Podcasts about Loesser

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. 

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

Con Michael Brecker, Larry Martin, Seve Grossman y Pat Metheny entre otros. "Estival de Jazz 2022 - Sesión 4: Steve Grossman Quartet "Live at Café Praga" y Pat Metheny "Side Eye V.1-IV Sonic Music Hall NY". Nueva entrega nuestro "Estival de Jazz 2022" que nos sirve para cerrar la programación de Agosto y para completar la escucha de los conciertos emitidos en nuestras dos ediciones anteriores con Steve Grossman en formación de cuarteto sobre las tablas del "Café Praga" de Bolonia en 1990 y a Pat Metheny a trío en el "Sony Music Hall" de N.Y. en 2019. El "Estándar de la semana" es "The lady's in love with you" de Lane & Loesser, en grabación del proyecto como líder del baterista madrileño Larry Martin y "Song for Bilbao", en grabación de Michael Brecker, el "Favorito".  Con Javier del Barco.

Con Michael Brecker, Larry Martin, Seve Grossman y Pat Metheny entre otros. "Estival de Jazz 2022 - Sesión 4: Steve Grossman Quartet "Live at Café Praga" y Pat Metheny "Side Eye V.1-IV Sonic Music Hall NY". Nueva entrega nuestro "Estival de Jazz 2022" que nos sirve para cerrar la programación de Agosto y para completar la escucha de los conciertos emitidos en nuestras dos ediciones anteriores con Steve Grossman en formación de cuarteto sobre las tablas del "Café Praga" de Bolonia en 1990 y a Pat Metheny a trío en el "Sony Music Hall" de N.Y. en 2019. El "Estándar de la semana" es "The lady's in love with you" de Lane & Loesser, en grabación del proyecto como líder del baterista madrileño Larry Martin y "Song for Bilbao", en grabación de Michael Brecker, el "Favorito".  Con Javier del Barco.

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

Keiko Anderson is one of the smartest, most successful people I know. She is a trained social worker and a respected attorney. She runs her own thriving family law practice, and you can also find her in the pulpit at her church some weekends leading a women's conference. But the role she is most proud of is that of wife and mother. She freely states that the nurturing of relationships that she learned within her family taught her to relate, to empathize and to show compassion. Those aforementioned three skills form the foundation of her successful work life and her abiding faith. In a time when so many people are focused on “How to Succeed in Business Without Really Trying” (an excellent Broadway musical by Weinstock, Gilbert, Burrows and Loesser), and companies invest millions of dollars annually in consultants and executive coaching to address a workforce that faces rising disengagement and discontent, Keiko lays out a clear roadmap for people who are looking for a lasting and genuinely successful life and career. “I don't accept your ‘no' for me. I accept your ‘no' for you, but I don't accept it for me.”“I am not going to agree with your limitations on what I can do.”“We all want to have a voice and be heard.”“The magic element of success is being yourself.”“Love your neighbor as yourself.” She quotes from the Gospel of MatthewHer five-step recipe is that simple and complicated, because as she reminds us, we are often operating from our brokenness and our fear of stepping out on faith into the dreams of the unknown. And sometimes, when a valuable gift is handed to you, have good sense enough to humbly receive it. Patrick's WebsitePatrick's IGPatrick on LinkedInPatrick on Facebook

This week, Josh Ronaldo interviews InterVarsity's own Chris Loesser (as well as one of Josh's closet friends). InterVarsity is an evangelical campus mission serving students and faculty on college and university campuses NATIONWIDE! The Vision? To see students and faculty transformed, campuses renewed, and world changers developed! So, give today and support the Loesser's work at InterVarsity. Gifts can be set up as a monthly amount or you can give a one-time gift! Whatever the Lord puts on your heart. Be sure to stick around after the GODcast for this month's GODcast Q&A with Frank and Christina! Stay BLESSED!

This week, we pick up with Part 2 of Josh Ronaldo's interview with InterVarsity's own Chris Loesser (as well as one of Josh's closet friends). InterVarsity is an evangelical campus mission serving students and faculty on college and university campuses NATIONWIDE! The Vision? To see students and faculty transformed, campuses renewed, and world changers developed! So, give today and support the Loesser's work at InterVarsity. Gifts can be set up as a monthly amount or you can give a one-time gift! Whatever the Lord puts on your heart. Stay BLESSED!

