Tina Turner. The movie What’s Love [etc.] implies that after her divorce she could only get work in hotel lounges prior to her comeback, but the whole reason that a high-power agent was willing to work with her in the first place was because she had a huge audience in Europe and sold out major venues whenever she went there (even post Ike). Had she moved there then, before her U.S. comeback, she’d have still made a good living, but as most of her friends and family were here (and Ike shared custody with their son) and as she was deeply in debt from the divorce and not getting younger, and of course as a matter of professional ambition and vanity, she wanted to top the American charts as that would put her coffers in the black and allow her the freedom to go anywhere. Eventually of course she moved to Europe and lives, I believe, in France now.
The actor/singer Howard Keel (bk4 his fifties musicals like Seven Brides for Seven Brothers and 30 years later for a supporting role in Dallas) was hugely popular in England (I’m guessing with the older/easy listening crowd) where he could sell out venues that he couldn’t get near the equivalent of here. He was one of those performers who would tour Europe in order to keep up his mansion in California.
Leonard Cohen (who I know is Canadian but I’ll broaden the O.P. to ‘North American’) is, according to documentaries and articles I’ve read, hugely popular in Europe, particularly E. Europe. Here he has a cult following but there he’s more like Sinatra or Elvis in his superstar status.
Being more polite than in my previous post, I have somewhere an interview with Eartha Kitt, who said she wasn’t even aware that she’d ticked off LBJ that badly (she said some anti-Vietnam War and other radical notions during a White House luncheon) for years, 'cause she had so many gigs lined up in Europe.
FTR, I don’t really know much about Ms. Kitt, just heard she’s cool. Which just goes to show, she is not well-known in the States.
Supposedly, they also like it because it’s very close to the taste of human flesh.
Conversation from several years ago:
Me: Have you ever tried weed?
Hawaiian Girl: No.
Me: Your Hawaiian ancestors probably smoked weed.
Hawaiian Girl: Well, they also killed and ate Capt. James Cook.
Me: Well, they had the munchies.
[/QUOTE]
Me: Have you ever tried weed?
Hawaiian Girl: No.
Me: Your Hawaiian ancestors probably smoked weed.
Hawaiian Girl: Well, they also killed and ate Capt. James Cook.
Me: Well, they had the munchies.
[QUOTE]
Argent, I declare that you do not possess copyright to that.
Did beauty pageants originate in the US? They go ape shit over the wall for them over here. There’s a beauty pageant for any and every occasion, including at least a couple for transvestites.
It’s probably been surpassed by now by Les Mis and other imports, but for some while Fiddler on the Roof, a 1960s American musical about Jews in 1905 Russia, was the most successful/popular stage play in the history of Japan and still has revivals and regional productions. (Rehearsal of the opening number in a Japanese production It may have been surpassed by now, but for some while Fiddler on the Roof, a 1960s American musical about Jews in 1905 Russia, was the most successful/popular stage play in the history of Japan and still has revivals and regional productions. (Rehearsal of the opening number (Tradition) in a recent Japanese production.)
In the liner notes to one of the soundtracks Sheldon Harnick (author of the book for the play), who along with Stein (music) and Bock (lyrics) looked for backers so long that they almost scrapped the musical (they were told that it would pack ‘em in at yeshiva and JDL fundraisers perhaps but no non-Jewish audience would care less about it, this before it broke records on Broadway and in the West End in the ‘60s of course) described the show’s Japanese success. The producers of the first Japanese production asked him if he had any idea why this show was so popular in NYC because, after all, “it’s so Japanese!”, and you can totally understand why: it’s all about traditions changing, young people going their own way, a staggering defeat [not military in Anatevka, but still life changing], but ultimately “the Fiddler” coming with them wherever they go, or in other words, the same reason it was popular with non-Jews/non-Russians/non-1905ers in America.
.)
In the liner notes to one of the soundtracks Sheldon Harnick (author of the book for the play), who along with Stein (music) and Bock (lyrics) looked for backers so long that they almost scrapped the musical (they were told that it would pack ‘em in at yeshiva and JDL fundraisers perhaps but no non-Jewish audience would care less about it, this before it broke records on Broadway and in the West End in the ‘60s of course) described the show’s Japanese success. The producers of the first Japanese production asked him if he had any idea why this show was so popular in NYC because, after all, “it’s so Japanese!”, and you can totally understand why: it’s all about traditions changing, young people going their own way, a staggering defeat [not military in Anatevka, but still life changing], but ultimately “the Fiddler” coming with them wherever they go, or in other words, the same reason it was popular with non-Jews/non-Russians/non-1905ers in America. (I’m more surprised by the success in Japan of RENT, a s how about slackers (who, though it may be just a cultural stereotype, are a class that seems to epitomize the antithesis of Japanese values).
It’s almost a cliche that so many American musical acts are “so much more popular in Europe then back home, so therefore stupid, closed-minded Americans will never appreciate why they’re so good.” You know, “they were #1 on the Top 40 chart in Italy for 10 weeks, but they only made it to #72 in the States.”
A while ago, I asked about the opposite of the phenomenon; the musical groups that remain in obscurity in their home countries, but which are wildly successful in the US. Can’t remember the responses, though.
Michael Jackson’s singles still appeared in the top ten in Europe after History, which was more or less his US swansong given the paedophilia allegations.
Queensryche mostly had only a cult following here, but all the Germans I knew in 1995 loved them. “Stole my CDs”-type loved.
Archie comics were huge in India (every single newstand had them prominently displayed) up to at least 1992, by which time I understand they’d mostly disappeared from US shelves.
I spent my spring semester of 93 in a small town in Italy, about an hour north of Rome by train. Among the teenagers who lived in the village, American high school letter jackets (the genuine article, I assume, and not locally made imitations) were a highly prominent fashion trend. As I gather, it mattered not what school was represented, nor which clubs, awards or activities were being advertised – it was therefore not unusual to see ultra-macho studs strolling through the piazza wearing jackets that proclaimed their accomplishments with the glee club, ladies’ tennis team, cheerleading squad, etc.