Nice Work If You Can Get It (pt.2)

Here in the USA, it’s Labor Day weekend.

I just looked up the history of Labor Day, and discovered — no surprise — that it has roots in labor unions.

You can click here to learn more if you are curious — and to see a great photo of an early Labor Day float being pulled by two horses during a celebration in 1916..

I have read that union activity is on an upswing in the USA.

With a current CEO-to-worker compensation ratio estimated to be 400 — meaning that chief executive officers are likely to earn 400 times the annual average salary of production and nonsupervisory workers in their industry — the time seems ripe to re-balance this extraordinarily greedy state of affairs.

I am an inactive member of two unions — SAG/AFTRA (for film and TV) and Equity (for stage) — as a result of working professionally as a child and teenager.

Me modeling as a child…

Go unions!

They are a vital part of our human socety’s interconnected systems of checks and balances.

Deep breath in.

And deep breath out.

I originally featured this recording with pianist Doug Hammer of a great Gershwin Brothers song a couple of years ago as part of a very long blog post in which I shared the pros and cons of a chatbot-assisted music marketing strategy as well as some show business history.

Today’s post will be shorter and sweeter.

THANK YOU to everyone who has been streaming my songs in recent months!

“Gold In Them Hills” — which I released a month ago — has just surpassed 1000 streams on Spotify. This translates into approximately $4 worth of income — which is split, I think, between the person who owns the rights to the song (Ron Sexsmith and/or his music publishing company) and the person who owns the rights to this particular recording of his song (which is me).

“Nice Work If You Can Get It” — which I released near the end of June — has been streamed 685 times on Spotify.

So that will earn me another dollar.

Luckily I am in this for the long haul…and I earn enough money from performing at retirement communities and leading Music Together classes to cover my very minimal expenses.

I also feel very fortunate to be making and sharing music as a way to make a (very modest) living.

Music really is “nice work if you can get it.”

A musician named Bree Noble — who also does a lot of teaching and coaching of other musicians — recently sent out an email which I found inspiring.

She wrote:

“Did you know that releasing music — i.e. seeing a beloved project through to completion — can improve your mental health?”

According to her, “studies show that most people desire purpose and connection in their work, and without that, their mental health can suffer.”

“We thrive when we experience ‘birthing’ an idea and seeing it through (to completion) — taking on a project that is our ‘baby’ and nurturing it to ‘adulthood.'”

Releasing music “can give (us) the emotional and spiritual benefits of project ownership — taking on a new challenge, providing a goal to work toward, and giving (us) a …fulfilling event to look forward to.”

Best of all, “not only can the…process (of releasing music) invigorate (our) emotional and spiritual (lives), it can help (our) music reach new people who need to hear it, enriching their lives as well.”

Deep breath in.

Deep breath out.

I think this wisdom/insight can apply to any creative undertaking — even writing a blog post.

It also reminds me of an article I read recently about folks who live to be over 100 years old.

Researchers have been studying these people’s lives, and many common themes have emerged.

They tend to be optimistic — while also acknowledging the reality of their challenges.

They tend to feel connected with others — as part of an extended family, a circle of friends, a spiritual community, a bowling league, a quilting circle, a fraternal lodge, a blogging community or some other subset of beings here in the interconnected web of life on planet earth.

Their diets tend to be plant-based — eating more vegetables, fruits, beans/legumes, and whole grains AND and more “cooked-from-scratch” meals (meaning less processed/junk food items…)

They tend to get out into nature on a regular basis — walking, biking, swimming, doing tai chi, painting, reading, playing games, etc. — rather than sitting at home and watching TV.

And they tend to have a sense of purpose — whether volunteering their time, sharing their wisdom, contributing to group causes, creating things, etc.

Apparently if we feel that we need to be here on planet earth — contributing in some positive way to our families, friends, children, grandchildren, community, watershed, ecosystem, political system, etc. — we are less likely to die.

Another deep breath in.

And deep breath out.

I am curious to learn in the comments about what gives YOU a sense of purpose these days.

Here is a link to “Nice Work If You Can Get It” in case you might like to listen to it on a streaming service.

As I have shared in past blog posts, if you “like” it or “heart” it or add it to a playlist, that improves the algorithmic sharing of my music on that particular streaming service.

Thank you to the Gershwin brothers — Ira (words) and George (music) — for writing such great songs.

Thank you to Doug Hammer for playing so exuberantly on my version of their song AND for being such. a terrific engineer/producer.

Thank you to Stephen Fischer for his skillful graphic design work.

Thank you to labor unions for helping to counter-balance the greed which seems to be an unavoidable part of our capitalistic system of economics.

Thank you to the photographers at Pixabay for their great images.

Thank you to whoever took my photo 50+ years ago on a front staircase somewhere in NYC.

And thank YOU for reading. and listening to another one of my blog posts!

Gold In Them Hills

Today’s wise and optimistic song was written by Ron Sexsmith, a Canadian singer-songwriter who currently lives in Stratford, Ontario.

I featured it almost three years ago in a blog post about distributing my first song to music streaming platforms.

