Podcasts about Frank Loesser

Discussion Opening April 11th and running through April 18th at the Pumphouse in Calgary, Misfit Theatre presents Guys & Dolls directed by Jeremy Walker. Kyle sits down with Jeremy, Nimue Nova the choreographer and Donna Pearson, producer, to talk about the struggle in bringing this larger than life 1950s Broadway Musical to life. Tickets: https://www.morpheustheatre.ca/?page_id=7805 About the Show: A co-production between MisFit Theatre YYC and Morpheus Theatre It's time to roll and beat those dice as the beloved musical takes a bow! A screwball romantic comedy, Guys and Dolls takes us into the heart of 1950s New York, as imagined by Damon Runyon and scored by Frank Loesser and includes toe-tapping musical theatre classics including "Sit Down, You're Rockin' The Boat" and "Luck Be a Lady". The story brings together a collection of colorful characters. First, there's Sarah Brown, the upright but uptight 'mission doll' out to reform the evil-doers of Times Square. Next up is Sky Masterson, the slick, high-rolling gambler who woos her on a bet and ends up falling in love. Adelaide is a chronically ill nightclub performer whose condition is brought on by the fact she's been engaged to the same man for fourteen long years. And last but not least there's her devoted fiance Nathan Detroit, desperate as ever to find a spot for his world-renowned floating crap game! Guys and Dolls takes us from the heart of Times Square to the cafes of Havana, Cuba, and even into the sewers of New York City, but eventually everyone ends up right where they belong.

Send us a textWelcome back Jam Fam!  You are in for a treat today!  In this episode, we speak to Doriana Sanchez, a legend in the dance world.  So many of you have seen her but didn't know her name.  A creative with an incredible back story, a survivor and warrior, a mentor with a heart of gold, we know you will love todays chat with Doriana!DORIANA SANCHEZ is an Emmy Award and two-time American Choreography Award nominated choreographer and director, and a World Choreography Award recipient. Her love of Dance and Movement has allowed her to create in all areas of stage and media.Ryan Seacrest on E News! Has called her “The Dancing Queen”, and Tu Ciudad Magazine named her one of the 25 “Hip Hot Now” Hispanics in arts and entertainment.As a long time collaborator with Pop Icon Cher, Doriana has Created, Directed and Choreographed the superstars extravaganza performances including; Dancing with The Stars, The Voice, Good Morning America, The Late Show with David Letterman and the associated “Dressed To Kill” Tour” which, met with rave reviews. Doriana has also Conceived, Directed and Choreographed Cher at the Colosseum during its three year, 200-plus sold out performances at Caesars Palace in Las Vegas.Her work can also be seen in the Love Hurts, Believe and Living Proof tour, which was honored with four Emmy Awards including Outstanding Musical Variety Special. Over three million people saw the show during its 325 performances. It ranks as one of the most successful tours for a female artist, grossing over 200 million dollars. Doriana was also nominated for an Emmy for Best Choreography for the show's HBO special.Doriana's Stage, Circus and Touring credits include, choreographing the world premiere of Frank Loesser's musical Senor Discretion Himself, at Arena Stage in Washington, D.C. for which she received a Helen Hayes Award nomination for Best Choreography, Barry Manilow's Copcabana, at the Prince of Wales Theatre in London, which was nominated for an Olivier Award for Best new Musical, The Night is a Child, at Pasadena Playhouse and Blade To The Heat at the Mark Taper Forum.Her great love of circus arts led Doriana to China where she created The Galaxy Stars Circus featuring over 150 international performers. Other circus credits include Circo Fantastico, the all-Latin circus that Doriana wrote, directed and choreographed, as well as Odyssey, the first circus ever presented on a cruise ship, for Princess Cruises.Additional Directing and choreography credits include, Video Games Live, Jane's Addiction's Jubilee Tour, Perry Farrell's Porno for Pyros Tour, Peter Gabriel's Secret World Tour, Dirty Dancing Concert Tour (2 weeks Sold out shows at Radio City Music Hall. Her productions have been seen in nearly every large scale arena in the US and abroad.She has worked with musical legends such as Latin superstar Shakira, Gladys Knight, Natalie Cole, Frankie Valli, and David Foster musical prodigies, Jackie Evancho and Charice, as well as comedy superstar Ellen DeGeneres.She received a TEA award for outstanding achievement, for Resorts World's Crane Dance, in Singapore Harbor, the largest animatronic water and video spectacular in the world and was director and choreographer for Festive Walk's Lake of Dreams also at Resorts World.Corporate clients include, Redken, Target, Toyota, Mattel and CanonDoriana's television credits include the Grammy Awards, American Music Awards, The Voice, Dancing with the Stars,Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

Guys and Dolls, a classic 1950's musical, was brought to exciting new life in 1992 just when Times Square was in decline. This beloved musical fable, written by Frank Loesser, Jo Swerling, and Abe Burrows, dazzled audiences and became a smash hit revival. In this episode, Producer Michael David reveals how he acquired the rights to the show and gathered the powerhouse creative team that made this show sparkle. Press Agent Adrian Bryan-Brown then shares how the show struggled in previews, but persevered to win over the hearts of the audience. This episode features never-before-heard excerpts from the interviews Michael Riedel recorded while writing his 2020 best-selling book Singular Sensation: The Triumph of Broadway. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:24:01 - « How to succeed in business without reallly trying » avec Daniel Radcliffe (2011) - How to Succeed in Business Without Really Trying est une comédie musicale de Frank Loesser et un livret d'Abe Burrows, Jack Weinstock et Willie Gilbert, basé sur le livre du même nom de Shepherd Mead de 1952.

Baby, it's controversial up in here! Covers by: Ella Fitzgerald & Louis Jordan; Louis Armstrong & Velma Middleton; Dean Martin; Ray Charles & Betty Carter; Jessica Simpson & Nick Lachey; James Taylor & Natalie Cole; Lady A; Weihnactslieder/Xmas Hits Collective Tidal playlist here

