The "Big Statement of Political Philosopy" Musicals with Innovative Music

When I want to write as though I know something I put it here in this old-fashioned blog, as if the word "blog" always existed. "Captain's Blog Star Date" etc... (I recently saw Star Trek episodes that I ignored 60 years ago. It took me this long to know they are great.) Musical theater is the best playground for innovative songwriting, though even a grand opera is, potentially, one big song. To categorize the "Twelfth Night" roasts produced by the New York City Bar Association, I offered the term "ballad opera," a musical play drawing from popular songs of the day. The Nicole Kidman Moulin Rouge is a 2001 example. A 1728 example is John Gay's The Beggars Opera, which, when it became The Three Penny Opera (1928), also drew from popular songs of the day. However, when playwrights collabarate with an innovative music composer, such as with The Magic Flute, they can achieve an immortality, even though their intent was to use their available talent and costumes (at the Freihaus Theater) to entertain their local audience in 1791. It is in the same breath that I add, my music for Crystal Field's annual summer Street Theater compares with Hans Eisler's scoring for Bertold Brecht. However, the composer with eternal divinity in the Brecht collaboration is Kurt Weil. As for this blog post, after convincing another attorney/songwriter to include me in his plans for an abridged stage reading of the 1965 Broadway musical, "The Roar of The Greasepaint, The Smell of the Crowd," I confronted a political philosopy allegory whose primary creative force was also its composer. There are various names associated with The Roar... but its shape, even with Robert Merrick as its producer and Leslie Bricusse as co-writer, is of its director, writer, composer and star, Anthony Newley. (the musical is shaped like Anthony Newley -- I mean that it highlights his talent, personality, his origins, and his status as a celebrity.) He's sharing his experience with class and aspirations toward achieving the status of "gentleman." He broadly exposes how we modify our behaviour with rules, and reduces it to the best of vaudeville; it's upsetting and depressing to me. He tries to trash civilized interaction while being a product of it. He gives freedom to the singer of "Feeling Good." He gives himself a false optomism that, well, if you actually sing his finale song (Sweet Beginning) through to its bitter end you're (I'm) reduced to tears. There's something in the music that transcends its efforts to uplift. It transcends into a genuine swirl of musical emotion. Our standard western scale has 7 notes. The eighth note is an octave above the first. We use Roman numerals I-VII to identify the chords we get from adding the notes a third and fifth above them. When the numerals are lower case the chord from that note is minor...All right... For Sweet Beginnings I hear/see-in-the-score six phrases, each one with the same starting point in another key... It starts in F, goes to A, goes to a ii/V progression, to iii/VI -- a rapid variation of this progressing runs throughout the score. The last phrase returns to the F with an extension worthy of repeat (iii/VI to ii/V), ending on a tonic chord (I) that keeps rising to the major chord a step above it. The I to II chord pattern was already set by the earlier song "There are (G) so many things to re (A) member..." And the words are bittersweet as well. "And so, my friend..." It's sublimely sad and sublimely beautiful. The song rushes away from us. It's only when we look slowly at it that we see and feel its emotional power. That's what I'm suggesting is what we find there, and everywhere throughout the score. The music in this show taps into stronger emotions than any I see in its book, and I'm just getting the abridged version the Marc Leavitt prepared. However, the more I played the score the more I imagined writing it and then trying to figure out why. A factor for me is: without knowing about this score I grew up in its wake. I then add here that it grew out of the wake raised by the radical chord changes of Burt Bacharach and James Bond. What I want to highlight is, there seems to be great inspiration here. Then back to me, whether or not anyone but me knows about it in my own work, I can tell you that I find it there too, and so I remain, while alive, very much the beneficiary of my own writing. It's too selfish, I know and other things sustain me as well... anyway... People can be inspired by the work of Anthony Newley, so I here recommend it as source material for your path toward enlightenment...

The Sparks Albums produced by Muff Winwood

I received a remainder bin cut-out copy of Sparks May 1974 Kimono My Place album from Ebay, after buying there a second copy of Sparks November 1974 album Propaganda, I also bought Sparks 1974 Propaganda in 1974 at Alexanders Department Store. As with many things I discover to be important to me, I couldn't find my Propaganda album after using it to learn one of its songs, At Home/At Work/At Play, for Susan Hwang's Sparks Birthday celebration in April, 2024. Upon receipt of our second Propaganda copy two months ago, our daughter (age 7) began continuously listening to it in its entirety while following along with the lyrics on its inner sleave, which I believe helps improve anyone's reading. Since 1974, I had never heard the entire album. I only listened to the first three tracks and the second side song, Something for the Girl with Everything. It escaped me that, if those tracks were good, then it was worth my time to hear the others. I just listened to those same tracks, Propaganda, At Home At Work At Play, Reinforcements and Something for the Girl with Everything.* Our daughter was not so limited and as a result I have heard the whole album many times (Wow, that's a good well played, well recorded album and it sounds great too.). I tried to share my understanding of the lyrics to the Something for the Girl song.... The singer sings to "you," who, through gifts, is buying the silence of a girl, also "you" because... "She knows everything. She knew way back when you weren't yourself." Other times the singer is singing directly to the girl with everything. "Nobody's going to hear a word you say." Like the song, At Home at Work at Play, which also uses the "you" as self-reflection, I think the singer is having a (histrionic?) inner monologue. He is really in a state of intensity in the song, and the achievement of that condition in music is worthy of MUSIC, both in its writing and performance. I think our daughter appreciates the humor in the singer's words. In an effort to help that I connected an expanding list song she had already enjoyed last holiday season, the "12 Days of Christmas" to explain why the "Three Wise Men" were "there" (in the Sparks song), and that their gift of a "partridge" came "complete with ornithologist." I tried to add that the only ornithologist I remembered was James Bond. However, she was well beyond the content of that song as she listened and read along through the entire album, which I'm realizing is in accordance with the artists' intention: that we listen from beginning to end. Quick notes from memory. There's an apocalyptic Noah's Ark finality to the album's last song, Bon Voyage. There's a song about a child (the son in the BC song?) responding to strangers with instructions from a higher authority, his parents (Thanks But No Thanks), and about a family coming apart although its father is reminding them that, together, they are as connected as ABC (BC). The lyrics are beautiful throughout Propaganda, and despite their variety and challenging pronunciation, their musical setting, with its impossible vocal range, plays as if effortless. My conclusion is that the entire audio existence of these songs is impossible, and yet they exist in these pristine recordings. Production on both records is by Muff Winwood. He's the brother of Steve Winwood of the band Traffic. Mixed by Bill Price Adrian Fisher - Guitar Trevor White - Guitar Norman Dinky Diamond drums Ian Hampton - Bass Martin Gordon plays bass on Kimono Apparently, their prior album, Kimono My House, has a reputation as the better album. After three repeat listenings (after the first listening I thought, no, not better) I'm realizing its own impossible greatness. It's just the record itself doesn't sound as good. The many things I thought were missing in "music" are already here. Now, if I have anything to add it is on top of these towering achievements. Oh the pressings... for some reason Island records used more vinyl for their US Propaganda release, enhancing its beautiful recordings with a more solid vinyl sound. The Kimono album vinyl was far more bendable in the copy I recieved, reminding me of the 1970's era of the dynaflex disc. Somehow the Propaganda album, released six months after Kimono, escaped that trend. Also, after more than 50 years since its release I can report my discovery that The Sparks Brothers are not on the cover of their Kimono album. * note: Those four Propaganda tracks were among the recordings I listened to while imagining a "novel" I was then writing, called Storm Cloud.

