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In the words of Jule Styne, ÕA song without words is just a piece of music.Õ This book celebrates 32 songs by 34 of this centuryÕs greatest lyricists, like Berlin, Gershwin, Hart, Hammerstein, Sondheim, Porter, Lerner, Mercer, Loesser, and more. Songs include: Alfie ¥ Call Me Irresponsible ¥ Feelings ¥ MakinÕ Whoopee! ¥ The Man That Got Away ¥ PuttinÕ On The Ritz ¥ Thanks For The Memory ¥ more. Features the lyricistsÕ career highlights and primary collaborators.

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The man behind "I Could Have Danced all Night" and "Almost Like Being in Love", lyricist Alan Jay Lerner (1918-1986) is widely regarded as one of the most important figures of the American musical stage. In penning the lyrics to some of the most well-known and beloved Broadway shows, including Brigadoon, Paint Your Wagon, My Fair Lady, and Camelot, Lerner worked and corresponded with some of the greatest luminaries of popular entertainment over a career which spanned four decades, from performers like Rex Harrison and Julie Andrews to composers like André Previn, Leonard Bernstein, Charles Strouse, Andrew Lloyd Webber, and especially Frederick Loewe. In this rich collection of correspondence, most of it published for the first time, author Dominic McHugh sheds new light on Lerner's working relationships with these legendary figures. McHugh's extensive commentary reveals Lerner's turbulent partnerships with Loewe and Lane, his affection for Harrison, and his reverence for Burton. Particular emphasis is placed on Lerner's aborted projects with composers like Richard Rodgers and Arthur Schwartz. Especially valuable is the correspondence from his final years, in which he worked on a movie version of The Merry Widow, a BBC TV series about musicals, and a musical version of My Man Godfrey, none of which came to fruition. The collection ends with a poignant final exchange between Lerner and Andrew Lloyd Webber, with whom he was to have written The Phantom of the Opera. Overall, this important and lively book reveals the highs and lows of the career of one of America's wittiest and most romantic lyricists.

Largely culled from the Dramatists Guild Quarterly, here are reflections about Broadway by many of its most successful professionals. The entries, most in the form of dialogues or panel discussions, are in three sections: analyses of specific shows (Death of a Salesman, Gypsy, Torch Song Trilogy, etc.) by those who created and performed in them; conversations with individual dramatists about their own careers; and group discussions of more general theater topics, such as criticism, librettos and author/director relationships. With the focus clearly on Broadway, the contributors offer observations on the pitfalls and agonies of writing for the commercial theater. With comments from Edward Albee, Hal Prince, Marsha Norman, Stephen Sondheim, Lanford Wilson, Elia Kazan and many others, this is compelling reading for those interested in the commercial theater. U.K. rights: Laurence Pollinger; translation rights: Dodd, Mead. JanuarySTRETCHING THE LIMITS Lee Torrey. Dodd, Mead, $17.95 Science writer Torrey, whose work has appeared in Science Digest and the New York Times, has produced a com prehensive, up-to-date and readable survey of measures being taken by phy sicians, physiologists, psychologists, nutritionists and others to improve sports performances. Their aim is to in duce adaptive body changes gradually. Some athletes and their coaches, how ever, are impatient, according to Tor rey, and abuse the discoveries and in novations of sports science, as with blood doping and overdoses of hor mones. The major portion of the book is an analysis of the changes brought about by sports science in every sport, from football to golf and soccer. Young athletes will find this material most in structive. Illustrations not seen by PW. Foreign rights: Nat Sobel. JanuaryCopyright 1985 Reed Business Information, Inc.

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The Word Rhythm Dictionary: A Resource for Writers, Rappers, Poets, and Lyricists is a new kind of dictionary-one that reflects the use of “rhythm rhymes” by rappers, poets, and songwriters of today. This is an eminently practical reference work for all wordsmiths looking to add musicality to their writing. Users of this dictionary can alphabetically look up words in the General Index to find collections of words that have the same rhythm as the original word and are readily useable in ways that are familiar to us in everything from vers libre poetry to the lyrics and music of Bob Dylan and hip hop groups

This volume surveys the development of the American musical during the 20th century by focusing on one of the most important yet least recognized members of the creative team: the lyricist. From George M. Cohan and Irving Berlin through Oscar Hammerstein II, Alan Jay Lerner, Ira Gershwin, Stephen Sondheim, and others, Word Crazy examines both well-known and obscure writers who have shaped one of America's most beloved theatrical forms. The author offers an overview of each lyricist's career and works and evaluates his or her strengths, weaknesses, patterns, temperament, and personal vision. The result is an unusual critical history of the Broadway musical that will be of significant interest to students of the theatre as well as to anyone who wishes to learn more about the unique craft of the theatre lyricist.Beginning with George M. Cohan, the American theatre's first important lyricist, and continuing up into the 1980s, the book presents an overall history of the musical theatre during this century. Hischak explores the various trends and movements, from the early operettas through the arrival of jazz, and up through the conceptual musicals of the last 30 years. The treatment is chronological with most chapters focusing on a single lyricist. A bibliography and index complete the volume. By reviewing the careers and works of America's most influential theatre lyricists, Hischak offers a fresh new perspective on the evolution of musical theatre in America.