Merry Christmas, Honestly listeners! We hope you've been enjoying the parties, the spirit of charity, the lights, the tree at Rockefeller Center, the schmaltzy movies, and of course, the infectious Christmas music everywhere you turn. But did you know that the Americans who wrote nearly all of the Christmas classics were . . . Jewish? Indeed, many of the writers of your favorite Christmas jingles were the children of parents who had fled Russia and other parts of Eastern Europe during the great wave of immigration between 1880 and 1920. Sammy Cahn, the son of Galician Jewish immigrants, wrote the words to “Let it Snow!” and was known as Frank Sinatra's personal lyricist. There is also Mel Torme, the singer-songwriter responsible for composing the timeless “Chestnuts Roasting on an Open Fire.” His father fled Belarus for America in the early 20th century. Frank Loesser, a titan of Broadway and Hollywood musicals, wrote the slightly naughty “Baby, It's Cold Outside.” He was born into a middle-class Jewish family, his father having left Germany in the 1890s to avoid serving in the Kaiser's military. Johnny Marks, the man who gave us “Rudolph, the Red Nosed Reindeer,” “A Holly Jolly Christmas,” and “Rockin' Around the Christmas Tree”—yes, he was also one of the chosens. Then there's the greatest American composer of them all, Irving Berlin. His “White Christmas” is one of the biggest-selling singles in the history of American music. Berlin's earliest memory was of watching his family's home burn to the ground in a pogrom as his family fled Siberia for Belarus before emigrating to NYC in 1893. Today, Free Press columnist Eli Lake explores why and how it was that American Jews helped create the sound of American Christmas. We hope you enjoy this delightful and surprising jaunt through musical history. Happy holidays! *** This show is proudly sponsored by the Foundation for Individual Rights and Expression (FIRE). FIRE believes free speech makes free people. Make your tax-deductible donation today at www.thefire.org/honestly. Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates Christmas 2024 with this ENCORE of a holiday installment (from 2019) featuring the podcast's own winter warlock, Mario Cantone. In this episode, Mario and the boys discuss misleading movie titles, politically correct Christmas carols, the genius of Paul Frees (and Frank Loesser) and the 80th anniversary of “The Wizard of Oz.” Also: Jack Cassidy teams with Jim Backus, Judy Garland locks horns with Busby Berkeley, Ricardo Montalban serenades Esther Williams and Gilbert gets accosted by Snow White. PLUS: Jan-Michael Vincent! Lucille Ball sings! “Christmas on the Ponderosa”! Tony Curtis tells off Danny Kaye! And “Frosty the Snowman” turns 50! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hlaðvarpið Draugar fortíðar sem stjórnað er af þeim Baldri Ragnarssyni og Flosa Þorgeirssyni hefur vakið mikla athygli og notið mikilla vinsælda. Þeir félagar taka fyrir ýmis mál úr mannkynssögunni og nálgast það úr ýmsum áttum á skemmtilegan og lifandi en umfram allt, fræðandi máta. Ekki síst hefur umræða þeirra um geðræn vandamál og andlega heilsu stuðlað að því að þeir eiga dyggan hóp hlustenda. Draugarnir munu fara víðreist um landið í janúar og heimsækja vel valda staði í öllum landshlutum eða eins og þeir segja sjálfir: Draugar fortíðar ásækja Ísland. Baldur og Flosi komu í þáttinn í dag. Búðu til pláss er nafnið á söfnunar- og skemmtiþætti UNICEF, Barnahjálpar Sameinuðu þjóðanna, sem verður annað kvöld í sameiginlegri beinni útsendingu RÚV, Stöðvar 2 og Sjónvarps Símans. UNICEF á Íslandi fagnar 20 ára afmæli í ár og tugþúsundir Íslendinga hafa búið til pláss í hjörtum sínum með því að gerast heimsforeldrar og þannig stutt réttindi og velferð milljóna barna um allan heim. Við fengum þau Fannar Sveinsson og Sigrúnu Ósk Kristjánsdóttur, sem eru tvö af þeim sem hafa umsjón með dagskránni annað kvöld, til að segja okkur betur frá henni í dag. Svo hringdum við í Grenivíkurskóla, en krakkarnir þar hafa unnið að sagna- og bókagerð og nú hafa þau opnað bókabúð þar sem þau selja eingöngu eigin ritverk og ýmislegt fleira sem þau hafa búið til og allur ágóði rennur til mæðrastyrksnefndar á Akureyri. Við töluðum við Pál Þóri Þorkelsson nemanda og Hólmfríði Björnsdóttur kennara í lok þáttarins í dag. Tónlist í þættinum: Snjókorn falla / Laddi (Bob Heatlie, texti Jónatan Garðarsson) Litli Trommuleikarinn / Raggi Bjarna og Ellý Vilhjálms (Harry Simeone, Henry Onorati, texti Stefán Jónsson) Jólarómantík / Stefán Hilmarsson og Ragga Gröndal (Frank Loesser, texti Kristján Hreinsson) Jól á Hafinu / Vilhjálmur Vilhjámsson (Steer & Hansen, texti Jóhanna G. Erlingsson) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

On the October 14 edition of the Music History Today podcast, Pearl Jam breaks a record, JoJo finally gets to release a record, & Pulp Fiction breathes life into older music. Also, happy birthday to Usher. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: * In 1906, legendary entertainer and civil rights activist Paul Robeson was not allowed to play for the Rutgers University football team because their opponents that day, Washington and Lee University, refused to play against a team that had a black person on it. * In 1939, music company BMI started operations. * In 1954, the musical movie White Christmas premiered. * In 1964, Charlie Watts of the Rolling Stones married his wife Shirley Shepherd. * In 1966, Grace Slick first appeared with Jefferson Airplane. * In 1968, the Beatles finished work on the White Album. * In 1971, John Lennon & Yoko Ono appeared on the Dick Cavett Show. * In 1994, the movie Pulp Fiction premiered. From a musical standpoint, the movie helped revive interest in Dick Dale's music (he did the song Misirlou: the song with the crazy surf guitar & the screaming in the beginning of it). It also sparked interest in the early Kool & the Gang funk classic Jungle Boogie & Link Wray's classic Rumble. * In 2000, Pearl Jam broke a record on Billboard's albums chart when 5 of their released live albums from their European tour hit the chart in the same week. * In 2006, Rascal Flatts' opening act Eric Church was kicked off the tour after he repeatedly played over his allotted opening slot time. Apparently, that was the last straw with Rascal Flatts. Eric's replacement was a hotshot country newcomer at the time: Taylor Swift. * In 2006, singer Melina Leon married her husband Ruy Fernando Delgado. * In 2014, singer Kesha started her lawsuit against producer Dr. Luke in order to be released from her contract with him. * In 2017, country singer Kacey Musgraves married singer-songwriter Ruston Kelly. * In 2018, Steppenwolf performed in Baxter Springs, Kansas, which was their final show. * In 2023, Madonna started her Celebration tour, after having to delay it to deal with a bacterial infection which sent her to the hospital. In the world of classical music: * In 1924, the opera Die Gluckliche Hand premiered. * In 1956, the overture Robert Browning by Charles Ives premiered. In the world of theater: * In 1930, the Gershwin musical Girl Crazy premiered on Broadway & made stars out of Ginger Rogers & especially Ethel Merman. * In 1961, the Frank Loesser musical How to Succeed in Business Without Really Trying premiered on Broadway. In award ceremonies that were held on this date: * In 1970, Merle Haggard won at the Country Music Association awards. * In 1974, Charlie Rich won at the Country Music Association awards. * In 1985, Ricky Skaggs won at the Country Music Association awards. In 2009, opera superstar Placido Domingo received the first Birgit Nilsson million dollar prize. In 2020, Post Malone & Billie Eilish were the big winners at the Billboard Music Awards. In 2022, Jefferson Airplane received a star on the Hollywood Walk of Fame. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Composer Jerry Herman (Composer and lyricist; born July 10, 1931, in New York City) It only takes a moment to realize that Broadway's Golden Age is alive and well and thriving as long as Jerry Herman's around. "When they passed out talent," the legendary Carol Channing has said, "Jerry stood in line twice." Almost single-handedly, the creator of Milk and Honey, Hello, Dolly!, Mame, La Cage aux Folles and so much more has revitalized and nourished the all-American tradition of great and unstoppable show tunes. His music and lyrics have kept audiences tapping their feet, humming along, and wiping their eyes with tears of joy for generations. Even as often he's been underrated as being too easy to like in a world of dark and foreboding musicals, too entertaining, too tuneful and much too upbeat, the genius of Herman's deceptively simple songs cuts through any shortsighted criticism. "Jerry has succeeded so well in his mission that people don't give him credit," said Michael Feinstein, "because to be simple without being cliche is nearly impossible." Herman's genius, in truth, is not so much simple as it is subtle. For all his cock-eyed optimism-and very much in the tradition of his forefathers Rodgers and Hammerstein-a Herman musical always carries a message of timeless values, of humanity's triumph over hatred and ignorance, of happiness over despair. 1983's La Cage aux Folles, a smash hit on Broadway and a Tony Award winner in all three of its Broadway productions-and counting-is not only a bona fide crowd-pleaser but also the most sweetly radical musical of its age. Here on the Broadway stage, decades before the fight for marriage equality hit the headlines, was a pair of gay dads raising a family, and here was "...a man singing a love song to another man-I don't think that's ever been done in a Broadway musical before." Herman told The Washington Post that during previews in Boston "I didn't know whether or not they'd throw stones. The audience gave it an ovation." "By the time Georges and Albin-having weathered a son's passing ingratitude and a zealot's intolerance-walked hand in hand into the St. Tropez sunset, the audience was on its feet," The Washington Post reported. "What La Cage aux Folles celebrates, after all, is loyalty and love, respect for others and respect for self and, yes, even family. The good old values." Gerald Herman was born in New York in 1931 and raised in Jersey City. His parents Harry and Ruth ran a children's summer camp in the Catskills, where young Jerry surprised everyone by teaching himself the piano. Once, he recalled years later, "my parents took me at a tender age to see Annie Get Your Gun, and I was absolutely dazzled. I have one of those retentive ears, and when I came home I sat down at the piano and played about five of the songs. My mother was amazed." Many more would be amazed. At 17, he was introduced to Frank Loesser, who encouraged him to continue composing once he heard some of Herman's songs. He went to the University of Miami, joining its adventurous theater program and himself appearing in undergraduate shows including the musical Finian's Rainbow. His alma mater since then has honored this distinguished alumnus and today boasts the Jerry Herman Ring Theatre at the heart of its drama program. After graduation from Miami, Herman headed back to New York and put together a review of his songs so far: I Feel Wonderful opened at the Theatre de Lys in Greenwich Village October 18, 1954 and ran for 48 performances. He was just getting going. While playing piano in a New York jazz club called the Showplace, Herman brought together his friends Phyllis Newman and Charles Nelson Reilly for another review called Nightcap, which opened in 1958. This one ran for two years. In 1960 came Herman's Broadway debut, alongside material by Fred Ebb and Woody Allen, in the review From A to Z. That same year came Parade, also at the Showplace, starring Reilly and Dody Goodman. A hit, Parade moved to the Players' Theatre and it was during this run that a producer asked Herman if he would be interested in writing a musical about the founding of the state of Israel. Milk and Honey, starring Molly Picon as the ultimate Hadassah lady, opened in 1961. It earned Herman his first Tony nomination for Best Musical of 1962. He had arrived. It was David Merrick who brought together Herman and the first of his vulnerable but ultimately invincible heroines, Dolly Levi. Hello, Dolly! starring Carol Channing opened in 1964, ran for 2,844 performances, became Broadway's longest-running musical and has been revived often since. It swept the Tony Awards, taking home a then unmatched 10 including Best Musical and becoming one of the happiest episodes in the history of the Broadway musical. Mame followed in 1966, starring Angela Lansbury and teaching the world that in the toughest times "We Need a Little Christmas." What has followed amounts to a life-affirming body of work rivaled by few: Dear World, the underappreciated Mack Mabel, The Grand Tour, Mrs. Santa Claus, Jerry's Girls, and of course La Cage aux Folles. The theater world knew a good thing when it heard and saw it: Tonys, Drama Desk Awards, Theatre World Awards all followed, as did a 2009 Special Tony Award for Lifetime achievement, and a 2010 Drama Desk Special Award for "enchanting and dazzling audiences with his exuberant music and heartfelt lyrics for more than half a century." Right now in the 21st Century, we can be sure that someone, somewhere is singing a Jerry Herman song. That's one happy way we know the man's been right all along: the best of times is now.

