Fifties film siren Mamie Van Doren, who just turned 86 years old, blasted the late Bob Hope on FB today, calling him out for taking money in exchange for his tours of war zones, and then never really touring the hot spots like some of his invited entertainers did.
(Image via Facebook)
She also entertainingly posted the pic at the top of this post, zapping him for his ... persistence.
FYI, this is what Mamie looks like TODAY, in her mid-80s:
Carleton Carpenter in fall 2012 (Image by Matthew Rettenmund)
“You know, you and I are gonna be singin' 'Aba Daba Honeymoon' when we're both a hundred years old!”
(GIF via MGM/Matthew Rettenmund/Tumblr @carletoncarpenterfanatic)
So said the late, great Debbie Reynolds to her duet partner and movie co-star Carleton Carpenter over 60 years ago, and while their final performance of the tune together was in 2012 (when she was 80 and he 86), she was right in that their indelible rendition of that old chestnut in the 1950 film Two Weeks with Love was prominently mentioned in every one of Debbie's adoring obituaries. That unforgettable performance only happened thanks to the ingenuity of “Carp,” who recalls duping his boss into thinking it had been his own idea.
Last Live Perf of “Aba Daba Honeymoon” at 5:21:
“That was a whole big ruse,” the 90-year-old actor recalls in a phone interview from his Warwick, New York, home. “I found that sheet music in a pile on top of a piano on the set of the movie, dug that out and thought it would be fun. I put that sheet of music back underneath the whole pile with a little corner hanging out and I waited about two and a half days until Jack Cummings, who was the producer, was on his way in. I got Deb over and I pulled this out and there was someone playing the piano there and I said, 'Don’t bother with any of the beginning stuff, just start here,' and we jabbered away. He came in and walked over to where we were singing and he said, 'You know —' it was hard to keep a straight face! — 'That would be a good number for the two of you…' And I said with the straightest face ever, 'Reallllly?' The rest is history.”
Carpenter & Reynolds performing “Aba Daba Honeymoon” at a Busby Berkeley Thalians tribute in 1971
Carpenter, not a household name except in the households of true cinephiles, has nonetheless made history more than once in his 70-plus-year career, starting with the unprecedented chart success of “Aba Daba Honeymoon” and continuing with his work in early TV, spectacular runs on Broadway and Off- (he took over the lead in the original production of The Boys in the Band), his nonchalant handling of his bisexuality and, now, the publication of his detail-packed memoir, The Absolute Joy of Work: From Vermont to Broadway, Hollywood and Damn Near 'Round the World (BearManor Media, $24.95).
With typical humility, Carpenter chalks up his success to luck and pursuing an acting career with the naïveté of a kid from Vermont who showed up in Times Square 100% convinced he was right for the part — any part, some part.
He says he got his first Broadway show, Bright Boy, fresh off the bus one frigid January in 1944 at age 17. He picked up Actor's Cues for a nickel, went somewhere to grab a bite and found his calling. “They were looking for 17-to-20-year-old guys for a play and I thought, 'I’ll just go get that after lunch.' I got over there and they said it was on the top floor and when I got up there, you heard them rumble from the room and the door opened and the guy was leading somebody out the door and I was there and he said, 'You’re too old!' and took the other actor down. A guy sitting there grabbed the bottom of my heavy winter coat and said, 'They told me the same thing six months ago… and I’m still reading for the part!'”
Carpenter & Michael Dreyfus in Bright Boy (Image via Carleton Carpenter)
That did it. “Off came the coat and I scrunched down behind several people and smoked three or four cigarettes and probably 35 or 40 minutes later the same guy with the slate board in his hand came over and said, 'Hey, you’re next.' I went in and read five different parts and they gave me the show and told me to go into the other room and read it, so I did. Then they told me they wanted me in the show, but they didn’t know what part, and could I come in the next morning? I left and was practically on top of Grand Central, so I picked up my bag and headed for my mother’s second cousin’s place. He asked me how I did and I said, 'I think I have a show.' He said, 'That’s nice.'”
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Burns was besties with David Burns — they were so close he changed his surname to hers — in the '70s, '80s and '90s, forging a bond that was legendary around town, with David instrumental in the running of Wigstock:
Would she and David have enjoyed a different sort of dynamic in any other sort of time or place? Burns demurred. “When you’re kids, you’re kids, no matter when it is—even now.”
Her tale is not so much about that time as it is about their lives at the time. Even though they ran in admittedly fabulous circles—including the fabled Studio 54 and later populated by colorful characters such as prominent drag artists Joey Arias and Lady Bunny (David helped the latter run the raucous and iconic Wigstock annual festival in the late ’80s)—Burns does not claim that hers is the definitive account of the setting. “I don’t go, ‘So we were at this party with Halston and then Liza showed up!’ It was everyone’s world, a smaller world then. There are far more fabulous people with star-studded stories to tell, and I leave it to them to tell.”
Check out Luis Damian Veron's interview with Nora Burns at The Daily Beast, and get your tickets for David's Friendhere.