Podcasts about Dorothy Fields

Next week, there's no business like show business as Maris and Mackenzie dive into the classic musical Annie Get Your Gun! Maris reminisces about her time performing in the show, and together they explore how the ending has evolved over the years. They also unpack how the musical began as the passion project of Dorothy Fields—before creative control was ultimately taken from her.All this and doin' what comes natur'lly on next Friday's all new episode!Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

I attended the Wednesday, March 26, 2025 Herb Alpert and the Tijuana Brass concert at the Goodyear Theater in Akron, Ohio.  Yes, Herb is still touring at 89 years old. Yes, I was excited to see him again.  Obviously, I can't can't record the show. That's why I'm going to do something the FM radio stations did when I was younger. After a show, they would play the entire set list in order. Sit tight. This will be a long episode. So get ready to hear one of the most influential artists in music recording, art, and philanthropy in Volume 222: A TJB Concert Rewind. Promised link for Lani Hall bio.  Credits and copyrights The Lonely Bull (El solo toro) Written-By – Sol Lake The Lonely Bull (El solo toro) 1962 Work Song Written-By – Nat Adderley and Oscar Brown, Jr. SRO 1967 Memories of Madrid Written-By – Sol Lake What Now My Love 1966 Whipped Cream Written-By – Naomi Nevillev Whipped Cream and Other Delights 1965 Spanish Flea Written-By – Julius Wechter !!Going Places!! 1965 A Banda Written-By – Chico Baurque De Hollanda Herb Alpert's Ninth 1967 Ladyfingers Written-By – Toots Thielemans Whipped Cream and Other Delights 1965 Lollipops and Roses Written-By – Tony Velona Whipped Cream and Other Delights 1965 Bittersweet Samba Written-By – Sol Lake Whipped Cream and Other Delights 1965 Mexican Shuffle Written-By – Sol Lake South Of The Border 1964 Tangerine Written-By – Johnny Mercer, and Victor Shertinzer Whipped Cream and Other Delights 1965 I'm Getting Sentimental Over You (The Dorsey Brothers Orchestra cover) Written-By – George Bassman !!Going Places!! 1965 Love Potion No. 9  (The Clovers cover) Written-By the writing team of Jerry Leiber and Mike Stoller Whipped Cream and Other Delights 1965 This Guy's in Love With You Vocals – Herb Alpert Written-By – Burt Bacharach and Hal David The Beat Of The Brass 1968 Tim Dom Dom (with Lani Hall) Written by Brito Clodoaldo and Luiz Joao Mello Herb Alpert Presents Sergio Mendes and Brasil '66 1966 One Note Samba Sergio Mendes and Brasil '66 (with Lani Hall) Herb Alpert Presents Sergio Mendes and Brasil '66 1966 The Fool on the Hill (The Beatles cover) (with Lani Hall) Sergio Mendes and Brasil '66 Fool on the Hill 1968 Mas que nada written by Jorge Ben Jor (Jorge Ben Jor cover) (with Lani Hall) Herb Alpert Presents Sergio Mendes and Brasil '66 1966 Rise Written-By – Andy Armer, Randy Badazz Alpert (Herb's nephew) Rise 1979 Solo A Taste of Honey - TJB Written-By – Bobby Scott, and Ric Marlow (Scott Cover) Whipped Cream and Other Delights A Taste of Honey - Solo Midnight Sun 1992 Zorba the Greek Written-By – Mikis Theodorakis !!Going Places!! 1965 Smile Written-By – Charles Chaplin, Geoffrey Parsons, and John Turner Midnight Sun 1992 What Now My Love (Gilbert Bécaud cover) Written-By – Carl Sigman, Gilbert Bécaud What Now My Love 1966 A Banda (Reprise) (with band intros) Tijuana Taxi Written-By – Ervan Coleman !!Going Places!! 1965 On The Sunny Side of the Street written by Dorothy Fields, and Jimmy McHugh Sunny Side Of The Street 2022 I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #herbalpert #herbalpertandthetijuanabrass #musicalmemories #musichistory #vinylcollecting #vinylrecords #fyp

Daniel SeidmanComposer & Co-LyricistDr. Daniel Seidman is a licensed clinical psychologist practicing in New York City. Dan started playing in a band at the age of 12 at the Cafe Wha in Greenwich Village. At the age of 15, he toured the U.S. and Canada playing Hammond organ for Chubby Checker. He completed a year as a composition major at the Berklee College of Music in Boston in 1972-1973, and a B.A. in History from SUNY Binghamton. He received a Ph.D. from Columbia University in 1988, and subsequently joined the faculty at Columbia University Medical Center (CUMC) where he taught, practiced psychology, and did research for 30 years. He retired from Columbia in June of 2018. Fifth Avenue the musical originally grew out of Dan's combined interest in jazz and history. Discussions with a history professor Albert Fried about the immigrant experiences of the Irish, Jews, Italians and in more contemporary times, Blacks, Hispanics and the Chinese provided insight into the “dark side” of the American dream and its “underworld culture”. This is the story Fried tells in his book “The Rise and Fall of the Jewish Gangster in America” (Columbia University Press). After college, Dan began composing the music for "Fifth Avenue" while employed by the Shubert Organization in New York City. He met Susan Crawford, who wrote the book and co-wrote the lyrics for Fifth Avenue, in 1979. They were married in 1984 and are now the proud parents of two grown sons. Susan CrawfordBook Writer and Co-LyricistMy theater life began at 13 in my hometown's Shakespeare Festival. It evolved into much acting from then into my 30's. It soon overlapped with an interest in playwriting, and I finished my first play at 24. Eventually writing overcame acting for me. For that I studied with Arthur Kopit and John Guare; lyric writing at the ASCAP workshop, and with Sheila Davis, and Dorothy Fields. Around that time I co-developed the continuity for Ned Sherrin for “Only In America” songs by Leiber and Stoller. It ran at the Roundhouse in London, and was a distant antecedent to what became “Smoky Joe's Cafe.” “Dollars to Doughnuts, a Comedy for the 99%” was my master's thesis in the CCNY Graduate Writing Program where I studied with Arthur Kopit. It was a finalist in the O'Neill Playwriting Conference the year it was finished (under the title "Lotto"). For the summer 2022 season, it was selected by Theatre for the New City's “Dream Up” Festival where it was workshopped and is now being submitted for production. My one-act "Place Settings" was selected for the Chain Theatre's 2023 Winter One-Act Festival, and is also available for production.R.K. GreeneProducer and Executive Director of The StoryLine Project, LLC, a theatrical production company developing new shows. Shows include: * "Beau The Musical" by Lyons & Pakchar now an award-winning feature-length motion picture; * "Fifth Avenue" in development by Susan Crawford & Daniel Seidman* "Harmony" by Barry Manilow and Bruce Sussman on Broadway; * "Farinelli and the King" with Mark Rylance on Broadway;* "Terms of Endearment" with Molly Ringwald Off-Broadway and licensing thru Playscripts;* "A Time to Kill" with Patrick Page, Tonya Pinkins, Tom Skerritt, Fred Thompson and John Douglas Thompson on Broadway; * "Peter and the Starcatcher" winner of five Tony awards and now an Australian Tour in 2024-25; * "Cougar The Musical" Off-Broadway and licensing thru Concord Theatricals;* "Love Child" with Daniel Jenkins and Robert Stanton Off-Broadway and licensing thru Playscripts;* "Room Service" Off-Broadway. See https://www.storylineproject.com/Fifth AvenueWhat happens when your American Dream keeps getting caught up in other peoples' schemes?  Max and Willy borrow money to go legit and open a nightclub during prohibition offering ‘Fifth Avenue' class in NYC's Hell's Kitchen.  Meanwhile the younger generation chase their own versions of the ‘American Dream.'