Composer and lyricist Frank Loesser (born June 29, 1910) worked for years as a lyricist for a series of different songwriters, always telling them he could actually write both words and music himself, and he proved it in 1950 with the Broadway Premiere of Guys and Dolls. Over the course of his career he won a Pulitzer Prize for his show, How to Succeed in Business, Tony awards for Guys and Dolls and How to Succeed in Business and an Academy Award for the song "Baby it's Cold Outside." Jazz musicians have embraced his tunes for years, his melodies and harmonies are a continuing source of inspiration.

This Fortnight Tuesday, the Bad Piano Player, who has featured Harry Warren, Tom Waits, Irving Berlin, Sam Coslow and Frank Loesser three times, gives a third episode honor to James V Monaco. And as always, we hope you enjoy this well deserved inclusion. Tune in and be dazzled again by his great music.

"How to Succeed in Business Without Really Trying," the 1961 multi-award-winning classic satire by Frank Loesser and Abe Burrows is this year's production by Israel's veteran English-language musical theater group, LOGON. The musical comedy follows the rise of J. Pierrepont Finch, as he uses a handbook of the same title to help him climb the corporate ladder from lowly window washer to high-powered executive. Lexi Leitner, who plays the character of Rosemary Pilkington, spoke to KAN's Naomi Segal about the production, the impact of the October 7 attack on the theater group's members, and the decision that the show must go on. Performances beginning June 17th in Ofakim, Modiin, Jerusalem, Raanana, Netanya and Beersheba.  (Photo: Shimrit Maor)   See omnystudio.com/listener for privacy information.

The first of a two-part program featuring legendary theatre creator Frank Loesser, best known for writing three extraordinary Broadway musicals: GUYS AND DOLLS, THE MOST HAPPY FELLA, and HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING. His first show, WHERE'S CHARLEY? is featured. Loesser was both a Tony Award winner and Pulitzer Prize recipient. In this episode, the songwriter performs several of his own songs.   Featured songs: “Guys and Dolls,” “The Ugly Duckling,” “Joey, Joey, Joey,” “I Wish I Didn't Love You,” “Where's Charley?”, “Once in Love with Amy,” “Make a Miracle,” “Say It,” and “They're Either Too Young or Too Old.”   Originally produced and broadcast in 1982. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Broadway's troubadour of the 1950s, Frank Loesser was a master of melody. Some of the greatest pop and jazz performers--Ella Fitzgerald, Bill Evans, Bobby Darin, Eliane Elias--roll the dice with Loesser's tune. 

originally released: July 13, 2022 Emmy-winner and former The Daily Show head-writer Elliott Kalan is here for a musical running now about then but really about way back then which seems to have been lost now. Topics include: losing on Jeopardy!, adding jokes by Larry David, ethical use of a resurrection machine, Frank Loesser, the House Committee on “Shipoopi,” Broadway sets of the 50s & 60s, and (of course) is Winthrop Marion's son and does that matter? Elliott Kalan on Twitter The Flop House Podcast The Who Was? Podcast Featured recordings: The Music Man - Original Broadway Cast (1957) MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

In this episode, theater content creators Will Anderson and Rachael Joyce-Anderson, also known as The Theater Lovers, discuss comedy songs in musical theater. We also talk about the song "Adelaide's Lament" from the 1950 Frank Loesser, Jo Swerling, and Abe Burrows musical Guys and Dolls. You can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow on Instagram at @ScenetoSong, on X/Twitter at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.” And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com. Contribute to the Patreon. The theme music is by Julia Meinwald. Music played in this episode: "Grand Old Ivy" from How to Succeed in Business without Really Trying "Brush Up Your Shakespeare" from Kiss Me Kate "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum "Dance: Ten; Looks: Three" "A Little Priest" from Sweeney Todd "Adelaide's Lament" from Guys and Dolls

This week, the Bad Piano Player finds a songbook with old friends Mitchell Parish, Carl Sigman, Frank Loesser, and Harry Warren in it. And we throw in a Mack Gordon for good measure. It's gonna be old timey and old movie as well, so get some popcorn and set a spell. Elroy, get some refreshments for our guests. 

Max Chernin Broadway: Parade, Bright Star, Sunday In The Park with George. NYC: Brooklynite (Vineyard), Golden Apple (Encores!) Regional: Passing Through (Goodspeed), Daddy Long Legs (Theatre Raleigh), Elf (Pioneer). Television: “Dickinson,” “Blacklist.” CCM Alum. @maxcherns. Alfred Uhry (Book) is distinguished as the only American playwrights to have won a Pulitzer Prize, an Academy Award, and two Tony Awards. A 1958 graduate of Brown University, he began his professional career as a lyric writer under contract to the late Frank Loesser. He made his Broadway debut in 1968 with Here's Where I Belong, which ran for one night. He had better luck with The Robber Bridegroom in 1976, which won him his first Tony nomination. He followed that with five recreated musicals at the Goodspeed Opera House in East Haddam, Connecticut. His first play was Driving Miss Daisy, which began life at the 74-seat upstairs theatre at Playwrights Horizons in 1987 and went on to run for three years and won the Pulitzer Prize in 1988. The film version, starring Morgan Freeman and Jessica Tandy, won the Academy Award for Best Picture of 1989 and gained Uhry his own Oscar for Best Screenplay. His next two Broadway outings won him Tony Awards: The Last Night of Ballyhoo (Best Play of 1997) and Parade (Best Book of a Musical 1999). In 2014, he was inducted into both the Theatre Hall of Fame and the Georgia Writers Hall of Fame. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Another 11 o'clock number, please! This time, we're talking 1950's Guys & Dolls, Frank Loesser, and Nicely-Nicely Johnson -- yes, it's time for everyone's favorite gangster revival number, "Sit Down, You're Rocking the Boat."  All clips are from 1992's Guys and Dolls: The New Broadway Cast Recording featuring Walter Bobbie as Nicely-Nicely Johnson and are used in accordance with the Fair Use Exemption for criticism and commentary. Buy/stream the album on Amazon! Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

This is a fun one… (but, they've all been fun for me).  It's  being performed by the immortal Stubby Kaye, or “Unkie” as he's known around our house because he's the great uncle of my daughter-in-law. Her brother is the spitting image of the musical comedy great, which demonstrates the endurance of Stubby's DNA. The other performer on the recording is Mr. Jonny Silver. This jaunty track, composed by one of Broadway's brightest bards, Frank Loesser, is served up with gravity-defying lyrics that are sensuously juicy, surprising, and ever-joyfilled: (“Call is hell, call it heaven, it's a probable 12 to 7, that the guy's only doin' it for some doll!”) Of course, the raw material from Damon Runyon ain't bad, either - a good time was guaranteed to Broadway theatergoers during the season of 1950. Stubby had a bright, clarion voice  - like a cornet - a necessary quality for yesterday's unamplified thespians wanting to hit the back row - and the man performs lustily with his megaphone of mirth. He was a staple of the Great White Way, and this one of a kind performance was captured on film as well. Funny story: I auditioned for a dinner theatre production of Guys and Dolls once - I was responding to an open call in Backstage. I didn't know the title song, but I thought it'd be a fine idea to listen to the recording at the Lincoln Center Library to bone up before attempting it at the appointment. Who was I kidding? These lyrics required a lot more preparation than a couple of silent run-throughs, and when I got in the room and begun: “What's playin' at the Roxy…?” My mind went blank, and I just kept repeating that question, like a mantra, as the flop sweat poured over my eyebrows into my mouth. I was out of my league. 