The Word Rhythm Dictionary: A Resource for Writers, Rappers, Poets, and Lyricists is a new kind of dictionary-one that reflects the use of “rhythm rhymes” by rappers, poets, and songwriters of today. This is an eminently practical reference work for all wordsmiths looking to add musicality to their writing. Users of this dictionary can alphabetically look up words in the General Index to find collections of words that have the same rhythm as the original word and are readily useable in ways that are familiar to us in everything from vers libre poetry to the lyrics and music of Bob Dylan and hip hop groups

Ex-library hard cover bound book in very good condition with minor wear to the cover. Contains usual library stamps, labels, and bar-codes. Contents are in like new condition.

Fanny Brice, Irving Berlin, Jerome Kern, Barbra Streisand, Alan Menken, Stephen Sondheim--Jewish performers, composers, lyricists, directors, choreographers and producers have made an indelible mark on Broadway for more than a century. Award-winning producer Stewart F. Lane chronicles the emergence of Jewish American theater, from immigrants producing Yiddish plays in the ghettos of New York's Lower East Side to legendary performers staging massive shows on Broadway. In its expanded second edition, this historical survey includes new information and photographs, along with insights and anecdotes from a life in the theater.

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". . . required reading for anyone interested in the great American songs."-New York Times Book ReviewMany of us can sing along with Dorothy when she imagines a place "Over the Rainbow." And we all remember the Depression-era classic "Brother, Can You Spare a Dime?" But very few can name the man who put the words to these celebrated hallmarks of American music- Yip Harburg. Five hundred songs spanning a fifty-year career bear witness to the brilliance of this until-now obscure figure.Plunge into this scrupulously documented volume and discover how Harburg, once a poet of light verse, played a major role in the transformation of the Broadway revue into the sophisticated musical of the 1940s and 1950s. With extensive and exclusive interviews and lyrical analysis, the authors capture Harburg's wit, distinctive voice, and creative and collaborative methods.Inquiry into Harburg's Jewish, New York City roots, apprenticeship in his craft, and involvement in the radical politics of the 1930s- he was blacklisted in the 1950s- puts into context the seemingly irreconcilable skepticism and optimism that contoured this lyrical genius's life and work.Harold Meyerson is Executive Editor and chief political columnist, L.A. Weekly, and is on the editorial board of Dissent. Ernie Harburg is a social psychologist and epidemiologist at the University of Michigan, coauthor (with Bernard Rosenberg) of The Broadway Musical: Collaboration in Commerce and Art, and Yip Harburg's son.

". . . required reading for anyone interested in the great American songs."-New York Times Book ReviewMany of us can sing along with Dorothy when she imagines a place "Over the Rainbow." And we all remember the Depression-era classic "Brother, Can You Spare a Dime?" But very few can name the man who put the words to these celebrated hallmarks of American music- Yip Harburg. Five hundred songs spanning a fifty-year career bear witness to the brilliance of this until-now obscure figure.Plunge into this scrupulously documented volume and discover how Harburg, once a poet of light verse, played a major role in the transformation of the Broadway revue into the sophisticated musical of the 1940s and 1950s. With extensive and exclusive interviews and lyrical analysis, the authors capture Harburg's wit, distinctive voice, and creative and collaborative methods.Inquiry into Harburg's Jewish, New York City roots, apprenticeship in his craft, and involvement in the radical politics of the 1930s- he was blacklisted in the 1950s- puts into context the seemingly irreconcilable skepticism and optimism that contoured this lyrical genius's life and work.Harold Meyerson is Executive Editor and chief political columnist, L.A. Weekly, and is on the editorial board of Dissent. Ernie Harburg is a social psychologist and epidemiologist at the University of Michigan, coauthor (with Bernard Rosenberg) of The Broadway Musical: Collaboration in Commerce and Art, and Yip Harburg's son.