Welcome to the One CA Podcast. I'm your host, Jack Gaines.  Today, Colonel Andreas Eckel, commander of the NATO CIMIC Center of Excellence, joins us to discuss the center's work to prepare the alliance for future crises or disasters.    So, let's get started.  --- One CA is a product of the civil affairs association  and brings in people who are current or former military, diplomats, development officers, and field agents to discuss their experiences on the ground with a partner nation's people and leadership. We aim to inspire anyone interested in working in the "last three feet" of U.S. foreign relations.  To contact the show, email us at CApodcasting@gmail.com  or look us up on the Civil Affairs Association website at www.civilaffairsassoc.org --- Special thanks to Jan Křtitel Novák, Jimmy McHugh, and Dorothy Fields for the original version of Diga Diga Do, which aired in 1928 and was then performed by Duke Ellington.  Ellington's version can be found at https://www.youtube.com/watch?v=e3aJ_9IAIjQ&t=1s --- Transcript 00:00:05 JACK GAINES Welcome to the One CA podcast. This is your host, Jack Gaines. Today, Colonel Andreas Echel, commander of the NATO Civic Center of Excellence, joins us to discuss the center's work to prepare the alliance for future crisis and disasters. So let's get started. 00:00:19 ANDREAS ECKEL What we need to understand a little bit better, and I think that was a very brutal lesson we identified in Afghanistan and in Mali as well, is that military functions in different societies. very, very differently. We have an idea how military looks like and how it works. It might work more the Italian style or the German style or the US style. But basically, I think we have a common set of ideas how military works. And military works completely different in Mali than in Afghanistan than in Germany. And that is based on different societies. So how do we figure that out? It's a very good question. If I had a quick and sharp answer to that one, I think I would be the winner of the $1 million question. There are some ingredients to tackle that problem. And one of the ingredients is to understand the environment a little bit better. And that leads to civil military cooperation. The one centerpiece of civil military cooperation is to understand the environment better. to nest military activities in the civil environment in a better way. It creates more converging effects and creates less harm to the civil population. And I think the next thing is you need to have long -lasting relationships. Relationship that is built up, that's great. If it lasts one year, that's great. And if you just end it then, Basically, you have achieved almost nothing. So long -lasting relationships and to understand the civil environment better. And we have to understand that we are not the ivory tower of knowledge. What do we know? What does the military know about Mali and Afghanistan? Basically nothing. We have to be more and better in contact with the civil organizations, with academia, with knowledge centers. that are engaged in those areas since 20, 30, 40, 50 years. And we have to be in a dialogue with them and have to extract their knowledge about the key civil factors and have to integrate that better in military considerations. 00:02:32 JACK GAINES So you have to be a diplomat in two directions because you've got to be reaching out to the partner nation like Mali, working with her counterparts there. You have to be a diplomat with partner agencies within the government and academia, as you were saying, or else you're going to miss a step. So you really have to work your way across the spectrum. 00:02:52 ANDREAS ECKEL Yeah, I like your picture of being a diplomat because exactly as you mentioned, it's a diplomat in both ways, but you have to be a translator as well. So civil environment, civil actors, civil counterparts speak a different language than we. And we really have to make sure that what they say. is understood by the military and what the military means properly translated in how the civilians understand it. 00:03:17 JACK GAINES You know, and that's a good point because I've seen civil affairs civic officers come in and try to brief leadership on certain issues. And if it wasn't absolutely clear and in the language that that matter knew, they usually were dismissed and it wasn't as effective an operation because of it. 00:03:34 ANDREAS ECKEL And by the way, at the beginning of my career in the military function of CIMIC, it happened to me too. So one of my first appearance of the stage briefing the commander about some civil factors was a complete disaster because I underestimated how many minutes I only have to bring over some key messages to the commander. So I talked too long and did not come to the point. And I think that's the point where the CCOE is really in a responsibility. We have to provide in our courses the overview, the background, and we provide expertise and challenge them with tasks to apply the expertise. But at the very end of every course, we tell them, hey, CIMIC is important, and it is important to understand the environment, and it is important to integrate civil factors and military considerations. However, when you are confronted with decision makers, Your product needs to be crisp and sharp. If you provide a product to your commander, which exceeds three pages, then you can throw it in the dustbin. By the way, one page is better than three pages. And I think simakers have the tendency, and I include myself specifically into that one, to speak too long and to explain too long and not to come to the point. And if at the end of your statement there is no so what and what's next, well, then don't say anything. That's better. 00:05:08 JACK GAINES Well, for this podcast, I appreciate you speaking too much. That's a good thing. But I also understand it's a challenge, but once you get used to it, I think it's super, super helpful. 00:05:19 ANDREAS ECKEL helpful. What we both concluded coming to the point should not be mixed up with not doing your analysis. Only because you have two minutes to brief your commander about a major actor that will impact his operation. doesn't mean that your analysis should only be two minutes. So you have to provide the analysis for an in -depth briefing, if required, to integrate that knowledge and your assessment in the staff work of the other branches. So it needs to be both a very in -depth, precise analysis and assessment. And then it is your time on the stage. The light will shine on you for two minutes. That's it. 00:05:59 JACK GAINES That brings up a story on my side. sent one of my pitch decks to a former boss. And he took it, he read it, and then he read all of the sources that I had put in the back. And so he knew the subject just as well as I did when we met. And I was like, holy cow. Yes, it's important to do good research before you put together your summary because you never know how deep somebody's going to dive into an issue. And if you've done bad research and they catch it, you're done. So one of the things that... Being that diplomat, both to the military and to other government bodies. One thing that I found at the Strategic Foresight Conference, and it was in your report as well, is that SIMIC needs clarification of capabilities in peace and crisis. And what feedback I got from meetings was that not all militaries have a strong relationship with their public. That's a big concern because if a military doesn't have the trust. When you get to a crisis or a disaster, you've got to really overcome a lot in order just to provide aid and support. 00:07:07 ANDREAS ECKEL Yeah, that's a crucial point. I have two takes on that. The first one is we have nations that do allow, on the very lowest tactical level, the interaction between military and the civil world. But it is a question of being honest to ourselves. That is not applicable in all countries. Our countries in the alliance are very restrictive interaction with civil environment, with civil authorities, at least on the lower tactical level. And that brings me to my second point. It's a national responsibility. So when we talk about CIMIC as a military function, then we have to look at it from two sides. One is NATO CIMIC is embedded in a NATO command structure, NATO force structure. However, NATO is operating. on the soil of sovereign nations. So we promote and stimulate that nations build up, maintain, and integrate a kind of simic capability. We call that domestic simic. We made a proposal for what domestic simic is. However, nations are completely free to fill that skeleton with their structures. They can call it a domestic simic. They can call it territorial forces. They can call it Homeland Defense Forces. It doesn't matter how they fill in that skeleton as long as they do provide civil factor integration, as long as they execute civil -military interaction. And for the Alliance as a whole to plan and prepare and conduct successful operations, we need to plug in to the national simic domains and the domestic simic domains. And we have to do that. via the national military structures. So what we do in deterrence and defense -related scenarios is a little bit differing from what we have done in international crisis management in the past. When CIMIC teams from the alliance or whatever security force was implemented in that, we very often did the civil -military interaction with civil partners on the ground by ourselves without using any layer in between us. But when we do that now as NATO in Germany and Poland, Lithuania, Romania, and we have to plug into their military structures and via them with the civil actors on the ground. And nations consider that very differently. So there are nations that say, hey, great that you're in. Please feel free to speak to our civil organizations by yourself. It would be nice if you inform us afterwards. Everything's great. The nations are more restrictive and say, hey, guys. a ministry, whenever you talk to an organization, whenever you talk to civil partners, please do that via us and ask us first. So there is a variety of how nations would like to have that executed, and we as Symmakers have to adapt. 00:10:08 JACK GAINES Right. What I've seen is that disaster relief and crisis coordination between the military and the civil governments is fairly good, but I'm not seeing the emotional side as much. What I mean is, We just had the Marine Corps Marathon. And people all crossed D .C. and around the country came. They ran their 24 miles. These kind of military events where people go, they see some type of form of patriotism, honor guards at sporting events or marathons or the military band performing on the park plots. Those things make a difference. And I don't know if that was also included in your... Have you seen anything like that? 00:10:55 ANDREAS ECKEL In the last years, when we talked about the use of military assets in our nations, it was to overcome disasters. It was to provide military assistance to civil organizations to overcome flooding, fires, or whatever. But the situation has changed a little bit. And now it is not so much about military assistance in case of man -made big disasters. It's more about civil defense. It's more about stimulating the civil support to military operations and the mutual support in case of crisis and war. And I think that notion is quite new to many European countries. In Germany, it was... support of the military to the civil authorities in case of disasters. But when you look into Sweden, Norway, and Finland, they have since decades a kind of total defense strategy. They have a DNA about that the whole of the nation needs to be ready to defend the nation. And that starts already when you go into your cellar. Is there water? Is there food? Are there batteries? And when you do that in Finland, Sweden, Norway, the answer is yes, there is food and there is water. And I was quite astonished. A couple of years ago, I had a NATO course in Helsinki. At that time, when Helsinki was still a NATO partner and not a NATO nation. And it was an exported course from NATO School of Ammergau. And during the weekend, we had the opportunity to visit Helsinki. And we... came across a protection infrastructure was located to protect the civilians. And the lady asked us, do you have an idea for how many citizens of Helsinki we have shelter? And I said, well, 50%. And she was smiling and she was collecting all the numbers. And then she came up and said, for every citizen in Helsinki, there is shelter. And that's the difference. A regularly trained system of civil defense. And military defense working hand in hand. I think that makes a difference. And I see that coming up in Europe. And again, I would like to use the example of Germany. Since the last couple of years, a lot of more effort has been put into the training and the exchange of information and the exercising of those structures. And I think we are getting there. The point is... When you have dismantled those structures, those strategies since 1990, because our enemy was disappearing, never disappeared. He was just dormant and has been woken up a couple of years ago. But to reinstall that, reactivate that, revitalize that, that takes years and years. So we are at the beginning. I'm a very optimistic person. I strongly hope that we are getting to a point quick enough that when The Russian beer is looking again to Europe when he has solved his problem in Ukraine, that we are ready at that point. And there are substantial measurements that we need to be ready latest in four to five years. And CIMIC plays a role in that because your armed forces can be as good as possible when the civil environment is vulnerable and stays vulnerable and is not able to absorb shocks and to compensate the shocks at a better level after the shock. then you will lose the conflict. That's crystal clear. Even in that time in 2023, where it seemed, at least for some time, that the Ukrainians have regained the initiative, the Russians did attack the civil infrastructure, the energy infrastructure, the transport infrastructure, the health infrastructure. And they were still winning at that battlefield, although they had massive casualties on the fighting battlefield. And I think where Ukraine will run into massive problems this year is that the Russians may not have the big tactical victory. They may not have the breakthrough through the Ukrainian defense lines. But what they will do is they will seriously damage the Ukrainian energy infrastructure, health infrastructure, transport infrastructure. Third year in a row. And I'm not sure if the Ukrainians will be really able to compensate that this time. 00:15:40 JACK GAINES It's a real challenge. The thing that I see with Ukraine is that there's also a recruiting issue. They're struggling to keep up with manpower. And there's some international volunteers coming in, but probably not enough compared to what the Russians are bringing in. So it's a challenge of numbers in a lot of ways. They do build that trust and that familiarity with the military. So having the military band come out and play on the Konigstrasse makes a difference. Or like they did in Poland, having American and Polish troops go with a vehicle and park in the middle of a Platz and take photos with kids, it makes a difference. 00:16:24 ANDREAS ECKEL You're right. Your argument is good. And it connects pretty well with the... decisions we have to make in Europe right now. And that decision is that we have to nest the military better into the societies. But what needs to be installed, reactivated, and built up is a whole of society approach for resilience and civil defense. 00:16:52 JACK GAINES Okay. The biggest challenge right now is sabotage, which has been happening. in and around Europe, the Chinese ship that cut the communication lines, the water poisoning in Germany. So there seems to be already challenges in security. 00:17:09 ANDREAS ECKEL SIMIC plays, first of all, a vital role in understanding the impact of such events, as we do not only look at the impact on military infrastructure and military organizations and units, but it's our task to look how those events impact the civil actors in the civil environment. And that will have definitely a result on the capability of a civil environment to provide support to military activities. So it's a kind of circle. And we are pushing that constantly to have a permanent assessment cycle on what we do, what happens to us, how does that impact the civil environment and the impacted civil environment? How is that still able? to provide the support to the military. And I think as we are in that position to have those connections to the other organizations and to provide a holistic assessment about the civil environment, that plays a vital role in that one. Absolutely. 00:18:11 JACK GAINES So do you see that as the future of CIMIC from now going forward is to build that more holistic partner nation? 00:18:17 ANDREAS ECKEL I would like to use the... definition of multi -domain operations as it is currently used in NATO, and that is the orchestration of all military activities to achieve converging effects. And I see the future role of CIMIC very much in that synchronization effort. So military capabilities are much, much less available than in the past. So when we think about what we need about capacities and resources to achieve our military strategic objectives, when we go into the details, 60, 70, partly 80 % of what we need as resource is not generated within the military. It needs to be contracted and provided by a civil environment. And that means that there needs to be a constant assessment process about the availability of those 60, 70, 80 % civil support. And it needs to be thoroughly assessed because that has a pushing out effect on the civil environment. When we use the trains for military equipment, then those trains cannot be used to support and supply the civil environment. So I think the future of CIMEC is in that synchronization bit with the non -military activities to reach those converging effects. And that pretty much fits into the whole of government, whole of society approach of defense. 00:19:49 JACK GAINES Interesting. So CIMIC is in multi -domain operations, has its own multi -domain operation because it's coordinating the civil, government, NGOs, whoever is not formal military. in cooperation or in conjunction with the military's multi -domain operations. So you've got a multi -tiered coordination process. 00:20:12 ANDREAS ECKEL process. I think we do not run our own multi -domain operations. A multi -tiered task, I think that that captures it quite well. But I personally prefer to speak more about cooperation because coordination is a very tricky expression, especially in Europe. as coordination requires someone who allows to be coordinated and someone who has a coordinating authority. And in the interaction with our civil partners, it's more cooperation, ranging from we do exist beside each other to full integrated planning and operations. There's a continuum of that area of cooperation. So I do really prefer to speak more about cooperation than coordination. 00:21:04 JACK GAINES Is there any other topics or thoughts that you want to add to the conversation? 00:21:11 ANDREAS ECKEL For me, it's really important to highlight the future concepts like multi -domain operations and to establish and maintain the connection with the current concepts. So it is important to keep the future world of NATO connected to the current operational world of NATO. That is exactly why we run the annual Simic Foresight Conference, is to connect the here and now with the time period of one to two years to the future concepts, 10, 20 years. And secondly, the closer connection and the better synchronization of the national efforts with the alliance efforts. That is really, I think, a key centerpiece of our future success. So in my understanding, it is ongoing. It is happening in the alliance as we speak right now. So alliance, joint headquarters, strategic headquarters have established contacts to national military authorities and do exchange information. But I think that needs to become more intensive, more regularly and more information flow to both sides. And that needs to be not only... foreseen conceptually and structurally, it needs to be trained and exerciseda reagularly. And I think that's really a clear measurement of success if we are able to exercise it in the future massively. And thirdly, I think the aspect of human security and protection of civilians, that is something which creates a dilemma for every military leader because he would like to achieve his military objectives. That is either to defeat the enemy or to force him to do something or to force him to stay away from something, which means the application of massive violence to the enemy. However, when we learn something from the recent international crisis or from the war in Ukraine, then what we have learned is the battlefield is full of civilians that have requirements, that have needs. The battlefield is full of organizations, non -governmental governmental organizations that try to provide a certain amount of services to the civilians. And it doesn't matter if it is a war zone or the rear area or the area behind the rear area. We have to realize that it is and will remain full of civilians. To evacuate a city like Kiev is nonsense. That will never happen. 23 million people. Yeah, good luck with that one. And even if you try, the majority of the capabilities will be provided by the civilian world. So human security, protection of civilians are concepts which are mandatory for NATO. NATO has adhered to it. We have adopted it in our strategies, in our plans, into our operations. But what does that really mean? How do we really translate protection of civilian and human security? into operations on the operational and even on the tactical level. And I think that needs some assistance, how to operationalize it, how to conduct, how to do it. This assistance, in my understanding, is called mindset and SIMIC. Terrific. It's good to do SIMIC, but you have to talk about it. It's good to increase the awareness, but you have to publish it. So I am very grateful and very thankful to have the opportunity to talk with you. Thank you very much. I appreciate you coming on. Thank you very much and have a good day. 00:25:00 JACK GAINES working with a partner nation's people or leadership to forward U.S. relations. Thank you all for what you're doing. This is Jack, your host. Stay tuned for more great episodes, One CA Podcast.

Doncs, això: que us bombin a tots! Crítica teatral de l'obra «Ni en broma», de Xavi Morató. Intèrprets: Jordi Díaz i Nesa Vidaurrázaga. Escenografia: Albert Ventura. Il·luminació: Jordi Ventosa. Espai sonor: Joan Gil. Vestuari: Olga Arias. Caracterització: Júlia Ramírez. Direcció tècnica: Joan Segura. Fotografia i cartell: Daniel Escalé. Producció: Anexa. Direcció: Jofre Borràs. Sala Versus Glòries, Barcelona, 20 desembre 2024. Veu: Andreu Sotorra. Música: Exactly Like You. Intepretació: Beny Goodman Trio. Composició: Dorothy Fields i Jimmy McHugh. Àlbum: After You've Gone: The origial Benny Goodman Trio and Quartet, 1987.

Feria Del Libro de Florencio Varela Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada Segmento Inicial • La pescadería Segmento Dispositivo • La mitología inuit • "Por La Vereda Del Sol (On the Sunny Side of the Street) " ♫ (Jimmy McHugh, Dorothy Fields) Ted Lewis & His Band, 1930) Billie Holiday, 1944. Segmento Humorístico • Consejos para ser un buen peatón Sordo Gancé / Trío Sin Nombre • Presentación • "Mañana Campestre" ♫ (Arco Iris, Tiempo de Resurrección, 1972) • "Kilómetro 11" ♫ (Mario Del Tránsito Cocomarola/Constante Aguer, 1940) • "Sympathy for the devil" ♫ (The Rolling Stones, Beggars Banquet, 1968) • "Insensatez" ♫ (Antônio Carlos Jobim, Vinícius de Moraes) Canta João, 1961. Jobim, 1962. Nara Leão, 1971. • "Vamos Las Bandas" ♫ (P. Rey y Sus Redonditos de Ricota, Un Baión para el Ojo Idiota, 1988)

Cine Teatro Renzi, La Banda, Santiago del Estero Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:50 Segmento Inicial • Consejos para ir a la plaza con tu hijo: consejos y riesgos0:07:12 Segmento Dispositivo • La cabeza de Franz Joseph Haydn0:41:46 • "A Rodar Mi Vida" ♫ Fito Páez, El Amor Después Del Amor, 1992. Segmento Humorístico • La vianda para el colegio0:58:01 Sordo Gancé / Trío Sin Nombre • Presentación1:18:55 • "Rezo Por Vos" ♫ (Único registro del truncado proyecto Spinetta/García, 1984) Privé, 1986. Parte De La Religión, 1987. • "Merceditas" ♫ (Ramón Sixto Ríos) Orquesta Típica Osmar Maderna, 1958. Renato Borghetti, 1984. • "Un Poco De Amor Francés" ♫ (P. Rey y Sus Redonditos de Ricota, La Mosca y la Sopa, 1991) • "Recuerdo Malevo" ♫ (Carlos Gardel/Alfredo Le Pera) Canta Gardel, 1933. • "Tan Solo" ♫ (Los Piojos, Chac Tu Chac, 1992) • "Por La Vereda Del Sol (On the Sunny Side of the Street) " ♫ (Jimmy McHugh, Dorothy Fields) Ted Lewis & His Band, 1930) Billie Holiday, 1944. • "Walter Nelson Man" ♫ (Contrafactum de Watermelon Man, Herbie Hancock, Takin' Off, 1962)

durée : 00:22:06 - "Annie Get Your Gun" de Irving Berlin - Annie du Far West (Annie Get Your Gun) est une comédie musicale américaine, livret de Herbert et Dorothy Fields, paroles et musique d'Irving Berlin, créée à l'Imperial Theatre de Broadway le 16 mai 1946. L'histoire se réfère à Annie Oakley, tireuse d'élite vedette du spectacle de Buffalo Bill.