Last summer, I produced a miniseries of episodes on Countermelody entitled “Forgotten Broadway,” the third and final segment of which was originally published as a bonus episode for my Patreon supporters. This week, my last one for the moment in New York City, is a busy one, so I have decided to pay tribute to the city by publishing that third Forgotten Broadway episode for all of my listeners. As I was preparing the series last summer, I enlisted the input and expertise of my dear pal John Coughlan. Like the first two episodes in the sequence, this one is once again, a veritable potpourri of delights, vocal, interpretive, and musical. It begins with a tribute to birthday icon Carol Burnett, who, at the beginning of her career, appeared in two different Broadway musicals, the second of which, 1964's Fade Out Fade In, is featured. Additional shows presented include, among many others, Salvation, Raisin, Mack and Mabel, Redhead, I Had a Ball, Breakfast at Tiffany's, Baker Street, performed by such favorites as Lisa Kirk, Melba Moore, Gwen Verdon, Robert Weede, Mary Tyler Moore, Rosemary Clooney, Liz Callaway, and Peggy Lee, alongside such lesser-known lights as Diana Davila, Walter Willison, Salena Jones, and Gilbert Price. In addition, there is the “added plus” [sic] of Bea Arthur delivering a comic monologue from the 1955 Shoestring Revue that will have you in absolute stitches. And just for the gays (and all those with equally good taste), Judy and Liza each stop by, Judy to deliver a Frank Loesser show-stopper, while Liza offers more of “A Quiet Thing,” from her first Broadway show Flora the Red Menace. 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.

The OTRNow Radio Program Easter Celebration (01)Fibber McGee and Molly. March 23, 1948. NBC net, WMAQ, Chicago aircheck. Johnson's Wax. Molly has won the Wistful Vista "I Like To Patronize Local Merchants Because..." contest. The prize is an Easter frock. This is a network, sponsored version of cat. #12034. Jim Jordan, Marian Jordan, Harlow Wilcox (announcer), Billy Mills and His Orchestra, The King's Men, Sandra Gould, Bill Thompson, Arthur Q. Bryan, Gale Gordon, Don Quinn (writer), Phil Leslie (writer). The Great Gildersleeve. April 25, 1943. NBC net. Kraft Pabst-Ett. Leroy's going to make big money raising rabbits. Kay Francis makes an appeal for the Second War Loan. The president of the Kraft Cheese Company, J. L. Kraft, delivers his annual Easter message. Ben Alexander, Earle Ross, Harold Peary, James L. Kraft, John Whedon (writer), Kay Francis, Ken Carpenter (announcer), Lillian Randolph, Lurene Tuttle, Richard LeGrand, Sam Moore (writer), Shirley Mitchell (?), Walter Tetley. The Jell-O Program Starring Jack Benny. April 09, 1939. Red net. Jell-O. Kenny sings, "I'm Building A Sailboat Of Dreams." The cast does a nursing drama called, "Four Girls In White." The patient turns out to be Shlepperman!. Jack Benny, Don Wilson, Mary Livingstone, Phil Harris and His Orchestra, Kenny Baker, Sam Hearn, Harry Baldwin, Ed Beloin (writer, performer: doubles), Bill Morrow (writer), Blanche Stewart (doubles).The Lucky Strike Program Starring Jack Benny. April 13, 1952. CBS net. Lucky Strike. A stroll down Wilshire Boulevard for the Easter Parade. Jack and Mary sing! One of the commercials features a message from "The National Tobacco Tax Research Council," praising the industry for supporting many farm families and financing the federal, state and local governments. The script is similar to the one used on April 17, 1949. The show was recorded on April 6, 1952. Artie Auerbach, Bea Benaderet, Del Sharbutt (commercial spokesman), Dennis Day, Don Wilson, Jack Benny, Mary Livingstone, Mel Blanc, Phil Harris, Eddie Anderson, Sara Berner, Sheldon Leonard, The Sportsmen, Arthur Q. Bryan, L. A. Speed Riggs (tobacco auctioneer), Stuffy Singer, Mahlon Merrick (music director), Hilliard Marks (producer), Milt Josefsberg (writer), Sam Perrin (writer), George Balzer (writer), John Tackaberry (writer). The Gulf Screen Guild Theatre. April 09, 1939. CBS net. Revue. Gulf. A revue and a skit titled "We're Taking Off." Mickey shows Rudy and Joan how to play a love scene. Rosemary Lane, Rudy Vallee, Mickey Rooney, Joan Bennett, The King's Men, Everett Freeman (writer), A. Edward Selton (? director), George Murphy (m. c.), Oscar Bradley and His Orchestra, John Conte (announcer), Frank Loesser (special lyrics). Maxwell House Coffee Time. April 03, 1947. NBC net. Maxwell House. There's only two more shopping days until Easter. Gracie not-too-subtley hints for a new hat. "The Beverly Hills Uplift Society" tries to help. George Burns, Gracie Allen, Meredith Willson and His Orchestra, Bill Goodwin, Paul Henning (writer), Keith Fowler (writer), Mel Blanc, Elvia Allman, Verna Felton, Lurene Tuttle. The Shadow. March 24, 1940. Mutual net. "The Plot That Failed". Blue Coal. The Shadow is tricked into aiding two "scientists" place six strange machines around the city. A melted steam shovel gives Lamont the clue to the purpose of the mysterious machines. As "The Shadow" prevents the entire city from being melted, Margo plans to boil four hundred Easter eggs! The system cue has been deleted. Ken Roberts (announcer), William Johnstone, Jerry Devine (writer), Marjorie Anderson, Everett Sloane, Edwin Jerome, Kenny Delmar, Alan Reed, Wilson Tuttle (producer, director), Elsie Thompson (organist), Paul Huber (commercial spokesman).

This week, John and John tackle the monolithic (in terms of performance length, not artistic merit) Stephen Schwartz musical "The Baker's Wife". Their share their feelings on the quality of the book, their takeaways from the score, and... wouldn't you know it, that pesky Frank Loesser makes another appearance. Music and lyrics by Stephen Schwartz Book by Joseph Stein Based on the movie of the same name by Marcel Pagnol and Jean Giono Find the episode on your favorite podcast app or by going to https://anchor.fm/musicalminutes Intro and outro music ("BeBop 25") provided under Creative Commons Attribution 4.0 International License by Jason Shaw on Audionautix.com Have a question for John or John? Want to leave feedback or tell us how wrong we are? Email us at musicalminutespodcast@gmail.com For more info on our hosts - please visit https://norine62.wixsite.com/musicalminutes

It may be a little late, but we are back! And with another set of February Flops to kick things off! For our first show in the 2023 edition of the Flops, we look at a very rare miss from the titans of the Golden Age - Richard Rodgers and Oscar Hammerstein, and their show "Pipe Dream". John and John talk about the collaboration between Hammerstein, Rodgers, and author John Steinbeck; how Frank Loesser is tangentially involved; and how would this show fare as populated by the Muppets? Music by Richard Rodgers Lyrics and book by Oscar Hammerstein Based on the novel "Sweet Thursday" by John Steinbeck Find the episode on your favorite podcast app or by going to https://anchor.fm/musicalminutes Intro and outro music ("BeBop 25") provided under Creative Commons Attribution 4.0 International License by Jason Shaw on Audionautix.com Have a question for John or John? Want to leave feedback or tell us how wrong we are? Email us at musicalminutespodcast@gmail.com For more info on our hosts - please visit https://norine62.wixsite.com/musicalminutes

This season we focus on character development and analysis of the female protagonists in Golden Age Musicals. We travel to Runyonland this week in Frank Loesser's "Guys and Dolls." Miss Sarah Brown finds herself in the middle of a bet and Miss Adelaide tries desperately to get rid of her cold and finally get married. Join us for discussions about the development of the musical from its original short stories and see if our hosts found these female protagonists to be silly archetypes or well rounded and devloped characters.  *PG-13* *Full of spoilers and opinions*

After reporting on state/church issues in December, we listen to the freethinking Frank Loesser song "What Are You Doing New Year's Eve?" sung by Madison jazz vocalist Susan Hofer accompanied by Dan Barker on the piano. Then, FFRF Legal Director Rebecca Markert wraps up the year by telling us about FFRF's significant legal challenges and victories of 2022.

