wind beneath my wings karaoke
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Born in Honolulu, Hawaii, Midler began her professional career in several Off-Off-Broadway plays, prior to her engagements in Fiddler on the Roof and Salvation on Broadway in the late 1960s. She came to prominence in 1970 when she began singing in the Continental Baths, a local gay bathhouse where she managed to build up a core following. wind beneath my wings karaoke
Since 1970, Midler has released 14 studio albums as a solo artist. Throughout her career, many of her songs became hits on the record charts, including her renditions of “The Rose”, “Wind Beneath My Wings”, “Do You Want to Dance”, “Boogie Woogie Bugle Boy”, and “From a Distance”. In 2008, she signed a contract with Caesars Palace in Las Vegas to perform a show titled Bette Midler: The Showgirl Must Go On, which ended in 2010. wind beneath my wings karaoke
Midler made her motion picture debut in 1979 with The Rose, which earned her a Golden Globe for Best Actress, as well as a nomination for the Academy Award for Best Actress. She has since starred in a number of hit films, which include: Down and Out in Beverly Hills (1986), Ruthless People (1986), Outrageous Fortune (1987), Big Business (1988), Beaches (1988), Hocus Pocus (1993), The First Wives Club (1996), The Stepford Wives (2004), and Parental Guidance (2012). She also starred in For the Boys (1991) and Gypsy (1993), winning two additional Golden Globes for these films and receiving a second Academy Award nomination for the former. wind beneath my wings karaoke
In a career spanning almost half a century, Midler has won three Grammy Awards, four Golden Globes, three Emmy Awards, and two Tony Awards. She has sold over 30 million records worldwide, and has received four Gold, three Platinum, and three Multiplatinum albums by RIAA.
Midler’s latest work included appearing on Broadway in a revival of Hello, Dolly!, which began preview performances on March 15, 2017 and premiered at the Shubert Theatre on April 20, 2017. It was her first leading role in a Broadway musical. On June 11, 2017, Midler received the Tony Award for Best Actress in a Musical for the title role in Hello, Dolly!.
Bette Midler was born in Honolulu, where her family was one of the few Jewish families in a mostly Asian neighborhood. Her mother, Ruth (née Schindel; 1916-1979), was a seamstress and housewife, and her father, Fred Midler (1912-1986), worked at a Navy base in Hawaii as a painter, and was also a housepainter.Both parents were born in New Jersey. She was named after actress Bette Davis, though Davis pronounced her first name in two syllables, and Midler uses one. She was raised in Aiea and attended Radford High School, in Honolulu. She was voted “Most Talkative” in the 1961 school Hoss Election, and “Most Dramatic” in her senior year (class of 1963).Midler majored in drama at the University of Hawaii at Manoa but left after three semesters. She earned money in the 1966 film Hawaii as an extra,playing an uncredited seasick passenger named Miss David Buff.
Midler married artist Martin von Haselberg on December 16, 1984, about six weeks after their first meeting. Their daughter, Sophie von Haselberg, who is also an actress, was born on November 14, 1986.
Midler relocated to New York City in the summer of 1965, using money from her work in the film Hawaii. She landed her first professional onstage role in Tom Eyen’s Off-Off-Broadway plays in 1965, Miss Nefertiti Regrets and Cinderella Revisited, a children’s play by day and an adult show by night.From 1966 to 1969, she played the role of Tzeitel in Fiddler on the Roof on Broadway. After Fiddler, she joined the original cast of Salvation in 1969. wind beneath my wings karaoke
She began singing in the Continental Baths, a gay bathhouse in the Ansonia Hotel, in the summer of 1970. During this time, she became close to her piano accompanist, Barry Manilow, who produced her first album in 1972, The Divine Miss M. It was during her time at the Continental Baths that she built up a core following. In the late 1990s, during the release of her album Bathhouse Betty, Midler commented on her time performing there, “Despite the way things turned out [with the AIDS crisis], I’m still proud of those days. I feel like I was at the forefront of the gay liberation movement, and I hope I did my part to help it move forward. So, I kind of wear the label of ‘Bathhouse Betty’ with pride.” wind beneath my wings karaoke
Midler starred in the first professional production of the Who’s rock opera Tommy in 1971, with director Richard Pearlman and the Seattle Opera. It was during the run of Tommy that Midler first appeared on The Tonight Show.