La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:48 Segmento Dispositivo • Presagios0:02:19 • El presagio en la obra artística0:15:29 • ¿A quién dedicar esto?0:19:45 • "Lo Que Vendrá" ♫ (Astor Piazzolla y su Nuevo Octeto, 1963) Segmento Humorístico • Etiqueta para encuentros en la escalera0:26:47 Segmento Humorístico • Trucos para conquistar a tu vecino0:50:12 Sordo Gancé / Trío Sin Nombre • Presentación1:16:12 • "Every Breath You Take" ♫ (The Police, Synchronicity, 1983) Versión demo. • "La Artillera" ♫ (La Cuartelera, autor desconocido) Los Chalchaleros, 1954. Versión con bandoneón de Dino Saluzzi, 1972. • "Love Me Do" ♫ (The Beatles, Single debut, 1962) • "Tan Solo" ♫ (Los Piojos, Chac Tu Chac, 1992) • "Por La Vereda Del Sol" ♫ (On the Sunny Side of the Street; Jimmy McHugh, Dorothy Fields, 1930) Ted Lewis & His Band. The Benny Goodman Sextet, canta Peggy Lee. • "Signed, Sealed, Delivered (I'm Yours)" ♫ (Stevie Wonder, Signed, Sealed & Delivered, 1970)

Time to dish up some Pavlova- the Queen of desserts, for the one and only Mr. Tony Sheldon! (Say what?! *faints) In this week's jam-packed, mini-reunion episode, we take Tony for a coast-to-coast trip from Mr. Bungle's 'California', across to the funky NYC of 'Seesaw' with the original Broadway cast!Plus, we chat Priscilla Queen of the Desert, The Laramie Project, Mother's Day- or lack thereof, Dee Snider, Tony's Pioneering Family, Aussie Musicals, Living in NYC, Retirement, Social Failures, and heaps more!The Laramie Project Tickets: https://www.cityrecitalhall.com/whats-on/events/the-laramie-project/-SOCIALS- Tony: https://www.instagram.com/aldonzamudd/ Matt: https://www.instagram.com/mattyoungactor/*****Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★

During an incredible Broadway career that stretched from 1953 to 1998, composer Cy Coleman created the music for 12 Broadway musicals. Unlike most Broadway composers, however, he was never part of an ongoing songwriting team but instead worked with seven very talented but very different collaborators. My guest today is one of those esteemed lyricists -- David Zippel who partnered with Cy Coleman on the score for the 1990 Tony Award winning "Best Musical", City Of Angels the hit musical that altogether received 10 Tony Awards including Coleman and Zippel's win for Best Score. That show launched David on his own stellar career which has honored with two Academy Award nominations, two Grammy Award nominations, and three Golden Globe nominations. His songs can be heard on over twenty-five million CDs around the world that include recording by Stevie Wonder, Christina Aguilera, Mel Torme, Ricky Martin, Cleo Laine, Barbara Cook, Nancy LaMott, and include the Original Broadway Cast and Soundtrack recordings of The Goodbye Girl, The Women In White, The Swan Princess and Disney's Hercules and Disney's Mulan. David and I first met shortly after we had both arrived in NY in the early 1980's and have remained friends and colleagues ever since. Today we begin our conversation talking about Coleman's Russian-Jewish heritage. So many Broadway songwriters -- Irving Berlin, George Gershwin, Richard Rodgers, Harold Arlen, Leonard Bernstein to name just a few were the children or grandchildren of Russian-Jewish immigrants. If you enjoy this podcast, I invite to join my Broadway Nation Facebook Group where there is a large and lively community of musical theater enthusiasts. We have a great deal of fun and I feel certain that you will too! And If you would like to hear more about Carolyn Leigh, Dorothy Fields, Betty Comden and other women who invented the Broadway musical, you may want to check out Episode 7 and 8 of Broadway Nation. Special thanks Special thank the Julia Murney and David David Burnham, everyone at KVSH 101.9 FM the voice of beautiful Vashon, Island Washington, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Cole is an award-winning musical theatre writer whose shows have been recorded, published, and produced from New York City to London to the Middle East and Australia and Edinburgh, Scotland. His shows include: After the Fair, Night of the Hunter, Saturday Night at Grossinger's, Aspire, Time After Time, Merman's Apprentice and The Road To Qatar! to name just a few. As a producer, Stephen presented Liza Minnelli, Barbara Cook, David Hyde Pierce, and many others in an 80th Birthday Tribute to John Kander. Stephen has also released a series of CD's entitled MERMANIA on Harbinger Records. These include never before released selections sung by his favorite star and friend, Ethel Merman. Besides writing the CD booklets for these and his original cast CDs, Stephen has written the DVD booklets for the box set of THAT GIRL: SEASON ONE and ANYTHING GOES. Mary, Ethel and Mikey Who? takes Stephen's real-life friendships with Ethel Merman and Mary Martin, the two undisputed queens of Broadway, tossed them into a blender and come up with a fantasy about a nerdy super-fan in the early 1980s who, while visiting his dying idol Ethel Merman, stumbles into a time portal in her closet and exits on the other side in Sophie Tucker's star dressing room at the Imperial Theatre in 1939. Mikey Marvin Minkus gets to know his idols in their prime as he time travels through the decades with them, influencing their lives and careers, while helping to foster their legendary rivalry. Only visiting times when Merman and Martin's fates crossed, Mikey becomes a vital part of their lives, all the while interacting with such celebrated theatrical figures as Cole Porter, Jerome Robbins, Josh Logan, Dorothy Fields, Larry Hagman, Irving Berlin, Sophie Tucker, Leland Hayward, Rodgers and Hammerstein, and a newcomer named Jane Fonda.

Irving Berlin, Dorothy Fields, George and Ira Gershwin, Jerome Kern, Johnny Mercer, Cole Porter, Rodgers and Hammerstein. These, along with many others, are the sorts of songwriters we associate with the Great American Songbook, the amorphous canon of important 20th-century pop songs, jazz standards, and show tunes from Broadway, Tin Pan Alley, and movie musicals. But there's another important detail here. The songs we think of as the Songbook are from, more specifically, the 1920s through the 1950s. With some simple arithmetic, you can see that they're, uh, getting on in years — which might (must?) mean that their devotees are, too. The Nose is off this week. In its place this hour, a look at and a listen to — and some concern for the future of — the Great American Songbook. GUESTS: Joelle Lurie: Vocalist, songwriter, voiceover artist, and bandleader Steve Metcalf: Founder and director of the Garmany concert series at the University of Hartford's Hartt School The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show, which originally aired September 1, 2023.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom Hall each week with her reviews of the Maryland-DC-Virginia regional stage. Today, Judy tells us about the current revival of the Tony Award-winning 1966 Broadway musical, Sweet Charity, brought to The Motor House stage by the new Bmore Broadway Live drama troupe. With book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields, Sweet Charity  follows the romantic misadventures of Charity Hope Valentine, a “taxi dancer” — or dance partner for hire — at the Fandango ballroom. The musical earned nine Tony nominations in its 1966 Broadway season, and won for Best Choreography. It's filled with humor, romance and pathos, and driven by energetic dance numbers. The revival of Sweet Charity by Bmore Broadway Live — the new theatrical offshoot of the local arts group, Dance & Bmore — is directed and choreographed by the new troupe's founder, C. Jay Philip. It continues at The Motor House at 120 W. North Avenue in Baltimore through Sunday, November 19. For ticket info, click here.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

"Estoy de humor (de onda, con ganas) para amar" es una canción popular publicada en 1935. La música fue escrita por Jimmy McHugh, con letra de Dorothy Fields. La canción fue presentada por Frances Langford en la película Every Night at Eight estrenada ese año. Nos deleitamos con grandes cantantes, saxos, piano, trompeta. Hosted on Acast. See acast.com/privacy for more information.

Irving Berlin, Dorothy Fields, George and Ira Gershwin, Jerome Kern, Johnny Mercer, Cole Porter, Rodgers and Hammerstein. These, along with many others, are the sorts of songwriters we associate with the Great American Songbook, the amorphous canon of important 20th century pop songs, jazz standards, and show tunes from Broadway, Tin Pan Alley, and movie musicals. But there's another important detail here. The songs we think of as the Songbook are from, more specifically, the 1920s through the 1950s. With some simple arithmetic, you can see that they're, uh, getting on in years — which might (must?) mean that their devotees are, too. The Nose is off. In its place this hour, a look at and a listen to — and some concern for the future of — the Great American Songbook. GUESTS: Joelle Lurie: Vocalist, songwriter, voiceover artist, and bandleader Steve Metcalf: Founder and director of the Garmany concert series at the University of Hartford's Hartt School The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Celebrating Dorothy Fields 118th Birthday! Women have had a much more significant impact on the Broadway Musical than has generally been reported or acknowledged. In fact, talented, dynamic women have been a major force in the creation and development of the American musical theater from the very beginning and right up to today. In this episode my special guest Albert Evans and I will share the often overlooked stories of songwriters and bookwriters Rida Johnson Young, Dorothy Donnelly, Nora Bays, Ann Ronell, Kay Swift, Betty Comden, Bella Spewack, Mary Rodgers, Carolyn Leigh, and especially Dorothy Fields, whose amazing 50-year career stretched from the vaudeville era to the age of rock! Special thanks to Billie Wildrick for her voice acting contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Como luces esta noche, tema del gran Jerome Kern con letra de Dorothy Fields es del 1936 para el film Swing Time de Fred Astaire. Billie nos la regala junto a Ella, Tony, Goodman, Parker, Mulligan, Brubeck y otros, Hosted on Acast. See acast.com/privacy for more information.

PICK YOURSELF UP by Mel Torme (DCC Jazz, 1998)Life is a series of ups and downs - a continuous challenge to renew and reinvent yourself. You can be rolling along, on top of the world, then the next day become lost in a fog of turmoil. I have experienced this several times in my life, most bitterly in recent years. But, I am not alone in this - I believe it is a universally shared phenomenon - and, in this song Mel Torme offers, if not an antidote to disaster, a prescription for practical optimism.Pick Yourself Up was originally written in 1936, by Dorothy Fields and Jerome Kern, to be performed by the inimitable Fred Astaire and Ginger Rogers in the movie Swing Time. In the number Fred, breezily attempting to seduce dance teacher Ginger, begs for her instruction. This charade of awkwardness, of course, quickly develops into the most delicious demonstration of tandem terpsichore ever filmed. Mel's equally breezy, live, vocal gymnastics, abetted by wizard bassist Jay Leonhart, transforms the song, imbuing it with a deeper meaning. In their hands it becomes a brisk, bracing splash of cold water in the face, saying “Buck up, Boyo - You're not defeated! Try, try again! 

My interview with Kristin Stultz Pressly on her book, I Can't Give You Anything but Love, Baby: Dorothy Fields and Her Life in the American Musical Theater. Dorothy Fields was America's most brilliant and successful female lyricist. Working with thirteen different composers, Fields wrote the lyrics and/or librettos for unforgettable masterpieces, such as Annie Get Your Gun, Redhead, and Sweet Charity. Her more than four hundred songs include the standards "On the Sunny Side of the Street," "Pick Yourself Up," "The Way You Look Tonight," and "I Can't Give You Anything But Love."

This week on The Sound Kitchen you'll hear the answer to the question about the French departments under water restrictions as of early March. There are musings on spring and – of course- the music that makes us think of it, as well as the “Listeners Corner” with Michael Fitzpatrick, and “Music from Vincent” with Vincent Pora. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.The ePOP video competition is open! The deadline for entries is 20 April  – but don't put it off! Start now!The ePOP video competition is sponsored by the RFI department “Planète Radio”, whose mission is to give a voice to the voiceless. ePOP focuses on the environment, and how climate change has affected “ordinary” people … you create a three-minute video about climate change, the environment, pollution – told by the people it affects. So put on your thinking caps and get to work ... and by the way, the prizes are incredibly generous!To read the ePOP entry guidelines – as well as watch videos from previous years – go to the ePOP website.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service.  Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 4 March, I asked you a question about an article RFI English journalist Amanda Morrow wrote: “France headed for water curbs as dry winter intensifies drought”. We've had the driest winter on record this year, and as Amanda noted, as of early March authorities in seven major river basins had been told to enforce water restrictions … and that was your question. You were to send in the names of the four French departments that were put under water restrictions in early March. The answer is, to quote Amanda: “Four French departments – Isère, Bouches-du-Rhône, Var and Pyrénées-Orientales – are already under water restrictions, with residents told to avoid watering their gardens at certain times, filling their swimming pools, or washing their cars.”In addition to the quiz question, there was the bonus question, suggested by Hans Verner Lollike from Hedehusene, Denmark: “Share a memory of one of your grandparents”.Do you have a bonus question idea? Send it to us!  The winners are: RFI English listener Tasmaul Maumi Bushra from Bogura, Bangladesh. Tasmaul is also the winner of this week's bonus question: “Share a memory of one of your grandparents”.Congratulations Tasmaul! Also on the list of lucky winners this week are RFI Listeners Club members Jahan Ara Hussain from Odisha, India; Alan Holder from the English Isle of Wight; M. N. Sentu, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh, and last but not least, Nirupa Bain, who's a member of the RFI Pariwar Bandhu SWL Club in Chhattisgarh, India.Congratulations winners!Here's the music you heard on this week's programme: “The Sunny Side of the Street” written by Jimmy McHugh and Dorothy Fields, performed by Louis Armstrong and his orchestra; “The Moldau” from Ma Vlast by Bedrich Smetana, performed by the Gimnazija Kranj Symphony Orchestra conducted by Nejc Bečan; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy performed by the composer, and “I'm going to let you break my heart” by Max Kinghorn-Mills, performed by Hollow Hand.  Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Amanda Morrow's article “French unions rally protesters after pension reform talks end in failure” to help you with the answer.You have until 8 May to enter this week's quiz; the winners will be announced on the 13 May podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

As the BFI launches a major retrospective of the career of Gingers Rogers, Thos talks to film writer, Miles Eady, to discuss this versatile and talented actress who became legendary in the 1930s for working with Busby Berkeley, Fred Astaire, George Gershwin, Dorothy Fields, Irving Berlin, Jerome Kern and many others in the most important musical films of the first musicals golden age, the 1930s.

Deborah Grace Winer is a theatrical writer, creator of theatrical revues and concerts, and she's a leading expert on the American Songbook. Her new collaboration with Jazz at Lincoln Center--the Songbook Sundays Series at Dizzy's Club--has been an instant sold out music destination. Deborah's previous collaborations include Feinstein's/54 Below, Birdland, and a decade as Artistic Director of the 92Y's Lyrics & Lyricists™ concert series, steering the venerable series back to audience and critical acclaim.  She collaborates with top-tier artists from Broadway and the music world and works with leading institutions.  Among Deborah's various books, On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields, was named by the Wall Street Journal one of the five best books on American Songwriters. Her articles have appeared in The New York Times and numerous other publications.  And her plays have been produced off-Broadway and regionally.  Deborah's been featured on PBS' American Masters, as well as NPR's Fresh Air and “Morning Edition.”  Deborah's newest project, the audio adventure podcast series Flash Force: Middle Aged Women Superheroes Save Democracy, with an all-star Broadway cast, launches in 2023.

The number of nominees for the Academy Award for Best Original Song increased from three to six in 1936, and host Jeff Commings presents all of them in this episode. We'll hear a song from Cole Porter, who brought his popular talents from Broadway to Hollywood for a musical starring Jimmy Stewart, and another hit from Jerome Kern and Dorothy Fields, who finally met after creating their nominated song in 1935.

On the sunny side of the street, (del lado soleado de la calle) de Dorothy Fields y Jimmy McHugh interpretada a lo largo de la historia del jazz. Hosted on Acast. See acast.com/privacy for more information.