Link to TNC Street Theater Summer Tour - 2024 Central Park Performance - The Socialization Of A Social Worker or ... - with notes on 2025 Show

I'm preparing for an interview with Andrew Cortez of Stage Whisper tomorrow. Here are my notes so far: General Topic: Music and Protest Current Social and Political Commentary Musicals General Topic: Music and Protest Current Social and Political Commentary Musicals Personal References: Phil Ochs (What are we Fighting For, Outside of a Small Circle of Friends, The War is Over) The United Front Song (Einheitsfrontlied) of Brecht & Hanns Eisler Solidarity Song Solidaritaslied - The Workers United Front for August 15, 2025 interview with Andrew Cortes Co-host Stage Whisper stagewhisperpod@gmail.com 1. Tell us a bit about your show.   I am the music composer, arranger and keyboard player for Home Sweet Home or A Life in New York, Theater for the New City's 2025 Street Theater offering to the five boroughs of The City of New York. The production is written and directed by Crystal Field and utilizes the talents and skills of over 50 people.   It is part of a series of socially and politically conscious street theater productions that tour the five boroughs of New York City throughout the summer, dramatizing neighborhood people living in the wake of current events. It is highly handmade, utilizing painted flats, a cranky which holds a roller of canvas backdrops passing across a stage constructed of foldable wooden boxes. It featuring a large a cast of all ages, some at the beginning of their careers, some seasoned, all tremendously and uniquely talented.     There is often a costumed dream sequence where an allegory comes to life, this year it is the game of chess.  This year's dream culminates with an appearance of chanteuse Cheryl Gadsden as Lady Liberty, with its dreamer, powerhouse performer Michael David Gordon, again taking the lead role as our Everyman. Michael, playing our local deli owner, is part of a community of people from all over the world who appreciate and look out for each other. His neighborhood is each performance location. During his limited free time he plays chess with his friend who works as a firefighter. This show is led by its writer/director, Crystal Field. She is one of the Founders, and artistic director, of Theater for the New City and she has been producing these shows since ... the 1970's?   Although mostly a handmade production with live musical accompaniment by a New Orleans style Jazz ensemble, it utilizes a professional sound system and mixing board, the intent being that, whether spoken or sung, every word is heard.  There is creative input from our Street Theater Band, which consists this year of bass, keyboard, drums, percussion, trumpet and flugelhorn.   However the music in the production is precisely notated and I am the latest of many composers who have written scores for these productions.  I have had the privilege of working with two unique horn players, one Ralph Denzer calling to my mind Myles Davis, and the other, Lauren Reilly; Roy Hargrove.    We have had a variety of drummers and bassists, all of whom have been unique and amazing.   Constant among us has been Nelson Luceno, a mutli-talented percussionist who also plays sax and adds accents and sound effects throughout the show. 2. How did you come upon this show? I became involved six years ago by playing keyboard for the street theater productions composed and arranged by Joseph Vernon Banks, a great composer and teacher.   One year when he was unwell, Crystal asked me to write the show (Teacher, Teachere! P.S. I Love You); the next year, he was back to write it, producing a great score (Life on the Third Rail), and the following year he had passed away, leaving behind a great legacy for us as I prepared to write the score again (The Socialization of a Social Worker or Justice in a Time of Need).   This year, 2025, is my third time doing so (Home Sweet Home or A Life in New York).  Crystal Field asked me to write the score.  She provides me with the lyrics.  I set them, exactly as she wrote them, to music.  What was it like developing this show? It was a whirlwind of musical composition and notation.   I wrote the music as Crystal sent me the lyrics.   We would conference over the phone and she would send me recordings of her reading the words.  Her granddaughter Briana was helpful throughout and would sometimes also read the words.   Crystal makes strong dramatic statements in her lyrics and I shape the music around them often drawing from international musical styles.   The songs develop as a unified score into an odyssey worth performing at least for the 13 scheduled performances. Each song merits a unique analysis as it travels through different keys and styles with experimental harmonies and tonalities.   For this score I began with staves for all the parts (trumpet, flugelhorn, keyboard, bass, percussion and two vocal lines) The parts are printed and there is an opportunity to teach the songs from the music itself, often taught and grilled by assistant music director, Christopher Busch.    Note that once the cast takes to the stage, whatever musical notes they don't use become modifiable. I shape the score accordingly.    In addition the underlying rhythms become stretched and shortened to heighten interest and momentum.    Crystal's input here is always inspired. What message/thought are you hoping audiences will walk away with from  this show? Specific to the United States being a land of immigrants, that instead of trying to identify us and them that we admit a stalemate. No one has won or lost. We can embark upon a new beginning, a new game, with people listening to each other welcoming the sharing of our ideas and beliefs. This musical reminds us of our history and of our similarities over time with a population of immigrants.   (Hundreds of years of migration has contributed to the social, economic, and political foundations of the United States. (There is no divide between “us” and “them.”   The United States benefits from its diverse immigrant population and holds itself out as a land of opportunity for all!)  (Immigrants strengthen our economy and diversify social and cultural life.) How long have you been working on this project? Not very long. I participated in a workshop that helped develop the project in June and wrote its music between July 3rd and July 15.   The writing of words and music, preceded by workshop meetings with the cast in June, occurs over those first two weeks of July, followed by the commencement of rehearsals. Has your show been performed in the past, and if so what was the reception? Every year there is a new unique Street Theater show, premiering now. Last year's show went very well and a live recording of its soundtrack is available on streaming platforms under the name, TNC Street Theater Cast and Band. This year we have had an enthusiastic reception thus far.    We have had four performances with a show on the Coney Island boardwalk this evening at 5. Who do you hope have access to this show? Everyone What shows in the past have inspired you, or do you love? What about writers/composers? Our recent big hit in my family, from seeing Harry Smith's Mahagonny at his Whitney Exhibit is the 1956 studio recording of Kurt Weil/Bertolt Brecht's Mahagonny, which runs throughout the movie. Two people, comparing the score the work of Hanns Eisler such as The United Front Song and The Solidarity Song, also with lyrics by Brecht. I don't know about the musical, Mean Girls, but I think a good recent song from it is called Apex Predator. We are fans of Rick Wackman's soundtrack for Lisztomania. We recently revisited Tommy. Ken Russell, because of his own interests is a strong musical influence. My highlight from the now familiar 10 year old Hamilton musical is its Shuyler Sisters segment (I think that's where one sister offers Hamilton to the other). I like in Book of Mormon the Spooky Mormon Hell Dream.  In general I like the way that show imparts information, such as the teaching of the formation of a local religion. Its composer, Robert Lopez, with Kristen Anderson-Lopez, accomplished a pop break-through with the introduction in a Disney movie of the song Let It Go. I understand that many singers are drawn to work of the songwriters for Dear Evan Hanson and The Greatest Showman (Pasek and Paul).   They've taken a listeners' tolerance level to new extremes, which can be inspiring.   Like the above songwriters I also was in the BMI Lehman Engel Music Theater Workshop which has helped my writing. I like the live local music I hear in the East Village, and I'm even a veteran of the anti-lounge (piano based) subset of the NYC antifolk movement and have been inspired by those artists, Lach, Sommer, Ben Krieger, Joe Bendik and Jeffrey Lewis in particular, yes and the ever generous Adam Green, Kimya Dawson, Toby Goodshank, Jack Dishel (Moldy Peaches), Drew Blood, David Dragov, Steve Espinola, Regina Spector, Nelly McKay ... more... .   There is a lot of inspiring production that goes into pop music. It strikes me as having a far more complex undercurrent of activity beneath what sounds like something anyone could do. For various odd reasons I recently got to hear songs by Sabrina Carpenter, Taylor Swift and Lana Del Ray and I covered Because I Loved a Boy ( Sabrina Carpenter, Julia Michaels, John Ryan and JP Saxe) and The Archer (Taylor Swift & Jack Antonoff). I believe Howard Ashman saved musical theater.  He and Yip Harburg are a behind-the-scenes guiding light. Many songs stand repetition when successfully transferred from musical theater to cinema.   Repeated viewings increase the appeal of the songs.    Recently I have been inspired by the minimalist rigor of playing and singing in the Black Sabbath Album, Paranoid which I'm thinking is largely influenced by its bass player, Geezer Butler. I'm recently interested in the early work of Schoenberg based in tonality stretching into atonality (Gurre Lieder and Transfigured Night) and I used it in this scoreAt home we've been listening to Italian Opera and works by Mozart (when we're not listening to music by a band called Gorillaz.) I very much write in the wake of the creative outburst of The Beatles whose shocking range seems unparalleled.     And I'm learning about humorous songs from being music director of The Yip Harburg Lyrics Foundation class, The Art of Comedy (directed by Mark Marcante). Have you seen any great theatre lately that you’d recommend to our listeners? I loved Operation Mincemeat. What’s your favorite part about working in the theatre? Playing the show throughout its run.   Each performance is a new formation of the show that continues to develop  What’s your favorite theatre memory? Not sure why but seeing Three Penny Opera at The Delecorte Theater with Philip Bosco was a revelation.  The appeal of the show became apparent there, although I had also seen it with Raul Julia. Are there any other productions that you or your company have coming down the pipeline? I continue to work on my latest nature musical, Mushroom Head.   Theater for the New City has a great 2025/26 season including an opera by Leonard Lehrman called Sima. My own project has been in development and may have a first run in 2026.  It is a nature musical that will focus on the intentional-ity of mushrooms. If our listeners want to get more information about you or your show, how can they find it? Dizozza is easily searchable on music streaming platforms.   The TNC Street Theater Cast and Band is also searchable.   Currently available is a live recording of the 2024 score.  Many of the songs that have influenced me I have covered, for example for a WBAI Phil Ochs tribute I covered Phil's "The War Is Over." For social and political commentary of a time (2002) I wrote The Golf Wars which has a soundtrack album in general release. The anthem from that musical which I've recently included in my own sets is called "Living in Freedom (Again)." et cetera...