InterVaristy @ TCNJ's Christopher Loesser interviews Dan Balevski! Listen as Dan shares cool God stories and gives spirit-led insight! Stay BLESSED!

Mitch's Note on this episode: "As we find ourselves in the middle of Season Two of our podcast, Journey Of An Aesthete I thought I should like to record a second solo episode which I guess means me sitting in front of the microphone and speaking all alone with the listeners/audience. I always get really nervous with these episodes as, speaking historically I have done very little in the way of public speaking like this, by which I mean it has happened so infrequently that I don't feel as practiced as I should like - though this podcast itself is making up for lost time. It isn't that I have a phobia or fear of public speaking - in truth whenever I do it I feel at least moderately comfortable - it is just that it is a conviction of mine, whether founded or not, that one always does something best the more they have done it. I really don't know much about being a "natural" or whatever the term is. Alongside that vein I thought I would play just a little bit of piano, in this case the first (and in part the only) music I have committed to composing in the times since late March or early April. It promises to be a much longer piece, and aside from the somber tone of the opening that you will hear here, will have as many passages that are upbeat, even joyful in the fullness of the completed work. I gathered some selections to read on this, our second solo show. I always have a deep feeling of indebtedness to others, thinker and artists that have come before me and I always to try to utilize my show as a platform to honor them. When I am forced to talk about my own piano playing I always try and mention my debt to my teacher Stanley Cowell, to name but one example. But some influences are people whom I have never met; I only know the works authored by the creator, not the creator herself. I have always felt that "the work" this might be the "best" part of themselves, which, though might be controversial to say (even though daily news reports sort of confirm my theory. And I mean no disrespect to any family members or loved ones of artists who really feel that the artist in their life is really great as a human being, never mind what they have made or that they are also known in public). I read Elizabeth Bishop's One Art which for me is a truly perfect poem which is saying a lot. I then read one of the first life changing books I ever encountered, Zen Mind, Beginner's Mind, by Shunryu Suzukim book I was most fortunate to encounter at the age of 13 or 14 and which has accompanied me on just about every "stage" of my life until the present at age fifty-one. I do read it as a beautiful work of art, even poetry. I don't know if this is the correct or, in Suzuki's common formulation, the "right understanding" to read it in such a way but for what it's worth I also happen to think it accurate in many respects as a document of our daily lives, speaking in a broad register, thus making it in at least one instance a confirmation of Keat's proposition of Truth and Beauty being synonymous. The book Foregone Conclusions has a review from The New Republic that I uncovered from wayback in 1995: https://newrepublic.com/article/63010/the-illusion-fate The Frank Loesser letter is a hoot and very funny. Its prankish and insouciant tone I feel has some seriousness in calling into question our received categories of artistic evaluation more generally even as I am not now prepared to take on fully the "populism" (egalitarianism?) of Loesser's narrator in the letter. As far as the arts go, I have no caution. I love all of them without reservations, enthusiasm that I hope is expressed in episodes like this one.” Links to Mitch’s Body of work:Journey of an Aesthete Podcast http://themoderatecontrarian.blogspot.com https://mitchhampton.bandcamp.com https://www.patreon.com/journeyofanaesthete --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mitch-hampton/message

GUYS AND DOLLS A Musical Fable of Broadway | Music & Lyrics by Frank Loesser | Book by Jo Swerling & Abe Burrows Episode Segments:1:35 - Remember5:41 - Why God Why6:49 - Back to Before32:09 - What's Inside51:46 - How Do You Solve a Problem Like Maria?1:00:59 - Our Favorite Things1:13:03 - Corner of the SkyWorks Consulted:The Making of Guys and Dolls by Keith GarebianGuys and Dolls (Libretto) Book by Abe Burrows & Jo Swerling, Music & Lyrics by Frank Loesser, Based on The Idyll of Sarah Brown and characters by Damon RunyonMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"Remember" from A Little Night Music (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Benjamin Rayson, Teri Ralston, Beth Fowler, Gene Varrone, Barbara Lang, & Harold Hastings "Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"My Time of Day" from Guys and Dolls (New Broadway Cast Recording (1992)) | Music & Lyrics by Frank Loesser | Performed by Peter Gallagher"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas

Entrepreneur and creator of the Inflatuation Panty Line, Mona Schultz-Loesser (Sarah Sommers) speaks to Emily Amy Lauren Becca (Jessica Fontana, @iamjessfontana) about her current conundrum. After leaving social media, Mona has good news to share. What on Earth does she do? Learn more about your ad choices. Visit megaphone.fm/adchoices