Overcoming concerns about your singing voice post-menopause.Suzanne Noble had concerns about the tone of her voice after not having used it for many years. However, as you'll hear in the show, she needn't have worried, and with the help of coaching, encouragement and an inquisitive personality, Suzanne now has an ever-evolving musical repertoire.Suzanne Noble began her university studies – in the US – majoring in Musical Theatre. However, as she considered what her future performing life might involve she realized she would always be cast as: ‘. . . the quirky girlfriend'  and that she was  ‘not talented enough'  so she switched her major to Communications.On her return to the UK she thought that film making sounded exotic, so she pursued that path and successfully climbed the production-company ladder, as well as becoming a PR manager and starting a few other ventures over the years.In her fifties Suzanne wanted to sing again, but was concerned about the changes her voice had been through, partly due to the menopause and by not keeping it up in the intervening years.With the help of her vocal teacher – herself in her 50s – she learned to use and love her new voice, and has been performing dirty blues sets in London clubs ever since.She has also branched out into a different style of performing, which you can find out more about in the latest episode of the Creativity Found podcast. CreativityFound.co.ukInstagram: @creativityfoundpodcastFacebook: @creativityfoundpodcastPinterest: @creativityfoundTwitter: @creativityfounClubhouse: @clairewaitebrown and Creativity Found Connect clubMusic: Day Trips by Ketsa Undercover / Ketsa Creative Commons License Free Music Archive - Ketsa - Day TripsArtworks: Emily Portnoi emilyportnoi.co.ukPhoto: Ella PalletSupport the showJoin a Creativity Found membership hereSubscribe to the Creativity Found mailing list here

“Over the Rainbow”, “Get Happy”, “Come Rain or Come Shine”. These are the songs you have been singing your whole life, and now is your chance to learn about who wrote them! In this week's episode, travel somewhere over the rainbow into the singular mind of renowned composer Harold Arlen, a key contributor to the American Songbook whose hundreds of pop tunes became runaway hits during the 1930s, ‘40s, and ‘50s. Arlen collaborated with the greatest of the Tin Pan Alley lyricists, including E.Y. "Yip" Harburg, Johnny Mercer, Ted Koehler, Ira Gershwin, Dorothy Fields, and Truman Capote. While any number of Arlen's compositions assured his prominent place in musical history, the RIAA (Recording Industry Association of America) deemed “Over the Rainbow” to be the 20th century's greatest song. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A Great American Songbook classic. From Frank Sinatra's 1956 album A Swingin' Affair!, here is Jerome Kern and Dorothy Fields' I Won't Dance. Arranged and conducted by Nelson Riddle. Credits: Theme music by Erik Blicker and Glenn Schloss Edited by Katie Cali Mixing and mastering by Amit Zangi Send comments to sinatramatters@gmail.com

Controversy surrounds the question of who actually wrote the 1930 standard “On the Sunny Side of Street.”If you rely only on what is printed on the sheet music, you see Jimmy McHugh listed as the composer. So, why is there an enduring legend in jazz circles that the melody actually was written by The Flood's great hero Fats Waller? To this day, Waller's contribution to the melody line remains unconfirmed, but there is some compelling evidence that the tune might have been his work.For starters, early drafts of the song appear to be in Fats' own handwriting. In addition, it is well documented that during some hard times in the late 1920s, Waller was writing and selling a number of tunes to other songwriters.Maurice Waller Weighs InFinally, consider the testimony of Fats' son Maurice, in his 1977 book, Fats Waller. “Sometimes I'd inadvertently play a song he had sold to another composer and all hell would break loose,” Maurice wrote in the memoir. “One afternoon I was playing, ‘I Can't Give You Anything But Love,' and he heard me. Dad came storming down the stairs in a rage. ‘Maurice, I don't want you to ever play that damn song. I don't want you to even whistle it. Do you understand?' “I didn't understand, but later on he explained how he had sold that tune and other tunes just for drinking money, and it bothered him terribly that they had become hits.”And what about “On the Sunny Side of the Street”? Here's what Maurice Waller wrote about that:“The most vivid memory I have of one of those incidents dates back to the time when … Dad was listening to the radio one Sunday afternoon. Suddenly he became infuriated and smashed his fist through the living room's beautiful glass French doors. The song was ‘On the Sunny Side of the Street,' a hit record credited to Jimmy McHugh. Dad had sold the song for a few bucks when he was broke back in the ‘20s. McHugh also ‘wrote' ‘I Can't Give You Anything but Love.'”The LyricsMeanwhile, authorship of the lyrics of both those song — the work of teacher/poet Dorothy Fields — has never been questioned.Fields, who died in 1974 at age 69, was the first woman inducted into the Songwriters Hall of Fame. She met Jimmy McHugh in 1927 and began a seven-year partnership that produced some of her greatest lyrics, from “I Can't Give You Anything But Love” to “I'm in the Mood for Love,” which was her first song to rise to No. 1 on the Hit Parade. Well, who ever wrote the melody — Fats Waller or Jimmy McHugh — the wonderfully bright, cheerful and engaging “On the Sunny Side of the Street” has been a favorite of musicians and audiences since it first came out. Ted Lewis made the first recording in 1930. But it was Louis Armstrong who recorded the classic rendition in 1934 and the song became closely associated with him. Other versions include those by Ella Fitzgerald, Dizzy Gillespie, Billie Holiday, Benny Goodman with Peggy Lee, Dave Brubeck and Jimmy Smith. Arguably the most popular arrangement was by Tommy Dorsey and the Sentimentalists, which achieved chart success in 1945, reaching the No. 16 spot on the Billboard charts.Our Take on the TuneThis 2022 take of our old favorite was the very first tune we played on a happy summer evening at the Bowen House just a few weeks ago.Veezy Coffman was just back from a month's vacation with her family and everyone in the room was so happy to see and hear her again, as you can here right here.The Flood has been loving this tune for more than 20 years. For instance, it was the 11th track on our first album back in 2001, with Joe Dobbs and Sam St. Clair rocking the solos on a rather mellow instrumental rendition. Click the button below to hear it:A few years later, the song began a long love affair with Floodster Emerita Michelle Lewis (now Michelle Hoge). In fact, it was the first song she sang in public with the band. The event occurred as the band traveled into the eastern mountains to play at the 2nd annual Snowshoe Institute, a cooperative arts project by Marshall University, West Virginia University, the W.Va. Humanities Council and Snowshoe Mountain. Joe asked engineer George Walker, Michelle's husband, to record the evening's performances for use on his “Music from the Mountains,” so we have this recording of Michelle's maiden flight with The Flood, complete with Joe's introduction:Yes, all sunny, all the time. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to!  Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks!  This week: swingin jazz fundamentals, summer nu-soul, bluegrass guitar, progressive fusion, musica italiana, vocal swing, South African Malaysian grooves and blues - prepare your ears folks it's another blinder from the one and only Courtney Pine!!1 Steve Davis – Encouragement 4'39Bluesthetic SMOKE SESSIONS Tr 1Steve Davis tb Geoffrey Keezer pno Christian McBride bs Willie Jones III dr Peter Bernstein gtr Steve Nelson vbsDavisAmazing live jazz captured again by NYC's fab Smoke Sessions: check the incredible lineup, close your eyes and you're there!!2 Grant Stewart – Bearcat 6'34Lighting of the Lamps CELLAR MUSIC GROUP Tr 7Grant Stewart tr Bruce Harris tpt David Wong bs Tardo Hammer pno Phil Stewart drJordanWhat a beautiful big-hearted sound from Grant's tenor!  Clifford Jordan blues style swing recorded in the legendary Van Gelder studio and you can hear it! 3 Reuben James – What U Need 3'36Tunnel Vision RUFIO RECORDS  Tr 7Reuben James dr bass gtr fxs Gareth Lockrane fl Reuben James vox / keys Ric Wilson vox Vanessa Butler bvsJames Lush flute from Gareth Lockrane on this cool summer mix from Birmingham's own Reuben James!“I'd just got married, I was in a happy place and the whole thing was improvised in the moment...a lot of songs come from pain, but this one comes from a lot of joy. It was a big vibe for me. I was just in a moment of bliss.” 4 John Scofield - Not Fade Away 5'43John Scofield ECM Tr10John Scofield gtrHardin/Petty  “A Buddy Holly song.  Phil Lesh of the Grateful Dead has invited me to play with him many times, playing mostly Dead tunes.  He played this one every night I think.  It's got that Bo Diddley beat.  If you don't know by now, rock'n'roll is here to stay!” JS5 Dan Schnelle - Unknown Territory 6'24Shine Thru OUTSIDE IN Tr 1Josh Nelson pno Jeff Babko keys Anthony Wilson gtr David Binney alto Alex Boneham bs Dan Schnelle drD SchnelleExciting 1st full length album from Dan one of LA's top session drummers: heaps of stunning energy with crazy cool keys touches from Jeff Babko - lovin this track!6 Moonchild - What you Wanted (Kiefer Remix) 3'26Starfruit TRU THOUGHTS Tr 9Amber Navran, Max Bryk, Andris Mattson Kiefer ShackelfordNavran/Bryk/Mattson/Shackelford/ KrstajicSoulful goodness to start your day right every single morning from LA trio Moonchild - lush grooves and nice keys!!  7 Tommaso Moretti – Italiano in America 7'54Inside Out BACE RECORDS Tr1Tommaso Moretti dr Ben Dillinger bs Jake Wark sx Edinho Gerber gtr MorettiVintage Musica Italiana fused with Chicago jazz from Italian drummer Tommaso with beautiful guitar soloing from Edinho! 8 Robin McKelle - I Must Have That Man 5'13I Must Have That Man SELF-RELEASE - Tr 1Aaron Goldberg pno Peter Slavov bs Mark McLean drMcHugh/FieldsGreat to have female songwriter Dorothy Fields on the episode.  Fast happenin' swing from the brilliant Robin and band, and fantastic piano solo from Aaron.   9 Simeon Davis group - Seven Come Wednesday 10'39Of Narratives and Nocturnes OUTSIDE IN MUSIC Tr 2Simeon Davis sx fl Tyler Thomas, Rachel Azbell vc Jonathan Shier tpt fl Maria Wellmann Alex Hand gtrHolly Holt keys Jake Chaffee bs Josh Parker dr Maxima Santana tb Jess Meadoer vn Aramis Fernandez percS DavisHypnotic South African/Malaysian Grooves from Cape Town to get you on your feet! 10 Jacob Garchik - Pastiche 4'47Assembly SELF RELEASE Tr 2Jacob Garchik tb Sam Newsome sx Jacob Sacks pno Thomas Morgan bs Dan Weiss drGarchik/ Hogoe Publishing ASCAPSoft blues centre hidden inside a hard swing shell from multi-talented Jacob who arranges for Kronos Quartet, Anne Sofie von Otter, Kd Lang, and plays with Lee Konitz, Steve Swallow + Mary Halvorson.      

The follow-up episode to my previous Forgotten Broadway episode is an epic one, chock full of fascinating composers, lyricists, performers and shows. We begin with a tribute to birthday boy Leonard Bernstein, a song from Peter Pan sung by gay Broadway icon Larry Kert. From there we encounter shows by Lerner and Loewe, Rodgers and Hammerstein, Kander and Ebb, Cy Coleman, Dorothy Fields, Strouse and Adams, Jerry Herman, Stephen Sondheim, Schmidt and Jones, Vernon Duke, Mary Rodgers, Sigmund Romberg, Harold Rome and Leroy Anderson, among others, performed by Jane Powell, Pat Suzuki, Melba Moore, Rita Gardner, Jack Cassidy, Rebecca Luker, Cesare Siepi, Susan Johnson, Dody Goodman, Pearl Bailey, Ezio Pinza, Elaine Stritch, Shannon Bolin, and others. Diverse topics discussed include the Broadway revue, queer subjects and performers, and the place of performers of color on Broadway. This is a long episode that I recommend listening to in segments! And please be aware that an equally mammoth third segment on Forgotten Broadway will be published this weekend for my Patreon supporters! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

It's time again for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom each week with her reviews of Maryland's regional stage. Today, she spotlights the new production of the hit 1966 Broadway hit musical, Sweet Charity, on stage now at the Cockpit -in-Court Theater, on the Essex campus of Community College of Baltimore County. Directed at CCBC by Eric Potter, using the original choreography of the show's legendary creator, Bob Fosse, Sweet Charity is a romantic comedy centered on a hapless but determined young woman named Charity Hope Valentine, who is seeking love — and her identity — in 1960s New York City. The Tony Award-winning musical (Best Choreography) has a powerful pedigree, with book by Neil Simon, music by Cy Coleman, and lyrics by Dorothy Fields. It's based on an original screenplay by visionary Italian filmmaker Federico Fellini, with Tullio Pinelle and Ennio Flaiano. Cockpit in Court Summer Theatre presents Sweet Charity now through August 7. For more information and ticketing, follow the theater link.See omnystudio.com/listener for privacy information.

Hey, big spender! Spend a little time with Erik & Shannon as they begin a new miniseries, featuring songs of seduction. We begin with one of the most blatant come-ons ever staged for Broadway, "Big Spender" from 1966's Sweet Charity. All clips are from the 1966 original Broadway cast recording of Sweet Charity and are used in accordance with the Fair Use Exemption for criticism and commentary. Listen to and buy the album on Amazon! Listen to the SMSTS playlist on Spotify. Follow the show on Twitter: @somuchstuffpod Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

WPMT's Tuesday premiere is here! It's time to go behind the scenes with reporter character “John Matthews” for “Up in Central Park” featuring music by Sigmund Romberg, lyrics by Dorothy Fields, book by Herbert Fields and Dorothy Fields and starring Deanna Durbin and Dick Haymes with Charles Irwin, as heard live at the Screen Guild Theatre on June 28, 1948! Tune in at 1 PM CT on any major podcast platforms.

The second of a three-part program featuring Broadway legend Cy Coleman, composer of SWEET CHARITY, SEESAW, I LOVE MY WIFE and countless pop hits. Coleman discusses his life and career, including his collaborations with wordsmiths Dorothy Fields, Michael Stewart and Neil Simon as well as directors Joe Layton and Michael Bennett, among others. He even performs some of his own songs live at the piano recorded exclusively for this program.   Featured songs: “I'm A Brass Band,” “My Personal Property,” “Pink Taffeta Sample Size 10,” “Where Am I Going,” “Nobody Does It Like Me,” and “I Love My Wife.”   Originally produced and broadcast in 1980. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode of Out and About, host Jenn Gordon is joined by Chip Joyce to talk about the Peoria Players Theatre's production of the musical “Sweet Charity.” With music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon, Sweet Charity is a tender, poignant and consistently funny look at the adventures, or rather, misadventures in the ways of love encountered by the gullible and guileless lady known as Charity Hope Valentine - "the lady of the evening" who always gives her heart, and her earnings, to the wrong man. “Hey Big Spender,” “If My Friends Could See Me Now” and “There's Gotta Be Something Better Than This” are just some of the well-known songs from this classic. The musical opens at Peoria Players Theatre tonight and continues with weekend performances through April 3. For tickets and information visit Peoria Players Theatre.