This week's show, after a 1947 Frank Loesser warble: brand new The Beths, Rolling Blackouts Coastal Fever, House of Love, John Cale with Weyes Blood, Iggy Pop, and Annie Hamilton; plus Byrds, Eddie Cochran, Shocking Blue, Linton Kwesi Johnson, Hollies,...

durée : 00:58:21 - "Baby, It's Cold Outside" (Frank Loesser) (1944) - par : Laurent Valero - "En ce jour de noël, une chanson de circonstance composée et écrite en 1944 par Frank Loesser, l'un des plus brillants auteur-compositeur américain. C'est pour son épouse Lynn Garland qu'il écrivit ce morceau, qu'ils interprétèrent lors de leur pendaison de crémaillère à New-York ..." Laurent Valero - réalisé par : Taïssia Froidure

durée : 00:58:21 - "Baby, It's Cold Outside" (Frank Loesser) (1944) - par : Laurent Valero - "En ce jour de noël, une chanson de circonstance composée et écrite en 1944 par Frank Loesser, l'un des plus brillants auteur-compositeur américain. C'est pour son épouse Lynn Garland qu'il écrivit ce morceau, qu'ils interprétèrent lors de leur pendaison de crémaillère à New-York ..." Laurent Valero - réalisé par : Taïssia Froidure

GGACP celebrates Christmas 2022 with this winter blast from the past (from 2019) with actor-comedian Mario Cantone. In this episode, Mario and the boys discuss misleading movie titles, politically correct Christmas carols, the genius of Paul Frees (and Frank Loesser) and the 80th anniversary of “The Wizard of Oz.” Also: Jack Cassidy teams with Jim Backus, Judy Garland locks horns with Busby Berkeley, Ricardo Montalban serenades Esther Williams and Gilbert gets accosted by Snow White. PLUS: Jan-Michael Vincent! Lucille Ball sings! “Christmas on the Ponderosa”! Tony Curtis tells off Danny Kaye! And “Frosty the Snowman” turns 50! Learn more about your ad choices. Visit megaphone.fm/adchoices

In the immortal words of Monty Python and the Flying Circus, now for something completely different. This record was an unexpected find in my dad's collection, but it's obvious he played it frequently, telling by its condition. So get ready to head out to the middle of the Pacific Ocean for some quiet meditation at my favorite time of day with Volume 103: Hawaiian Sunset. Credits and copyrights Poly And His Hawaiian Ensemble – Hawaiian Sunset Label: Harmony (4) – HL 7114 Format: Vinyl, LP Country: Canada Released: 1958  Genre: Folk, World, & Country Style: Pacific Song Of The Islands Written by Charles E King The Moon Of Manakoora written by Frank Loesser (lyrics) and Alfred Newman (music) Hawaiian Paradise Owens music by Harry Owens Hawaiian Dreams By Poly The One Rose Lyon -  Written by Lani McIntire, Del Lyon Pagan Love Song written by Nacio Herb Brown and Arthur Freed Aloha Oe  Composed by Queen Lilluokalani 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.

Today, I am so honored to announce my episode with Pulitzer Prize Winner Alfred Uhry. Alfred Uhry recently enjoyed great success with a revival of his musical Parade at Encores!, and he joins me today for a conversation about his legendary career, including what it was like being mentored by Frank Loesser, how he met Terrence McNally through John Steinbeck, when John Houseman introduced him to Patti LuPone, how figures from his childhood reacted to characters based on themselves, the art to writing a screenplay, why he admires A Strange Loop and Hamilton, the process of casting Driving Miss Daisy, why Alex Timbers is a brilliant director, the play that was about his parents, why Parade is relevant today, the dance piece that required a lot of research, and so much more. A Note: This interview was recorded in April 2022, so all viewpoints reflect that time.

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 brings us reviews of two notable DC productions. The first is the revival of esteemed playwright Mary Zimmerman's The Notebooks of Leonardo Da Vinci, now on stage at Shakespeare Theatre Company. The highly visual production, directed by the playwright, celebrates the interplay of science, art, and the human spirit as it brings to life the writings of the 15th century Italian artist, engineer and inventor. The Notebooks of Leonardo DaVinci continues at Shakespeare Theatre Company through October 29. Judy's second review today spotlights the classic Tony-Award-winning Broadway musical, Guys and Dolls, with music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. The popular musical is getting a lavish new production at the Kennedy Center's Broadway Center Stage. It's being directed by Marc Bruni and features an all-star cast, led by Tony Award® winner James Monroe Iglehart as Nathan Detroit, Tony Award® winner Jessie Mueller as Miss Adelaide, Steven Pasquale as Sky Masterson, and Tony Award® nominee and Grammy Award® winner Phillipa Soo as Sarah Brown. Guys and Dolls continues at The Kennedy Center through October 16. Follow the links for more information.See omnystudio.com/listener for privacy information.

The conclusion of a four-part program featuring Broadway composer Burton Lane, known for such celebrated shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS. Lane recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland.   Featured songs: “Give A Girl A Break,” “It Happens Every Time,” “On A Clear Day You Can See Forever,” “Come Back To Me,” “Hurry! It's Lovely Up Here!” “One More Walk Around The Garden,” and “How Are Things In Glocca Morra?”   Originally produced and broadcast in 1981. 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

The third of a four-part program featuring Broadway composer Burton Lane, known for such celebrated shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS. Lane recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland.   Featured songs: “Overture from ON A CLEAR DAY YOU CAN SEE FOREVER,” “Look To The Rainbow,” “When The Idle Poor Become The Idle Rich,” “Old Devil Moon,” “Where Have I Seen Your Face Before?” “Too Late Now,” “You're All The World To Me,” and “How Could You Believe Me When I Said I Loved You When You Know I've Been A Liar All My Life?”   Originally produced and broadcast in 1981. 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

The second of a four-part program featuring Broadway composer Burton Lane, known for such celebrated shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS. Lane recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland.   Featured songs: “Says My Heart,” “How About You?” “Anything Can Happen In New York,” “Chin Up, Cheerio, Carry On,” “Poor You,” “Don't Let It Get You Down,” “The World Is In My Arms,” and “How Are Things In Glocca Morra?”   Originally produced and broadcast in 1981. 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

The first of a four-part program featuring Broadway composer Burton Lane, known for such celebrated shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS. Lane recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland. Featured songs: “Overture from FINIAN'S RAINBOW,” “Something Sort Of Grandish,” “Out In The Open Air,” “Forget All Your Books,” “Everything I Have Is Yours,” “How'dya Like To Love Me,” “The Lady's In Love With You,” “I Hear Music,” and “Dancing On A Dime.” Originally produced and broadcast in 1981. 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

Emmy-winner and former The Daily Show head-writer Elliott Kalan is here for a musical running now about then but really about way back then which seems to have been lost now. Topics include: losing on Jeopardy!, adding jokes by Larry David, ethical use of a resurrection machine, Frank Loesser, the House Committee on “Shipoopi,” Broadway sets of the 50s & 60s, and (of course) is Winthrop Marion's son and does that matter? Elliott Kalan on Twitter The Flop House Podcast The Who Was? Podcast Featured recordings: The Music Man - Original Broadway Cast (1957) MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

Credit goes to Frank Loesser and the Guys and Dolls Motion Picture Cast for the music. --- Send in a voice message: https://anchor.fm/musicalmondays/message

Jenny Gersten, who helmed the Williamstown Theatre Festival from 2011 to 2014, has again stepped into the role of Artistic Director on an interim basis. Gersten, the first woman to hold the job of artistic director at Williamstown joins us this morning to share a preview of the 2022 season.The 2022 season promises laughs, singing, and introspection, including a thrilling new suspense comedy, a disarmingly personal and intimate WTF-commissioned world premiere play, and a musical concert event celebrating Frank Loesser's magnificent score from "The Most Happy Fella," retold with dazzling new orchestrations.