When we did our Rock-and-Roll Christmas "rabbit hole" episode last year we realized that there are just too many Rocking Christmas songs to be held in a single podcast. So we're coming back to you this year with another selection of Christmas songs that rock!“God Rest Ye Merry, Gentlemen” by- Ronnie James Dio This selection from the former Rainbow and Black Sabbath front man puts a metal twist on a 16th century carol.“God Rest Ye Merry, Gentlemen” by The Barenaked Ladies A more mellow take on the same song features stripped down acoustics and harmonies. Sarah McLachlan is featured in this cover.“Happy Xmas (War Is Over)” by John Lennon Brian features the well-known original piece from John Lennon and Yoko Ono from 1971. They are joined by the Harlem Community Choir“Christmas” by The Who, from “Tommy”Rob brings us a deep cut from the rock opera Tommy. In this vignette, Tommy's father questions how Tommy can be saved given his inability to see, hear, or speak.“Do They Know It's Christmas?” by  Band Aid This 1984 compilation was created as a means of providing support to famine victims in Ethiopia. Bob Geldof and an all-star cast of singers was assembled including Sting, Bono, Bananarama, Boy George, and Simon Le Bon.“Stone Soul Christmas” by Binky Griptite Wayne puts the soul in Christmas with this 2011 effort. Binky Griptite is a DJ in New York and was the guitarist for the Dap-Kings.“Christmas Presents Blues” by Jimmy Reed Wayne keeps the funk going with this rousing bass line and double entendre laden tune from 1971.“I'm Your Santa” by Lil' Ed and the Imperials We drift into the blues with this New Orleans-style cut from Alligator Records.“Celebrate Me Home” by Kenny Loggins Bruce features one from Loggins' debut solo album in 1977. While this has now become a Christmas standard, it was not released as a single at the time, and was not intended to become a standard.“Baby It's Cold Outside” by Frank Loesser Brian's pick is the Dean Martin 1959 cover of this classic. Loesser originally wrote this as a housewarming song. When MGM bought the song, Frank's wife was furious that he had sold it.“All I Want for Christmas Is You”  by Mariah Carey Bruce took a little heat from the boys when he brings us this original piece from 1994 that has become a best-selling modern day Christmas song. Its Carey's biggest international hit, and the best selling Christmas single by a female artist overall.“Oh Tannenbaum” by Vince Guaraldi Christmas wouldn't be the same without “A Charlie Brown Christmas.” This piano jazz cover of the classic Christmas carol takes you to that show, and a rather dinky tree.“Come Home for Christmas” by the Eagles This 1978 cover is the first Eagles song to feature Timothy B. Schmit on bass after Randy Meisner left. The original version was released in 1960 by pianist Charles Brown.“Same Auld Lang Syne” by Dan FogelbergBrian features an autobiographical story from Fogelberg. This happened when he was returning home to Peoria when Jill went out for Egg Nog and Dan went out for whipping cream. Fogelberg did not reveal the name of he old flame, but she came forward after his death.LAUGH TRACK:“Walking Round in Women's Underwear” by Bob Rivers Wayne brings us into our "Laugh Track" part of the podcast with this comical take on Christmas and cross-dressing.“Hanukkah Song” by Adam SandlerWe finish off with this comical take on the Jewish holiday from Adam Sandler, where we find out that David Lee Roth, Henry Winkler, William Shattner, and Leonard Nimoy are all jewish. But OJ Simpson is NOT!

The greatest jazz pianist of our time joins us to take a tour of wonderful tunes--by Bernstein, Loesser, Kern and others--played by Bill and his trio, joined by Tony Bennett, Sherie Rene Scott and more.

