the Internets for years and before that was a staple of Dick Clark's blooper specials of the 1980s but in those versions the segment is edited farther down. It's funny to see the longer clip and the poor girl trudging in and out of frame with the take slate. You even hear the director over the loudspeaker complaining about how much the bloopers are costing the show.The absolute penultimate moment, however, is the point where Cher loses it and lets out her wild crane laugh. Sonny then follows with his mafioso crane version.

JoanWhile perusing those I found this clip of Cher on The Tonight Show with guest host Joan Rivers from 1983. I hadn't seen this before. She's just been nominated for a Golden Globe for Come Back to the Five and Dime and she talks about dating an un-named 23-year old, getting serious about acting, her workouts, selling the Egyptian house and moving to New York (this feels circa Tom Cruise to me but it was sketchy then, those New York days) and she introduces a long clip from Jimmy Dean. The interview is funny with Joan at her best, teasing Cher for knowing everybody, including Henry Winkler who is sitting next to Cher. Cher is growing out her Black Rose shag.


Cher's Third Week of TCM: Women at Work

I really enjoyed this week's set of movies for various reasons. What a refreshing reset from the depressing war movies last week.

FridayHis Girl Friday (1940) - I've been hearing about this movie for years but had never watched it. I've been telling everyone how great it is since Saturday. Rosalind Russell plays the ex-wife of Cary Grant and she's getting ready to marry Ralph Bellamy (who you will remember as Randolf Duke in Trading Places). Cher, dressed in a suede Indian inspired outfit complete with turquoise and feathers, describes loving the quick dialogue, the Robert Altman-esque talking over one another, commenting "You can't beat it with a stick." Cher said, "a lot of actors, and I'm one of them, couldn't memorize all that dialogue."Cher talks about the technological difficulties in catching all the dialogue with a boom and how nobody was better or more graceful, ironic, sharp, sweet and vulnerable than Cary Grant. Robert Osbourne says he never showed he knew how great he was.

The pace of the movie is exciting (still to this day) and I loved seeing Russell excel in her job as a cut-throat journalist who all the boys admired for her skill. She's really good at what she does but longs for human agency. Instead of being treated as a piece of meat sexually, she's treated like a piece of meat vocationally. Cary Grant winning back an ex-wife is a joy to watch (see The Philadelphia Story) and Russell works hard to outsmart his corrupt machinations.

The dialogue is tight, witty and layered with strategy and narrative. Fear of communism drives the corrupt politicians who engage in trying to manipulate the press and make a hilarious attempt to bribe the governor's messenger. The movie also shows the role of a newspaper in saving people's lives and how cavalier and cynical newspapermen can be about it. At one point Grant, the publisher of the paper Russell is working for, is scrapping headlines but says, "Leave the rooster story. That's human interest." All the newspapers in town are covering a trial and execution but they are all telling radically different stories. So little has changed. The prisoner scene will remind you of Silence of the Lambs and there's a meta moment when Grant describes how to locate Ralph Bellamy telling someone, "He looks like Ralph Bellamy, that fellow in the movies."

Robert and Cher lament that Rosalind Russell gives up her independence at the end. I find it ironic that independence for her means quitting her job and becoming a "real woman," a housewife. Grant's sabotage of her plan feels just as oppresive as if he had refused to let her go to work in the first place. Grant's character doesn't evolve much sadly and Russell finds herself in the same inadequate situation from which she started. Still, a must see movie.

WomanWoman of the Year (1942) - In college I used to frequent a video store attached to Schnucks grocery store. Unlike Blockbuster, where they tried to make you pay 3 dollars for everything, Schnucks rented older movies for 2 dollars and had a big classic section for 1 dollar a night. I watched every Bette Davis and Katharine Hepburn movie they had which included most of the Hepburn/Tracy movies.

I loved seeing this movie again and was surprised that my sympathies had changed this time around. When I first watched it, I hadn't been in a long-term relationship and I sided more with the Tess Harding character. I resented Sam Craig's stomp on her flowery personality. I had the opposite reaction this time, seeing Sam's point of view. He's a hapless outsider in their marriage and Harding never makes the basic sacrifices he is willing to make to spend time together. She never considers him with the same deference that he considers her. Ultimaely she reads as self absorbed. Craig is fighting for equality and not dominance. But through the lens of the 1940s, this means Harding will at some point try to make him breakfast. This plays out in the movie's most famous scene. Inspired by the film, I made Mr. Cher Scholar eggs the next morning, saying "See? Aren't I being wifey?"