Midler released her debut album, The Divine Miss M, on Atlantic Records in December 1972. The album was co-produced by Barry Manilow, who was Bette’s arranger and music conductor at the time. It reached Billboard’s Top 10 and became a million-selling Platinum-certified album, earning Midler the 1973 Grammy Award for Best New Artist. It featured three hit singles—”Do You Wanna Dance?”, “Friends”, and “Boogie Woogie Bugle Boy”—the third of which became Midler’s first No. 1 Adult Contemporary hit. “Bugle Boy” became a successful rock cover of the classic swing tune originally introduced and popularized in 1941 by the Andrews Sisters, to whom Midler has repeatedly referred as her idols and inspiration, as far back as her first appearances on The Tonight Show Starring Johnny Carson. Midler told Carson in an interview that she always wanted to move like the sisters, and Patty Andrews remembered: “When I first heard the introduction on the radio, I thought it was our old record. When Bette opened at the Amphitheater in Los Angeles, Maxene and I went backstage to see her. Her first words were, ‘What else did you record?'” During another Midler concert, Maxene went on stage and presented her with an honorary bugle. Bette recorded other Andrews Sisters hits, including “In the Mood” and “Lullaby of Broadway”. wind beneath my wings karaoke
Midler at the premiere of her feature-film starring debut, The Rose, in 1979.
Her self-titled follow-up album was released at the end of 1973. Again, the album was co-produced by Manilow. It reached Billboard’s Top 10 and eventually sold close to a million copies in the United States alone. Midler returned to recording with the 1976 and 1977 albums, Songs for the New Depression and Broken Blossom. In 1974, she received a Special Tony Award for her contribution to Broadway, with Clams on the Half Shell Revue playing at the Minskoff Theater. From 1975–1978, she also provided the voice of Woody the Spoon on the PBS educational series Vegetable Soup. In 1977, Midler’s first television special, whose title, Ol’ Red Hair is Back, was a takeoff on Frank Sinatra’s Ol’ Blue Eyes Is Back, premiered, featuring guest stars Dustin Hoffman and Emmett Kelly. It went on to win the Emmy Award for Outstanding Special — Comedy-Variety or Music.
1981, in Amsterdam promoting the film Divine Madness (1980)
Midler made her first motion picture in 1979, starring in the 1960s-era rock and roll tragedy The Rose, as a drug-addicted rock star modeled after Janis Joplin. That year, she also released her fifth studio album, Thighs and Whispers. Midler’s first foray into disco was a commercial and critical failure and went on to be her all-time lowest charting album, peaking at No. 65 on the Billboard album chart. Soon afterward, she began a world concert tour, with one of her shows in Pasadena being filmed and released as the concert film Divine Madness (1980). wind beneath my wings karaoke
Her performance in The Rose earned her a nomination for Academy Award for Best Actress, a role for which she won the Golden Globe for Best Actress (Comedy or Musical). The film’s acclaimed soundtrack album sold over two million copies in the United States alone, earning a Double Platinum certification.The single version of the title song, which Amanda McBroom had written and composed, held the No. 1 position on Billboard’s Adult Contemporary chart for five consecutive weeks and reached No. 3 on Billboard’s Hot 100. It earned Midler her first Gold single and won the Grammy award for Best Pop Vocal Performance, Female. wind beneath my wings karaoke
1981–1989: “Wind Beneath My Wings”, Beaches, and chart comeback
Midler worked on the troubled comedy project Jinxed! in 1981. However, during production, there was friction with co-star Ken Wahl and the film’s director, Don Siegel. Released in 1982, the film was a major flop. Midler did not appear in any other films until 1986, however, she was an early choice for Miss Hannigan in the 1982 film Annie. During those four years, she concentrated on her music career and in 1983, released the album No Frills, produced by Chuck Plotkin, who was best known for his work with Bob Dylan and Bruce Springsteen. The album included three single releases: the ballad “All I Need to Know”, a cover of Detroit native Marshall Crenshaw’s “You’re My Favorite Waste of Time”—which Midler fell in love with after flipping his 45 of “Someday Someway”—and Midler’s take on the Rolling Stones cover “Beast of Burden”. She also released an all-comedy album (with a few songs tied into the comedy) called “Mud Will Be Flung Tonight” in 1985.