"The Way You Look Tonight" Wild Blue Herons: You & I (Autoeditado, 2021) Bill Sample, Darlene Cooper. El tema es una composición de Jerome Kern y Dorothy Fields. © Pachi Tapiz, 2021 Más información acerca de Jerome Kern en Tomajazz https://www.tomajazz.com/web/?s=kern&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

From 1964, Frank Sinatra's definitive recording of Jerome Kern and Dorothy Fields' The Way You Look Tonight. Arranged and conducted by Nelson Riddle. Credits: Theme music by Erik Blicker and Glenn Schloss Edited by Katie Cali Send comments to sinatramatters@gmail.com

The leaves are changing, there is a nip in the air, and your hosts are settling down by the fire to dish all about the past two months. Its time to look at the Tony Awards, Wicked casting, the Dear Evan Hansen film, some Goulet stories, Kevin's love of Dorothy Fields, and Rob's obsession with public access. Plus, they discuss Yeah, But Not Right Now, Six, Dana H, The Lehman Trilogy, Lackawana Blues, Chicken and Biscuits, and reveal some exciting things coming down the line for these two lovely musical theatre nerds: I Can't Give You Anything But Love, Baby Every Show Running: 1997 with Charles and Jeff Into the Woods Tickets J2 Spotlight Musical Theater Company Tickets Fifty Key Stage Musicals Todd Buonopane Tickets Robbie Rozelle Tickets Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/ZKLTr7-5T7U Dramatist and theatre artist Deborah Grace Winer is a leading expert and author on Broadway musicals and the American Songbook. The Wall Street Journal recently named her book on pioneer woman songwriter Dorothy Fields (On the Sunny Side of the Street: The life and lyrics of Dorothy Fields, Macmillan) one of the Five Best books on American songwriters of all time. She has collaborated with leading institutions such as Jazz at Lincoln Center, and top tier artists from Broadway and the music world. Her acclaimed musical revues include Baby, Dream Your Dream, a celebration of women songwriters, and New York Big City Songbook, which the New York Times called, “A triumph,” becoming a monthly highlight at New York's Birdland Theater. For a decade she was artistic director of the 92Y's famed American Songbook concert series, Lyrics & Lyricists, steering the 50-year-old N.Y. tradition to rejuvenated success and creating original musical shows teamed with the top creative and performing talent from Broadway and beyond. She went on to create the Classic American Songbook Series for Feinstein's/54 Below supper club, which also ran to critical acclaim. An O'Neill finalist, her plays, including The Real Tabasco, Little Shows and others have been developed at institutions such as Lincoln Center Theatre, Primary Stages, the Women's Project, and the Westport Country Playhouse; her work has been produced Off Broadway and regionally.  https://www.deborahgracewiner.com/  

A mediados de la década de los noventa, nuestro buen amigo, el inglés Rod Stewart, había perdido un poquito el norte y las ganas de trabajar. Ya no componía. Él mismo decía que “no era un compositor natural sino ocasional”. Al mismo tiempo, las críticas de sus últimos trabajos no habían sido muy propicias, por decirlo de una manera amable. Así que, en 2002, y con un nuevo contrato discográfico bajo el brazo, dirigió su carrera a versionar las grandes canciones americanas del siglo XX, que desde luego, le representaban poco trabajo de composición. El trabajo, fueron varios discos los que editó con este planteamiento, está basado en el Great American Songboock, el cancionero que engloba las más conocidas composiciones de la cultura popular de los Estados Unidosl del siglo XX, la mayoría de las cuales fueron escritas por los compositores que, en aquella época, 1920-1960 , trabajaban para Broadway y Hollywood. Nosotros escucharemos la grabación resumen de todas las publicadas: The best of the Great American Songbook. “Lo mejor del cancionero americano”. La primera es Long ago and far away, una canción compuesta por Jeremo Kern y letra de Ira Gershwin y estaba incluida en la película musical “Cover Girl”, “Chica de portada”, protagonizada por Rita Hayworth y Gene Kelly en 1944. Esta es la versión de Rod Stewart. 01’26’’ ROD STEWART Long ago and far away The Best of The Great American Songbook, Corte 01 They can’t take that away from me, algo así como “No puedes quitarme esto”, es una canción compuesta por Geroge Gershwin en 1937, con letra de su hermano Ira para la película Shall We Dance, interpretada por Fred Astaire. Estuvo nominada al Oscar a la mejor canción original en los premios de ese mismo año, aunque no lo ganó. La versión más conocida es la que grabaron Louis Armstrong y Ella Fitzgerald. Nosotros escucharemos la de Rod Stewart. ROD STEWART They can’t take that away from me The Best of The Great American Songbook, Corte 03 “Beyond the sea” es una canción de amor romántico que compuso Jack Laerence en 1945 basándose en la música de la canción El mar, compuesta por el francés Charles Trenet años antes. La canción de Trenet tiene algunas diferencias con la de Laerence. Mientras que la versión francesa es una oda a los cambiantes estados de ánimo del mar, la del americano es una canción de amor. El cambio lo hizo añadiendo la palabra Beyond, más alla de… Más allá del mar. ROD STEWART Beyond the sea The Best of The Great American Songbook, Corte 04 ’’ “The way you look tonight” es una canción de la película Swing Time que interpretó Fred Astaire. Fué compuesta por Jerome Kern con letra de Dorothy Fields. Esta sí, esta ganó el Oscar a la mejor canción original en la gala de 1936. Contaba Dorothy Fields, la letrista, que cuando oyó por primera vez la melodía rompió a llorar y no había forma de pararla. Tan hermosa le parecía. En la película, Fred Astaire canta a Ginger Rogers mientras ésta se lava el pelo en una habitación contigua. ROD STEWART The way you look tonight The Best of The Great American Songbook, Corte 08 Nuestra siguiente canción, Bye Bye Blackbird, fue compuesta por el americano Tay Henderson y la letrista Mort Dixon. Es un estándar muy popular y se grabó por primera vez en marzo de 1926 por la Orquesta de Baile de Sam Lanin. Tristemente, esta canción fue vilmente utilizada por los segregacionistas opuestos al Movimiento Estadounidense por los Derechos Civiles, particularmente en las sangrientas Marchas de Selma a Montgomery, emitiéndola por altavoces como una burla. Y es que, la traducción literal del título de la canción es Adiós, Adiós pájaro negro. Otra anécdota más amable nos cuenta que los Beatles quisieron hacer una versión de esta canción, aunque nunca llegó a término. Sin embargo, Ringo Star si que la publicó en su album Sentimental Journey y Paul McCartney también lo hizo en Kisses on the Bottoom. ’ ROD STEWART Bye bye blackird The Best of The Great American Songbook, Corte 09 Otro de los estándares que aparecen en este disco es These foolish things, una canción con música de Eric Maschwitz y letra de Jack Strachey, ambos ingleses. La canción no tuvo un éxito inmediato. Tuvieron que pasar algunos años para que, de forma puramente casual, cayera en manos de Leslie Hutch, un famoso pianista y cantante de la época. Le gustó, la grabó y la canción se convirtió en un gran éxito. A partir de este momento, fue interpretada por numerosos artistas. Las versiones más populares fueron la de Benny Goodman y la de Teddy Wilson con Billie Holiday. Recordareis que, en el capítulo dedicado a Billie Holiday tuvimos ocasión de escuchar esta versión. Hoy será la de Rod Stewart. ROD STEWART These foolish things The Best of The Great American Songbook, Corte 10 Vamos a despedirnos por hoy con una de las más famosas canciones del disco: What a wonderful world, una canción que fue escrita con la idea de que, de alguna manera, pudiera calmar el clima político y racial de la década de 1960. Pensada desde su origen para Louis Armstron, éste la estrenó en 1967 como sencillo. La canción describe la inclinación del cantante por las cosas sencillas de cada día, con un tono optimista y esperanzado en el futuro. Curiosamente, esta canción entró a formar parta de la Lista de canciones inapropiadas que confeccionó, tras los atentados del 11 S , la Clear Channel Communications, la corporación más grande de medios a nivel mundial, con participación en los sectores de TV, Radio, Internet y Publicidad. Bueno, pues estos personajes, que saben en todo momento lo que es bueno o malo para el resto de los mortales, confeccionaron una lista de alrededor de 165 canciones cuyas letras eran cuestionables en el contexto posterior a los ataques terroristas. No las prohibieron, pero aconsejaban no radiarlas. Estas canciones no tenían, en muchos casos, letras belicistas ni incitaban al odio, simplemente se trataba de no avivar los recuerdos de aquel trágico suceso que tan profunda huella había dejado en la sociedad estadounidense. Si alguien tiene curiosidad por analizar la lista, la puede encontrar en internet Memorando del Clear Channel de 2001. Ah, en esa lista, está el Black is Black, de Los Bravos. Una canción peligrosa, donde las haya. ROD STEWART & Stevie Wonder What a wonderful world The Best of The Great American Songbook, Corte 12 Bueno, pues hemos llegado al final. Yo creo que Rod Stewart acercó con la recuperación de todas estas canciones. Y también lo entendieron así sus numerosos fans. No hay nada como versionar canciones inmortales. Sobre todo… si se hace bien. Familia, estáis emplazados para la próxima semana aquí, en Sienteloconoido.caster.fm. Hasta entonces… ¡Buenas vibraciones!

Jimmy McHugh y Dorothy Fields componen "Exactamente como tú" para una comedia musical en los años 30, junto con el otro gran standard "On the sunny side of the street" (del lado soleado de la calle). Armstrong la toma en 1930, escuchemos su versión junto con las de Lionel Hampton, Django, Erroll Garner, Thelonious Monk, Oscar Peterson, Carmen McRae, Dizzy Gillespie y otros.

During an incredible Broadway career that stretched from 1953 to 1998, composer Cy Coleman created the music for 12 Broadway musicals. Unlike most Broadway composers, however, he was never part of an ongoing songwriting team but instead worked with seven very talented but very different collaborators. My guest today is one of those esteemed lyricists -- David Zippel who partnered with Cy Coleman on the score for the 1990 Tony Award winning "Best Musical", City Of Angels the hit musical that altogether received 10 Tony Awards including Coleman and Zippel's win for Best Score. That show launched David on his own stellar career which has honored with two Academy Award nominations, two Grammy Award nominations, and three Golden Globe nominations. His songs can be heard on over twenty-five million CDs around the world that include recording by Stevie Wonder, Christina Aguilera, Mel Torme, Ricky Martin, Cleo Laine, Barbara Cook, Nancy LaMott, and include the Original Broadway Cast and Soundtrack recordings of The Goodbye Girl, The Women In White, The Swan Princess and Disney's Hercules and Disney's Mulan. David and I first met shortly after we had both arrived in NY in the early 1980's and have remained friends and colleagues ever since. Today we begin our conversation talking about Coleman's Russian-Jewish heritage. So many Broadway songwriters -- Irving Berlin, George Gershwin, Richard Rodgers, Harold Arlen, Leonard Bernstein to name just a few were the children or grandchildren of Russian-Jewish immigrants. If you enjoy this podcast, I invite to join my Broadway Nation Facebook Group where there is a large and lively community of musical theater enthusiasts. We have a great deal of fun and I feel certain that you will too! And If you would like to hear more about Carolyn Leigh, Dorothy Fields, Betty Comden and other women who invented the Broadway musical, you may want to check out Episode 7 and 8 of Broadway Nation. Special thanks Special thank the Julia Murney and David David Burnham, everyone at KVSH 101.9 FM the voice of beautiful Vashon, Island Washington, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Des Femmes Parolières, présenté par Flore Benguigui. Focus sur plusieurs femmes parolières : Dorothy Fields, Sylvia Moy. Invitée : la talentueuse parolière, autrice, chanteuse et danseuse Blandine Rinkel. Illustration : Sarah Fabre. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Dorothy Fields, daughter of comedy star, Lew Fields, lyricist and librettist of such stage classics as A TREE GROWS IN BROOKLYN, SWEET CHARITY and ANNIE GET YOUR GUN, along with numerous memorable films such as the Fred Astaire/Ginger Rogers SWING TIME and ROBERTA, discusses her life and career. She recounts growing up in a theatrical household, breaking through in the Broadway of the 1920's, and her collaborations with many legendary composers, including Jimmy McHugh, Jerome Kern, Fritz Kreisler, Oscar Levant, Harry Warren, Harold Arlen, Burton Lane, Arthur Schwartz, and Cy Coleman. Featured songs: “On The Sunny Side Of The Street,” “I Can't Give You Anything But Love,” “A Fine Romance,” “I'm In The Mood For Love,” “Make The Man Love Me,” “If My Friends Could See Me Now,” “Diga Diga Doo,” “Collegiana,” “It's All Yours,” “There Must Be Something Better Than Love,” “He Had Refinement,” and “Big Spender.” Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/AnythingGoes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the Bad Piano Player goes over the amazing career of Dorothy Fields, the first woman ever enshrined in the Songwriter's Hall of Fame. 

The Muppet Show tries to do a feminism and takes an unexpected turn into distinctly yee-haw territory, always expected praise for Dorothy Fields, and off-brand Droop. This may not be our favorite episode but Ms. Candice Bergen is one of our favorite guest stars — and frankly still one of our favorite actors. Never mind that jazz, listen to this episode and let us know if it's better than a pie in the face! https://muppeturgy.com/episodes/candice-bergen-fixed

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you’ll hear: 1) You're The Top by Louis Armstrong / Cole Porter (words & music) [1934] 2) Manhattan by Ella Fitzgerald / Richard Rodgers (music) & Lorenz Hart (lyrics) [1925] 3) Pick Yourself Up by Nat King Cole / Jerome Kern (music) & Dorothy Fields (lyrics) [1936] 4) Have You Met Miss Jones? By Sarah Vaughan / Richard Rodgers (music) & Lorenz Hart (lyrics) [1937] 5) The More I See You by Michael Bublé / Harry Warren (music) & Mack Gordon (lyrics) [1945] 6) Embraceable You by Frank Sinatra & Lena Horne / George Gershwin (music) & Ira Gershwin (lyrics) [1930] 7) The Best Is Yet To Come by Diane Schuur / Cy Coleman (music) & Carolyn Leigh (lyrics) [1959] 8) Makin' Whoopee by Dr. John w/ Rickie Lee Jones, duet vocal / Walter Donaldson (music) & Gus Kahn (lyrics) [1928] 9) Fools Fall In Love by John Pizzarelli / Jerry Leiber & Mike Stoller [1956] 10) Nice 'N' Easy by Rosemary Clooney / Lew Spence (music) & Alan Bergman and Marilyn (Keith) Bergman (lyrics) [1960] 11) They All Laughed by Toni Tennille / George Gershwin (music) & Ira Gershwin (lyrics) [1937] 12) Since I Fell For You by Dinah Washington (w/ Quincy Jones) / Buddy Johnson (words & music) [1945] 13) I Get A Kick Out Of You by Tony Bennett / Cole Porter (music & lyrics) [1934] 14) On The Sunny Side Of The Street by Steve Tyrell / Dorothy Fields (lyrics) & Jimmy McHugh (music) [1930] 15) Let's Fall In Love by Diana Krall / Ted Koehler (lyrics) & Harold Arlen (music) [1933] 16) What'll I Do by Johnny Mathis / Irving Berlin [1923] 17) I Can't Get Started by Al Hirt / Vernon Duke (music) & Ira Gershwin (lyrics) [1936]

The Magic City is our second stop as we explore the local history of Miami. We learn about the indigenous history of the Tekesta people; the history of Overtown, Liberty City & Deep City Records; activist Dorothy Fields, singer Gwen McCrae and break down the best music of Miami 70s funk.YouTube playlist: https://music.youtube.com/playlist?list=PLh4juLq0lBQBDnt3MVWrD6fcwArpLgMs-Spotify playlist: https://open.spotify.com/playlist/3jZR8kDg11LbXFzsrjXcCT?si=876ea65993c64afeA World More Concrete: Real Estate and the Remaking of Jim Crow South Florida: https://www.barnesandnoble.com/w/a-world-more-concrete-n-d-b-connolly/1118620579

Join me on my journey through the fabulous world of musicals (stage and screen) - Letter F. This episode looks at shows such as Funny Girl, Follies, Fame and Flowers For Mrs Harris, as well as Performers and Creatives including Sutton Foster, Dorothy Fields, Sammy Fain and Bob Fosse.

