Summary of Female Vocalist/Songwriter Post for 2023 Women's History Month Celebration at The Lambs

Top Ten songs/albums of women singers assignment Without You I'm Nothing (1989) Sandra Bernhard 9. Radio Ethiopia (1976) Patti Smith - includes Ask the Angels 8. Knoxville Summer of 1915 (1990) Dawn Upshaw. 7. Rhythm Nation 1814 (1989) Janet Jackson 6. Close to You (1960) Sarah Vaughn 5. Dinah! (1956) Dinah Washington - includes More Thank You Know 4. Patti LuPone - Live (1992) Patti LuPone -includes I'm a Stranger Here Myself 3. My Name Is Barbra, Two (1965) Barbra Streisand 2. Bette Midler (1973) Bette Midler 1. Don't Go to Strangers (1966) Eydie Gorme' - includes What Did I Have and If He Walked into My Life Songs List 10. Ain't No Mountain High Enough (Diana Ross 1970 version) Ashford/Simpson's 9. One Less Bell to Answer (1970) Marilyn McCoo with The Fifth Dimension. songwriters: Bacharach/David's 8. Dream a Little Dream of Me (1968) Mama Cass, by Fabian Andre, Wilbur Schwandt and Gus Kahn. 7. There's No Business Like Show Business (1969) Mary Hopkins, by Irving Berlin, a Lamb. 6. A Hard Rain is Gonna Fall (1989) Edie Brickell, by Bob Dylan 5. Boys Night Out (1962) Patti Page Jimmy Van Heusen (music) and Sammy Cahn 4. Cornet Man (Broadway Soundtrack for Funny Girl version, 1964) Barbra Streisand, by Jule Styne, and lyrics by Bob Merrill. 3. My Man (Movie Soundtrack for Funny Girl version 1968) Barbra Streisand, by Maurice Yvain and Channing Pollock (English Lyric). 2. Our Love It Grows (1961) Myrna March, Songwriter: Ellie Greenwich 1. I Wanna Be Around (1966) Eydie Gorme' (from Don't Go to Strangers) by Sadie Vimmerstedt and Johnny Mercer.  Honorable Mentions: I Move On (2002) Catherine Zeta-Jones / Renee Zellweger, by John Kander and Fred Ebb *** conducted by Paul Bogaev. Coffee Homegrown (1978) Kate Bush, by Kate Bush Down in the Depths (1936) Ethel Merman, by Cole Porter Jazz: Judy Garland, Eydie Gorme' and Nelly McKay, Ella Fitzgerald. Broadway: Carol Channing and Barbra Streisand. Folk: Joan Baez, Joni Mitchell and Judy Collins. Pop: Lady Gaga, Madonna, Regina Spektor Classical: Patty Lupone, Dawn Upshaw, Teresa Stratas, Isola Jones, Kathleen Battle, Betty Allen Rock: Stevie Nicks, Heart lead singer Nancy Wilson, Janis Joplin, and Grace Slick - a Castilleja High School debutante. The Heart song "Barracuda." Progressive Rock went from Kate Bush to Tory Amosboth being singer songwriters. I experienced the popularity of Tory Amos in the 1990's, which remains iconicKate Bush's Cloudbursting, Coffee Homegrown, and Wuthering Heights. Patti Smith is a definitive poet and rocker. Easter album.Space Monkey, and Walking Barefoot. My favorite recordings by her are Kimberly and Redondo Beach.  unamplified acoustic singing (ie., opera) Teresa Stratas. The Unknown Kurt Weil. Inva Mula is the Lucia di Lamamoor singer in The Luc Besson Fifth Element.  Patti LuPone Live (1992) opens with a Kurt Weil song A Stranger Here Myself from One Touch of Venus.  Janis Joplin, screaming sounds good.Nancy Lamott is a legend (Surrey with the Fringe on Beautiful Baby 1991). Joan Baez sang Barb'ry Allen. Joan Baez Vol 2 (1961) Patti Rothberg Pat BenatarJoan Jett singing Allan Merrill's I Love Rock and Roll. Alainis Morisette? TFiona Apple as produced by John Brion in the "When the Pawn" albumEdie BrickellBette Midler singing her own words to "In the Mood" (Arif Mardin Barry Manilow 1973). Moogy Klingman's You Got to Have Friends Amy Winehouse, Liza Minelli? "It was a good time..." Madonna "Borderline." "Like a Virgin," and "Dress you up in my love"1986 called Live to Tell. Like a PrayerBaby One More Time by Max Martin is a bizarre Britney Spears recording. He also wrote (with Rami) "Oops, I did It Again,"  The battle of the female vocalists (The Wilson Sisters? They are the band "Heart," but then there's the daughter of brian Wilson involvedThese Dreams by Martin Page and Bernie Taupin.  Ellen Foley is the woman singing with Meatloaf in his Paradise by the Dashboard Light recording for Jim Steinman. Bonnie Tyler's vocal of his Total Eclipse of the HeartAshford/Simpson's Ain't No Mountain High Enough (Diana Ross 1970 version)Bacharach/David's One Less Bell to Answer (Marilyn McCoo). Julie Andrews (Sherman Brothers. Richard Rogers "I Have Confidence") Camelot "I Loved You Once in Silence." Barbra Streisand My Man, 1962 Funny Girl performance of Cornet Man, Adelaide's Lament on her 1985 broadway album. I Got Plenty of Nothin is on Her Barbra Two Album. Eydie Gorme.  What Did I Have that I Don't Have (Lamb Lerner) and the vendetta song, where revenge is sweet, Ms Vimmerstadt's I Wanna Be Around.  Judy Garland TV episode (1963 episode 6 of her show) "San Francisco" with fun end song Maybe I Will Come Back to You by Mel Torme? no, it is by Charles L. Cooke and Howard C. Jeffrey. It's on her 1956 "Judy" Capital album.  singer songwriters Diane Cluck, Shilpa Ray, Regina Spector, Vanessa WilliamsCasino Royale record pressing of Dusty Springfield's vocal of Bacharach/David's The Look of Love. Son of a Preacher Man  (pulp fiction)Dame Vera Lynn 1953 We'll Meet Again recording (song by Ross Parker and Hughie Charles). Mary Hopkins version of Lamb Irving Berlin's There's No Business Like Show Business. slowed-down adaptation from Barbara Streisand/George Williams 1962 Milton Ager's Happy Days Are Here Again. Whitney Houston sings Saving All My Love for You. The people responsible for writing this awful song are Michael Masser and Gerry Goffin.