One of the many pleasures of blogging (in my opinion) is rediscovering posts we have written in the past and then forgotten.

This one includes a lot of quotations — which I was very happy to re-encounter — from friends about the value of music in their lives.

I have sprinkled a few of them into this blog post, too.

You are welcome to click here to read (or re-read) this past blog post if you are curious.

“Music is a great encouragement to people in hard times.”

Deep breath in.

And deep breath out.

I also explain in this past blog post about how little money is earned by performers and songwriters from streaming platforms such as Spotify, Apple Music, Pandora, YouTube, etc.

Not surprisingly, this is still true — as a 2022 article I found online demonstrates.

Spotify, which last year had an almost 50% market share of music streaming worldwide, still pays less than half a cent per stream.

Apple Music was the next biggest player, with almost 25% market share of music streaming worldwide — but paid a penny per stream (almost triple what Spotify paid…)

All of the other music streaming companies share the remaining 25% of worldwide music streaming — and paid anywhere from .00069 cents per stream (YouTube Music) to .017 cents per stream (Napster).

Here’s a graphic representation from this article of all of these numbers.

Suffice to say that I have not been earning any significant money as a result of people streaming the 37 recordings I’ve released during the past 34 months.

Deep breath in.

And deep breath out.

But I DO have the satisfaction of knowing that my music is out there in the world, being listened to by folks in fifty different countries — including the USA, Finland, Canada, Taiwan, Great Britain, Kazakhstan, Australia, Indonesia, Turkey, Brazil and Chile!

“Music is part of what makes the world keep going.”

And in recent months my streaming statistics on Spotify have risen significantly (although my total numbers are still quite modest).

This rise in my stats helps me feel that what I am doing — releasing music — is not entirely futile, useless and/or egotistical.

And it gives me a small sense of hope, which is what Ron Sexsmith’s lovely song does, too.

Hope remains a blessed mystery to me.

I hope you feel at least a tiny kernel of hope in your life.

Recent regional elections here in the USA have renewed my sense of hope in our political process.

And small children — such as those who grace my Music Together classes — also give me a sense of hope as well as a reason to continue to work for a more balanced, sustainable, and respectful future here on planet earth.

I’d be happy to learn in the comments about what gives YOU a sense of hope these days.

Here is a link for “Gold In Them Hills” in case you might like to listen to it on a streaming service.

If you “like” it or “heart” it or add it to a playlist, that apparently improves the algorithmic sharing of my music on that streaming service.

One more deep breath in.

And deep breath out.

Thank you to Ron Sexsmith for writing great songs.

Thank you to Doug Hammer for playing so beautifully on my version of Ron’s song AND for being such. a skillful engineer/producer.

Thank you to Stephen Fischer for his colorful graphic design work.

Thank you to Gretje Ferguson (I think?) for taking the photo which Stephen incorporated into his graphic design.

Thank you to Gloria O’Leary for making the coat I am wearing in this photo.

Thank you to the photographers at Pixabay for their great images.

And thank YOU for reading. and listening to yet another one of my blog posts!

“Music is a touching reminder that life is worth living.”

Inch by Inch… Row by Row!

Photo courtesy of the Arlington Reservoir website

While all sorts of extremely important events continue to unfold around the world on a daily basis, life — blessedly — goes on here in East Arlington, MA.

Last fall I discovered — and began happily patronizing — an organic farm within biking distance of my home.

It sits on the edge of an old reservoir which currently serves as a nature preserve.

The reservoir straddles the border of my town and the next town to the west — Lexington, where our Revolutionary War kicked off two hundred and forty eight years ago with a battle against the British.

I have known about this reservoir — which is no longer used for drinking water — for the past thirty years.

Yet I have rarely visited it because I live on the east side of town, and the reservoir is located on west side of town.

Biking there takes 25 minutes, and it’s mostly up hill — following a converted rail-to-trail bike path.

However, this past fall I resumed leading Music Together classes indoors at a karate studio which is located five blocks from the reservoir.

And not long after we had begun our fall term, someone (we still don’t know who) drove into one of the karate studio’s front walls.

This meant that we had to find alternative locations for our classes while repairs were being made.

A couple of my Music Together families offered to let us hold class in their backyards — and one of those families lives a block away from the reservoir.

So one morning after class in their backyard was done, I decided to explore the reservoir on my bike.

Photo courtesy of Lexington Community Farm website

It turns out there is a lovely path all the way around it — and when I reached the far side of the reservoir, I found myself gazing onto a field full of vegetables!

And then I saw a sign welcoming people to walk through the farm and — on Fridays and Saturdays — buy fresh vegetables at their farmstand.

Because I had been part of a summer/fall farmshare of fresh produce which was driven to Arlington each week from an organic farm in New Hampshire, I did not visit their farmstand right away.

But when my farmshare ended in November, I decided to check it out.

What a thrill to enter a room full of very locally grown — and vibrantly colored — organic carrots, potatoes, lettuces, sweet potatoes, scallions, leeks, collard greens, swiss chard, kale, turnips, beets.. and the list went on and on and on!

