My head and pulls on my gloves. one night as i'm dressing, i realize that the stage is absolutely quiet. normally, i can hear the music, which i now know by heart, playing and in this case, the dancers' taps. i lift the skirt of my gown and tiptoe over to the wings. peeking out, i see the dancers' lips moving and their feet too, but still no sound. later my dresser tells me that i'm the only artist singing live, everyone else is taped. even the taps are taped! my singing is taped too, but i would never dream of lipsynching every night, just on general principles. the backstage is never pretty except maybe in films and the folies is no exception. no air conditioning or circulation. my first summer and it is hot. all the windows are open wide and dancers are hanging out of each one except mine. in the middle of this unbearable heat, my dresser arrives with a floor-length white fur cape and matching togue-style hat. seems that mister gyamarthy has the bright idea that i should sing "my man" in this outfit as of tonight. without a moment of thought i tell the dresser to tell mister gyamarthy, "no way, " and that's that. i don't hear of this outfit ever again. then madame martini asks me my shoe size. we both wear 39 1 2. she seems happy to hear that and the next night i get a call to go down to her office before the show. when i arrive she hands me a large shopping bag filled with designer shoes, all almost new and in my size. trouble is, they're all spike-heeled. maybe some years ago i flattered my legs with heels that high, but that was long ago and far away, as the song says. madame tells me her couturier, per spook, forbids her to wear these heels now. well, i say, thank you very much, but my designer tells me the same thing. "manda", she says, "i'm only trying to make you look more beautiful." i can't argue with that, but i also can't inflict those shoes on my tired ex-dancer's feet. mostly the show goes smoothly like it's on roller skates. everything is planned and choreographed down to the last minute. sometimes people get bored and try to break out a bit--like the night when the male dancers, who usually stood in the wings and clapped their hands during my numbers, danced onto the stage during "oh happy day". we had a great time singing and clapping our hands and dancing. after the show, mister gyamarthy stopped me, saying that never in the history of the.
4.2.2. estimation using various specifications of the estimated propensity scores table 6 also shows estimates of 0 and 1 controlling for various functional forms of the estimated propensity scores. in addition to the basic model in equation 5 ; , all regressions from columns 1 ; to 6 ; include the estimated propensity scores, and the interaction of the deviation of individual propensity score from the mean propensity score and the winning status. in addition, column 2 ; controls for the quintic polynomial of the estimated propensity scores; column 3 ; controls for the quintic polynomial of the estimated propensity score, the dummies of balancing block, and the interaction of propensity score and lottery dummies; column 4 ; includes all controls in column 3 ; , and additionally.

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