Lambs February 2023 Songwriters Salon

Co-hosts Susan Horowitz/Dr. Sue and Peter Dizozza Opening song: Alfie by Burt Bacharach and Hal David - led by the melody - words set? or music first? withy songs from Jason Trachtenberg - I Really Love You Tonight (for daughter) Coren Feldman (Coren Rhodes) - Somewhere in the Middle attending the School of Song with the Fleet Foxes and Dr. Dog? Jeffrey Lewis - Black Thumb (dead rubber tree plant... C7 to A Peter Dizozza - One in Two Michelle Risse - Heed My Call from Unmasked, the musical. also attending: Sam Moree and Josh Miller

I Saw Kubrick's Original Release of The Shining -- and today found my mini-review (The "King of Hearts" romanticism I associated with being crazy... dispelled)

In Kubrick's new film, The Shining, I have finally learned the meaning of that state of mind called insane. Jack Nicholson portrans a man who is insane. He is a mere burlesque of a man. The gears of his mind have grinded irreparably. He is mentally paralysed. Insanity is not reaching out further than others have dared. It is not an abnormallity of the brain. It is when the brain (normal or abnormal) starts skipping. It stays in the same groove and wears itself down.

East 12th Street by the Sirovich Center - on the sunny side of the street

Michael R. Jackson bows - Lyceum Theater A Strange Loop matinee performa...

Zora Likes Sweeney Todd - The Rev-Engine

Astronomical dramatization occurs in Sweeney Todd ("At last my arm is complete again."). As the story moves forward, inexorably, it builds to a stasis of general purpose. This happens at the end of act one and beginning of act two. We are there, operating in a perfectly functioning engine. Mr. Todd, treading water until the return of his condemned man, is channelling his rage by providing Mrs. Lovett with the meat for her pies. He is a great barber, shaver, tooth-extractor, following in the operatic footsteps of figaro. The engine that runs his life is revenge. His energy and skills focus upon his purpose and we experience how great it is to have a quest. Is there no stronger quest than revenge? Establish the quest. It could be a horrible one but it gives purpose to our lives...often containing the seeds of its own destruction making it perfect for a night at theater. Justice runs through the story without legal intervention. Perhaps the judge deserves to die, but then, so too dies Todd after killing the object of his drive. "If only angels could prevail we'd be the way we were"... but no. We're having too much fun and we, the passive observers of the audience, can walk out with our guilty pleasures knowing that the workers, the creative artists, serve us a higher justice. And while Mr. Sondheim may have been completely immersed in the beauty of the creation, Mr. Prince pulled it out, into a Dickensian world that reduces everything into a state of desparation. There is a collaboration here. There is also the dynamic of the story which builds slowly and achieves that beautiful middle ground... I've felt that seeming stasis arrival in Hamlet... I have to consider why and offer the reason another time. So the double sided double album breakdown of the work allows for the overlap between act one and act two on side three. The stasis of functionality occurs there, in the 1980 LP. Also the tone of Len Cariou is definitive. I don't think it is worth going anywhere else with the performance without simply writing another piece. Just sing and speak it with the tone and modulations of Mr. Cariou. I suppose Ms. Lansbury should be acknowledged too for her professionalism and pitch-perfect accuracy throughout. The pieces fall in place from beginning to end. It seems like a good idea to write dramatic musical theater ... but did it ever happen again? I don't think it was from Sondheim if it did.