Sunday April 27th, 2025

We went to Governor's Island today, Zora, Maira and I, to meet Stephanie now executive director of The Field, a children's parentless playground made of found objects, in the tradition of junkyards. There has been a documentary as the concept has existed over time in Europe. We sat at a table overlooking a cruise ship docked at red hook, departing at 4PM for the Bahamas, the same time as the Yard closed. Was the playground called the Field or the Yard? It is enclosed by a solid brick building currently empty, blocking the view of the East River and Brooklyn across the way. We arrived back home and I could go see the last minutes of Cafe Resistance, a storied production. Lissa Moira, while directing it, discovered her larengitis was a sign of a serious condition, cancer of the lungs, and what can that mean? She never smoked. She was weakening with each rehearsal. It was a miracle to see everyone pull together as an ensemble. The content of the piece paralleled the Vichy occupation with today. A country under seige, under the guise of a government. The ladies of The Blue Parrot did their part in support of the resistance. The songs became an obsession for me because Lissa's choices were so familiar yet powerful and personally resonant. My sister would sing You Made Me Love You, I enjoyed discovering Mama Cass's voice in Dream a Little Dream, and for some reason I knew Love for Sale from the Fred Waring recording that I believed was an early self-financed production of Cole Porter himself. With Love for Sale I came to understand it was indeed introduced on stage by Fred and his singers in a play about New York Stories featuring Jimmy Durante who also wrote some of the songs. Cole Porter wrote the rest of them and Love for Sale is even more outrageous when we hear the Fred Waring record of it. Lissa hired me as music director of Cafe Resistance, while also hiring a spectacular and capable pianist actor Tristan Cano to follow that direction. I will see how well the musical numbers progressed when I see the recording Sam made of this last performance. They also did a version of Cole Porter's I've Got You Under My Skin. I also worked with the singers and they were all amazing. My thought at this time turn to Zora who becomes more communicative and interesting. I find myself deferring to her taste. She enjoys what I can get to her but I am still challenged to offer something new, or something directly assigned, like reminding her to practice her piano assignment from her friendly teacher, Ilhan. She seems to like him a lot, and sometimes I think she likes me, but I often make her upset. She still climbs on me and I am recently amazed that the few times I've had debilitating back pain have faded into a distant past. My perceptions of the past are usually reconstructions. I'm not sure when I last felt back pain. In general I've been aware of physical ailments, but they seem like they're in the past. We'll see how long this lasts. I tend to return to my productivity. The need for doing so is a drive for discovering my own work at a later time. I need other people's encouragement because of the underlying selfishness of producing it. It shouldn't be just for me, but I do enjoy it. There's more to say about Zora but I'm off on describing my own personal mental function, which is easily summarized by the remembrance, we are meaning makers. I believe the reference quote from my EST training experience is, we are meaning making machines. Therefore I make meaning out of what I wrote, and I'll write more. Any breakthrough will come through collaboration, but I'll create as much as I can and then let it transform.