I bought a bunch of leeks, a bunch of kale and a bunch of collard greens.

And I rode home very happily on the bike path with all of them erupting in different shades of green out of a shopping bag in the front basket of my bike.

We are now experiencing a stretch of wintery weather in Arlington after a relatively mild December, January and February (during which I have been able to continue riding my bike!)

The first crocus and snowdrops appeared in our front yard two weeks ago, but they are now buried under an icy crust of snow.

This week we are experiencing snow and sleet and rain, but I trust that spring will return before too long — with more croci and snowdrops and mini-Siberian irises and grape hyacinths poking their way out of the soil and opening their flowers to the sun.

I also trust that activity will resume in the fields and greenhouses of Lexington Community Farm.

My longing for spring is what has inspired me to share a recording of “The Garden Song” by Dave Mallett which Carole Bundy, Molly Ruggles and I included on our first eight-song CD last summer.

As you probably already know, you can play it by clicking at the very beginning of this blog post.

You can also listen to it on various streaming platforms by clicking here.

Thank you to all of the people who make the Lexington Community Farm a reality — inch by inch and row by row!

Thank you to Carole Bundy and Molly Ruggles for learning this song with me.

Thank you to Dave Mallett for writing it.

Thank you to Peter Kontrimas for recording it and to Doug Hammer for mixing/mastering it.

And thank you to Mother Nature for bringing everything back to life here in the northern hemisphere of planet earth!

You are always welcome to visit my website — where you can find many songs and learn more about my musical life here on planet earth if you are curious.

You can find me and Carole and Molly singing on various streaming platforms by clicking here.

You can also find me singing — with Doug Hammer playing his Schimmel grand piano — on Spotify, Pandora, Apple Music, YouTube and other streaming platforms.

Any song you “like” or “heart” or add to a playlist will improve the algorithmic activity of our music there!

Deep breath in.

Deep breath out.

And most of all, thank YOU for reading another one of my blog posts!

Magic To Do, part two…

I hope you are well as you read this blog post.

So far this winter I’ve managed to avoid being infected by the flu, strep, Covid, RSV, and the common cold — all of which are leaping from one human host to the next here in the Boston area.

Maybe it’s because I remain an ardent wearer of face masks whenever I am indoors — leading Music Together classes, performing at retirement communities, shopping for groceries at Trader Joe’s, riding public transportation, or going to see a movie.

Deep breath of gratitude in.

Deep breath of gratitude out.

As some of you may be aware from news I’ve shared on Facebook, I was invited to participate in a 50th anniversary reunion concert with (most of) the remaining members of the original cast of the musical PIPPIN at a nightclub called 54 Below in the theater district of Manhattan.

I wrote a blog post in 2016 about my time as a standby for the role of Theo in PIPPIN when I was ten years old which you can read by clicking here if you are curious.

After I wrote that post — in which I wondered if any of the original cast members remembered me — I nosed around online to try and find contact information for any other original cast members.

I found one listed as a teacher at a performing arts school in Colorado — with what appeared to be a current email address — and sent her a message.

I was very touched to receive an enthusiastic reply in which said that she DID remember me!

She also shared that the remaining members of the cast stayed in regular contact — and that she specifically recalled a conversation we once had backstage about how I felt no pressure from my parents to stay in show business as I grew older.

I don’t remember that conversation, but it rings true…

Neither of my parents had any experience with the advertising/entertainment industries, but my mom had grown up in Queens, NY, and every summer my siblings and I and my mother would return to her childhood home and stay with my grandmother for a couple of months while my father stayed at our home in Washington, DC (he worked for the Department of Agriculture) and commuted up on the weekends to visit.

In 2017 I also wrote a blog post about how much I loved my summers at 47-39 197th Street — right on the border between Bayside and Flushing — and what it was like doing commercials, voice-overs, TV shows and movies as a child and teenager which you can read by clicking here if you are curious.

After I learned that I’d been cast as a standby in PIPPIN, I remember sitting on the brick stoop in front of my grandmother’s house and thinking very excitedly that my life was about to change…

And it did.

I think my parents said “Yes” to me being a standby A) because they thought it would be fascinating to see how a Broadway musical is put together; B) because PIPPIN would be previewing at the newly-constructed Kennedy Center in Washington, DC (where we had lived for seven years); and C) because most Broadway musicals end up failing…

But PIPPIN did not fail, and I ended up living year-round at my grandmother’s house — which meant that I could audition a lot more (for commercials, voice-overs, made-for-TV movies, and plays), and my career as a child performer took off.

Until it gently crashed back to earth a few years later, and I entered a prep school called Hotchkiss.

But that is another story.

Deep breath in.

Deep breath out.

In the fall of 2021 I was surprised to be contacted by a journalist who was writing a book about how PIPPIN came to be created.

After stressing to her that I had just been a ten-year-old standby for the very small role of Theo and probably had nothing important or insightful to share with her, she still wanted to interview me.

So we had a pleasant phone call and — to my surprise…. as well as my chagrin — I ended up being quoted a couple of times in her book, MAGIC TO DO, which came out in October 2022 to coincide with the 50th anniversary of PIPPIN opening at the Imperial Theatre in NYC.