Remembering Last Tango in Paris

1972 was one of the years that movies deeply engaged me and its highlight was United Artists' US release of Last Tango in Paris. If you were over 18 and paid $5.00 you experienced an up-close-and-personal alt-cinema appearance by Marlon Brando, an actor about whom I somehow knew nothing until my mother took me to see The Godfather where he played a supporting role. Although he worked well with The Godfather ensemble, the degree to which I found him uninteresting was difficult to express. My friend Lou Filosa suggested that I see The Young Lions, or The Men. I read "A Street Car Named Desire" for our all boys Molloy High School English Class and thought the movie version with Marlon Brando was an offense to the play. An English teacher at High School known simply as Mr. Jones, assigned many memorable books, the most traumatic being Orwell's 1984. Mr. Jones conveyed the notion that "Streetcar" was by a man writing about being a woman. So I experienced the story entirely from Blanche's perspective. It seemed silly that a highlight in the movie version was Brando yelling Stella. All the other characters surrounding Blanche were peripheral to her plight. (My awareness of changes to the texts of Tennessee Williams' work intensified after seeing a 1973 Broadway-bound production of "Cat on a Hot Tin Roof" at a Stratford Theater in Connecticut. The Stratford production, staged when Mr. Williams was alive, boasted its use of his original script. An example of a difference between it and its movie with Elizabeth Taylor is the choice of an ending line: "I wish I could believe that," instead of "There's life in the old girl yet.") Anyway, Marlon Brando had trouble remembering his lines, so in Last Tango he wrote his own. After hearing Patti Smith recall her friendship with Brando's co-star, Maria Schneider, I wondered whether this movie would ever be shown again, but yes, it was broadcasted on Showtime. I still have cable, which I started watching after September 11, 2001, and I sometimes search it for an interesting broadcast. There it was, Last Tango, scheduled for an obscure hour well into the future, but having found it I could set the broacast to "record," and now, weeks later, here it is, recorded and viewable on demand. I watched about twenty minutes of it. I was enjoying the cinematography (Look at the camera movement through the halls!) and I loved the moment when Ms. Schneider lets loose her hair, but I turned it off when Brando reached the point in his story where he went to his prom with cowshit on his shoes. I remembered that Ms. Schneider will tell him he's been "had" for revealing something of himself and then he'll say, how do you know I didn't just make it up, and then he'll go on to make up a whole lot more, including surprising her with a request to use butter to make possible their sodomy (non-coital sexual copulation) scene. Was his need to sodomize Ms. Schneider because his prostate was shaped like a potato? (I thought it was more of a hazing exercise to see if she could pass the initiation into his fraternity of one. Perhaps he was teaching her not to love him so that he would find it easier to accept it when she realized she did not. That won't stop him from chasing her, though.) I potentially love this kind of living room cinema, but yes there was a concern about Ms. Schneider, whom I also loved from afar. I'm remembering a story, but I don't know how I heard of it, that she was committed to an insane assylum from which she escaped with the help of her biker girlfriend. I saw no distinction between her and her co-star regarding age, social status, and acting ability. I only later realized that the movie was about Brando (and how he was not able to remember his lines...). Perhaps Bertollucci could have identified more with her. For some reason he was only identifying with Brando. Aha, in 1973 Robert Alley novelized the movie, and it was his book I read before seeing the movie (I saw it as a double feature with a kung fu movie on 42nd Street. With me was Cinema VII founder Mike Lindsay.) Mr. Alley helped introduce the movie (to those of us under 18) and included in his paperback book cute photos from the movie, such as one of Ms. Schneider wearing her father's military hat. Bertolucci does his best to make the movie fun, using Truffaut's Jean-Pierre Leaud accompanied by sweeping music by Gato Barbieri, but Last Tango in Paris is up there with the most depressing movies ever made. I must add, though, that if you are really depressed, it will help you feel better. So that's it for now. Bertollucci provides passive movie hero identification. It's easy to identify with someoneto whom everything happens, so Last Tango fits in with After the Revolution, and The Last Emperor, and The Conformist, and my favorite Bertolluci movie, Partner. Brando passive? Well, the happenstance provided by the script makes him so. It gives him an apartment worthy of Francis Bacon, it gives him his wife's inexplicable suicide, his wife's hotel, and a bubble gum girl who shares his interest in the vacant houses of Paris. And Schneider gets a documentary within the movie to allow her to tell her own fanciful story from her beautiful family manse. I'm remembering a movie called The Story of Joanna, a 1975 movie directed by Gerard Damiano and with that I conclude that Guys are in a rut. Again, I potentially like these movies. I potentially relate to them... I would like to express the male predicament but it too often involves further victimization. I thought the world of Prepare to Meet Your Maker provided that opportunity, and I furthered the problem in The Last Dodo, and perhaps in my version of Coppelia. Also I want to acknowledge movies that truly engage their cast. People were more willingly self-sacrificing for the sake of the movie in the 1960's and 1970's. The movies don't change, but our perceptions of them change...to the point where we don't even watch them.