Cher and Osbourne talk about stylized acting, how Hepburn never changed her style for a role, how Cher's favorite Hepburn movie is "Out of Africa" (Mine are "Holiday" and "On Golden Pond" which is cheesy but I will defend it in a long essay if I have to). They talked about chemistry between Tracy and Hepburn. Cher commented that chemisry was unquantifiable, like having "it." 

The movie slightly skirts issue of class and highbrow vs lowbrow pursuits, Harding's column of politics and her knowledge of other cultures and languages versus Craig's work as a sports columnist. Craig makes fun of foreign languages because he's "All American." Harding has a male secretary (who reminds me of Project Runway's Tim Gunn) and who is represented as subtly emasculating. Reading his character with my 2013-eyes, I found him to be very funny.

Like His Girl Friday, I enjoyed watchign Hepburn as a woman at work and doing a bang-up job, eventually becoming Woman of the Year. The movie showcases Tracy and Hepburn at their best: flirty and explosive. The bar scenes are great. There's an interesting scene when Craig first comes home with Harding and the taxi driver asks if he should wait. There's an uncomfortable hesitation before Harding rescues him with, "You can get another cab later."

Soon after Harding is named Woman of the Year (hurting her husbands feelings by telling reporters the award is the most wonderful thing that has ever happened to her), all her insiders start to question her choices to some degree, her Aunt, her husband, her adopted son. The movie, in 1940s fashion, skates over the line a little, asserting that Harding isn't a real woman at all (how can you not be a woman as a woman?). She's too much of workaholic and not maternal enough. But in the end, the movie asks only that she lead a well-rounded life.

CommeradeTender Comrade (1942) - Here is a Ginger Rogers movie about the wives of soldiers who become roommates to save money during World War II. Although Ginger Rogers is adorable as always (Cher has completely won me over on this point), this is more of a war movie than a working girl movie. There is one short collage of scenes early on where we see the women at working as drivers and welders at Douglas Aircraft in LA. The rest of the scenes are flashbacks showing the courtship of Rogers and her husband and scenes of the girls in their rented house, all of which is interesting but I loved the theme of the night: seeing women handling work situations.

That said, I did appreciate seeing this movie in the context with which Cher and Osbourne described it, as being overly patriotic and one of the movies President Roosevelt requested Hollywood to make during the war, but the one movie that got the brunt of anti-communist criticism afterwards, during the McCarthy era, for its title and its director and writers being accused of sneaking in communist propaganda into the film.

I watched the movie with that in mind. Ginger Rogers and her friends decide to run the house "like a democracy." Everyone has a vote. They meet their future housekeeper who talks to them about how "they're all in this together" and the women decide to pool their money for expenses and give the rest to the housekeeper as a wage. To crazed, paranoid anti-communists, I can see how this could be misconstrued as a commune, a communistic relinquishing of profits and property. But really, what an afront to free speech in the end. The movie finishes with the most patriotic speech by a war widow you can ever imagine, Rogers crying over her baby, telling him that his father died in battle "so you could have a better break than he had." (The baby's going to grow up in a commune.)

But the movie is a nice slumber party, good for funny phrases like "Holy Mackerel" and "Judas Priest!" The title Tender Comrade actually comes from a Robert Louis Stevenson poem called "My Wife." The LA landmark restaurant on Hollywood Boulevard, The Pig and Whistle, is also mentioned in the movie.

Cher talked about loving Ruth Hussey in the film and told the story about how her mother originally had Marilyn Monroe's part in Asphalt Jungle. Cher said her mother loved old movies (which weren't so old when Cher was little) and has watched them with Cher since Cher was about 3 years old.  Robert thanked Cher for instigating the Friday Night Spotlight series.

DevilThe Devil and Miss Jones (1941) - So of course when I try to find pictures of The Devil and Miss Jones (1941), I pull up a bunch of Internet photos of The Devil in Miss Jones (1973), which is incidentally the first porn movie my high school friends and I ever got a hold of. So it was nice to see the movie who's title inspired it. Gene Arthur and Charles Coburn play co-workers in the shoe department of a department store. Cobern is actually a spy, the owner of the department store and the richest man on earth. He's trying to repress a budding union movement there.What a pleasant choice considering Cher's twitter activism and the history of the 99 percenters.