My third PIPPIN-related surprise was being contacted last summer by the original standby for the role of Pippin, Walter Willison, who has had an illustrious career in the entertainment industry.

He told me he was organizing a 50th Anniversary musical event at a lovely club in Manhattan called 54 Below which would feature original members of the cast.

And he wondered if I’d be willing to join this musical adventure.

I reminded him that I had only been the standby for the role of Theo.

But he very patiently persisted with his invitation, and — with equal amounts of excitement and fear — I finally agreed.

Another deep breathe in.

And deep breath out.

I found his invitation to be quite profound because I have had an anxiety dream at least once a year for the past fifty years in which I am asked to fill in at the last minute for one of the cast members in PIPPIN.

In this nightmare I gamely attempt to learn (and/or recall) the necessary dialogue, choreography and blocking while being rushed into someone else’s costume…

Then the curtain rises, and I hit the stage with everyone else, and I try to keep up with what’s happening all around me…

And then I wake up in a cold sweat.

So Walter was basically inviting me to live out this dream/nightmare in real life with most of the remaining original cast members as my companions!

One more deep breath in…

And deep breath out..

Long story short… the four performances at 54 Below happened earlier this week — and were very well received!

PIPPIN Reunion cast at 54 Below (I am on the very left side of this illustrious lineup!) — Photo by Stephen C. Fischer

I will probably write at least one more blog post about the experience — which was full of many funny moments, poignant moments, loving moments, anxiety-inducing moments, joyful moments and much, much more!

I am deeply grateful to have been asked to participate — and very curious to see if I ever have my PIPPIN-related anxiety dream/nightmare again…

Thank you for reading another one of my blog posts.

Thank you to Walter Willison for the HUGE amount of work he did to make these performances a reality — and for inviting me to participate!

Thank you to all of the beloved original cast members of PIPPIN who welcomed me back into their hearts — forty nine years after I had outgrown my role as standby for Theo and left the cast.

Thank you to the people whom I did not already know — music director Michael Lavine plus performers Joy Franz and Aaron Lee Battle) who also participated in this musical adventure.

Thank you to Doug Hammer and Mike Callahan for recording “Magic To Do” with me as part of a show we did at Scullers Jazz Club in Boston called WILL LOVES STEVE — which featured songs written by Stephen Schwartz, Stephen Sondheim, Steve Sweeting, Stevie Wonder, Stephen Flaherty, Cat Stevens and Steve Schalchlin.

And thank you to Stephen Schwartz for writing all the songs for PIPPIN — which people around the world (including me) love to sing!

Deep breath in.

Deep breath out.

You are always welcome to visit my website — where you can find many songs and learn more about my musical life here on planet earth if you are curious.

Moon over Central Park

You can also find me singing on Spotify, Pandora, Apple Music, YouTube and other digital music platforms.

And here’s a link to play “Magic To Do” on digital music platforms.

Any song you “like” or add to one of your playlists will greatly improve the algorithmic activity of my music there.

I hope you stay well.

And I welcome any comments you may be inspired to write.

I will close with a photo of the moon over Central Park which I took as I was walking up Broadway at Columbus Circle after our second afternoon of rehearsals…

And one more deep breath in.

And deep breath out.

Flight

Greetings!

More than two months has passed since my last blog post.

I started writing several drafts, but none seemed worthy of completion…

This morning, however, I awoke from very sweet dreams — about returning to my elementary school as an adult — and started the day by stretching on our back porch.

Photo by Russell_Yan from Pixabay  

A mockingbird was singing a wonderfully idiosyncratic song from a nearby roof, and the sky above me was totally blue.

Many birds passed high in the sky — swallows swooping back and forth (maybe catching bugs?), a pair of ducks en route from one body of water to another, some cooing doves, a bright red cardinal, and a seagull.

They reminded me of a song by Craig Carnelia called “Flight.”

It was first recorded by actress and singer Karen Akers in 1994, and since then it has been performed by a bunch of Broadway folks including Ben Platt, Betty Buckley, Brian Lane Green, and Sutton Foster.

The Cambridge Center For Adult Education

When I recorded it with pianist Doug Hammer, I was still working as the assistant director of a non-profit in Harvard Square — the Cambridge Center for Adult Education — and longing to break free from my day job so that I could devote myself to making music.

I had started at the CCAE by volunteering to help with a new musical series that the PR director, a wonderful singer named Tracy Gibbs, was putting together called The Cabaret Connection.

My offer to help transformed into a part-time job overseeing not only The Cabaret Connection but also another series called The Jazz Chair and a few other special events.

Then I began sharing responsibility for publicizing these events, and when Tracy left for a new job, I was offered a full-time position as PR director for the entire CCAE.

Photo by Peter H from Pixabay 

This was not my plan.

My plan was to have a part-time day job so that I could continue to do plenty of music on the side.

But now my day job would INCLUDE music — and I would gain new perspectives (such as what it was like to have performers contacting me about the possibility of being booked into one of our musical series…)

So I said, “Yes.”