From an AFRS transcription around August 23, 1943. Born Robert Wiedefeld in Baltimore, Maryland, Weede studied voice at the Eastman School of Music and in Milan. He made his Metropolitan Opera debut in 1937, as Tonio in Pagliacci. His other roles at the Metropolitan included the name part in Rigoletto (opposite Jussi Björling), Amonasro (Aïda), Manfredo (L'amore dei tre re), Shaklovity (Khovanshchina) and Baron Scarpia (Tosca). It was with Rigoletto that he made his debuts in Chicago (1939), San Francisco (1940), and at the New York City Opera (1948). At the New York City Opera, Weede also sang in Pagliacci and in the world premiere of William Grant Still's Troubled Island, opposite Marie Powers, Marguerite Piazza and Robert McFerrin. In Mexico City, the baritone appeared with Maria Callas in 1950, in Aïda and Tosca. Later, he sang again with Callas in Chicago, in Il trovatore and Madama Butterfly. In 1956, he scored a great success on Broadway as Tony Esposito in the original production of Frank Loesser's The Most Happy Fella, which was recorded by Columbia Records. He was also seen on Broadway in Milk and Honey (1961–63, also recorded) and Cry for Us All (1970).

The Butler County Symphony Orchestra concludes it's 2022 season with a semi staged production of the Tony Award winning 1950 classic musical Guys N Dolls by Frank Loesser. Matthew Kraemer conducts and fills us in on the joy of working with the Musical Theatre Guild of Butler.

Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a jazz standard, "I've Never Been In Love Before". In this Jazz Piano Lesson you will:DiscoverJazz standard by Frank Loesser, I've Never Been In Love Before from Guys and DollsLearnEssential jazz piano voicings and chord/scale relationships for I've Never Been In Love BeforePlayA jazz piano solo for I've Never Been In Love Before using classic jazz languageFor maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while you discover, learn, and play I've Never Been In Love Before.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)

With 'Licorice Pizza' out in cinemas and being met with a resolutely split-down-the-middle audience reception, we look at the career of one of the most significant American filmmakers of our lifetimes - Paul Thomas Anderson - featuring several absolute classics like The Master, Magnolia and Inherent Vice. This episode features the first and only use of the word 'talented' on the Film Graze Podcast as we reckon with the San Fernando Valley's favourite son's disconcertingly accomplished juvenalia, the influence of Robert Altman on his entire body of work and his collaborations with some of the most acclaimed musicians of our time like Fiona Apple, Joanna Newsom and Radiohead. Films discussed: The Dirk Diggler Story (1988) Cigarettes and Coffee (1993) Hard Eight (1996) Boogie Nights (1997) Magnolia (1999) Punch-Drunk Love (2002) There Will Be Blood (2007) The Master (2012) Inherent Vice (2014) Junun (2015) Phantom Thread (2017) Licorice Pizza (2021) Big thank you to Martin O'Dea of https://hungrysandwich.club/ for our new logo and graphics!! The soundtrack includes Phil Graves' covers of 'Etude Op. 10, No. 3 ('No Other Love')' by Frederic Chopin, 'Let Me Roll It' by Paul McCartney & Wings, 'He Needs Me' by Harry Nilsson, 'Journey Through The Past' and 'Harvest' by Neil Young and '(I'd Like To Get You On A) Slow Boat To China' by Frank Loesser. Subscribe to Film Graze on your podcast app of choice and give us a positive rating/review if you enjoy the show. Film Graze 041 on the films of Apichatpong Weerasethekul coming soon. twitter.com/FilmGraze letterboxd.com/Film_Graze/ instagram.com/film.graze/ co-produced by Emmett Cruddas and Sam Storey