Take a long Coffee Break to discuss How to Succeed in Business Without Really Trying! We talk Tara's eventual book, scheming spouses, and coffee drinking alliances. Plus: if there's one man who knows how to succeed in breaking our hearts without really trying, it's JLM. Theme music by Cullen Vance. 1995 Broadway Revival album: Amazon | iTunes | Spotify Billy Porter slays at the 2019 Tony Awards.

durée : 00:58:43 - Un mois à Broadway (3/5) : Frank Loesser, l'auteur compositeur de "Guys and Dolls" - par : Laurent Valière - L’auteur compositeur de Guys and Dolls a suivi un chemin particulier : il a connu le succès à Hollywood à la Paramount avant, dans la seconde partie de sa carrière, de composer des succès comme « How to succeed in business without really trying » et « The Most Happy Fella ». - réalisé par : Périne Menguy

What do McCarthyism, Charlie Chaplin, I Love Lucy, Catfish, Sister Act, Andrew Cunanan, John & Yoko, and the Caroline, or Change extended universe have to do with Bells Are Ringing, The Most Happy Fella, and Li’l Abner? That’s for us to know and you to find out. Follow us on Twitter and Instagram @mylittletonys for more content on this season’s shows! Works referenced/cited: Bloom, Ken, and Frank Vlastnik. Broadway Musicals: the 101 Greatest Shows of All Time. Black Dog & Leventhal Pubs., 2010. Mordden, Ethan. Coming up Roses: the Broadway Musical in the 1950s. Oxford Univ. Press, 2000. Bryer, Jackson R., and Richard Allan. Davison. The Art of the American Musical: Conversations with the Creators. Rutgers University Press, 2005. Loesser, Susan. A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life: a Portrait by His Daughter. Hal Leonard, 2000. Mandelbaum, Ken. Not since Carrie: Forty Years of Broadway Musical Flops. St. Martin's Press, 1992. Patinkin, Sheldon. "No Legs, No Jokes, No Chance": a History of the American Musical Theater. Northwestern University Press, 2008. Propst, Andy. They Made Us Happy: Betty Comden and Adolph Greens Musicals & Movies. Oxford University Press, 2019. Taylor, Theodore. Jule: the Story of Composer Jule Styne. Random House, 1979. Vaill, Amanda. Somewhere: the Life of Jerome Robbins. Broadway Books, 2006. Wasson, Sam. Fosse. Houghton Mifflin Harcourt, 2013. Grimes, William. “Industrial Musicals Were Once Big Shows.” The New York Times, 20 Dec. 2017. Brantley, Ben. “With Her, It's Love at First Sound.” The New York Times, 19 Nov. 2010. Wilson, John S. “THEATER: A REVIVAL OF 'BELLS'.” The New York Times, 4 Nov. 1984. Millstein, Gilbert. “MISS HOLLIDAY ON THE LINE; RETURN.” The New York Times, 25 Nov. 1956. “Born Yesterday: Judy Holliday (The Blacklist Episode #11).” You Must Remember This, 3 May 2016. Atkinson, Brooks. “Theatre: 'Bells Are Ringing' for Judy Holliday; Overcomes Antiquated Plot at Shubert Actress Flies High in New Musical Show.” The New York Times, 30 Nov. 1956. Atkinson, Brooks. “Theatre: Loesser's Fine Music Drama; 'The Most Happy Fella' Opens at Imperial.” The New York Times, 4 May 1956. Schumach, Murray. “MOLDING 4 MUSICAL; Discussing the Birth Of 'The Most Happy Fella' HOW 'THE MOST HAPPY FELLA' WAS REARED Search Ended Orchestra.” The New York Times, 29 Apr. 1956. Millstein, Gilbert. “The Greater Loesser; The Composer-Lyricist-Author of 'Most Happy Fella' Gives Musical Comedy the Once-over-Seriously.” The New York Times, 20 May 1956. Jr., Fred H. Diekmann. “DRAMA MAILBAG; Some Pro and Con Views on 'The Most Happy Fella' and 'Waiting for Godot'.” The New York Times, 13 May 1956. “Heart & Soul: The Life and Music of Frank Loesser.” Green, Jesse. “Theater Review: The Happy Return of The Most Happy Fella.” Vulture, 3 Apr. 2014. Brantley, Ben. “Uncorking a Napa Vintage for a Toast to Adult Romance.” The New York Times, 3 Apr. 2014. Gussow, Mel. “Stage: The Most Happy Fella'.” The New York Times, 12 Oct. 1979. Rich, Frank. “Review/Theater: The Most Happy Fella; Basic Feelings, Soaring Songs.” The New York Times, 14 Feb. 1992. Tommasini, Anthony. “Frank Loesser's 'Most Happy Fella,' at Dicapo Opera.” The New York Times, 9 Mar. 2012. Rich, Frank. “Review/Theater; Rethought, Refined and Revived: Goodspeed's 'Most Happy Fella'.” The New York Times, 30 May 1991. Richards, David. “SUNDAY VIEW; A 'Happy Fella' With Less Offers More.” The New York Times, 2 June 1991. Foran, Chris. “'Li'l Abner,' Al Capp Were Bigger than Life — until They Weren't.” Milwaukee-Wisconsin Journal Sentinel , 21 Apr. 2016. Atkinson, Brooks. “Theatre: 'Li'l Abner'.” The New York Times, 16 Nov. 1956. Atkinson, Brooks. “Theatre: Roz Russell.” The New York Times, 1 Nov. 1956. Benjamin, Lois. “QUICK-CHANGE ARTIST.” The New York Times, 5 May 1957. Atkinson , Brooks. “Theatre: 'Shangri-La'; Musical Based on Book by Hilton Opens.” The New York Times, 14 June 1956. “LI'L ABNER SENDS A LETTER HOME; A Lovin' Son Tells His Mammy an' Pappy Of Philly-Delfya 'Mess' LI'L ABNER WRITES TO HIS MAMMY AN' PAPPY.” The New York Times, 11 Nov. 1956. Schwabacher, Thomas K. “The Harvard Crimson.” Shangri-La The Harvard Crimson, 9 May 1956.