Cher didn't mention any political reasons for choosing the movie but said she loved all the actors in it, liked the love story between the older actors (Charles Coburn and Spring Byington) and loved Jean Arthur's voice. Incidentally, we just saw Coburn playing David Niven's very funny father in Bachelor Mother. The chemistry between Arthur and Coburn carries the movie. A good story to watch in driving home the point, again, that we're fighting all the same battles we were in the 1940s.

At the end of the night, Cher talks about the TCM conventions and their boat cruise and how she has the channel on 24/7. It's fun to hear Cher talk about what she's a fan of.

Cher's Second Week of TCM: War Movies
Cher's First Week of TCM: Motherhood
Cher's first set of TCM Movies in September of 2011, links to my reviews of The Big Street, Follow the Fleet, Hobson's Choice, and Lady Burlesque.


The Agony and the Ecstasy of Phil Spector

SpectorIn my stack of to-dos I have a post-it note with the title The Agony and the Ecstasy of Phil Spector and for the life of me I can't remember who recommended this to me. Was it Cher scholar Dishy, JimmyDean or Robrt? Was it someone at work? Anyway, I watched it yesterday and it's a BBC documentary from 2009 which aired between Phil Spector's mistrial and his final conviction for second-degree murder (not premeditated) that same year.

To me the death of Lana Clarkson is a very complicated whodunit, a legit mystery with a dangerously broken man at its center. There seem to be facts supporting his conviction and facts supporting his innocence. I don't feel this documentary clears up the matter at all. The movie only confirms one thing, Phil Spector was looking more and more like Penny Marshall throughout his trial.

The film inter-cuts video footage from his first trial with clips of his greatest musical moments. Commentary about his oeuvre and brilliance is set as text which you try to read while court dialogue plays at the same time. It's very confusing to catch it all. But the commentary on Spector's "little symphonies for kids" is actually very good, the best part of the movie. The interviewer also handles Spector well and gets some semi-sane conversation from him, mixed with a bit of grandiosity (Spector compares himself to Da Vinci, Galileo, Gershwin, Miles Davis and Irving Berlin) and conspiracy theories (he thinks his enemies from the 1960s and 70s are involved in his latest troubles and is needlessly jealous of Bill Cosby's honorary PhD). But it's not so easy to write Spector off as a lunatic because he has completely lucid, smart and valid things to say about his career. Although he's bitter and a mess, he's right on some points.

It was weird to hear him talk about MTV because I thought he was already a shut-in by the time I was watching MTV. In fact, I was surprised to hear he had met a woman at the House of Blues. I'm too reclusive to frequent House of Blues. What the hell was Phil Spector doing there?

There are about 101 shots of Phil Spector looking like a sad sack, put upon by the system. Testimony to the power of film, this almost drew me info full sympathy with him until I reconsidered all the problems with this documentary and Spector's case:

  • The film too obviously sympathized with Spector. It's in no way a balanced look at the situation. The director asked leading questions, in some cases attempting to give sympathetic answers to Spector, like providing him with a good alternative reason for wearing his hair in an afro to court appearances.
  • The court footage is too highly edited to favor Spector. Court testimony supporting his innocence was given more weight and time than evidence against him: Lana Clarkson's bad, black-face audition reels are dwelt upon whereas a string of former girlfriends with their horror stories of him holding a gun to their faces or mouths were all collaged together in a sweep that implied this wasn't important testimony. Clips chosen of the prosecutor and judge made them look flippant and conspiring.
  • Surely Phil Spector wasn't allowed to comment on the details of his trial but this becomes a big problem for the documentary. Spector never addresses any remorse over the fact that a woman died in his entryway. He is also unable to discusses his history of violence (which includes infamous stories of threats with guns in recording studios, in Ronnie Spector's book and from a plethora of old girlfriends testifying). He complains that if a celebrity is well-liked, the media won't talk about their dark pasts and uses William Shatner as an example, implying Shatner got away with something (the drowning of his third wife) because he's popular. Which is all very possible but that argument implies Spector is equating himself with someone (Shatner) who is getting away with some crime. Is this Spector admitting he's committed a crime? The "other celebrities get away with shit" defense if very creepy.
  • There is evidence to his credit: his white coat and his body did not have any evidence of blood spatter or gun residue which should have been all over him unless he cleaned up quickly. The direction of the head wound could have been self-inflicted and Lana Clarkson was in the midst of a life crisis and hinted at being suicidal. On the other hand, after the shot was fired, the chauffeur saw Spector run out of the house, gun in hand, saying to him, "I think I killed somebody." Lana was sitting on a chair in Spector's entryway with her purse strap over her shoulder. So nothing is conclusive. On the outside, it looks like the director, Vikram Jayanti, made a judgement call based on his admiration of Spector's work (which is weaved throughout the film).