After a few years, our development director left, and I took over her responsibilities as well.

Eventually I became assistant director and helped to bridge the transition between the retirement of our beloved executive director and the arrival of his successor.

Photo by Bessi from Pixabay 

Then I was laid off.

Yikes!

Time for a deep breath in.

And deep breath out.

This was a surprise and a shock — but perhaps also a blessing.

I had been working 40-70 hours per week for many years — and I was grateful to slow down.

I also have a fair amount of “the disease to please” in my emotional constitution as well as a low tolerance for risk.

Photo by Gerhard Bögner from Pixabay

So even though many of my more psychologically astute (and cherished) co-workers had seen the writing on the wall regarding the pros and cons of our new executive director and had found new employment elsewhere, I had remained loyal (or some might say “stuck”) to the longtime CCAE community of teachers, board members, students and volunteers.

Being laid off might have been the only way to get me to leave.

And dare to focus on music.

Another deep breath in.

And deep breath out.

Photo by Nora Dybdal

So I signed up to learn how to be a Music Together teacher — which some of my musical peers had thought I might enjoy.

And they were right!

I also began putting together one-hour programs of music with a jazz pianist, Joe Reid, who had left full-time employment as a corporate lawyer to pursue HIS love of music.

And I continued writing songs.

Now I listen to “Flight” with a very different perspective from when I first learned it — and was feeling such a longing to break free…

Now my time is completely my own — to vision, to plan, to shape, to fill!

I have nothing I want to escape.

My only deadlines are the minor ones I give myself AND the major ones related to climate change which loom ever larger and more terrifying with each passing day of denial and inaction.

Photo by Shutterbug75 from Pixabay 

Another deep breath in.

And deep breath out.

I love the imagery in Craig’s lyrics — and the flow of the narrator’s thought processes from one moment to the next…

Photo by Jörg Peter from Pixabay 

It reminds me of a sailboat tacking to and fro in response to the ever-changing winds.

However, we human beings were not satisfied with sailboats.

So we created the motorboat, which zooms, noisily and relentlessly — oblivious to what it might run over, hit, injure, or disrupt — in a straight line from point A to point B.

And then the airplane!

Photo by Michael Schwarzenberger from Pixabay 

Life before fossil fuels seems like it was much less linear.

Paths and roads followed the curves of hills and streams — rather than being bulldozed or dynamited to create the most efficient and convenient line of travel.

I saw this same phenomenon in the sky this morning — with birds swooping in curvy lines while far above them a jet plane left a perfectly straight line of moisture and toxic emissions in the sky…

Photo by Dan Fador from Pixabay 

Yet another deep breath in.

And deep breath out.

The desire to fly — and perhaps to fly away — has been with us human beings for thousands of years.

I often think about the myth of Daedalus and his son Icarus — who enthusiastically flew too high and too close to the sun (forgetting or ignoring his father’s warning about how the wax adhering the feathers of his marvelously-constructed wings could melt…) and fell to his death in the Mediterranean sea.

Oftentimes our human culture in the 21st century seems to be soaring ever higher on a frantic, teen-aged exuberance for relentless, profit-driven innovation and stimulation.

Photo by danny moore from Pixabay 

We ignore wise warnings about how our fossil-fuel-powered desires (for 24/7 computer functionality, for food at any hour of the day or night (much of it shipped from hundreds or even thousands of miles away), for the ability to travel via motorcycle, car, motorboat, ocean liner, bus, train, or plane wherever we want (and as much as we can afford… or choose to put on a credit card), for alternative currencies, etc. are leading us faster and faster towards global catastrophe.

One would think that any one of the challenges we have experienced in recent years here in the USA — flooding of major cities, changing weather patterns which have led to increased wildfires/hurricanes/tornadoes, as well as a year-long viral pandemic — might lead us to re-think and change our habits of consumption.

And might lead us to listen to scientists with a deepened respect.

Photo by WikiImages from Pixabay 

But I don’t see much of that happening…

Denial is indeed an extraordinary human phenomenon.

I certainly understand why the likely scenarios — such as famine, wars over water and arable land, vast migrations of desperate refugees, more epidemics of diseases — are too terrifying for most of us to set aside any time to contemplate.

How about a really deep breath in…

And a really deep breath out….

Photo by Pierangelo Averara from Pixabay 

The most recent — and to me ridiculous — example of our human hubris is Amazon gazillionaire Jeff Bezos building a huge, 500-million-dollar super-yacht.

And — getting back to the topic of flight — the creation of rocket ships — which take our human desire for flight to an entirely different level.

I saw a posting on Facebook recently with which I immediately agreed:

Photo by GooKingSword from Pixabay 

“Mars sucks. Its weather sucks. Its distance sucks. Its atmosphere sucks. The little water it has…sucks. It has sucked for billions of years and will suck for billions more…

You know what doesn’t suck?

Me, earth.

I have life.

I have vast oceans and lush forests.

I have rivers to swim and air to breath.

But the way I’m being treated — that part sucks.

You use me and pollute me.

You overheat me.