Broadway-bound songsmith Frank Loesser wrote “Baby It’s Cold Outside” as a call-and-response duet for he and his wife to perform at parties. Several years later, the tune made its way into a movie and soon took the Christmas canon by storm. But is it a “rapey” relic of a bygone era that should be buried permanently in the winter snow? Amna Khalid investigates.Happy New Year! In the warm and generous spirit of the holidays, we’re offering 30% off a subscription to Booksmart Studios until the end of the year. You’ll get extra written content and access to bonus segments and written transcripts like this one. More importantly, you’ll be championing all the work we do here. Become a member of Booksmart Studios today. Thank you for your support.* TRANSCRIPT *MAN: Thank you, thank you, thank you. Do we have any more requests?WOMAN: Baby, It's Cold Outside!MAN: I think we can make that happen. Who wants to take the duet?AMNA KHALID: In the new Netflix rom-com Love Hard, Josh volunteers to sing a duet with his girlfriend — his pretend girlfriend, actually — Natalie:JOSH: Natalie and I got this one, Dad.KHALID: The two are out caroling with his family in snowy Lake Placid.NATALIE: Over my cold, dead, lifeless body. I am not singing that — that is like the sexual assault theme song.KHALID: Natalie refuses at first to sing that Christmas song, because, you know, it's that song — the one in which a man is possibly pressuring a woman into spending the night. But Josh has an idea.JOSH: Look, this is what we’re gonna do, okay? You just do your part. I will change my lyrics so the song doesn't sound so, uh, rapey. NATALIE: Fine, let's just get this over with.JOSH: Dad, hit it. 🎶NATALIE: I really can’t stayJOSH: No problem, there’s the doorNATALIE: I’ve got to go awayJOSH: I hear you, say no moreNATALIE: This evening has beenJOSH: Totally consensualNATALIE: So very niceJOSH: I hope you get home safe tonightKHALID: It's become fashionable in recent years to alter the lyrics of Baby, It's Cold Outside to make them less “rapey,” as the character Josh put it. Others have pushed back, however. The song, they claim, is about a desirous woman battling not the unwanted advances of her date but the unsolicited judgment of society.🎶LYNN GARLAND: I really can't stayFRANK LOESSER: But Baby, it's cold outsideGARLAND: I've got to go awayLOESSER: But Baby, it's cold outsideGARLAND: This evening has been —LOESSER: Been hoping that you'd drop inGARLAND: So very niceLOESSER: I'll hold your hands, they're just like iceKHALID: I'm Amna Khalid. On this episode of Banished, The Bother with Baby.CHRIS WILLMAN: The song was written in 1944 as a song that Frank Loesser and his wife originally sang at a housewarming party.KHALID: Chris Willman is a longtime music journalist, currently at Variety.WILLMAN: Kind of like, the night’s about to end, we’re about to kick you out, and here’s a song about whether to stay or whether to go.KHALID: Wow, I would have loved to be at that party.WILLMAN: Oh, yeah. And apparently they performed it over a period of years to the point that, when it was licensed for a film in 1949, Frank Loesser’s wife resented it. She may have been joking, but she was resentful that it was no longer their private thing because they were such a hit on the party circuit with it.KHALID: The song existed in private for five years, sung only by Loesser and his wife Lynn Garland. The two made one of the very first recordings of the song, which we’re listening to now. 🎶LOESSER: Baby, make my conscious your guideGARLAND: I really can't stay LOESSER: Oh, Baby, don't hold outGARLAND AND LOESSER: Ah but it's cold outsideLOESSER/GARLAND in the clearKHALID: Baby was evocative of the holidays, it was redolent of cigarettes and booze and, yes, it was sexually suggestive.GARLAND: And it was our song.KHALID: That’s Lynn Garland from the documentary Heart and Soul: The Life and Music of Frank Loesser:GARLAND: And we became the most desired guests at parties from coast to coast. And we never failed to slam.KHALID: Garland recalled once that, "Parties were built around our being the closing act.”🎶LOESSER: I thrill when you touch my handGARLAND: But don't you see? LOESSER: How can you do this thing to me?KHALID: It was merely the opening act, however, for the song itself. Baby was such a sensation at private gatherings that Loesser worked it into his score for the 1949 movie Neptune's Daughter. This would be the first time anyone heard the song outside of someone’s living room.WILLMAN: And when it went public in 1949 it kind of exploded. Immediately, people started covering it. My favorite version of the song, by Johnny Mercer and Margaret Whiting. I think that was the biggest hit anyone had with it that year.🎶WHITING: I really can't stayMERCER:  But Baby, it's cold outsideWHITING: I've got to go awayMERCER: But Baby, it's cold outsideWHITING: This evening has beenMERCER: Been hoping that you'd drop inWHITING: So very niceMERCER: I'll hold your hands, they're just like iceKHALID: No fewer than 10 separate recordings were made in 1949 alone. Bing Crosby, Bob Hope, Doris Day, Dinah Shore. They all put their stamp on the song, but the version you’re probably most familiar with is the one that Chris Willman prefers. The one you hear on adult contemporary radio stations every December, when they switch over to an all holiday format. The classic recording by Johnny Mercer and Margaret Whiting.🎶WHITING: To break the spell MERCER: I'll take your hat, your hairs looks swellWHITING: I ought to say no, no, no sir MERCER: Mind if I move in closer?WILLMAN: I like it partly because it sounds like 1949. It really puts you in that era where these people are really playing out these roles. I think when people do modern versions it sounds kind of ridiculous because you don’t really buy it, that they have to go through this dance. It’s coming through the same radio where we hear all these incredibly sexually — not just suggestive but explicit songs — and so it’s hard to hear modern singers and still have that sense of reserve and that there are these restrictions on what they have to go through. And for some reason the sexual heat seems more intensified to me when it sounds like it’s happening in that era. Johnny Mercer sounds horny when he’s doing it.KHALID: Yeah!WILLMAN: And Margaret Whiting too. And then, you know, when you hear Willie Nelson and Norah Jones doing it, it’s just not the same.KHALID: And that’s precisely the question for many modern listeners of the song. It may be apparent that Mercer feels the “sexual heat” — but what about Margaret Whiting? Is she feeling it too? That all depends on how you choose to interpret the lyrics, or, in the case of Neptune’s Daughter, what you choose to see on the screen.🎶ESTHER WILLIAMS: I really can't stayRICARDO MONTALBAN: Baby, it's cold outsideWILLIAMS: I've got to go awayMONTALBAN: But Baby, it's cold outsideKHALID: In the 1949 movie, Ricardo Montalban repeatedly tugs at the arm of Esther Williams. He pulls her gently back onto the couch and even removes her hat and stole when she puts them on to leave. To 21st century sensibilities, this pas de deux can seem more predatory than playful. But that's not likely the way that audiences viewed it 70 plus years ago, when Baby won best original song at the 22nd Academy Awards.COLE PORTER: The winner is Frank Loser for “Baby It’s Cold Outside.” (Applause)KHALID: That was Cole Porter presenting Loesser with his one and only Oscar, for a song that stumbled from parlor to parlor on the party circuit, into the motion pictures and onto your Spotify holiday playlist. Or maybe you’ve deleted it from the playlist. Because it’s that song. Chris Willman.WILLMAN: And I never imagined it being controversial, in my naïvete. And then I remember going to an Aimee Mann Christmas show, sometime in the early 2000s I think. And she was having a dialogue onstage with a comedian, and they started talking about quote/unquote rapey the song was and why doesn’t anybody notice that — comically taking off on some of the more sort of, possibly predatorial aspects that people might pick up on in the song. And then all of a sudden in the late 2000s, this becomes a serious topic of debate. And that kind of shocked me, how seriously people were taking the idea that the song was quote-unquote “rapey.”REPORTER: A Bay-area radio station has now yanked the song from its airwaves.REPORTER: Well you won’t be hearing it on WDOK in Cleveland. The radio station’s decided to pull the song from their playlist.WOMAN: You know, it’s a sweet, flirty, fun holiday song.REPORTER: Is it a song about Christmas or creepy behavior? That’s the debate that has led radio station KOIT to ban a popular holiday tune from the airwaves.REPORTER: And you know what? It’s giving people yet another thing to disagree about.WILLMAN: Really in the late 2000s was when it reached peak controversy with radio stations suddenly banning it. The CBC said they were taking it off the air in Canada. There were stations in San Francisco and Denver and somewhere else that said we’re getting rid of the song. But certainly there were lots of serious essays being written too, from a feminist perspective, about how times have changed, people need to recognize that the song celebrates sexual coersion. And then there was the backlash to the backlash from people like me, saying: No, this song is not what you think it is or what you’ve come to believe it is. It’s actually very feminist, very sex-positive to use kind of a corny term.KHALID: According to Chris Willman and other fans of the song, it’s a mistake to interpret the song as if it were written today. Not only is that ahistorical, it’s simply incorrect. Simply put, the song doesn’t mean what many think it means.WILLMAN: People who read it as a date rape song would seize on things like What’s in this drink? As if the guy had placed a drug in her drink. Which is a very contemporary reading because nobody was talking about date rape drugs in 1949, and the, you know, real interpretation of the lyric is that it’s just a strong drink. But reading further into it, she’s trying to pass off the excuse for her own sexual desire onto these things like, “It must be the alcohol affecting me.” But she is the one saying maybe just a cigarette more or maybe half a drink more. It’s really about her putting up every excuse she can think of for why people might not think it was right that she spent the night. You know, one of the key lines to me is I ought to say no, no, no. She’s not saying I want to say no, no, no. It’s I ought to. Just in that word choice alone I think you understand where the song is coming from circa 1949, those expectations of society.🎶ELLA FITZGERALD: I really can't stayLOUIS JORDAN: But Baby, it's cold outsideFITZGERALD: I got to go awayJORDAN: But Baby, it's cold outsideKHALID: In the mid-1940s, the idea that a woman would desire casual sex was taboo. For her to say as much explicity would be deemed “prurient” by network censors, and so Loesser had no choice but to employ subtext. 🎶FITZGERALD: And father will be pacing the floorJORDAN: Listen to the fireplace roarKHALID: In the version you’re listening to now, also recorded in 1949, you hear Ella Fitzgerald chafing at the double standard, when her reputation as a Lady would be ruined if word got out that she stayed the night. Meanwhile, Louis Jordan is free to plead his case for a one-night stand.🎶BETTY CARTER: I really can't stay RAY CHARLES: Betty, it's cold outsideKHALID: Loesser uses musical counterpoint to underscore that Baby is more conversation than conquest. It’s a technique you may recall from his opening number to Guys and Dolls — but his mastery of it is evident in the brilliant 1961 recording of Baby by Ray Charles and Betty Carter. Here Carter emerges from the stifling hypocrisy of the 1950s onto the cusp of a more liberated decade. Both Charles and Carter are softly stepping onto each others’ toes as they negotiate their roles and desires.🎶CHARLES: Beautiful, please don’t hurry.CARTER: Well, maybe just a half a drink moreCHARLES: Why don’t you put some records on while I pour CARTER: The neighbors might thinkCHARLES: Betty, it’s bad out there CARTER: Say, what’s in this drink? CHARLES: No cabs to be had out thereKHALID: Carter is perhaps weary of having to pretend and — without her friends and family fretting and finger-wagging — might make known her own sexual appetite. That’s what Lady Gaga did when she and Joseph Gordon-Levitt gender swapped the parts back in 2013 on the Muppets Holiday Spectacular:🎶GORDON-LEVITT: I really can't stay GAGA:  But Baby, it's cold outsideGORDON-LEVITT: I've got to go away GAGA: But Baby, it's cold outsideGORDON-LEVITT: This evening has been GAGA: Been hoping that you'd drop inGORDON-LEVITT: So very nice GAGA: I'll hold your hands, they're just like iceKHALID: But Gaga wasn’t the first woman to bare her libido in the song.WILLMAN: The woman who helped popularize the song, Zooey Deschanel in Elf, she’s part of a duo called She & Him. They introduced it into their repertoire when they made a Christmas album (and they’re doing a tour this year) where they did a role reversal on the song. I think that’s alright. I mean, there’s a tradition of doing a role reversal with the song that goes back to the original movie, Neptune’s Daughter, where first you see Ricardo Montalban and Esther Williams doing it the way you know it. And then there’s a more comedic reprise where Red Skelton and I believe Betty Garrett do it and she’s virtually attacking him to the point that it almost seems really predatorial in that regard.🎶SKELTON: I really can't stay GARRETT:  But Baby it's cold outsideSKELTON: I've got to go away GARRETT: But Baby it's cold outsideSKELTON: This evening has been GARRETT: Been hoping that you'd drop inSKELTON: So very nice GARRETT: I'll hold your hands, they're just like iceWILLMAN: But then to hear Zooey Deschanel say that the only way they could do the song on their Christmas tour was to do the role reversal … made me kind of sad.KHALID: For those who find Baby creepy, a role reversal, it turns out, is not the only way to perform the song. I said at the beginning that it’s become fashionable in recent years to simply rewrite the song. In 2016, Lydia Liza and Josiah Lemanski performed their updated lyrics on the Minnesota radio station The Current.🎶LIZA: I really can't stayLEMANSKI: Baby I'm fine with thatLIZA: I've got to go away LEMANSKI: Baby I'm cool with thatLIZA: This evening has been LEMANSKI: Been hoping that you get home safeLIZA: So very nice LEMANSKI: I'm glad you had a real good timeLIZA: My mother will start to worry LEMANSKI: Call her so she knows you are comingLIZA: Father will be pacing the floor LEMANSKI: Better get your car a-hummingLIZA: So really I'd better scurry LEMANSKI: Take your time.LIZA: Should I use the front or back door?LEMANSKI: Which one are you pulling towards more?KHALID: The video of this performance has been viewed well over a million times on YouTube alone. And that romantic comedy Love Hard — the one in which Josh changes the lyrics to make them less “rapey” — that’s been showing up on lists of the year’s best Christmas movies.🎶NATALIE: Or maybe just a half a drink more.JOSH: Slow down, that’s quite a pour. NATALIE: The neighbors might think JOSH: Just my old friend Troy NATALIE: Say what's in this drink? JOSH: It’s just Lemon La CroixNATALIE: I wish I knew how JOSH: To take a hint? NATALIE: To break the spell JOSH: Do you know how to spell farewell? NATALIE: I ought to say no, no, no. JOSH: I’ll call you an Uber, they’re close. NATALIE: At least I can say I tried. JOSH: I feel like you’re not trying at all. NATALIE: I really can’t stay.JOSH: Well, maybe just go out. NATALIE: But Baby, it’s cold outside. JOSH: But Baby, just go outside. KHALID: Some of these rewritten versions are admittedly clever and funny, but I confessed to Chris Willman that the controversy took me quite by surprise.KHALID: And in part, I should say, it’s because of where I come from. You know, I come from Pakistan and I’ve grown up with Bollywood films — Bollywood films of the 70s and 80s — and, in that time period, any kind of explicit reference to sex or a sexual encounter or desire was, of course, not considered socially acceptable. Hence all these songs in Bollywood films. That’s their purpose, it’s to be suggestive. And this trope of one of them saying stay — usually the guy — and the girl saying No I must go because look at what the world will say if I stay is so commonplace in Bollywood. Have we gone to the other extreme where we’ve lost the sense of what constitutes romance and by overemphasizing the need for explicit consent and reading everything through that lens?WILLMAN: Well it’s funny, that comes up when people have done rewritten lyrics, where they’re emphasizing consent. And I think initially that was done  satirically, like at every turn the guy is saying, Well, yeah, maybe you should go … Get outta here, I’ll … sure, I’ll call Uber. And I thought that was a funny take on it, but then you see people seriously rewriting it. And first off the song is hilarious. Let’s just say that. It’s a comedic song. And when you’re gonna take the comedy out of it, along with the dance of seduction or agreement or whatever is happening and say, Would you sign this contract please? There’s not much of a song at that point. You know, it’s such a masterpiece, really, of songwriting — the way the rhyme scheme happens between the two different parts simultaneously back and forth, you know it’s very sophisticated as a duet. To take all that away and say that nothing is important about the rhymes, or the themes or the general tone of the song is really to lose the point.🎶“Baby, It’s Cold Outside” (1949) in DanishWILLMAN: You know, it holds such a unique place in the Christmas canon, even though it’s not a Christmas song, because it is flirty and racy and you just hear so much Christmas music that is not really about romance. Or if it is, it's extremely schmaltzy. To hear two people come on who are suddenly expressing real feelings in these very funny and literate lyrics, there’s nothing else on the radio like it. There’s nothing that funny or that sexy in the Christmas music canon, and so even the people that think they should be offended by it can’t bring themselves to get rid of it.KHALID: And that’s perhaps the song’s single greatest contradiction. Why hold onto it at all if we have to censor it? And yet there it is, year after year. More than 450 covers of the song and counting. Role reversals and rewrites and translations, including this Danish language recording that is among the very oldest, from 1949.If you liked what you heard today, help us spread the word and support our work at Booksmart Studios. Become a paying subscriber and you will get access to full interviews, bonus segments, written columns and more.Don’t forget to rate what you've heard here today on whichever platform you listen on and leave a comment so we know what you think. Our success here at Booksmart depends as much on you as on us.Banished is produced by Matthew Schwartz and Mike Vuolo. And I, as always, am Amna Khalid.CORRECTION: In an earlier version of this piece, the singer of the duet with Ray Charles was misidentified as Betty Page. The actual singer was Betty Carter. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit banished.substack.com/subscribe