Frank Sinatra's 45-year recording career and the songs he recorded: his professional biography as a recording artist; the evolution of his vocal technique and performance style; sources and variety of songs recorded; his 12 most-recorded composers and lyricists (20 others are discussed briefly); his interaction with his six major sources of orchestration; his recording sessions; a review of all albums referenced; and the technical and commercial side of his career. Supporting the research are a master song list (approximately 1,250 recordings), songs by publication date, composer and lyricist indexes, every arrangers work (listing each conductor and orchestra), a detailed list of recording sessions--in order--plus radio, television and film work, and three album lists, showing contents, order of first releases, label sequence and producers.

From the turn of the century to the 1960s, the songwriters of Tin Pan Alley dominated American music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart--even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In The Poets of Tin Pan Alley Philip Furia offers a unique new perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song. Furia writes with great perception and understanding as he explores the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. He devotes full chapters to all the greats, including Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz, E.Y. Harburg, Dorothy Fields, Leo Robin, and Johnny Mercer. Furia also offers a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White--and Furia places the lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an important element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.

Frank Sinatra's 45-year recording career and the songs he recorded: his professional biography as a recording artist; the evolution of his vocal technique and performance style; sources and variety of songs recorded; his 12 most-recorded composers and lyricists (20 others are discussed briefly); his interaction with his six major sources of orchestration; his recording sessions; a review of all albums referenced; and the technical and commercial side of his career. Supporting the research are a master song list (approximately 1,250 recordings), songs by publication date, composer and lyricist indexes, every arrangers work (listing each conductor and orchestra), a detailed list of recording sessions--in order--plus radio, television and film work, and three album lists, showing contents, order of first releases, label sequence and producers.

Harold Rome was a composer and lyricist on Broadway, starting with Pins and Needles in 1937. His biggest hits included Call Me Mister, Wish You Were Here, Fanny, Destry Rides Again, and I Can Get It for You Wholesale and he continued on Broadway through 1965 with The Zulu and the Zayda. His early career, after two Yale degrees, featured songs of "social significance," lyrics for the common man filled with satire. His later works were songs well adapted to the book musicals of the day, and his words and music became more lyrical. Rome worked with Moss Hart, George S. Kaufman, Jerome Weidman, Joshua Logan, David Merrick and others, and wrote songs for such stars as Pearl Bailey, Ezio Pinza, Walter Slezak and Barbra Streisand (among many). Politically involved, and left-wing, he attracted the attention of conservative organizations and the FBI. His song writing contributed to the home front efforts for World War II, as a civilian and then as a corporal in the Army. Showing yet another side, his paintings were critically praised and he amassed an impressive collection of African art.

From the turn of the century to the 1960s, the songwriters of Tin Pan Alley dominated American music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart--even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In The Poets of Tin Pan Alley Philip Furia offers a unique new perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song. Furia writes with great perception and understanding as he explores the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. He devotes full chapters to all the greats, including Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz nd E.Y. Harburg, Dorothy Fields and Leo Robin, and Johnny Mercer. Furia also offers a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White--and Furia places the lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an imporant element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.

“All I Ever Needed Was the Music: A Biography of Edward Kleban, Lyricist of 'A Chorus Line'” by Phillip Sprayberry is the first biography that reviews the life of this largely under-recognized talent of the 20th Century. Edward Lawrence Kleban (1939-1987) was a figure of vital importance to the 20th Century musical theatre community whose value to the genre was, and is, underestimated. This biography discusses his personal and professional life and his value to musical theatre by examining his work as a record producer, as a student and teacher at the BMI Musical Theatre Workshop, as a composer, and as a lyricist, especially regarding his contribution to the multi-award winning musical, "A Chorus Line." His work before, during, and following "A Chorus Line" is detailed with his professional life. His emotional troubles that proved to be a stumbling block to his success are included as a part of his personal life. “All I Ever Needed Was the Music” strives to put a face on Kleban and establish a connection between him and a public that has adored his lyrics for more than three decades. It introduces some of Kleban’s unknown and unproduced work, including his favorite, a musical called Gallery. It explores his contribution to the genre and places Kleban and his work in context with his predecessors, contemporaries, and successors. Additionally, it recognizes the organization established in his will, the Kleban Foundation, an award program for theatrical lyricist and librettists with a monetary prize to allow the recipient the financial freedom to devote time to creative projects. The great paradox of Edward Kleban was his yearning for success coupled with self-imposed stumbling blocks and a lifetime of emotional issues. Here is the life of a composer and lyricist whose only recognized work is "A Chorus Line," but who strove to make a life in musical theatre.

Designed in conjunction with the Strummer estate, the Joe Strummer Campfire pays homage to the Clash s articulate and fiery co-founder, lyricist, r...