The Art of Comedy Recital Program, January 25, 2025

Theater for the New City and The Yip Harburg Lyrics Foundation present THE ART OF COMEDY WORKSHOP RECITAL SING-A-LONG! Noon Saturday, January 25, 2025 Novel Origin Songs from Yiddish Theater to Vaudeville to Early Musical Theater Workshop Leader Mark Marcante – Music Director/Pianist: Peter Dizozza Choreography by Elizabeth Ruf with Lenin Alevante, Vinny DeLeo, Ben Harburg, Susan Goodstein, Paul Korzinski, Larry Litt, Lola Lukas, Cheryl Siporin, Elizabeth Ruf & Lei Zhou Last semester we began with a procession from Abduction from Seraglio, by a great comedy composer, Mozart 1) Mozart Praeludium: LA CI DAREM LA MANO – w/ Elizabeth & Lenin, from “Don Giovanni.” Lyrics by Elizabeth Ruf after Lorenzo Da Ponte (Columbia University Prof. of Italian Literature). Music by Wolfgang Amadeus Mozart, 1787 2) ALEXANDER'S RAGTIME BAND – Ben Harburg. The #1 song of 1911 Musicologist Peter Stampfel suggests that Irving Berlin wrote it to highlight the sound of the band of James Reece Europe. And if you want to hear the Swanee River played in ragtime, Come on and hear, Come on and hear, Alexander's Ragtime Band! 3) I'VE GOT RINGS ON MY FINGERS – Cheryl Siporin 1909 R. P. Weston and Fred J. Barnes, and music by Maurice Scott Sure I've got rings on my fingers, bells on my toes Elephants to ride upon, my little Irish rose So come to your Nabob, and next Patrick's Day be Mistress Mumbo Jumbo Jij ji boo J. O'Shea speaking for itself is a song by Irving Berlin: 4) COHEN OWES ME NINETY-SEVEN DOLLARS – Larry Litt 1915 Irving Berlin speaking for the folks of 1906: 5) I'D RATHER LOVE WHAT I CAN'T HAVE (THAN HAVE WHAT I COULD NEVER WANT) – Vinny DeLeo, not the 1911 song by writer/actor/composer Elsie Janis, but rather the 1906 song with words by William M. Hough and Frank R. Adams. Music by Joseph E. Howard (I Wonder Who's Kissing Her Now). CHORUS: I'd rather love what I can't have than have what I could never love. I'd rather like some fellow's girl than have one I thought nothing of. I'd Rather just pretend she's mine, than pay for someone else's wine. For I would rather love what I can never have, than have what I could never love. If you can't be with the one you love, honey, love the one you're with. 6) WHEN I AM NOT NEAR THE GIRL THAT I LOVE (I LOVE THE GIRL I'M NEAR) – Ben Harburg, by Yip Harburg and Burton Lane (1947) Skit with Jokes into 7) Two by Shalom Secunda: OIB S'IZ BASHERT (Lyric: Molly Picon) & BAY MIR BISTU SHEYN (Lyric: Sammy Cahn/Saul Chaplin) 1932 Susan Goodstein and Lola Lukas Bay Mir Bistu SheynBay Mir Bistu Sheyn please let me explain. Bay Mir Bistu Sheyn means that you're grand. Bay Mir Bistu Sheyn, again I'll explain. It means you're the fairest in the land. I could say bella, bella, even sehr wunderbar, Each language Only helps me tell you how grand you are. I've tried to explain, Bay Mir Bistu Sheyn, So kiss me and say you understand also heard in the WB Cartoon One Froggy Night, and in the alien out of the diner patron in Spaceballs! 8) HELLO MY BABY Peter 1899 Ida Emerson and Joseph E. Howard Hello! Ma baby, Hello! Ma honey, Hello! Ma ragtime gal. Send me a kiss by wire, Baby my heart's on fire! If you refuse me, Honey, you'll lose me, Then you'll be left alone; oh baby, Telephone and tell me I'm your own. And we are nearby to... 9) THE BOWERY – Paul Korzinski 1891 music by Percy Gaunt and lyrics by Charles H. Hoyt, from A Trip to Chinatown The Bow'ry, the Bow'ry! They say such things, And they do such things On the Bow'ry! The Bow'ry! I'll never go there anymore! The original singing credit to this song goes to Sophie Tucker! 10) SOME OF THESE DAYS – Lola, Susan, Elizabeth 1910 Shelton Brooks Some of these days, you'll miss me honey. Some of these days, You're gonna feel so lonely. You'll miss my huggin', You'll miss my kissin'. You'll miss me honey when you're away. I feel so lonely, just for you only. For you know honey, You've had your way! And when you leave me, you know t'will grieve me You'll miss your little red hot mama, yes some of these days. Also sung by Ada Jones and Barbara Perkins 11) A Weber and Fields (Mike and Meyer) Sketch with Lei Zhou and Paul Korzinski, into I JUST CAN'T MAKE MY EYES BEHAVE – Lei Zhou. 1906 Will D. Cobb & Gus Edwards also from the Ziegfield Follies, also performed by Britney Spears, it's 12) I DON'T CARE – Elizabeth Ruf (Novel Song by Jean Lenox & Harry O. Sutton) 1905 and now from Charlot's revue of 1926 with Beatrice Lillie, Gertrude Lawrence and Jack Buchanan, it's. 13) A CUP OF COFFEE, A SANDWICH AND YOU Elizabeth, Lei and Cast 1925 Joseph Meyer, Al Dubin and Billy Rose A cup of coffee, a sandwich, and you, A cozy corner, a table for two, A chance to whisper and cuddle and coo, With lots of huggin' and kissin' in view. I don't need music, lobster, or wine Whenever your eyes look into mine. The things I long for are simple and few: A cup of coffee, a sandwich, and you! She's tough, here she is. Lenin and Larry bring her to life. 14) HARD HEARTED HANNAH, The vamp of Savannah GA, Lenin & Larry 1924 Jack Yellen, Milton Ager, Bob Bigelow and Charles Bates What follows Hard Hearted Hannah, is the #2 song of 1911, 2nd only to Alexander's Ragtime Band 15) a) I WANT A GIRL JUST LIKE THE GIRL THAT MARRIED DEAR OLD DAD – Ben Harburg. The #2 song of 1911 by William Dillon & Harry Von Tilzer I want a girl, just like the girl that married dear old Dad, She was a pearl and the only girl that daddy ever had, A good old fashioned girl with heart so true, One who'll love nobody else but you, I want a girl, just like the girl that married dear old Dad. And now from Georgia to Alabama, rounding out the recital with another Berlin song. 16) WHEN THAT MIDNIGHT CHOO CHOO LEAVES FOR ALABAM' Lenin 1912 Irving Berlin When that midnight choochoo leaves for Alabam', I'll be right there, I've got my fare! When I See that rusty-haired conductor man, I'll grab him By the collar, And I'll holler, "Alabam'! Alabam'!" That's where You'll stop your train that brings me back again, down home where I'll remain Where my honey lamb am! I will be right there with bells When that old conductor yells, "All aboard, all aboard, all aboard for Alabam!" Bringing us to the culminating work of Yip Harburg, writing with Sammy Fain of Disney's Alice and Peter Pan. 17) THE WORLD IS YOUR BALLOON – Ben Harburg and Chorus. Revisit from “Flahooley,” by Yip Harburg and Sammy Fain 1951 Love, love, when you're in love The world is your balloon. Rain is confetti rain; The moon's a lantern moon. Glowworms are footlights in the clover for they know Life's a bang-up show. Why should it irk us? Ain't it a circus? Yours is the gate that swings To clowns and tinker bells. Yours is the hope on wings The heart on carousels. Yours is the Earth to play with On a summer afternoon, For when girl loves boy The world is a toy balloon. MUSIC NOTE: The original sheet music versions of songs published more than 95 years ago are in the “public domain.” Changes made to that public domain sheet music can be copyrighted. The original sheet music versions are usually better.

Ken Russel's Lisztomania

https://archive.org/details/Listzomania This is a phenomenon of cinema. It seems like it's yelling for attention but if you lower the volume you'll find specific ideas worth considering throughout. I actually think it does help us make sense of the hundred years (1875-1975) that it tries to cover. However, it certainly continues the Ken Russell exploration of the importance and transcendence of music. With music he gives collaborators a further opportunity to create, since he needs music to guide the images he creates. In this movie Rick Wakeman gets the opportunity and, with help, Mr Wakeman creates a synthesizer score that sounds better than Tommy. In the prior movie, Tommy, Russell got Pete Townsend to expand The Who's original ground-floor recording, but Townsend's use of the synthesizer to do so saved on getting an orchestra to support everyone in the movie. In fact, the cast sang and played (with their groups) the entire soundtrack. My appreciation for that movie, too, continues to increase. For both 1975 movies it is also worth noting the preservation of the cast. They are perfect because of what they can do and also of who they are. The glaring example is Ringo Star in the Liszt movie. Yes, we know who he is and yes he is really, sincerely, accurately, playing the pope. Also Ken Russell's understanding of silent movies makes him a teacher for anyone interested in creating visually guided cinema. A quick note on Wagner's Nordic legend work. In addition to its length, its text, which is also by Wagner, reads like comic books. Heinrich Heine coined the term Lisztomania. People back then perceived manias more as contagious diseases than they do now. The book by Marie d'Agoult, called Lisztomania in the movie, she actually titled Nelida.

Projects presented at The WAH Theater of the Performing Arts

The WAH Theater hosts visiting troupes from all over the world, and has originated productions of musical plays by Peter Dizozza, many connected with WAH Center art exhibits, including Prepare to Meet Your Maker (Apocalypse 1999), The Last Dodo (2000), The Eleventh Hour (2001), The Golf Wars (The World Peace Exhibit, 2002), The Marriage at the Statue of Liberty (Brave Destiny, 2003), The Sea Heiress (2004), and Paradise Found (Artwork Celebrating John Milton’s 400th Birthday, 2008).
AND A Question of Solitude (2009)
The Ocean Floaters (2012)
Bulb (2016)
Associative Behavior (2017)

and most recently with Roman D'Ambrosio celebrating the Detritus Exhibition: Rapunzel and Sisyphus Freed! (November 2024) https://www.youtube.com/watch?v=2vuD5eFSYS0&t=22s