Fifty years ago this month 10 people were inducted into the songwriters Hall of Fame. Included on that list are well-known names like duke Ellington, Ira Gershwin, and Alan J Lerner. The only woman in that group was Dorothy Fields. But despite her talents for lyrics and storytelling, her journey to becoming a songwriter wasn’t easy. In fact, there were some pretty big roadblocks in her way. This episode Is presented in conjunction with Maestra Music. Women's History Month continues wirth part two of my conversation with musical theater historian Kristin Stultz Pressley. We dig a little deeper into her Dorothy Fields biography: I can’t give you anything but love baby. We discuss what it was like for a woman writer in a man’s world, how Fields transitioned from one decade to the next, from one musical genre to another, and we get into this idea of fame and success and what that meant to Dorothy Fields. Kristin's biography of Fields at Amazon - https://amzn.to/38sPxXQ WINMI Newsletter and Members-Only Episodes - join.whyillnevermakeit.com Follow Kristin - Website / Instagram / Twitter  ————— Season 5 offers new ways to connect with me and the guests as well as new opportunities to learn and grow as an artist: Coachings and Consultations Ask questions to upcoming guests Artist Resources and Offers Instagram and Twitter Why I’ll Never Make It is a Top 25 Theater Podcast on Feedspot and a member of Broadway Makers Alliance. Music in the episode by Chad Crouch, Bortexx, Kevin Macleod, and Latch Swing is used under a Creative Commons Attribution-NonCommercial 4.0 International License.

This week for Women’s History Month, I’m sharing a special conversation with Dr. Broadway about prolific lyricist and librettist Dorothy Fields, who collaborated with some of the most iconic and legendary composers in Broadway history. For much of the Golden Age of the American musical, Fields was one of the only women writing for the Broadway theatre. This episode Is presented in conjunction with Maestra Music. Even if the name Dorothy Fields isn't completely familiar to you, her songs and musicals are some of the most well-known words in the Great American Songbook: On the Sunny Side of the Street A Fine Romance The Way You Look Tonight Hey, Big Spender It's Not Where You Start Kristin Stultz Pressley first appeared in Season Two, talking about the Tony awards and musical theater history in general. Well, she is back and talking about her new book, I Can't Give You Anything But Love, Baby, chronicling the remarkable life and career of one of the most successful female songwriters of all time. (Find the book on Amazon: https://amzn.to/38sPxXQ) Get the WINMI Newsletter - join.whyillnevermakeit.com Follow Kristin - Website / Instagram / Twitter / PhD Dissertation on Fields ————— Season 5 offers new ways to connect with me and the guests as well as new opportunities to learn and grow as an artist: Members-Only Episodes on Supercast, only $3-10/month Coachings and Consultations Ask questions to upcoming guests Monthly WINMI Newsletter Artist Resources and Offers Instagram and Twitter  Why I’ll Never Make It is a Top 25 Theater Podcast on Feedspot  Music in the episode by Crowander and Latch Swing is used under a Creative Commons Attribution-NonCommercial 4.0 International License.

Kristin Stultz: I can´t give you anything but love baby: Dorothy Fields and her life in the American Musical theatre... with TRE's Dave Hodgson

How exciting to go straight from Black History Month to Women’s History Month! Over the course of this coming month, I am going to feature programs on my favoritest singers of all time! For the first episode, I break with normal Countermelody protocol and feature the quintessential pop singer, Dusty Springfield, whose career spanned the early 1960s through the mid-1990s. I’ve been waiting for an excuse to do an all-Dusty episode and since this past week was the 22nd anniversary of her premature death at the age of 59 of cancer, the time seemed right to present her to my listeners in all her eclectic glory. Because we are celebrating women this month, I decided to present Dusty singing material exclusively by female composers and lyricists, including all of extant recordings of songs by the great Carole King, most in collaboration with her longtime songwriting partner, the late Gerry Goffin. Other songwriters represented include Janis Ian, Karla Bonoff, Scherrie Payne, Norma Tanega, and Carole Pope; lyricists include Dorothy Fields and Marilyn Bergman, and vocal guest stars include Tom Jones and Martha Reeves and The Vandellas. This week’s bonus episode, available to Patreon subscribers, features further Dusty performances, both live and studio. Come and let me guide you through the glory of All Things Dusty! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you’ll hear: 1) Between The Devil And The Deep Blue Sea [Excerpt] by Benny Goodman / Harold Arlen (music) [1932] 2) This Could Be The Start Of Something Big by Steve Lawrence & Eydie Gormé / Steve Allen (music & lyrics) [1956] 3) Once In Love With Amy by Sammy Davis Jr. / Frank Loesser (music & lyrics) [1948] 4) Keepin' Out of Mischief Now by Dinah Washington (w/ Ernie Wilkins and His Orch.) / Fats Waller & Andy Razaf [1932] 5) Come Fly With Me by Frank Sinatra & Luis Miguel / Jimmy Van Heusen (music) & Sammy Cahn (lyrics) [1957] 6) Out of This World by Freda Payne / Harold Arlen (music) & Johnny Mercer (lyrics) [1944] 7) A Kiss To Build A Dream On by Louis Armstrong / Composed by Burt Kalmer/Harry Ruby/Oscar Hammerstein II [1935] 8) Between The Devil And The Deep Blue Sea by Mel Tormé / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 9) I Remember You by Ella Fitzgerald (w/ Nelson Riddle's Orch) / Victor Schertzinger (music) & Johnny Mercer (lyrics) [1941] 10) The Way You Look Tonight by Michael Bublé / Dorothy Fields (lyrics) & Jerome Kern (music) [1936] 11) True Love by Patsy Cline / Cole Porter [1956] 12) Begin The Beguine by Andy Williams / Cole Porter [1935] 13) Maybe This Time by Liza Minnelli / John Kander (music) & Fred Ebb (lyrics) [1964] 14) It's Only A Paper Moon by Bobby Darin / Harold Arlen (music) & Yip Harburg and Billy Rose (lyrics) [1933] 15) It Had To Be You by Harry Connick, Jr. / Isham Jones (music) & Gus Kahn (lyrics) [1924] 16) The Night We Called It a Day by Doris Day / Matt Dennis (music) & Tom Adair (lyrics) [1941] 17) On The Sunny Side Of The Street by Tony Bennett & Willie Nelson / Dorothy Fields (lyrics) & Jimmy McHugh (music) [1930] 18) Evergreen by Barbra Streisand / Barbra Streisand (music) & Paul Williams (lyrics) [1976] 19) Tonight by Johnny Mathis / Stephen Sondheim (lyrics) & Leonard Bernstein (music) [1956] 20) Blue Eyes by The American Patrol Orchestra / Jerome Kern (music) [1928]

The Fosse/Verdon finale, “Providence,” premiered on May 28th, 2019. Just like the pilot, its writing credit was separated into two: the story of the episode by Joel Fields & Steven Levenson, while the teleplay itself was written just by Steven Levenson. The episode was directed by Tommy Kail. We saw three pieces of choreography in this finale: two were performances of “Big Spender” and “If They Could See Me Now” in this episode, both originally choreographed by Bob Fosse and reconstructed by Mimi Quillin. The third was the father-daughter sequence to Mr. Bojangles between Bob and Nicole, as well as its subsequent plagiarism later in the episode, both choreographed by Nicole Fosse herself. We had four featured songs in this finale. The two songs from Sweet Charity, written by Cy Coleman and Dorothy Fields, were “Big Spender,” performed by the show’s fictional tour cast, and “If My Friends Could See Me Now,” performed by both Kelcy Griffin and Michelle Williams. The other two songs are not from musicals: All That Jazz’s finale “Bye Bye Life,” which exists as a play on the Everly Brothers’s “Bye Bye Love,” written by Boudleaux and Felice Bryant, and performed by Lin-Manuel Miranda. Also performed by Lin is a version of “Mr. Bojangles” written by Jerry Jeff Walker. The finale viewership came in at a high of 992,000 total viewers, third only to the series’s first two episodes, with both live and DVR viewership rising from last week. What’s nice is, the finale’s live viewership was the highest it had been since the pilot, so luckily the show went out on a live high!! Bob is in pre-production for his semi-autobiographical movie All That Jazz, but the script still has a satisfying ending. Paddy hits the nail on the head when he tells Bob, “the problem with your movie is that your hero doesn’t change.” In his search for a realistic, if unsatisfying ending, part of the pre-production includes interviewing Gwen about her feelings about putting Bob’s next wife, Ann, into roles that she created. Her response? “It’s pretty familiar.” Part of the casting process is Bob auditioning Ann for the role of Katie - a role is obviously based on herself. Bob grills her, making Annie run the scene over and over pleading “why can’t you do the scene like it means something to you?” Her response: “Because this isn’t a scene. This is my life. These are my words. You took our life and you put it into a fucking scene in a movie.” Nicole is also watching her life being put into a fucking scene in a movie when she visits the All That Jazz set and watches the conversation she had with her dad being rehearsed by another actress playing her.  After creating Roxie in Chicago, Gwen is back where she was just a few years ago: at dinner with her manager, discussing dead ends of career opportunities. She really wants to act, but isn’t interested in following the work to LA. When Nicole’s interest in extracurricular drugs increases, Gwen considers moving her, Ron and Nicole out of the city. But dangled with another challenge to the way he sees the world, Bob gives Gwen the role of Roxie on tour, telling her, “It’s your show. It’s always been your show.” Her husband Ron forces Gwen to make a decision: staying with him vs. being puppeted by Bob. And so, she watches him pack up his life and leave.  Post-production, everyone is back on their shit: Gwen performing and hosting a medical auction on Staten Island, and Bob recreating conversations he had with Ann (both in real life and in the movie) with his latest girlfriend. Gwen takes on the task of shadow choreographing the pre-Broadway revival of Sweet Charity, but with the direction missing the heart of the show completely the only way for the show to work is for them to work as they always have been meant to: side by side, as partners. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Where Am I Going?” premiered on May 7th, 2019. It was written by Charlotte Stoudt, and directed by Tommy Kail. The total viewership dipped about 32,000 viewers from the previous week, coming in at about 878,000. The live viewership fell to 312,000, while oddly the DVR viewership rose to 565,000. This bottle episode had very little music in it; it was almost like a normal TV show!! The only featured song we had was an uncanny rendition by Michelle Williams of “Where Am I Going?” from Sweet Charity, with music and lyrics by Cy Coleman and Dorothy Fields, honestly proving why her star-turn as Gwen Verdon earned her an Emmy. Three months after checking himself into the Payne Whitney Psychiatry Clinic, Bob and his new girlfriend Annie are hosting a party for Neil Simon following the death of his wife, Joan. But joining them at their Southampton rental for the first time are Gwen and her new beau Ron. In their first moment alone, Bob asks Gwen what she thinks of Annie, telling her “Nicole really loves her.” But all Gwen wants to talk about is Chicago: scheduling a meeting with producers and telling him they have a theatre for the show. However, Bob is more interested in making his next project a biopic on Lenny Bruce starring Dustin Hoffman. Not only does that put Gwen’s plans for Chicago in jeopardy but it concerns Ann, who knows that his doctors suggested he take a year off of work or he’d end right back in the Clinic. The conversation comes to head after their dinner to celebrate Joan, where Paddy and Gwen both challenge Bob about his motivations for rushing Lenny to the screen. Amidst the adult conversations is Bob and Gwen’s daughter Nicole, who cycles through the rooms of the house wearing a midriff and refilling cigarette cases. After dinner, Gwen courts Ann to be on her side in persuading Bob to postpone Lenny, but it becomes clear they are both on different sides: Gwen wanting him to work on Chicago and Ann wanting him not to work at all. When Gwen puts Bob’s feet to the flame: “You wanna know the truth?. I’m finished with these corny, bullshit musical comedies.” It isn’t until Gwen admits she’s not sure that he’ll be alive to direct in two years and throws Hal Prince’s name into the ring that Bob agrees to kiss and make up. Well, it’s a kiss that leads to a lot more than just a kiss. In the early hours of the next morning, Gwen and Ann have a heart-to-heart over croissants: Gwen gives Ann her blessing because Bob has introduced her to Nicole. She also tasks Ann with keeping him from going off the edge, promising “he’ll give you what he gave me: Lola, Charity, Roxie.” But while Gwen has seemed to win Bob over into directing Chicago, Bob proclaims that he will be doing them both at the same time. Learn more about your ad choices. Visit megaphone.fm/adchoices

This weekend, Movie Magic previews the shows worth staying home to watch.  Credits:  1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez. 2. Big Spender performed by Peggy Lee and written by Cy Coleman & Dorothy Fields. Label: United Artists. 3. Theme from Animaniacs, written by Richard Stone. Lyrics by Tom Ruegger. 4. The Witches Opening/Closing. Theme written & conducted by Stanley Myers. See omnystudio.com/listener for privacy information.