I hope to be around at 93, but to accomplish what Marilyn Maye has done in her time on earth, you must be an incredibly dedicated human. Listen to her talk about her remarkable career and what she has planned for Provincetown at The Art House this season. "MARK CORTALE & BROADWAY @ THE ART HOUSE are proud to present the legendary MARILYN MAYE with BILLY STRITCH at the piano for 10 shows only. Marilyn Maye is a highly praised singer, actress, director, arranger, educator, Grammy-nominated recording artist and a musical treasure. Her entire life has been committed to the art of song and performance. The award-winning Ms. Maye appeared 76 times on The Tonight Show Starring Johnny Carson, the record for a singer. Perhaps the simplest Marilyn Maye accolade came after one of her show-stopping appearances on The Tonight Show when, turning to his audience of millions, Johnny Carson said, And that, young singers, is the way its done. Marilyn began her professional singing career by winning a 13-week appearance on radio station WIBW, Topeka, Kansas, at age 9. She has been committed her entire life to the art of song and performance. During her eleven-year engagement at the Colony in Kansas City, she was discovered by Steve Allen, who was the first to present her various times to a national television audience. The Steve Allen performances led her to an RCA recording contract. Her RCA recordings consist of seven albums and 34 singles, including the first hit recordings of Cabaret and Step to the Rear. Her album with full orchestra, The Lamp is Low, is considered a classic. Her place in American music history was assured when the Arts Council of the Smithsonian Institution selected one of her recordings, Too Late Now, for the Smithsonian-produced album of the 110 Best American Compositions of the Twentieth Century. Her many symphony concert appearances around the United States include the Florida Symphony, The Philly Pops, The Phoenix Symphony, The Kansas City Symphony, The Omaha Symphony, and in June, 2015, The Pasadena Symphony, Michael Feinstein conducting. Her two appearances with the New York Pops at Carnegie Hall for tributes to Stephen Sondheim and Frank Loesser received show-stopping applause and rave reviews." --- Support this podcast: https://podcasters.spotify.com/pod/show/stephanie7502/support

This week, the Bad Piano Player has progressed enough to attempt some of the more difficult Frank Loesser numbers, with a special spotlight on Guys and Dolls. Lyricist, melodies, musicals...I've got the Frank right here! 

This week the bad piano player takes a second look at Frank Lesser, the lyricist and composer of "Guys and Dolls," and other famous songs. 

The final broadcast for 1948, just a few days before Christmas, brings the quartet back in top form. Bob, Jud De Naut, Ralph Collier, and Ray Sherman breeze through the Sweet Georgia Brown intro, and then play one of Bob's favorites, "Crazy Rhythm". Song star Margo Powers comes in to schmooze with announcer Eddie King before crooning "My Darling, My Darling". This is yet another instance of Bob seizing on a recent popular tune (Frank Loesser wrote it that year and it was in the charts for both Jo Stafford and Doris Day by the date of the broadcast). The quartet comes back for the instrumental "Bojangles" (they did this back in October, in our Episode 14) before Margo proudly introduces the debut of a new Christmas tune written by Bob: "I Want You For Christmas". Merry Christmas indeed! The quartet wraps the year and puts a bow on it with another of Bob's originals, "Hop The Ditty", before sauntering out of 1948 with "Lady Be Good".  See you in the new year, stay tuned! We have a lot of great music ahead!