You use every resource I have, and return very little back from where it came.

And then you dream of Mars — a hellhole — a barren, desolate wasteland you can’t set foot on fast enough.

Why not use some of that creative energy and billions of dollars on saving me? You know, the planet that’s giving you what you need to live right now.

Mars can wait.

I can’t.”

Photo by Free-Photos from Pixabay 

The only part of this posting with which I don’t agree is the idea that earth needs to be saved.

I am pretty confident that planet earth — having already withstood billions of years of evolutionary changes — will be OK.

We human beings are the ones whose existence is at stake — along with the millions of other forms of life (such as birds and bees and fungi and bacteria and trees and grasses and turtles and whales and algae and shrimp and wolves and bison) which are vital links in the amazing web of life here on planet earth which we are in the process of altering and destroying.

Image by Mariya 🌸🥀🌻🎋🌷🌹💐🌼 from Pixabay 

Deep sigh.

Awake, fellow humans!

Now is the time to make significant changes in how we live here on planet earth…

I am very grateful to the wonderful photographers who share their images at Pixabay.

I would also like to thank pianist/producer Doug Hammer for playing so magnificently on this track.

Another big thank you to Craig Carnelia for writing “Flight.”

And a final thank you to YOU for reading — and listening — to yet another one of my blog posts.

Photo by jplenio from Pixabay 

I’ve re-designed my website in recent months to include a LOT more music — and you are always welcome to visit there.

You can also find me on Spotify, Pandora, Apple Music and other digital music platforms.

One final breath in.

And out.

Life goes on…

New Blossoms Emerging…

Photo by Alexander Popov from Unsplash.

March has begun!

And I am realizing that it’s been over a month since my last blog post.

Why?

Well… I stumbled into an opportunity to be interviewed by an old acquaintance who writes about the arts for a New England-based magazine.

And after I learned that my mini-profile was going to run in their March/April issue, I decided it was time to re-do my website — which had remained functional but increasingly antiquated in recent years.

So February was devoted to researching website design options, choosing a company, and learning how to use this company’s cornucopia of templates and design features.

Photo by Free-Photos from Pixabay. 

After all sorts of challenges (which I may share in a future blog post as a case study in hiking up a new learning curve…) I am happy — and relieved — to report that my new site is now up and running at my old website address: willsings.com.

In the process of transferring information from my old site to this new one, I had the opportunity to reflect upon the past twenty years of my musical life — which has been a very sweet and slightly surprising experience.

I had forgotten, for example, exactly how much media coverage I had garnered in past years… and how often certain angels in our local media had written about various musical undertakings, concerts, recordings, collaborations, etc.

Photo by Benjamin Dickerhof from Unsplash.

I also discovered how much I still like various recordings I helped to make in past years.

And this new website makes it relatively easy to create separate pages for all of them, which I can continue to update and improve as time allows.

Deep breath in.

And deep breath out.

Lots of opportunities to practice feeling grateful!

I recorded the musical selection at the top of this blog post with pianist Doug Hammer on his Schimmel grand piano a few years ago when I was putting together an hour-long program of songs created for Disney movies.

Photo by Sunflair from Pixabay.

These three songs were written by the Sherman Brothers — Robert and Richard — for the magical movie Mary Poppins.

Recent weather — very cold with 30 mph winds! —reminded me of this medley.

As usual I have visited the wonderful photographic website Pixabay as well as a new one called Unsplash (when Pixabay was not functioning well) to find some images to grace this blog post and uplift my spirit.

So far the only sign of spring I have seen is ONE snowdrop which has managed to push up through the earth in our tiny front yard and bloom.

Amazing!

Photo by Will McMillan.

Inside the house, a pot of hyacinth bulbs I bought last winter from Trader Joe’s — and then left in the sun on the back porch all summer — has experienced a glorious re-birth.

They are very fragrant.

Another deep breath in.

And deep breath out.

Hurrah!

Spring may indeed return to New England…

This three-song medley is one of many recordings that Doug and I have been finding in his sonic archives — and have been fixing and mixing every Friday afternoon via Zoom.

There is a tiny lyric bobble in this recording which we will re-record when I am vaccinated and Doug is ready to welcome human beings back into his studio.

Did you hear it?

Photo by TheOtherKev from Pixabay.

My favorite song in this medley is the last one — “Let’s Go Fly A Kite.”

I was reminded when looking for images of kites that there are also raptors named kites.

So I am including a photo of this magnificent bird as well.

Even though I live in a suburb of Boston which does not have a lot of green space, I am delighted to see hawks flying overhead on a surprisingly regular basis as I walk around town.

I think this is partly because I do not use a smart phone — so I tend to be looking at what is actually going on around me more than many of my fellow humans — who often seem to be living in a parallel universe defined by their phone.

Image by Stacy Vitallo from Pixabay 

Last week I may have even seen a bald eagle fly around a cemetery where I like to walk which overlooks a neighboring town’s lake.

As many of my fellow bloggers often remind me, there are few things better than spending time outside in/with the natural world!

Yet another deep breath in.

And deep breath out.