The Art of Comedy Recital Programs - June 15, 2024

Theater for the New City and The Yip Harburg Lyrics Foundation present THE ART OF COMEDY WORKSHOP RECITAL PROGRAM Noon, June 15, 2024 Exploring Comic Opera with W. S. Gilbert, Ira Gershwin and Yip Harburg Directed by Mark Marcante – Music Director: Peter Dizozza with J.C. Augustin, Viktor Feoktistov, Susan Goodstein, Ben Harburg, Paul Korzinski, Larry Litt, Lola Lukas, Emily Newhouse, Elizabeth Ruf & Lei Zhou Prelude: Singt dem großen Bassa Lieder – w/ Emily & Elizabeth A song about welcoming the Pasha, from “Die Entführung aus dem Serail” Lyric by Gottlieb Stephanie, Music by Wolfgang Amadeus Mozart 1782 Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! 1. If Somebody There Chanced to Be - Emily Newhouse An innocent lesson in etiquette from “Ruddigore,” Gilbert & Sullivan 1887 2. Were You Not to Koko Plighted - Elizabeth and Lei Zhou A song about what its singers would be doing under different circumstances, from “The Mikado,” W.S. Gilbert and Arthur Sullivan 1885, 3. The World Is Your Balloon - Ben Harburg. A puppet encourages its inventor to continue his creativity in this song from “Flahooley,” by Yip Harburg and Sammy Fain 1951 4. The Very Model of a Modern Major-General - J.C. Augustin and Chorus The song of a general who is educated in all matters vegetable, animal and mineral, from “Pirates of Penzance,” Gilbert & Sullivan 1879 5. Of Thee I Sing/Who Cares – Chorus The Campaign Songs of a politician running on a platform of Love, from the Pulitzer Prize winning musical “Of Thee I Sing,” George and Ira Gershwin 1931 6. They All Laughed - Susan Goodstein, Lola Lukas and Viktor Feoktistov. A they-who-laugh-last-laugh-best song from “Shall We Dance,” by George and Ira Gershwin 1937 7. Brother Can You Spare a Dime - Paul Korzinski. More than just political satire, here is a worker's impassioned plea after jobs-well-done are done, from “Americana,” Lyric by Yip Harburg, Music by Jay Gorney 1932 8. Lydia – Ben Harburg, The lessons we learn from tattoos, from “At the Circus,” by Yip Harburg and Harold Arlen 1939. (Yip said this is the best love song ever written.) 9. Down With Love - Elizabeth and Emily. An alternate take on love, from “Hooray for What!” by Yip Harburg and Harold Arlen, 1937 10. By Strauss - Lei Zhou. A song of Johanne Strauss riffs written to entertain guests at private parties, by George and Ira Gershwin 1936. 11. Here's to Your Illusions - Elizabeth Ruf A toast to bringing into reality illusions of imagination and love, from “Flahooley,” Yip Harburg and Sammy Fain 1951 12. As Some Day It May Happen/I've Got a Little List - Larry Litt with Chorus A song by an execution ready with his own suggestions, “The Mikado,” W.S. Gilbert and Arthur Sullivan 1885, with an updated lyric: Larry Litt 13. If I Only Had A Brain, A Heart, The Nerve - Paul, Ben, Lei A wishful song about what the singers would do if they had what they think they lack, from “The Wizard of Oz,” Yip Harburg and Harold Arlen 1939 14. Somewhere Over the Rainbow – Chorus. A song that identifies the location of a better place to be, from “The Wizard of Oz,” Yip Harburg and Harold Arlen 1939

The Art of Comedy Recital Programs - January 27, 2024

The Yip Harburg Lyrics Foundation and Theater for the New City present THE ART OF COMEDY WORKSHOP RECITAL January 27, 2024 Master of Ceremonies: Larry Litt Directed by Mark Marcante Music Director/Piano: Peter Dizozza PROGRAM OVERTURE, Arranged by Arthur Abrams 1. IDOL OF THE HALL Performed by Larry Litt Lyric: H. Chance Newton Music: Alfred Lee and Chris Simmons CHORUS I occupy the chair, By Jingo! I'm all there. With my Rap! Tap! Tap! Order, Please! I'm the Idol of the Hall 2. HEAVEN WILL PROTECT AN HONEST GIRL Performed by Emily Newhouse Lyrics: R.P. Weston and Bert Lee, music by Harris Weston (1933) CHORUS Heaven will protect an honest gel. An an-gi-el will guard you, little Nell. When these rich men tempt you, Nelly, with their spark-el-ling Moselly. Say 'Nay-nay!' and do be very care-fu-el. And if some old bloated blasé roue swell Says 'I'll kiss you, we're alone in this hotel,' Breathe a prayer he shall not do it And then biff him with the cruet, Then Heaven will protect an honest gel! 3. DADDY WOULDN'T BUY ME A BOW-WOW Performed by Conly Basham by Joseph Tabrar Daddy wouldn't buy me a bow wow (bow wow) Daddy wouldn't buy me a bow wow (bow wow) I've got a little cat. I am very fond of that, but I'd rather have a bow-wow-wow (wow wow wow) Repeat. 4. A LITTLE BIT OF CUCUMBER Performed by Lei Zhou I like pickeled onions. I like piccalilli. Pickled cabbage is all right with a Bit of cold meat on Sunday night. I can go termartoes, but what I do prefer, is a little bit of cu-cum-cu-cum-cu-cum, Little bit of Cu-cum-ber. 5. I WANT TO PLAY WITH LITTLE DICK Performed by Elizabeth Ruf by Will Godwin I Like to play with little Dick, Dick, Dick, I Like to play with little Dick, Dick, Dick. Cakes and toys don't do for me. I'm a big girl now, you see, and I love to play with little Dick-y, Dick-y, Dick-y, I Repeat... 6. WHAT A MOUTH performed by Paul Korzinski by R.P. Weston CHORUS: What a Mouth! What a mouth! What a 'north and south'! Ke- Ri-Key! What a mouth he's got! When He was a youngster, Oh! Lord Lovell, why his poor old mother used to Feed him with a shovel, what a Gap! Poor chap! He's never been known to laugh, for If he did it's a penny to a quid that his face 'd fall in half. 7. DON'T DILLY DALLY ON THE WAY – The “Cock Linnet” Song (My Old Man Said, "Follow the Van") performed by Conly Basham Charles Collins Fred W. Leigh (1919) CHORUS : My old man said, "Follow the van, Don't dilly dally on the way!" Off went the cart with the home packed in it, I walked behind with me old cock linnet. But I dillied and dallied; dallied and dillied, Lost the van and don't know where to roam. I stopped on the way to have the Old half-quartern, And I Can't find my way home. 8. WHEN FATHER PAPERED THE PARLOR Performed by Ben Harburg and Conly Basham. Song by Weston and Barnes CHORUS: When Father papered the parlor you couldn't see him for paste. Dabbing it here, dabbing it there. Paste and paper everywhere. Mother was stuck to the ceiling, the children stuck to the floor. I Never knew a blooming family so stuck up before. 9. I WANT TO SING IN OPERA Performed by Helene Worton David & George Arthurs – introduced by Wilkie Bard (1911) We Want to sing in op-'ra, We've got that kind of voice. We'd Always sing in op-'ra If we could have our choice. Signor Caruso Told us we ought to do so, That's why we want to sing in Op'ra, sing in Op – pop-pop-pop-a Ra! We can! 10. A BROKEN DOLL Performed by Elizabeth Ruf and Lei Zhou by Jas. W. Tate You called me Baby Doll a year ago. You told me I was very nice to know. I soon learnt what love was. I thought I knew, But all I've learnt has only taught me how to love you. You made me think you loved me in return. Don't tell me you were fooling after all. For if you turn away, you'll be sorry some day. You left behind a broken doll. 11. TOUCHING THAT LITTLE AFFAIR Performed by Paul by Bennett Scott & C.G.Cotes Touching that little affair. Touching that little affair. She Holds my wrist and watches me as my pulse goes up to ninety-three. Leave off Gertrude I'm better, I declare. Directly the lady doctor starts Touching that little affair. 12. BURLINGTON BERTIE FROM BOW Performed by Emily Newhouse William Hargreaves 1916 I'm Burlington Bertie. I rise at ten thirty and Saunter along like a toff. I Walk down the Strand with my gloves on my hand, then I Walk down again with them off. I'm all airs and graces, correct easy paces, with- Out food so long I've forgot where my face is, I'm Bert, Bert, I haven't a shirt but my People are well off, you know. Nearly Ev'ry one knows me from Smith to Lord Roseb'ry I'm Burlington Bertie from Bow (Beau). 13. SADIE SALOME, GO HOME! Performed by Lola Lukas and Larry Litt By Edgar Leslie and Irving Berlin (1909) CHORUS Don't do that dance, I tell you, Sadie. That's not a business for a lady. Most ev'rybody knows that I'm your loving Mose. Oy, oy, oy, oy Where is your clothes? You better go and get your dresses. Everyone's got the Opera Glesses. Oy, such a sad disgrace. No one looks in your face. Sadie Salome, go home. 14. SLAVIC FOLK SONG (Lola Lucas, Elizabeth Ruf and Larry Lit) 15. I GOT RHYTHM – FASCINATING RHYTHM Performed by Ben Harburg by George and Ira Gershwin (Our Syncopated City, makes us Jittery & Jumpy) CHORUS: I know that Once it didn't matter But now you're doing wrong When you start to patter I'm so unhappy. Won't you take a day off? Decide to run along, Somewhere far away off And make it snappy! Oh, how I long to be the man I used to be! Fascinating Rhythm, Oh, won't you stop picking on me? 16. SOMETHING SORT OF GRANDISH performed by Ben Harburg by Yip Harburg and Harold Arlen 16. LET'S ALL GO DOWN THE STRAND Performed by Larry Litt and Cast Harry Castling & C. W. Murphy introduced by Charles R. Whittle (1890’s) – with Larry and ensemble Let's all go down the Strand! Let's all go down the Strand! I'll be leader, you can march behind. Come with me, and see what we can find. Let's all go down the Strand. Oh, what a happy land! That's the place for fun and noise, all among the girls and boys, so Let's all go down the Strand.