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

Frank Henry Loesser abandonó la universidad tras un año de estudios y probó fortuna en diferentes trabajos hasta que en 1935 conoció a una cantante a la que acompañaba al piano en sus actuaciones con la que terminó casándose en 1936. Se marchó a Hollywood donde comenzó escribiendo letras para canciones de películas de Universal y Paramount hasta que el estallido de la segunda guerra mundial le hizo alistarse en la armada, si bien siguió escribiendo letras para composiciones musicales de otros músicos. En 1944 escribió las letras del musical “HI YANK”, producido por el ejército para ser interpretado por y para los soldados desplazados fuera del país. La música la escribió nada menos que Alex North, el genial músico que más tarde escribiría las bandas sonoras de películas como "Espartaco", "Cleopatra", "Un tranvía llamado deseo" o la serie televisiva "Hombre rico, hombre pobre". Recibió el encargo de adaptar a musical la obra de Brandon Thomas “La tía de Carlos”, que con el título de “WHERE’S CHARLEY” se convertiría en todo un éxito, aunque Loesser siguió escribiendo letras de canciones para el cine, llegando a ser nominado al Oscar hasta en cinco ocasiones de las que sólo ganó el premio con la famosa “Baby, it’s cold outside”, para la película “La hija de Neptuno” (1949). Su siguiente trabajo fue su mayor éxito, “GUYS AND DOLLS” (1950), el musical que llevaría al cine Joseph L. Mankiewicz, titulado en España “Ellos y ellas”. "THE MOST HAPPY FELLA" (1956) fue su siguiente musical, centrado en la relación de un hombre mayor con una chica más joven que fue calificado por muchos más como una ópera que como un musical. A este le seguiría GREENWILLOW (1966) que dirigió George Roy Hill, con Anthony Perkins de protagonista, que no tuvo el éxito de sus anteriores obras. “HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING” (1961), sería su último gran éxito, del que nos hemos ocupado en el podcast de “Cuentame un musical” de este mes, ya que sus posteriores trabajos PLEASURES AND PALACES (1965) no llegó a estrenarse en Broadway y SEÑOR DISCRECTION HIMSELF (1966) fue un musical que no llegó a terminar ya que murió en 1969. Aquí os dejamos una selección de canciones suyas, en la que mientras no se indique otra cosa, la música y letras son de Frank Loesser. Espero os gusten 00h 00'00" Presentación 00h 02'22" Cabecera 00h 02'58" Luck be a lady (Seal) 00h 07'30" Adelaide (Frank Sinatra) 00h 10'41" Anywhere I wander (Liz Callaway) 00h 16'02" Let's get lost (Van Morrison) - música de Jimmy McHugh 00h 19'40" Adelaide's lament (Barbra Streisand) 00h 22'54" I said no (Judy Khun) - música de jule Styne 00h 25'23" I've neveer beein in love before (Bing Crosby) 00h 28'23" My heart is so full of you (Liz Callaway) 00h 35'51" Once I love with Amy (Barry Manilow) 00h 39'19" A woman in love (Marlon Brando) 00h 41'53" Brotherhood of man (Matthew Broderick) 00h 47'39" A bushel and a peck (Doris Day) 00h 50'25" Can't get out of this mood (Nina Simone) - música de Jimmy McHugh 00h 52'54" Heart and soul (Bea Wain) - música de Hoagy Carmichael 00h 56'48" A secretary is not a toy (Jonathan Freeman) 00h 59'58" Guys and dolls (Frank Sinatra & Dean Martin) 01h 02'44" I wish I didn't love you so (Kd lang) 01h 05'50" Joey, Joey, Joey (Leslie Odom, jr.) 01h 10'00" Marry the man today (Julia McKenzie & Julie Covington) 01h 12'36" Dolores (Frank Sinatra) - música de Louis Alter 01h 15'29" Baby, it's cold outside (Vanessa Williams & Bobby Caldwell) 01h 20'08" How to succeed / I believe in you (Liz Callaway) 01h 23'52" I'll know (Julie Covington & Ian Charleston) 01h 27'03" Never will I marry (Liz Callaway) 01h 31'59" Sit down, you're rockin' the boat (Sammy Davis Jr.) 01h 35'29" Rosemary (Daniel Radcliffe) 01h 39'20" What are you doing New Year's eve? (Diana Krall) 01h 43'26" On a slow boat to China (Liza Minnelli) 01h 46'42" Song of a summer night (Elaine Paige) 01h 49'10" Standing on the corner (Jerry Hadley) 01h 51'41" If I were a bell (Liz Callaway) 01h 55'41" Somebody somewhere (Doris Day) 01h 58'28" More I cannot wish you (Liz Callaway) 02h 01'44" Spring will be a little late this year (Carly Simon & Jimmy Webb) 02h 05'10" The ugly duckling (Mandy Patinkin) 02h 08'52" Sue me (Frank Sinatra & Vivian Blane) 02h 11'38" They're either too young or too old (Kitty Kallen) - música Arthur Schwartz 02h 14'41" Two sleepy people (Seth MacFarlane & Norah Jones) - música Hoagy Carmichael 02h 19'05" Take back your mink (Debbie Reynolds) 02h 21'49" Inchworm (Rachelle Ferrell) 02h 24'15" Three-cornered tune (Sarah Brightman) 02h 26'24" Sing a tropical song (Andrews Sisters) - música de Jimmy McHugh