I released a new recording at the beginning of March — “Plant A Radish” from the musical The Fantasticks by Harvey Schmidt (music) and Tom Jones (lyrics).

You can click here to listen to it on several digital music platforms if you are curious.

Photo by Romain Mathon from Unsplash.

Now I am looking forward to seeing how many of the crocus bulbs I planted last fall have survived the hungry — and deserving — animals who amazingly manage to survive each winter living outdoors.

And I am waiting for another (warmer) windy day to call up my neighbors and go to a local playing field where we can enjoy a well-masked, kite-flying + pizza picnic.

Thank you to all the wonderful photographers at Pixabay and Unsplash whom I decided I needed to respect by taking the time to credit by name (and whose credits I wish I could figure how to center under their photos…)

Thank you to Doug Hammer for his sublime piano playing and archiving and engineering and mixing and mastering.

Photo by Dimitris Vetsikas from Pixabay. 

Thank you to the Sherman Brothers for writing so many great songs during the course of their impressive career.

Thank you to my friends in Toronto who gave me a slightly used but still very functional laptop computer several years ago — which has allowed me to blog, lead music classes via Zoom, create a new website, etc.

Thank you to planet earth for managing to support as much life as she does — even as we human beings continue to rip apart, poison, and contaminate ecosystems right, left and center with our wildly hubristic over-confidence and greed.

Photo by Will McMillan

Thank you for — and to — the WordPress community.

The illness of a fellow blogger has reminded me in recent days of how oddly intimate — and deeply supportive — the WordPress community can be.

So thank YOU for reading and listening to another one of my blog posts.

You are always welcome find me on Spotify, Pandora, Apple Music and other digital music platforms.

Now…

“Let’s go fly a kite up to the highest height.

Let’s go fly a kite and send it soaring up through the atmosphere — up where the air is clear.

Oh, let’s go fly a kite!”

Photo by Martin Blonk on Unsplash.

Say Moon, Say Stars, Say Love…

I am writing this blog post as I watch many inaugural events on TV.

So far everything has gone well.

For this I am deeply grateful.

Deep breath in.

Deep breath out.

The song for this blog post, “New Words,” was written by Maury Yeston — a professor at Yale who also created beautiful songs for the Broadway musicals NINE and TITANIC.

I first heard it sung by a woman named Andrea Marcovicci at Town Hall in New York City.

She also recorded it, along with a bunch of other great songs by contemporary songwriters, on a CD called NEW WORDS.

I performed it as part of an evening of SONGS ABOUT PARENTS AND CHILDREN, and again as part of a cycle of songs I shared at my 25th high school reunion.

Then last year this version gracefully jumped out of my archives of past rehearsals with pianist Doug Hammer — and I decided I would wait until after our new president was inaugurated to release it.

After four years of a certain kind of leadership, I have been hungry for a new tone…

A new sense of respect…

A new vision for the future…

And new words…

Another deep breath in.

And deep breath out.

Ahhhhh….

Yes.

New words!

I have been told — and sometimes have experienced with my own eyes and ears — that underneath anger and acting out and conspiracy theories and doomsday scenarios and threatening comments and violence and all sorts of drama is simply…

Fear.

And pain.

Pain from past hurts…

Past losses…

Past disrespects…

Past disappointments…

Past abandonments…

Past abuses of trust…

Past unhappiness of all different shapes and sizes and colors and tastes and smells and densities…

Yes.

Pain.

And fear.

I breathe them in.

And then I breathe them out.

Ahhhhh….

Like many of us, I’ve experienced new pains and new fears during this past year.

I don’t need to go into any of the details, which I have so far chosen to keep private.

Suffice to say that some of them involve rites of passage related to families and health and time and aging which all of us inevitably experience in one form or another.

And some of them involve things which have happened locally, nationally, and globally.

I have a sense that our new president — who has himself experienced some of the most profound losses a human being can experience — and our new vice-president — who has experienced life as a child of immigrants, as a woman, as a person of color, as an attorney general, and as a US senator — may be able to offer us some new words of consolation.

And comfort.

And acknowledgement.

And justice.

And inspiration.

And healing.

We shall see…

Yet another deep breath in.

And deep breath out.

As regular readers of my blog already know, in addition to writing postcards to potential voters in swing states and going for long walks in local cemeteries full of trees, I find refuge and inspiration in music.

The song “New Words” reminds me of the Music Together classes I lead each week — which give me much-needed infusions of joy and spontaneity and playfulness and creativity and connectedness and love.

We set aside the worries of the world for 45 precious minutes and are present with each other — having fun clapping and snapping and drumming and waving scarves and shaking rhythm eggs and singing and dancing together — even via Zoom.

Some families have stayed with me for many years — so I experience the happiness of bearing witness to their children’s new movements, new vocabulary, new ideas, new competencies, new stuffed animals, new Lego creations, and, yes, even new siblings!

Part of me is amazed that anyone would dare to bring a child into a world teetering on the brink of so many disasters.

Yet part of me also sees how these precious, blessed beings can awaken a profound sense of responsibility and interconnectedness in their parents.