In the beginning of the movie, Spector wonders how his life would have been different had his father not committed suicide when he was 6 years old. I also wonder if Spector would have become less bitter if he had simply recorded himself instead of producing a string of other artists he didn't respect. To his credit and as the film shows, many of those artists couldn't replicate the greatness of his records in their live performances. If Spector had recorded himself and caught what he felt was the deserved credit and adulation....who knows.

Why did women keep going home with Phil Spector? Why did Phil Spector keep finding himself in dysfunctional relationships with women. Why didn't Phil Spector retire into a nice career as a music critic or as an elder statesman of music?

Be warned, there is some sad footage of Lana Clarkson taken by House of Blues surveillance, gory testimony described and her death scene photos are shown, albeit at a distance from the top of the staircase (a staircase from a grim-looking, dark and dated Phil Spector house, a death scene that looked the the entryway of doom).

It's hard to find a moral in this sad, sad story. I guess maybe the "teaching moment" would be if you have a history of playing with guns and scaring women, make sure no woman ever dies from a gunshot wound to her head in your ever. Because karma will f*#k with you.

The posting I watched yesterday has already been taken down due to copyright issues, but you might find a new posting of it by searching for it on the tubes. Phil Spector has spent his time in prison appealing his conviction. His last appeal was denied in 2011.


Album and Children Updates, Old Video and Photo

TwiggyHere is an old photo of Sonny & Cher and Twiggy that popped up on the Internets recently. What clean hair they've all got.

Cher has been tweeting that she has finished her album and this was picked up by many news outlets including The Huffington Post and ABC News Video with the headline, Cher Reaches Out to Young Stars After 12-Year Break.The video remarks that Cher "has made as many comebacks as a Clinton." Ahem...I rather think the Clintons are still in the process of having a Cher-like number of comebacks...if you do that math.

In the same tweet-span, Cher also talked about visiting Chaz in a musical on a break from final album tweaking:

...went to see Chaz in an unbelievable musical! It was so funny and everyone was great! Got home at 12:30...

Chaz is also breaking out in the news cycle this week due to stories about his 60-pound weight loss. The UPI story.


CalendaroutfitI have a long list of video links that I've been meaning to talk over. This one I love for many reasons. According to the post where I found this opening clip of The Sonny & Cher Comedy Hour, "I Need You" is from Episode #28 which aired on November 10, 1972. I don't remember having seen it before. But those outfits I remember because I had a calendar when I was a kid and one month was devoted to S&C in these outfits. I kept the calendar page all these years. That's what a Cher hoarder I am. It's nice to see the video that reminds me of my Cher hoarding problem. Secondly, the video is full of classic Sonny & Cherisms: hair flipping, tongue rolling, wardrHandsobe issues, rocking back and forth, singing to each other (I've noticed Dolly and Porter never so much as looked at each other), Sonny with his hands on his hips, Sonny with his paws all over Cher (see right), lots of whoos, Cher mocking Sonny, Sonny & Cher laughing at some inside joke and lots of polyester perfection. For all these reasons, I consider this video High Period Sonny & Cher.


VCR Alert: More Promo for Cher's Mom's Day Special

Georganne-genhospThis week Cher scholar Dishy sent me links to a recent interview Cher's sister, Georganne LaPiere, gave to Greg in Hollywood. In part one, Georganne talks about life on General Hospital and Greg seems like a legitimate fan of the soap opera.

Part two goes into her reaction to Chaz transgendering, her relationship to Cher (how Cher basically raised her) and all the perks of being Cher's sister, how she got Cher involved in a project with her mom and a hint about what we might be seeing in next month's special.



Read the interviews here:

- Interview Part 1

- Interview Part 2

VCR Alert:

Also Cher News is reporting that Cher and her mom, Georgia Holt, will be appearing on NBC's The Tonight Show with Jay Leno on Tuesday April 30.