Midler performed on USA for Africa’s 1985 fund-raising single “We Are the World”, and participated at the Live Aid event at JFK Stadium in Philadelphia.Also in 1985, she signed a multi-picture deal with the Walt Disney Studios, where she starred in a string of successful films produced by the studio’s newly formed Touchstone Pictures division. She also produced them through her production banner, All Girl Productions with producing partner Bonnie Bruckheimer. She was subsequently cast by director Paul Mazursky in Down and Out in Beverly Hills, beginning a successful comedic acting career. She followed that role with several more Touchstone comedies, Ruthless People (1986), Outrageous Fortune (1987), and Big Business (1988). Later in 1988, Midler lent her voice to the animated character Georgette, a snobbish poodle, in Disney’s Oliver & Company, and had a hit with the tearjerker Beaches, co-starring Barbara Hershey. The accompanying soundtrack remains Midler’s all-time biggest selling disc, reaching No. 2 on Billboard’s album chart and with U.S. sales of four million copies. It featured her biggest hit, “Wind Beneath My Wings”, which went to No. 1 on Billboard’s Hot 100, achieved Platinum status, and won Midler her third Grammy Award – for Record of the Year – at the 1990 telecast.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s[not verified in body] as a softer alternative to rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular and includes many styles. “Pop” and “rock” were synonymous terms until the late 1960s, when they were increasingly used in opposition from each other. wind beneath my wings karaoke
Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as the common use of repeated choruses, melodic tunes, and hooks.
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”.According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”. Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately. Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. Musicologist Allan Moore surmises that the term “pop music” itself may have originated from Pop art. Additionally, it’s important to note that pop music is always evolving, which means that the definition of pop music can change, too. It’s also important to be cognizant of the distinction between pop music and popular music. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as “the music since industrialization in the 1800’s that is most in line with the tastes and interests of the urban middle class.”
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However,[editorializing] the term was in mainstream use[not in citation given] at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”. The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.
From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste”. It is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is, “provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below … Pop is not a do-it-yourself music but is professionally produced and packaged”.
, “You’ve Lost That Lovin’ Feelin'” ranks as the most frequently played song in US radio history, described by music writers Nick Logan and Bob Woffinden as “the ultimate pop record”.
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According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities. Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms. wind beneath my wings karaoke
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse. The beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.” Clich?s include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.
Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently[when?] appropriated spoken passages from rap. According to Robert Christgau in 2014, pop music worldwide is permeated by electronic dance music.
A Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found less variety in pitch progressions, growing average loudness levels, less diverse instrumentation and recording techniques, and less timbral variety, which declined after reaching a peak in the 1960s. Scientific American’s John Matson reported that this “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.”
Left, Michael Jackson in 1984; right, Madonna in 2008
In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’. Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”.In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music. By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.
The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred. Between 1950 and 1970, there was a debate of pop versus art. Since then, certain music publications have embraced its legitimacy. According to Popmatters’ Robert Loss: “There’s a strong argument for the ‘rockist’ mode in music criticism—that it exists, and that it’s harmful—and poptimism has positioned itself as a corrective, an antidote. … In general the Old Guard of rock critics and journalists is depicted as a bunch of bricklayers for the foundations of the Rock and Roll Hall of Fame. True in part, which is to say, false. Like film studies, rock criticism of the late ‘60s and the ‘70s was an attempt to make popular music worthy of study; it was poptimism before its day.”
The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era.
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics. Some of these trends (for example Europop) have had a significant impact of the development of the genre. wind beneath my wings karaoke
According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”. Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA. The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of