Frank Henry Loesser abandonó la universidad tras un año de estudios y probó fortuna en diferentes trabajos hasta que en 1935 conoció a una cantante a la que acompañaba al piano en sus actuaciones con la que terminó casándose en 1936. Se marchó a Hollywood donde comenzó escribiendo letras para canciones de películas de Universal y Paramount hasta que el estallido de la segunda guerra mundial le hizo alistarse en la armada, si bien siguió escribiendo letras para composiciones musicales de otros músicos. En 1944 escribió las letras del musical “HI YANK”, producido por el ejército para ser interpretado por y para los soldados desplazados fuera del país. La música la escribió nada menos que Alex North, el genial músico que más tarde escribiría las bandas sonoras de películas como "Espartaco", "Cleopatra", "Un tranvía llamado deseo" o la serie televisiva "Hombre rico, hombre pobre". Recibió el encargo de adaptar a musical la obra de Brandon Thomas “La tía de Carlos”, que con el título de “WHERE’S CHARLEY” se convertiría en todo un éxito, aunque Loesser siguió escribiendo letras de canciones para el cine, llegando a ser nominado al Oscar hasta en cinco ocasiones de las que sólo ganó el premio con la famosa “Baby, it’s cold outside”, para la película “La hija de Neptuno” (1949). Su siguiente trabajo fue su mayor éxito, “GUYS AND DOLLS” (1950), el musical que llevaría al cine Joseph L. Mankiewicz, titulado en España “Ellos y ellas”. "THE MOST HAPPY FELLA" (1956) fue su siguiente musical, centrado en la relación de un hombre mayor con una chica más joven que fue calificado por muchos más como una ópera que como un musical. A este le seguiría GREENWILLOW (1966) que dirigió George Roy Hill, con Anthony Perkins de protagonista, que no tuvo el éxito de sus anteriores obras. “HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING” (1961), sería su último gran éxito, del que nos hemos ocupado en el podcast de “Cuentame un musical” de este mes, ya que sus posteriores trabajos PLEASURES AND PALACES (1965) no llegó a estrenarse en Broadway y SEÑOR DISCRECTION HIMSELF (1966) fue un musical que no llegó a terminar ya que murió en 1969. Aquí os dejamos una selección de canciones suyas, en la que mientras no se indique otra cosa, la música y letras son de Frank Loesser. Espero os gusten 00h 00'00" Presentación 00h 02'22" Cabecera 00h 02'58" Luck be a lady (Seal) 00h 07'30" Adelaide (Frank Sinatra) 00h 10'41" Anywhere I wander (Liz Callaway) 00h 16'02" Let's get lost (Van Morrison) - música de Jimmy McHugh 00h 19'40" Adelaide's lament (Barbra Streisand) 00h 22'54" I said no (Judy Khun) - música de jule Styne 00h 25'23" I've neveer beein in love before (Bing Crosby) 00h 28'23" My heart is so full of you (Liz Callaway) 00h 35'51" Once I love with Amy (Barry Manilow) 00h 39'19" A woman in love (Marlon Brando) 00h 41'53" Brotherhood of man (Matthew Broderick) 00h 47'39" A bushel and a peck (Doris Day) 00h 50'25" Can't get out of this mood (Nina Simone) - música de Jimmy McHugh 00h 52'54" Heart