A Quote by Beth Ditto

I worshipped Ethel Merman and I worshipped Ethel Merman a lot. It's incredible - Ethel Merman was a conventional singer. Her naming her child Ethel Merman, Jr., was, to me, one of the coolest feminist things.
I'm screaming for help and everybody's acting as if I'm singing Ethel Merman covers.
Musicals have clearly gotten more physical. You never saw Ethel Merman doing step aerobics.
My singing voice has sort of an Ethel Merman-type quality: just, like, loud and strong and full.
There have been people who have tried to take advantage of me. They want to be linked to me just because I'm Ethel Merman.
Boy George always told me to stop noodling; he wanted me to belt like Ethel Merman.
I used to be a very serious pianist, and I was one of the snot-nosed classical ones who was appalled by nightmares of Ethel Merman and trombones blasting in the background and who knows what else.
If you do a musical, it's really thrilling and it's a lot of work, but it's very rewarding. I would say, for me, what I like best is what I do, which is, I call it vaudeville, I call it live, I call it in concert, I call it what Bette Midler does, and what Garland did for years, and Ethel Merman.
The three theater peeps I would love to dine with are Mel Brooks, because he is so funny; Stephen Sondheim, because he is a god-like genius; and Ethel Merman, to compare notes on fabulous belting.
Mary Martin was Broadway's biggest closet king. Everyone thought Ethel (Merman) was butch and maybe a lesbian, but she wasn't. And everyone thought that lovely little Mary was Miss Femme, and she was -- except next to her gay husband. In other words, don't judge a star by her cover.
Ethel Merman would stay with a show for years and tour with it. So would Mary Martin, the great stars. They recognized the value of that success and nurtured it. Now, you come from Hollywood, you play 12 weeks and go away. I don't think that's the best policy.
I was in California, and I was going to UCLA, and I knew I certainly didn't have movie star looks. I remember seeing pictures and photos of Ethel Merman and Mary Martin, who were kind of average looking. I said, 'Well, that's for me, then, to go back to New York and try to be in musical comedy on Broadway.'
As far as entertainers, I know I'll sound like a cliché but they don't make 'em, like they use to. Barbra Streisand is one of them, also Frank Sinatra and Tony Bennett. The first theater voice I heard on a record was Ethel Merman and again, they just don't make them like that anymore.
When I moved to New York City in 1965, I wanted to be in theater. I was following my Ethel Barrymore dream. But I was too young to be Ethel.
I am her friend, and her tongue is in my mouth. I can speak her sentiments for her, though Ethel Waters can do very well indeed in speaking for herself.
Ethel said: "Lloyd, there's someone here you may remember-" Daisy could not restrain herself. She ran to Lloyd and threw herself into his arms. She hugged him. She looked into his green eyes, then kissed his brown cheeks and his broken nose and then his mouth. "I love you, Lloyd," she sad madly. "I love you, I love you, I love you." "I love you, too, Daisy," he said. Behind her, Daisy heard Ethel's wry voice. "You do remember, I see.
I was lying in bed this morning and saying to myself, 'the remarkable thing about Ethel is her stupendous self-satisfaction' when in came your letter to confirm this profound psychological observation. How delighted I was!
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