The Art of Comedy Recital Programs - June 17, 2023

June 17, 2023 Art of Comedy Recital Program (Revised) 1. Where Did Robinson Crusoe Go with Friday on Saturday Night? by George W. Meyer, Sam M. Lewis and Joe Young - Lola Lukas 2. When I’m Not Near (the Girl that I love) from Finian's Rainbow, by E.Y. Harburg and Burton Lane - Ben Harburg 3. The Tipnohist (Skit The Hypnotist by Weber & Fields with additions by Silver & Litt) -- Larry Litt and Ron Silver 4. Who’s on First (Skit by Bud Abbot & Lou Costello) - Ben Harburg and Paul Korzinski 5. The Old Folks, by Jacques Brel - Elizabeth Ruf and Chorus? 6. The Funeral Tango, by Jacques Brel - Paul Korzinski 7. Carousel, by Jacques Brel - Emi Asano 8. Jackie, by Jacques Brel - Lei Zhou 9. The Paper Dolls, Skit (origin currently unknown) - Lola Lukas and Elizabeth Ruf 10. Walking to Silly, Skit from Zen Burlesque by Larry Litt - Larry and Len Zhou 11 & 12. Forty Second Street & Lullaby of Broadway, by Harry Warren and Al Dubin - Ben Harburg 13. Amsterdam, by Jacques Brel - Paul Korzinski 14. I loved, by Jacques Brel - Elizabeth Ruf 15. Doctor Kronkhite, Skit by Joe Smith & Charlie Dale - Emi Asano, Paul Korzinski and Larry Litt 16. Trouble of the World, traditional as adapted by Mahalia Jackson - Terry Lee King 17. If We Only Have Love, by Jacques Brel - Chorus

The Art of Comedy Recital Programs - January 23, 2023

Theater for the New City and The Yip Harburg Lyrics Foundation present THE ART OF COMEDY WORKSHOP RECITAL PROGRAM January 27, 2023 Master of Ceremonies: J.C. Augustin Piano: Peter Dizozza Directed by Mark Marcante 1. ASK A P'LICEMAN E.W. Rogers and A.E. Durandeau - introduced by James Fawn (1888) – with Dion Powell 4 CHORUSES If you want to know the time, Ask a P'liceman! The proper Greenwich time, Ask a P'liceman! Every member of the force has a watch and chain, of course; If you want to know the time, Ask a P'liceman! If you want to get a drink, Ask a P'liceman! He'll manage it, I think, Will a P'liceman! He'll produce the flowingpot,If the “Pubs” are shut or not, He could open all the lot - Ask a P'liceman! If you don't know where she is, Ask a P'liceman! For he's in the “know,” he is. Ask a P'liceman! Thegh they say with red she flew,Yet it's ten to one on blue, For he mashes just a few. Ask a P'liceman! If you want to learn to run, Ask a P'liceman! How to fly, though twenty “stun,” Ask a P'liceman! Watch a Bobby in a fight, in a tick he's out of sight. for advise on rapid flight, Ask a P'liceman! 2. OH! THAT GORGONZOLA CHEESE Fred W Leigh and Harry Champion (1894) – with Lei Zhou CHORUS Oh! that Gorgonzola cheese! Must have been unhealthy I suppose, For the old Tomcat fell a corpse upon the mat, When the “niff” got up its nose. Talk about the flavour of the cackling on the pork, Nothing could have been so strong, As the beautiful effluvia that filled our house, When the Gorgonzola cheese went wrong. 3. DON'T DILLY DALLY ON THE WAY – The “Cock Linnet” Song (My Old Man Said, "Follow the Van") Charles Collins Fred W. Leigh (1919) – with Krista Komodor CHORUS : My old man said, "Follow the van, don't dilly dally on the way!" Off went the cart with the home packed in it, I walked behind with me old cock linnet. But I dillied and dallied, dallied and dillied, Lost the van and don't know where to roam. 1. I stopped on the way to have the old half-quartern, And I can't find my way home. 2. Now who's go-ing to put up the old iron bedstead If I can't find my way home? 3. You can't trust the “specials” like the old-time “coppers” When you can't find your way home. 4. CHARLIE MOPPS, collected by Redd Sullivan from the chief refrigeration engineer on the s.s. Tekoa in 1953 – with James Duncan CHORUS Oh --- He oughta been an admiral, a sultan or a king, And to his praises we should always sing. Oh, Look what he has done for us, he's filled us up with cheer, Lord bless Charlie Mopps, the man who invented beer (beer beer beer beer beer beer – ). 5. I WANT TO SING IN OPERA Worton David & George Arthurs – introduced by Wilkie Bard (1911) – with Elizabeth Ruff We want to sing in op-'ra, We've got that kind of voice. We'd always sing in op-'ra If we could have our choice. Signor Caruso Told us we ought to do so, That's why we want to sing in Op'ra, sing in op -- pop-pop-pop-a Ra! We can! 6. TWO LOVELY BLACK EYES Charles Coborn, arranged by Edmund Forman (1886) – with Paul Korzinski Two lovely black eyes, Oh what a surprise! Only for telling a man he was wrong. Two lovely black eyes! 7. SCENE: “The Coster's Courtship” with Elizabeth and James ending with the chorus from: LILY OF LAGUNA Leslie Stuard – introduced by Eugene Stratton (1898) She's my lady love, she is my dove, my baby love. She's no gal for sitting down to dream, She's the only queen Laguna knows. I know she likes me, I know she likes me because she said so. She is the Lily of Laguna, She is my Lily and my Rose. 8. SWANEE Irving Caesar and George Gershwin (1919) & 9. LYDIA, THE TATTOOED LADY Yip Harburg and Harold Arlen (1939) – with Ben Harburg 10. “Costa’s Courtship” with Elizabeth and James 11. Eifersuchtsduett (JEALOUSY DUET) Kurt Weill and Bert Brecht (1928) English Version: John Willet/Ralph Mannheim (1976) with J.C. Augustin and Elizabeth 12. SCENE: “Dr. Kronkite” (Smith and Dale) with Paul, Krista and Lei 13. SCENE: “Why a Duck?” With Ben and L.J. Avalos 14. SCENE: “The Lion and Albert” with James 15. SCENE: The Funeral Parlor – with Elizabeth and Lei with SWING LOW SWEET CHARIOT (coming for to carry me home.) Printed by J. B. T. Marsh (1876) & SOMEWHERE Leonard Bernstein and Stephen Sondheim (1957) 16. LET'S ALL GO DOWN THE STRAND Harry Castling & C. W. Murphy introduced by Charles R. Whittle (1890’s) – with Paul and ensemble Let's all go down the Strand! Let's all go down the Strand! I'll be leader, you can march behind. Come with me, and see what we can find. Let's all go down the Strand. Oh, what a happy land! That's the place for fun and noise, all among the girls and boys, so Let's all go down the Strand