and soul (Bea Wain) - música de Hoagy Carmichael 00h 56'48" A secretary is not a toy (Jonathan Freeman) 00h 59'58" Guys and dolls (Frank Sinatra & Dean Martin) 01h 02'44" I wish I didn't love you so (Kd lang) 01h 05'50" Joey, Joey, Joey (Leslie Odom, jr.) 01h 10'00" Marry the man today (Julia McKenzie & Julie Covington) 01h 12'36" Dolores (Frank Sinatra) - música de Louis Alter 01h 15'29" Baby, it's cold outside (Vanessa Williams & Bobby Caldwell) 01h 20'08" How to succeed / I believe in you (Liz Callaway) 01h 23'52" I'll know (Julie Covington & Ian Charleston) 01h 27'03" Never will I marry (Liz Callaway) 01h 31'59" Sit down, you're rockin' the boat (Sammy Davis Jr.) 01h 35'29" Rosemary (Daniel Radcliffe) 01h 39'20" What are you doing New Year's eve? (Diana Krall) 01h 43'26" On a slow boat to China (Liza Minnelli) 01h 46'42" Song of a summer night (Elaine Paige) 01h 49'10" Standing on the corner (Jerry Hadley) 01h 51'41" If I were a bell (Liz Callaway) 01h 55'41" Somebody somewhere (Doris Day) 01h 58'28" More I cannot wish you (Liz Callaway) 02h 01'44" Spring will be a little late this year (Carly Simon & Jimmy Webb) 02h 05'10" The ugly duckling (Mandy Patinkin) 02h 08'52" Sue me (Frank Sinatra & Vivian Blane) 02h 11'38" They're either too young or too old (Kitty Kallen) - música Arthur Schwartz 02h 14'41" Two sleepy people (Seth MacFarlane & Norah Jones) - música Hoagy Carmichael 02h 19'05" Take back your mink (Debbie Reynolds) 02h 21'49" Inchworm (Rachelle Ferrell) 02h 24'15" Three-cornered tune (Sarah Brightman) 02h 26'24" Sing a tropical song (Andrews Sisters) - música de Jimmy McHugh

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 and Kevin answer listener's tweets and messages. Emulating our friends at Broadwaysted, Stritch doesn't need your help, Rob sings some Loesser, fighting over some revivals, biggest lessons from each guest, the generosity of legends, Joanne wants to be a lady who karaokes, talking to the ghost of Hammerstein, the oddest casting of Chicago, and Dear Robert Preston! 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

Jo Stafford was America's favorite pop singer of the 1940s and 50s; she had a real affinity for the Broadway songbook, and for the songs of Frank Loesser in particular.

We devote this entire show to the life and work of the freethinking songwriter Frank Loesser, who wrote Guys and Dolls, "Heart and Soul," How To Succeed In Business Without Really Trying, "Baby, It's Cold Outside," "What Are You Doing New Years," and many other songs. We talk with his daughter Susan Loesser, who wrote a memoir about her father called A Most Remarkable Fella: Frank Loesser and the Guys and Dolls In His Life.

Can you guess this piece? Here's a hint: daughter of the above…

Can you guess this piece? Here’s a hint: daughter of the above…

Sheely, Stokes, and Wrather almost get around to discussing the marriage, sectionals, and Christmas episodes of Glee. Episode 38: More or Loesser originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]