“Life is a Cabaret” premiered on April 9th, 2019. It was written by Steven Levenson, and directed by Thomas Kail; uniquely for this episode, the show credited Both Mssrs. Levenson and Kail with creating the story, but only one of them for writing the actual teleplay. The two group numbers we saw, “Mein Herr” and “Big Spender,” were both originally choreographed by Bob Fosse, but were reconstructed by Valarie Pettiford and Dana Moore, respectively. Something fun for these modern TV shows: the viewership is now able to be tracked separately between live viewers and viewers who watch on DVR. For this pilot episode, the live viewership was .614 million and the DVR viewership was .729 million, bringing the total viewership to 1.344 million. We heard five featured songs in this premiere. The two songs from Sweet Charity, “Big Spender” and “If My Friends Could See Me Now,” were both written by Cy Coleman and Dorothy Fields. While the latter was an excerpt from the original recording, “Big Spender” was performed and sung by Bianca Marroquin and the Fandango girls. Also included in this episode were songs from Cabaret, all written by John Kander and Fred Ebb: “Wilkommen” which was a recording, as well as “Mein Herr” and the title song “Cabaret,” both performed by Kelli Barrett. The limited series begins in Hollywood, with 19 years left in the illustrious life and career of Bob Fosse. With his wife and muse Gwen Verdon at his side, he is setting up shots for the song “Big Spender” in his directorial debut: a feature film version of his hit Broadway musical Sweet Charity, which had opened on Broadway with Verdon as the lead less than three years early. While Bob is the director, it is clear that Verdon is just as much a creative force as he is, deconstructing the movement for the dancers and even recommending one of them should be cut when the frame needs to be tightened. At a party to celebrate the film’s opening the following year, Verdon and Fosse host a party for friends and colleagues at their New York City apartment. While the energy is positive with the attendees entertained by a performance from their young daughter Nicole, the reviews for the film are notably less enthusiastic. Of particular note in the New York Times review, which says “Sweet Charity is a movie haunted by the presence of an unseen star, Gwen Verdon. Although Mrs. McClaine often looks like Miss Verdon, she never succeeds at recreating the eccentric line that gave cohesion to the original.”  The box office bust of Sweet Charity makes Bob have to work hard to line up his next film directorial job, which he hopes to be a film adaptation of the 1966 Broadway musical Cabaret. While the film’s producer Cy Feuer is skeptical that Bob’s aesthetic is appropriate for the material, Fosse convinces him by leaning on his experience performing in the USO during World War II. Well, that and going behind Feuer’s back by speaking to his boss. Fosse lands the job and flies to Munich, Germany to direct the film two years later. But while he seems in his element visiting a brothel to cast extras and sleeping with his translator, Feuer is concerned that Fosse’s demand for specificity is going to cost the production millions like the financial flop Sweet Charity. Bob asks Gwen to join him in Munich, where she again saves the show by applying dancers make up and even making a 72 hour trip to New York and back to pick up the perfect gorilla costume. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're starting--and finishing--this episode with songs by the quintessential queen of lyric writing. Renditions by Judy Garland, Fred Astaire, Louis Armstrong, and shows such as SEESAW and A TREE GROWS IN BROOKLYN.

“Classic-Pop Standards” is inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. We bring new life to the Great American Songbook on “Classic-Pop Standards”. ***** In this episode, you’ll hear: 1) Oh, Lady Be Good [Excerpt] by Benny Goodman Quintet / George Gershwin (music) & Ira Gershwin (lyrics) [1924] 2) I Got Rhythm by Bobby Darin / George Gershwin (music) & Ira Gershwin (lyrics) [1930] 3) September In The Rain by Dinah Washington / Harry Warren (music) & Al Dubin (lyrics) [1937] 4) I Can't Give You Anything But Love by Mel Tormé / Jimmy McHugh (music) & Dorothy Fields (lyrics) [1928] 5) Lover, Come Back To Me by Barbra Streisand / Sigmund Romberg (music) & Oscar Hammerstein II (lyrics) [1928] 6) I Get A Kick Out Of You by Frank Sinatra / Cole Porter (music & lyrics) [1934] 7) Blues In The Night by Eva Cassidy / Johnny Mercer (words) & Harold Arlen (music) [1941] 8) Thank Heaven for Little Girls by Maurice Chevalier / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1957] 9) It's De-Lovely by Ella Fitzgerald / Cole Porter (music & lyrics) [1936] 10) Once In Love With Amy by Dean Martin / Frank Loesser (music & lyrics) [1948] 11) Without A Memory by Judy Garland / Bob Hilliard (lyricist) & Milton De Lugg (composer) 12) Lulu's Back in Town by Dick Haymes / Al Dubin (lyrics) and Harry Warren (music) [1935] 13) My Heart Belongs To Daddy by Eartha Kitt / Cole Porter [1938] 14) A Foggy Day (In London Town) by Michael Bublé / George Gershwin (music) & Ira Gershwin (lyrics) [1937] 15) I've Got the World On a String by Julie Budd / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 16) My One And Only Love by Louis Armstrong / Guy Wood (music) & Robert Mellin (lyrics) [1952] 17) I Got It Bad (And That Ain't Good) by Carly Simon / Duke Ellington (music) & Paul Francis Webster (lyrics) [1941] 18) Come To Me, Bend To Me by Andy Williams / Alan Jay Lerner (lyrics) & Frederick Loewe (music) 19) Spring, Spring, Spring by JaLaLa / Johnny Mercer (lyrics) & Gene dePaul and Saul Chaplin (music) [1954] 20) Bewitched, Bothered & Bewildered by Frank Sinatra & Patti LaBelle / Richard Rodgers (music) & Lorenz Hart (lyrics) [1940] 21) I've Got My Love To Keep Me Warm by Les Brown / Irving Berlin (music & lyrics) [1937]

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. ****** In this episode, you’ll hear: 1) Between The Devil And The Deep Blue Sea [Excerpt] by Benny Goodman / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 2) The Best Is Yet To Come by Tony Bennett & Diana Krall / Cy Coleman (music) & Carolyn Leigh (lyrics) [1959] 3) Sit Down, You're Rockin' the Boat by Sammy Davis Jr. / Frank Loesser [1950] 4) Big Spender by Shirley Bassey / Cy Coleman (music) & Dorothy Fields (lyrics) [1966] 5) I've Got You Under My Skin by Peggy Lee / Cole Porter (1936) 6) Ain't Misbehavin' by Peter Cincotti / Thomas "Fats" Waller & Harry Brooks (music) Andy Razaf (lyrics) 7) I Won't Dance by Jane Monheit & Michael Buble / Dorothy Fields & Jimmy McHugh (lyrics) and Jerome Kern (music) 8) Body And Soul by Carly Simon / Johnny Green (music) & Edward Heyman, Robert Sour, and Frank Eyton (lyrics) [1930] 9) The Song Is Ended (But the Melody Lingers On) by Nat King Cole / Irving Berlin (music) & Beda Loehner (lyrics) [1927] 10) 'Deed I Do by Sue Raney / Fred Rose (music) & Walter Hirsch (lyrics) [1926] 11) Long Ago And Far Away by Rod Stewart / Jerome Kern (music) & Ira Gershwin (lyrics) [1944] 12) Only Love by Linda Eder / Frank Wildhorn (music) & Nan Knighton (lyrics) 13) Am I Blue? By Vic Damone / Harry Akst and Grant Clarke (1929) 14) Something's Got To Give by Rosemary Clooney / Johnny Mercer (words & music) [1954] 15) Good Thing Going (Going Gone) by Frank Sinatra / Stephen Sondheim (words & music) [1981] 16) I Wish I Didn't Love You So by k. d. lang / Frank Loesser (1947) 17) They Can't Take That Away From Me by Diana Krall / George Gershwin (music) & Ira Gershwin (lyrics) [1937] 18) In A Sentimental Mood by Doc Severinsen & His Big Band / Duke Ellinton (music) [1935]

This week the Bad Piano Player learns about Dorothy Fields, the lyricist behind some of the most well known songs in the world. 

Un 15 Juillet est née… Dorothy Fields, parolière américaine méconnue qui glanera 5 Tony Awards et écrira pour les plus grands shows de Broadway. See acast.com/privacy for privacy and opt-out information.

Women have had a much more significant impact on the Broadway Musical than has generally been reported or acknowledged. In fact, talented, dynamic women have been a major force in the creation and development of the American musical theater from the very beginning and right up to today. In this episode my special guest Albert Evans and I will share the often overlooked stories of songwriters and bookwriters Rida Johnson Young, Dorothy Donnelly, Nora Bays, Ann Ronell, Kay Swift, Betty Comden, Bella Spewack, Mary Rodgers, Carolyn Leigh, and especially Dorothy Fields, whose amazing 50-year career stretched from the vaudeville era to the age of rock! Special thanks to Billie Wildrick for her voice acting contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Estamos ante otro musical famoso, "SWEET CHARITY" que adaptó Bob Fosse del argumento de Fellini para la película "Las noches de Cabiria" con la que ganaría el David de Donatello y el Oscar a la mejor película extranjera. Fosse trasladó la acción de Italia a Estados Unidos y transformó la ingenua prostituta de Roma en una taxi dancer que es como se llamaba a las chicas que trabajaban a comisión en salones de baile en América, cobrando en función de los bailes que les comprasen los clientes. El musical además de Fosse tuvo a Neil Simon escribiendo el libreto, mientras que las letras de las canciones son de Dorothy Fields, autora de canciones como “The way you look tonight”, o “A fine romance” y la música es de Cy Coleman el compositor que ganó 3 Emmy, dos Grammy y estuvo nominado al Oscar. Ganador del Tony con los musicales “The Wil Rogers Follies”, “City of Angels” y “On the twenty century”, además de estar nominado por sus musicales “The life”, “Barnum”, “Seesaw”, “I love my wife”, “Little me” y “Sweet Charity” de la que nos ocupamos en este podcast. Nos serviremos del Original Broadway Cast que tiene a Gwen Verdon como Charity, Helen Gallagher como Nikkie y John McMartin como Oscar. 00h 00'00" Inicio 00h 02'20" Cabecera 00h 03'26" Presentación 00h 04'50" Overture 00h 08'44" Charity's theme 00h 10'31" You should see yourself 00h 13'44" Big spender 00h 18'22" Charity soliloquy 00h 23'18" Rich man's frug 00h 27'25" If my friend could see me now 00h 31'07" Too many tomorrrows 00h 35'06" There's gotta be something better than this 00h 40'49" I'm the bravest individual 00h 43'26" The rhythm of life 00h 48'07" Sweet Charity 00h 51'39" Baby, dream your dream 00h 56'11" Where am I going? 01h 00'16" I'm a brass band 01h 03'30" I love to cry at weddings 01h 08'22" And she lived hopefully ever after 01h 09'55" Finale 01h 11'14" Algunas curiosidades 01h 14'11" Big impression 01h 16'32" Where am I going? 01h 20'29" My personal property 01h 22'30" It's a nice face 01h 24'55" Gimme a rain check 01h 27'28" Despedida y agradecimientos Sólo me queda recordaros que podéis SUSCRIBIROS GRATUITAMENTE al canal de podcast de LOVE4MUSICALS,  desde ivoox o itunes para recibir notificación cada vez que se publique un nuevo programa.

Estamos ante otro musical famoso, "SWEET CHARITY" que adaptó Bob Fosse del argumento de Fellini para la película "Las noches de Cabiria" con la que ganaría el David de Donatello y el Oscar a la mejor película extranjera. Fosse trasladó la acción de Italia a Estados Unidos y transformó la ingenua prostituta de Roma en una taxi dancer que es como se llamaba a las chicas que trabajaban a comisión en salones de baile en América, cobrando en función de los bailes que les comprasen los clientes. El musical además de Fosse tuvo a Neil Simon escribiendo el libreto, mientras que las letras de las canciones son de Dorothy Fields, autora de canciones como “The way you look tonight”, o “A fine romance” y la música es de Cy Coleman el compositor que ganó 3 Emmy, dos Grammy y estuvo nominado al Oscar. Ganador del Tony con los musicales “The Wil Rogers Follies”, “City of Angels” y “On the twenty century”, además de estar nominado por sus musicales “The life”, “Barnum”, “Seesaw”, “I love my wife”, “Little me” y “Sweet Charity” de la que nos ocupamos en este podcast. Nos serviremos del Original Broadway Cast que tiene a Gwen Verdon como Charity, Helen Gallagher como Nikkie y John McMartin como Oscar. 00h 00'00" Inicio 00h 02'20" Cabecera 00h 03'26" Presentación 00h 04'50" Overture 00h 08'44" Charity's theme 00h 10'31" You should see yourself 00h 13'44" Big spender 00h 18'22" Charity soliloquy 00h 23'18" Rich man's frug 00h 27'25" If my friend could see me now 00h 31'07" Too many tomorrrows 00h 35'06" There's gotta be something better than this 00h 40'49" I'm the bravest individual 00h 43'26" The rhythm of life 00h 48'07" Sweet Charity 00h 51'39" Baby, dream your dream 00h 56'11" Where am I going? 01h 00'16" I'm a brass band 01h 03'30" I love to cry at weddings 01h 08'22" And she lived hopefully ever after 01h 09'55" Finale 01h 11'14" Algunas curiosidades 01h 14'11" Big impression 01h 16'32" Where am I going? 01h 20'29" My personal property 01h 22'30" It's a nice face 01h 24'55" Gimme a rain check 01h 27'28" Despedida y agradecimientos Sólo me queda recordaros que podéis SUSCRIBIROS GRATUITAMENTE al canal de podcast de LOVE4MUSICALS,  desde ivoox o itunes para recibir notificación cada vez que se publique un nuevo programa.