Our Own Pop Culture

We try to create our own pop culture world. I bought three grapefruits and put one next to Zora, next to her Yoko Ono Grapfruit book. I'm discovering that she loves to follow certain instructions, such as those found in the pages of Ms. Ono's book. The overall result from having the actual grapefruits, though, is that I'm eating a grapefruit. Maira and Zora don't seem to be interested in them, certainly not without the extended preparation they often receive prior to being served. I haven't had a grapefruit in a long time. I do recommend pealing them and eating them, after enjoying the smell of the skin, which I understand can be tossed into the fire to enahnce the smell of its smoke. I guess my mother told me that and also enjoyed eating its white rind, suprisingly tasty overall, though the tradition of serving a carefully prepared grapefruit at a room service breakfast can be fun too. Of course it is not only simpler but also tastier to just peal it and separate the slices. This touches upon my preference for minimal food preparation (I used to cook that way for myself) though Maira does like eating what she cooks, meals which are always fun to eat. I still find Ms. Ono's recorded work a challenge and I'm not sure how well it goes over with Maira and Zora as I am often out walking Fancy while it plays. However, I could see from the Tate Modern Yoko exhibit that we got to see in the beginning of August that Zora had a good connection with the interactive work there (hammering nails, tracing sillouettes and sliding around in bags) and as well as finding fascination with some of Ms. Ono's collaborators (one who did the animation, and there was a Japanese documentary about its artists from the 60's which held her attention). We also saw the Maysle movie of her Charlotte Morman homage with people cutting off her clothing, and most memorably with great music too, The Fly. I'm confronted with the question of buying Ms. Ono's double album, The Fly. Speaking of the Maysles, on my bike ride home from the Street Theater performance at Jackie Robinson Park I passed by The Maysles Center. They were showing The (1973) Spook Who Sat by the Door, so now I know of that movie. I think we tried another one, from a "Black Cinema" category, the Sweet Badass? -- The 1971 Sweet Sweetback's Baadasssss Song. The major monstor movie from that era for me is Cotton Comes to Harlem. We also heard the biggest number from Miriam Makeba thanks to Terry Lee King including it in the Street Theater Pre-Show dances. I had already bought one of her albums since I loved other material I had heard played on WKCR radio but the one I got was one of those RCA controlled recordings (I guess Harry Belefonte helped her get signed with RCA. He would often have these generic orchestra accompaniments too). Now at last we know, Pata Pata is hers! We get some pop culture from TCM which showed Jean Paul Belmondo movies, and as a result showed Truffaut's Mississippi Mermaid and Goddard's Pierrot La Fou, as well as the short Goddard made with Belmondo prior to Breathless. As a result we learned about the lovely south of france destination island, porquerolles. These are examples of our own pop culture.

brief mention of lars trier house of jack

He became distracted from his architectural plans, wasting time with other things that became the House that Jack Built.  I keep returning to that supremely unpleasant movie since it captures a delusion we can maintain while alone, that we are better than everyone else, that we're superior, simply by not putting ourselves under their scrutiny.  It's only at the end that we confront the grand project we've been working on all our lives, that it's a measly pathetic little thing, hardly begun. 
I take breaks to eat yogurt and grapes.  I sit here at the all-purpose dining room table, defeated because I can't find the simple music notebook I'd left on the piano, resting upon a prior notebook, because it's part of the grander Augusteia project. 
The end, no more yogurt and grapes in the bowl.
We're ready to sleep. 

And this is the extent of my thoughts for now, a day at the office followed by a day home, both nights consisting of music rehearsals for a CLE show, this one about the business of Marijuana in a country where States can legalize while the Federal Government can maintain it as contraband.  It was never worse than alcohol, because alcohol is pretty bad for the brain.  How do people manage to live with it and grow old with a sharp mind?

And what point can I make to produce readability?  Will I ever be of a mind to express myself?  Why do I think the crafted way is the better way?  Why can't freestyle be comprehensible, be worth reading.  Oops mosquito. 

Entertainment Notes from Sunday, August 29, 2021 including Prof. Tommy Stathes Cartoon Carnival Program #97, Out to Sea at The City Reliquary

I'll work backwards on (my own) questions from Sunday. There was a 1966 Jan Svankmayer (b September 4, 1934) puppet movie called Punch and Judy on youtube which Zora and I watched before I went to bed... Maira introduced Zora (and me) the the work of Jan Svankmayer through his Alice feature film, also on youtube. The Punch and Judy characters are not Punch and Judy, so the question is, what is that 10 minute movie? imdb trivia: The two protagonists from the traditional Punch and Judy puppet show are Mr Punch and Joey the Clown, a buffoon and jester? The title of the movie is Rakvickarna, and it could be more accurately be called by another name by which it is "known," "The Coffin House." oh, from imdb user reviews (what great free content imdb acquires from its contributors) the US title should be Punch and Jody (Judy's male counterpart). The guinea pig is nature's indifference to human conflict. Tommy's 16mm screenings incuded Small Fry, Max Fleischer, 1939, and the question is about its adaptation of the Hoagy Charmichael song. Did the movie introduce the song? no, lyric by Frank Loesser, introduced by Bing Crosby in Sing You Sinners, 1938. Fleischer's 1930 Barnacle Bill's soundtrack seemed familiar but not the wild animation. I thought it was a Popeye cartoon. The one he showed after called Dizzy Divers 1935, is a Popeye Cartoon, about splitting a treasure chest 50/50 with Bluto. Ah, there are many Barnacle Bills...It's a old drinking song. I'm realizing the end of the first release of Zappa's Gregory Peckery includes a question asked as in this drinking song. THe Wreck of the Hesperus is an 1842 poem by Henry Wadsworth Longfellow, with Mickey Mouse saving the day and the ticker tape parade that honors him. Ub Iwerks Davy Jones Locker and Sinbad the Sailor featured expressions of Iwerks' unique imagination. I don't have examples. Perhaps its the transformations and unlikely connections in the animation. Inquiries into these individual cartoons are already well covered on familiar ground. Animated movies lend themselves well to obsessive history exploration. One thing I didn't know and we learned at Fort Green is that there were martyrs from a British Prison boat buried at the top of the hill under a massive tower, perfect for Rapunzel letting down her hair; thank you, Zora, for making that connection. We ate at Cafe Paulette at the base by the tall antena across from Fort Green Park. Its bathroom movie poster is La Valseurs, one of the series of the girl idolotry (I don't know what else to call it) of the comic duo by Bertrand Blier. 1974 movie. Cast from members of Cafe de le Gar, the Director was 35, the two leads 26 and 25. The Street Theater performances this weekend were at Fort Green and the day before at Sunset Park.

Spirited Away Notes

You have to keep working or the spell will be broken -- Slave. I'm bound to give work to whomsoever asks. In prison of choice. Mentor, help me. Remember your name or you'll never return home. No sleep. Amusement park, Spa for spirit guests. A Disneyland for the afterdeath. I don't need it. Staying inside will make you sick. It's a spa...

