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This Iconic Bette Midler Hit Was Initially Rejected Multiple Times
Bette Midler's 1980 rendition of 'The Rose', composed by Amanda McBroom, became an iconic ballad despite significant industry resistance. McBroom conceived the melody while driving, quickly composing it at her piano after being inspired by another artist's work. The song's gentle, introspective lyrics about love and resilience stood in stark contrast to what film producers expected, leading them to dismiss it as unsuitable for the Janis Joplin biopic soundtrack.
The track's path to prominence hinged on persistent advocacy from Paul Rothchild, the film's music supervisor and former producer of Janis Joplin. After being rebuffed twice by producers, Rothchild sent the composition directly to Midler, who recognised its merit and pushed for its inclusion. Her championing of the song proved decisive; it not only reached number one but also secured Midler a Grammy nomination and established itself as a durable standard, later covered successfully by Conway Twitty on the country charts.
In short
- Amanda McBroom wrote 'The Rose' for a 1980 Janis Joplin biopic; film producers rejected it as dull and uncommercial
- Music supervisor Paul Rothchild championed the song to Bette Midler, who advocated for its inclusion, making it a chart-topping hit
- The song earned Midler a Grammy nomination and was later covered by Conway Twitty as a country No. 1
Explained simply
'The Rose' is a ballad composed by Amanda McBroom and famously performed by Bette Midler in 1980. The gentle, introspective song about love and resilience became one of Midler's signature pieces and an enduring standard in popular music.
Despite its eventual success, the song faced significant rejection when first pitched for a biopic about jazz legend Janis Joplin. Film producers dismissed it multiple times, believing it unsuitable for the soundtrack and at odds with what they wanted for the film.
The song's fortunes changed because of Paul Rothchild, the film's music supervisor, who persistently advocated for its inclusion. After producers rejected it twice, Rothchild sent the composition to Bette Midler, who recognised its quality and championed it, ultimately securing its place in the film and launching it to chart success.
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