For The Record

But for this image, I might never have discovered that Christopher Isherwood really

thought Sally Bowles had to be a way shittier singer than the jaw-dropping humdinger

Liza Minelli immortalized in Cabaret because some WHERE over the Atlantic, talent

like that goes directly to the star-crossed, gleaming marquee's of Broadway & the West End,

and not to pseudo-whoring part-time in bedbug infested cellars in failing economies for

lots of exciting sin in destitute post-WWI Berlin. But I also saw Ms Wolfe (before the mention

of Anne Hathaway) as a dead ringer for Catherine Zeta-Jones in Chicago (1975) with the long

cigarette holder made famous by Sally Bowles in the Kit Kat Klub milieu, along with that

trademark highly-mobile beauty mark, but apart from the inescapable magnetism of fal-

len showbusiness women in the similar pettanko forms of Sally Bowles and Velma Kelly,

why Fosse?

and how does Sweet Charity (1966) figure into the All That Jazz (1979) About Eve (1950)

of it all with Anne Hathaway's Fantine in Les Misérables (2012) & Renée Zellweger's Roxie

Hart who horns in like Anne Bancroft on Bette Davis' eyes just want to spread all my confusions out there

For The Record

with a dash of His Girl Friday (1940) & Stage Door (1937) to The Women (1939) with a

heaping helping of my Thanks for the memories this fascinating photograph stoked.