We offer our Best Wishes to everyone who headed to school this month, and especially to those that are just starting a new school, full of future new friends and new knowledge. This week, Round the World with Cracklin’ Jane listens to a song for each of the 26 letters of the English alphabet, to help you on the road to functional literacy. All in Cracklin’ 78 RPM Quadraphonic Hi-fidelity, after which Richard Diamond, Private Detective solves the Ralph Chase case!1. A You're Adorable (The Alphabet Song) - The Buddy Kaye Quintet - 19482. B-19 - Harry James and his Orchestra - 19413. C Blues - Barney Bigard and Orchestra - 19424. D. D. T. - Mary Lou Williams' Girl Stars - 19465. E-String Rag - Hank Garland - 19516. F. D. R. JONES - Cab Calloway and his Orchestra - 19387. G STRING BOOGIE - Alvino Rey and his Orchestra;Frank Nelson - 19488. H And J - Count Basie - 19419. I Ain't Gonna Give Nobody None O' This Jellyroll - Wilbur Sweatman's Original Jazz Band - 191910. J. D.'s Boogie Woogie - Jimmy Dorsey And His Orchestra - 194511. K-K-K-Katy (Stammering Song) - Billy Murray - 191812. L-L-L-L-A - Tommy Dorsey and his Orchestra - 194713. M F T Boogie - Ace Harris - 194614. 'N Everything - Al Jolson - 191715. O Death, Where Is Thy Sting? - Bert Williams - 191916. P Vine Blues - Joe Williams - 194717. Qua Qua Qua - Carlos Galhardo - 194518. R. B. Blues - Ruth Brown with Orchestra - 195019. S-O-L-Blues - Louis Armstrong - 192720. T-Town Jump - Geechie Smith with his Orchestra - 194621. U Lili E - Royal Hawaiian Serenaders – 1940’s22. V-DAY STOMP - The Four Clefs - 194523. W. P. A. - Jan Savitt And His Orchestra - 194024. X-Temperaneous Boogie - Camille Howard and her Trio - 194725. Y' Had It Comin' to You - Ethel Waters;Edward Mallory and his Orchestra - 193926. Zaggin' with Zig - Ziggy Elman and his Orchestra - 194727. I Can't Give You Anything But Love (And The Alphabet) - Buddy Morrow and his Orchestra; Dorothy Fields - 1950

For over thirty years, KT Sullivan has been one of the most recognizable artists associated with cabaret. She has played Carnegie Hall, Lincoln Center, Birdland, Feinstein's/54 Below, Spoleto, Adelaide, and so many more. In addition to her award winning live appearances, she is the Artistic Director of the Mabel Mercer Foundation, which will host its 30th Annual NY Cabaret Convention October 28th-31st, 2019 at Lincoln Center, focusing on such artists as Dorothy Fields, Frank Loesser, and Judy Garland. KT pulls back the curtain on her the art of cabaret has evolved, what it was like being directed by Mister Abbott, and why The Mabel Mercer Foundation is an integral part to the thriving renaissance of American cabaret. Also, KT shines the spotlight on Marilyn Maye, Karen Akers, and Sting! More information on The NY Cabaret Convention Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 To book a room at Shetler Studios, head on over to: https://www.shetlerstudios.com

durée : 00:58:53 - "On the Sunny Side of the Street", musique de Jimmy McHugh, paroles de Dorothy Fields - par : Laurent Valero - réalisé par : Antoine Courtin

After our great discussion of Broadway history, Tony Awards, and Dorothy Fields, Kristin was a sport enough to take on some trivia questions...and some of them were doozies. I didn't even know most of them before looking them up. So test your own Broadway knowledge and see how many you know in the first-ever WINMI Theater Trivia Challenge! Follow Kristin on Twitter and learn more about her at DrBroadway.com. ----- Please consider buying me a coffee to support this work that goes into each episode.   Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com

Well, the Award Season is now in high gear with all the major theater nominations out: Drama Desk, Outer Critics Circle, Drama League, and of course the mother of them all, the Tonys. Everyone seems to be talking about the hottest shows on Broadway. So today I’m jumping into the deep end as well, talking about some of the current Broadway darlings. And joining me is Dr. Broadway herself to also discuss the history that went into making Broadway what it is today as well as some of the backstory to the Tony Awards.   Dr. Broadway, also known as Kristin Stultz Pressley is a Musical Theatre Historian, and as you would guess one of Broadway’s biggest fans. As a passionate and energetic presenter, Pressley has taught theatre at every level – from pre-school all the way up to university. And yes, she is an actual doctor with a phd in Theater and Film Studies. For her research on the life and work of Tony Award-winning lyricist and librettist Dorothy Fields, she was awarded the Bruce Kirle Emerging Musical Theatre Scholar Award. That’s a long-titled award all to say she knows a whole lot about Dorothy Fields. And we’ll also be discussing her important and pivotal work during broadway’s golden age.    Stephen Sondheim once wrote, "Work is what you do for others; art is what you do for yourself." And for Dr. Broadway that’s exactly what she loves about being a Musical Theatre Historian as it also informs her ongoing mission: educating theatergoers in order to enhance theatergoing.    Follow her on Instagram and find out more at DrBroadway.com.    ----- Please consider buying me a coffee to support this work that goes into each episode.   Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com

Jimmy McHugh was an American composer. One of the most prolific songwriters from the 1920s to the 1950s, he is credited with over 500 songs. One of the most important songwriting partners McHugh had was lyricist Dorothy Fields, with whom he wrote "I Can't Give You Anything but Love" (1928), "On the Sunny Side of the Street" (1930), and "I'm in the Mood for Love" (1935). We will be taking a look at the career and listening to many of his hit songs on the program today. If you are a fan of the Great American Songbook then you are sure to enjoy this show. Thank you for listening. Please visit this podcast at http://bigbandbashfm.blogspot.com

‘Rockhistorier’ forkæler  lytterne med en klynge forgyldte evergreens, skrevet af folk som Cole Porter, Gershwin-brødrene og Irving Berlin, sunget af mesteren selv.Frank Sinatras karriere falder i flere stadier. Efter en periode som refrænsanger i Tommy Dorseys orkester udløste det Sinatramania, at han gik solo i 1942, hvor han blev det store idol for datidens bobby soxers. I starten af 1950’erne faldt populariteten betragteligt, og de færreste fattede, at Capitol Records gad skrive kontrakt med ham i 1953, hvor Columbia Records droppede ham. Men samme år revitaliserede hans rolle i filmen ”Herfra til evigheden” karrieren, og han gik ind i dens kunstnerisk mest frugtbare fase.Frem til 1962 indspillede han 15 mesterlige lp’er for Capitol, heraf over halvdelen i selskab med den kongeniale arrangør og orkesterleder Nelson Riddle, resten med folk som Gordon Jenkins, Billy May og Axel Stordahl. Hvert album slog en tone an, som forfulgtes hele vejen igennem, og i processen skabtes konceptpladen. Sinatra vekslede ligeligt mellem swing-tunes og torch-songs, to genrer, han ubesværet mestrede og resultatet blev det måske fineste og mest slidstærke underholdningsmusik, der nogensinde er blevet indspillet på magnetbånd.Playliste: I Get a Kick Out of You (Cole Porter) (1954) A Foggy Day (George & Ira Gershwin) (1954) Just One of Those Things (Cole Porter) (1954) Get Happy (Harold Arlen, Ted Koehler) (1954) In the Wee Small Hours of the Morning (David Mann, Bob Hilliard) (1955) It Never Entered My Mind (Richard Rodgers, Lorenz Hart) (1955) I’ve Got You under My Skin (Cole Porter) (1956) Old Devil Moon (Burton Lane, E.Y. ”Yip” Harburg (1956) Don’t Like Goodbyes (Harold Arlen, Truman Capote) (1957) I Got It Bad (And That Ain’t Good) (Duke Ellington, Paul Francis Webster) (1957) Autumn Leaves (Jacques Prévert, Johnny Mercer, Joseph Kosma) (1957) Lonely Town (Leonard Bernstein, Betty Comden, Adolph Green) (1957) Come Fly with Me (Sammy Cahn, Jimmy Van Heusen) (1958) Only the Lonely (Sammy Cahn, Jimmy Van Heusen) (1958) One for My Baby (And One More for the Road) (Harold Arlen, Johnny Mercer) (1958) Something’s Gotta Give (Johnny Mercer) (1959) Here’s That Rainy Day (Johnny Burke, Jimmy Van Heusen) (1959) How Deep Is the Ocean (Irving Berlin) (1960) On the Sunny Side of the Street (Jimmy McHugh, Dorothy Fields) (1961) September Song (Kurt Weill, Maxwell Anderson) (1962)Glædelig jul og godt nytår fra ‘Rockhistorier', vi er tilbage tirsdag d. 8.1.2019.

We're joined by Deborah Grace Winer to celebrate those great ladies--Betty Comden, Dorothy Fields, Carolyn Leigh and more--in anticipation of the concert "Baby Dream Your Dream" at East Hampton's Guild Hall.

You're about to meet yet another accomplished, creative female powerhouse. Deborah Grace Winer is an: author, dramatist, historian and producer. And...she's also a leading expert on the American Songbook and Musical Theater. Her shows have celebrated such icons as Dorothy Fields, Jerome Kern, Fred Astaire and Ginger Rodgers. As you'll hear, Deborah's career is a rich and varied one.

What happens when you put three obsessive fans of the American Songbook into the same room? Well, you get this week's episode with acclaimed author and champion of the great American Songbook, Deborah Grace Winer. Deborah's passion not only extends into the literary world, where she wrote Sing Out Louise: 150 Stars of the Musical Theatre Remember 50 Years of Broadway, The Night and the Music: Rosemary Clooney, Barbara Cook and Julie Wilson Inside the World of Cabaret, and On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields, she served for ten years as the Artistic Director of the 92nd Street Y's Lyrics and Lyricists Series and is now the Artistic Director of the Classic American Songbook Series at Feinstein's/54 Belo. Deborah pulls back the curtain on her career to discuss how she first became enamored of the American songbook while her contemporaries were rocking out to The Beatles, what it was like rubbing elbows with Betty Comden and Rosemary Clooney, and why Elaine Stritch never met a fruit she didn't like! Also, Deborah shines the spotlight on Dorothy Fields, Paul Newman, and Sheldon Harnick! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Dr. Jay Keyser is known to many as MIT Professor Emeritus of Linguistics. He’s written several books and countless essays and poems throughout his prolific career centering in his love for language. Jay is a jazz trombonist in the highly regarded Aardvark Jazz Orchestra, which happens to be one of the oldest continuous jazz ensembles in the country. Whether you know Jay as a writer, poet, musician, philosopher or teacher, it’s clear when you talk with him there is a thirst for knowledge and true love of life. Jay talked to us about his experience with a life changing event in 2014, when an accident left him without any movement of his extremities at the age of 79. Defining resilience, Jay candidly reports on his incredible recovery, his difficult yet exciting new chapter in music and writing and also his relationship with his wonderful wife. Song List: All songs performed by the Aardvark Jazz Orchestra Composer Mark Sumner Harvey Song 1: Spaceways (Passages) Song 2: March of the Booboisie (Exocations) Song 3: I Hear America Calling (Evocations) Live Song: Song 1: Sunny Side of the Street (music composed by Jimmy McHugh and lyrics by Dorothy Fields)

Y hoy… un estándar. Es el turno de la segunda entrega dedicada a “The Way You Look Tonight”, el clásico con música de Jerome Kern y letra de Dorothy Fields. Suenan las versiones del tema por Peggy Lee junto a la orquesta de Benny Goodman, Ella Fitzgerald, Oscar Peterson, Paul Motian, Art Pepper en dúo con George Cables, Kenny Hagood, Gerry Mulligan, Jane Ira Bloom, Les Brown, Eric Dolphy y Zoot Sims. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

Y hoy… un estándar. Es el turno de “The Way You Look Tonight” con música de Jerome Kern y letra de Dorothy Fields, compuesto en 1936 para la película Swing TIme (en España En alas de la danza). Las interpretaciones están a cargo de Teddy Wilson & His Orchestra con Billie Holiday, Sonny Rollins, Ari Hoenig, Art Pepper, David Pastor Nu-Roots con la voz de Deborah J. Carter, Billy Bauer, Gwilym Simcock, Lionel Hampton & His All Stars, Keith Jarrett Standards Trio, Paul Gonsalves, Tal Farlow. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. This Week: Rob & Kevin recap the 2017 Tony Awards broadcast, dream cast Kevin Spacey, praise the madness of Aunt Jackie, celebrate a singer gone too soon, and praise a lyricist who needs more recognition! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to patreon.com and search Behind The Curtain: http://bit.ly/2i7nWC4

We're continuing our song-by-song exploration of our newly-released album, Laughing at Life, with this episode's chat about "On the Sunny Side of the Street," penned in 1930 by Jimmy McHugh, with lyrics by Dorothy Fields. Our producer/arranger, Oded Lev-Ari, shares how the Three Cohens' collective improvisations inspired his arrangement, as well as why he opted not to include the song's original verse for the Duchess rendition of this jazz standard.

A preview of what we’re looking forward to at the theater for the remainder of 2016. We discuss: Ride the Cyclone book, music and lyrics by Brooke Maxwell and Jacob Richmond at MCC Theater Sweet Charity book by Neil Simon, music by Cy Coleman, lyrics by Dorothy Fields from The New[...]

Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and underappreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. This episode: The brilliant lyrics of Dorothy Fields & Corky St. Clair

'The Way You Look Tonight' was written by Jerome Kern and Dorothy Fields for the 1936 film 'Swing Time'. Sung by Fred Astaire to Ginger Rodgers while she was washing her hair, the song won an Oscar. It's been recorded by Frank Sinatra and Billie Holiday. Sarah Woodward, daughter of actor Edward, recalls how age seven, she watched him sing it on The Morecambe and Wise Christmas Show with his 'angelic' voice; theatre director Michael Bawtree remembers the song being his father's favourite, and being distraught when he broke the gramophone record as a five year old; and Glaswegian singer Eddie Toal describes making an album of jazz songs, including 'The Way You Look Tonight' to remember his late wife, Irene.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

"AUTHENTIC SOUL"Christopher L. Fields is a Spoken Word Artist out of Washington D.C. His wordplay, passionate delivery and his love for Poetic Expression earned him the moniker of “The Poetry Man”A natural born Poet, with no formal training, Christopher wrote his first poem when he was 7 years old – An Anniversary gift to his Parents; Charles & Dorothy Fields. Although he was a shy child, he continued to write, but he didn't share his poems with anyone around him. That all changed the day that his Mother discovered some of Christopher’s Poems hidden away in a box, and told him; “You need to write”.It would be a few years down the line before Christopher fully embraced the role of Poet, but the rise of “Hip Hop” gave him yet another platform to display his lyrical skills on. Ghost Writing for a friend, until that same friend convinced him to step out of the shadows and stand center stage.Now armed with the sophisticated elegance of Poetry, and the Raw guttural expression of Hip Hop, Christopher developed his own style of writing and performance. Christopher doesn't recite poetry; he is Poetry - in motion, in the stillness of your heart, in the recesses of your mind and down into the wells of your soul.Christopher’s strong belief in thepower of collective works leads him to coin the phrase: "WE" are Greater Than "i".Welcome to The Poetry Man Experience. Memberships: Alpha Phi Alpha Fraternity Inc.E-mail: PoetryManDC@aol.com

Bob Wilcox and Gerry Kowarsky review (1) MAPLE AND VINE, by Jordan Harrison, at HotCity Theatre, (2) A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, by Stephen Sondheim, Burt Shevelove & Larry Gelbart, at KTK Productions, (3) STUPEFY! THE 90-MINUTE HARRY POTTER, adapted by Jason Cryer, at Magic Smoking Monkey Theatre, (4) ANNIE GET YOUR GUN, by Irving Berlin, Herbert & Dorothy Fields,& Peter Stone, at the Kirksood Theatre Guild, (5) AVENUE Q THE MUSICAL, by Robert Lopez, Jeff Marx, and Jeff Whitty, at Take Two Productions, (6) UTBU, by James Kirkwood, at the Theatre Guild of Webster Groves, and (7) BAD SEED, by Maxwell Anderson, at Clayton Community Theatre.