Orson's Shadow, a History Play of the royal families Welles, Olivier, Leigh, Tynan, and Plowright at the crossroads of the year 1960

Both Orson Welles and Laurence Olivier, around the same time, sought to transfer Shakespeare's History Plays to the fixed audio visual medium of cinema, and we can be grateful for what they got done. Mr. Olivier provided movie versions of Henry V, Richard III, and the tragic history of the Danish Prince, Hamlet. Mr. Welles accomplished with greater limitations, a transference to the screen of Macbeth, Othello and a Falstaff blend distilled from Henry IV, V and Merry Wives of Windsor called Chimes at Midnight, which follows in the wake of the Verdi/Boito adaptation, Falstaff. Austin Pendleton, the playwright/actor/writer/director/instructor/singer whose own performing arts history continues from 1960 to the present day, has his own story to tell. Perhaps it can be called the shadow of Orson's Shadow, because he is the writer of a play conceived by Judith Mihalyi, wife of Rene Auberjonois, a stage/screen/TV actor who would have played Laurence Olivier, had he lived. Orson's Shadow, the play Mr. Pendleton dramatized at her request, is currently celebrating its 25th Anniversary with a new production at Theater for the New City, under his direction. Sure Austin's own career is unique but did he have any direct contact with these entertainment icons? He reminds us that, for example, he and Mr. Welles worked together in the Mike Nichols movie version of Catch 22. It's mind-boggling to consider the nebbishness his own appearance so easily communicates throughout his life. Reviewers John R. Ziegler and Leah Richards observed that the play puts Hollywood celebrities at the crossroads of Modern Theater and the more radical artworld of the late 20th Century. I suppose radical art is always with us, but there is a crossroad where the radical becomes popular. The Eugene Ionescu play demanded an English production in 1960 because it engaged with resonence beyond the absurd. The catch phrase for audiences engagement was ... it's about facism. For Laurence Olivier to become worthy of leading Britain's National Theater, he would produce and star in this play. His younger co-star couldn't help but lead him toward it. By engaging with Ionescu, Olivier was engaging with her. So this complicated construct becomes the dramatic opportunity of actors to portray Hollywood royalty. We see the foibles and something of the talent of Laurence Olivier, Vivian Leigh, Orson Welles and Joan Plowright with supportive guidance from critic Kenneth Tynan, and a stagehand named Sean. We see people we look up to as though they are our own royal family and we see them as our friends. Why should we be interested in them? Theater tells the story of people who live large, most of the time. Its characters are usually us as we would be without boundaries. PART TWO Barbara Kahn's 30th Theater for the New City production: Fair Winds/Winds of War Here we are firmly situated in Greenwich Village, 1939, with people closely connected by their Polish and Jewish ancestry. The Landau's, a family already established here is saving their relatives by giving them a place to come to. Coincidentally ... a woman is recording a jazz vocal album of songs she wrote... ok this is what we have for now...

Lambs Songwriters Salon March 20, 2023 - Like a Bridge Over Troubled Water

Song by Paul Simon Bridge Over Troubled Water Coren highlighted it was not a love song but a song of friendship, of a friend who is there for you. Three Verses more and more elevated to the level of God (Art Garfunkel) singing to us The regular irregularity of it is in the groups of 8 followed by one group of 4 -- I'll take your (4)|Part, and I will ease your (4)|Mind. Sage Buchalter Kind to Me Jason Trachtenberg: Look At This Amazing Set-Up Coren Rhodes - Dodger's Dilemma (after Punky's Dilemma) Stephen Friedland (Brute Force) - Let's Put Them All Together Now Name of Song presenter: James Walker Reid, Name of Song: “Little Star” Peter Dizozza To a Mallow Marsh Susan Horowitz, aka Dr. Sue Name of Song: “Rainbow to Oz” Name of Musical: Rainbow to Oz www.drsue.com/rainbow The Title of Paul Simon's third solo album, following his five as Simon and Garfunkel, is Still Crazy After All These Years. I question that title as a declaration. Paul Simon was crazy with Garfunkel. His emotional volatility became less apparent to me thereafter, and I further suggest that it made for a long happy life for both of them. From a therapist's point of view the two of them were better off apart, but look at the difference in the material. What I am suggesting with my own love of melodrama is that their collaboration produced sparks, which I missed after the breakup. Paul Simon will always be a radical songwriter but his gentleness offsets his complexity with a soothing spell. I find myself blissfully productive with his music in the background. Perhaps even before David Byrne, Paul Simon is responsible for the introduction to the pop world of World Music. The inspiration he draws from it results in new material created within the musical energies of other cultures. Another factor in his music is lyrical. He creates music with words. The song, Love Me Like a Rock is A direct example of a ground floor creation on top of a style of writing. As usual he achieves that song with three versus gaining momentum. The size of the singer increases, the third verse being that he is President. He is producing a song about the Rock of Ages. Is it an original idea to say that one's mother loves one like a rock? The possible parallel song of David Byrne is called Pull Me Up, where, even after he is up the people who love him? pull him up. These songs are slightly histrionic. I guess a parallel with David Byrne launches us into the history of histrionics. Unlike David Byrne whose histrionics is built in, the source of Paul Simon's histrionics is Art Garfunkel. Art Garfunkel sang like he meant it. Paul Simon does mean to sing what he sings.

Ivan the Terrible behaves reasonably under the circumstances of the intrigue surrounding him

Eisenstein spread throughout the 90 minutes of his Ivan the Terrible Part 2 a single instance of conflict between members of Ivan's own family, disapproving his beholding of himself to his people, the populace, though the people's call for him is the reason he is Tsar. He verbalizes respect for his family and orders that no one take action against them. Rather he turns the action they take against him into their own punishment. And much of this occurs in color, agfa color taken from the Germans, though processed with Russian chemistry. It is a red oddity segment with song and dance music by Prokofiev. It follows the religious black and white chorus of a pageant chastising the ruler of Russia for placing himself above a God that would constrict his dedication to the people. He appears to behave erratically, but he really is alone and needs to maintain his position, which is, after all, given to him by the people. He is a public servant.

Lambs Songwriters Salon May 15, 2023 - Yip Harburg

May 2023 Salon Highlighted Songwriter: Yip Harburg We began with a consideration of the words of Over the Rainbow, that the word Over was the discovery in the song, that Yip Harburg's future wife suggested the word Somewhere to fill the Arlen opening melodic Octave and the word informally became part of the title, that MGM introduced the rainbow to the Baum book to announce its full spectrum technicolor, that songwriter/producer Arthur Freed demanded the song stay in, that I'm Wishing from Snow White was a smash hit. Jason highlighted the similarities between the two songs thereafter. It looks like Disney introduced to the American Musical the "I Want" song. We considered the Bridge as a Coda, and the replacement there of "over" with "Beyond" the Rainbow. Grey skies looming over Europe, to Yip Harburg the Rainbow was that ray of Hope. Song Presentations by Susan Horowitz (In Ozzie's Bar/About the Wiz Reprise) Susan demonstrated how her catchy song functioned in the first and second half of her new, somewhat Burlesque, musical, Rainbow to Oz. Both songs are sung solo while calling for response from lead character "Dorothy" Peter Dizozza (Go Lucky) An early sketch of a song about interaction with a robot. Annette suggested Pinnocchio, not the AI premise that Pinnocchio wishes to be a real boy, but that Gippetto wishes for it. Suggested title "Peter and the Robot" Jason Trachtenberg (Tell Me Before I Die) Jason confronted the subject of death with an eleventh hour love song for Dostoyevski, his lead character in his musical-in-development The Statue. Annette Hollander (On a Walk Down Mulberry Lane) Annette wrote this swinging sing-along friendly Italian-nuanced imagined return to Mulberry Street during the pandemic. Steve DePass (If You Know God) Revisiting Steve's classic song highlighted its humourous presumption, that someone who knows God could put in a good word for him. We ended the night with the song that got MGM to hire Arlen/Harburg - MGM's At the Circus Groucho song, Lydia the Tatooed Lady. We considered the use of Qualifiers and Parentheticals in prolonging monologues, and other tests of polite listening. Steve rejected the teaching of Off-Rhymes as an acceptable rhyme. Unless for humour, the off-rhyme clouds comprehension which can be built from the ear's expectation to hear perfect rhymes to fill in lost words. (Jeffrey Lewis is on tour. This night coincided with Joe Bendik's revival of the East Village Antihoot, which brought Jason and me downtown thereafter.)

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.