A Quote by Karen Abbott

Gypsy [Rose Lee] is as unique as she is timeless. Her story is classic Americana, and the strangest rags-to-riches saga you'll ever read; I like to call it Horatio Alger meets Tim Burton.
I don't consider 'American Rose' to be a biography so much as a microcosm of 20th-century America, told through Gypsy's tumultuous life - it's 'Horatio Alger meets Tim Burton.'
The oat is the Horatio Alger of cereals, which progressed, if not from rags to riches, at least from weed to health food.
The image of entrepreneurship as the province of the unprivileged and un-entitled - the Horatio Alger, rags to riches myth - flies in the face of reality.
Her sister [June Havoc] said the musical portrayed who Gypsy [Rose Lee] wanted to be before the burlesque thing happened she wanted to be this beautiful, romantic person with dreams. So Gypsy told the story of her life as she wished she'd lived it: embellishing, softening the edges, eliminating certain things altogether.
The cousin said that Gypsy [Rose Lee] took a full fifteen minutes to peel off a single glove, and that she was so damn good at it he gladly would've given her fifteen more. So this story got me thinking, who was Gypsy Rose Lee? Who could possibly take the simple act of peeling off a glove and make it so riveting that one might be compelled to watch this for a full half-hour? So I began researching, and I came across a series of articles from the year 1940 about Gypsy in Life magazine.
When Gypsy was older, after she became Gypsy Rose Lee, I think she was both proud and slightly ashamed of her Seattle roots. She worked very hard to rid her voice of any trace of a local accent, cultivating an affected way of speaking that sounded as if she pinned the ends of her words.
James Taylor may be an all-American boy but he isn't Horatio Alger, and the lionizing of many rock stars by the rock press has as much to do with old fashioned rags-to-riches stories as does the straight culture's deification of its idols.
It was a great challenge to reconstruct Gypsy Rose Lee life, and my interviews with her sister [June Havoc] proved invaluable. It's not often that writers have access to living primary source material; this was the only person who experienced life on the vaudeville circuit with Gypsy during the 1920s, and who saw her perform at Minsky's Burlesque in the 1930s. She knew things that no one else could ever possibly know.
Gypsy [Rose Lee ] was a masterful storyteller, and her memoir and by extension, the musical weren't only Gypsy's monument; they were also her chance for monumental revisionism.
I thought both she [Gypsy Rose Lee] and her story would be ill-served by a conventional, birth-to-death narrative, and so I structured the book like one of her stripteases: revealing a peek of shoulder, then a glimpse of knee, pulling back a bit before you go a bit further, until all is revealed at the end.
I greatly admired Gypsy [Rose Lee] for being able to rise above her circumstances; I was terrified of her; I thought she was generous; I thought she was brilliant; I thought she was cruel.
While some multimillionaires started in poverty, most did not. A study of the origins of 303 textile, railroad and steel executives of the 1870s showed that 90 percent came from middle- or upper-class families. The Horatio Alger stories of "rags to riches" were true for a few men, but mostly a myth, and a useful myth for control.
I felt differently about her [Gypsy Rose Lee] during every phase of the research and writing process. Often, I felt incredibly sorry for her; she had an extremely difficult childhood and a complicated 'to say the least' relationship with her family, her mother especially.
I think Gypsy [Rose Lee] would be appalled at today's rawer, more blatant displays of the female form. She was, in her own way, a prude.
In Gypsy [Rose Lee] the musical, her mother, 'Mama Rose', is portrayed as a slightly eccentric, pushy, ambitious stage mother, but that version doesn't come close to the truth.
She [Gypsy Rose Lee] was a sophisticated self-satirist with a contagious delight in the comedy of sex. She was coy; she was sly; she always had a witty quip; she had an intensely dramatic presence.
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