I hear mothers who are breast-feeding begin to re-think what they are themselves eating — and start to become curious about how and where and by whom our food is grown and processed.

I bear enthusiastic witness to families’ participation in social justice marches, in political activism, in fighting for a more respectful and sustainable future here on planet earth.

And I feel hope.

I feel love.

I do not know if love really IS capable of overcoming systemic racism, economic inequality, environmental degradation, accelerating rates of extinction, ignorant non-mask-wearers, brain-washed insurrectionists, and the myriad other challenges facing us here in the USA.

A very brave man who was assassinated in Memphis, Tennessee over 50 years ago once said:

“We must meet the forces of hate with the power of love.” (1958)

“We must combine the toughness of the serpent and the softness of the dove, a tough mind and a tender heart.” (1963)

“Darkness cannot drive out darkness, only light can do that. Hate cannot drive out hate, only love can do that.” (1963)

“If I cannot do great things, I can do small things in a great way.” (1963)

And “I have decided to stick with love. Hate is too great a burden to bear.” (1967)

Yet ANOTHER deep breath in.

And deep breath out.

Ahhhhh….

This song inspires me to stick with love.

Thank you to Maury Yeston for writing it.

Thank you to Doug Hammer for playing such beautiful piano and then helping me to mix and master it via Zoom.

Thank you to the generous photographers at Pixabay for these glorious images.

And thank YOU for reading and listening to another one of my blog posts.

If for some reason you want to listen to this song on Spotify, Pandora, Apple Music, YouTube, Amazon or Tidal, you can click here for a link to those digital music platforms.

ps: As I was doing my final proof-reading of this blog post, I received an email from one of my favorite former Music Together parents.

She wrote:

“We have been enjoying your music on Spotify! I started following you, and now new songs of yours come up on my new release playlist that Spotify sends out periodically.

Scarlet (her super-sensitive, fairy-like, delightful daughter) especially loves ‘New Words’ — she stopped what she was doing and came over and gave me a hug when it came up on my playlist. She found it so moving, and she didn’t even know it was yours.”

One more deep breath in.

And deep breath out.

Ahhhhh…

This is why I do what I do.

If you are curious to learn more about my musical life here on planet earth, you are welcome to visit my website.

You can also find me on Spotify, Pandora, Apple Music and other digital music platforms.

Silver Bells

This year December arrived in Boston with rain and wind.

I had to lead my final Music Together class of the fall term via Zoom rather than outside in a local park — which is where, wearing masks and sitting in a circle on blankets set 10 feet apart from each other, we have been meeting weekly for the past two and a half months.

We have a two-week session featuring winter holiday songs starting next week, and then a few weeks of downtime.

I never imagined I’d be leading music classes out of doors in December, but if the sun is shining — and we wear enough layers of clothing — most families have been quite enthusiastic about making music outside.

2020 is a year full of surprises, and we are doing our best to remain flexible — and safe!

As regular readers of my blog posts know, during this pandemic I’ve begun distributing songs to digital music services such as Spotify, Pandora and Apple Music.

During the month of December I hope to release one winter holiday song per week.

You can click here to listen to “We Need A Little Christmas” and click here to listen to “Winter Wonderland” if you are curious.

I’ll also be sharing a few holiday songs in blog posts.

Jay Livingston and Ray Evans

Today’s song — “Silver Bells” — was written by Jay Livingston and Ray Evans for a 1950 movie, The Lemon Drop Kid, where it was sung by Marilyn Maxwell and Bob Hope.

Jay (who wrote the music) and Ray (who wrote the lyrics) were a famous songwriting team with many hits to their credit including “Mona Lisa” and “Que Sera Sera.”

They were also both Jewish.

Jay was born Jacob Harold Levison in 1915 in a small industrial suburb of Pittsburgh, PA, and Ray was born Raymond Bernard Evans the same year in Salamanca (not far from Buffalo) N.Y.

They met at the University of Pennsylvania when they both joined the university dance band, and their songwriting partnership endured until Livingston’s death in 2001.

As I have noted in previous blog posts, many of my most favorite winter holiday songs were written by Jewish songwriters.

This fact is an example (to me, at least) of the pluralism that the USA has occasionally been able to embrace — and model for others — during our ever-evolving history.

I love that “White Christmas,” “Rudolph, The Red-Nosed Reindeer,” and “The Christmas Song” (among many others!) were written by Jewish songwriters — many of them immigrants or the children of immigrants.

I always associate “Silver Bells” with my mother’s mother — a hard-working private nurse who lived in the borough of Queens for most of her life and no doubt did a lot of her holiday shopping on “city sidewalks, busy sidewalks — decked in holiday style.”

In the movie The Lemon Drop Kid, Bob Hope’s character is involved with gambling and ends up owing $10,000 to a mobster.

His solution is to disguise himself as Santa Claus and raise money from holiday donations.

In some interviews Jay Livingston explained that the inspiration for the song came from the bells rung by Salvation Army volunteers during the holiday season.

However, in an interview on NPR after Livingston had died, Ray Evans said that they were inspired by an actual bell which one of them kept on his desk at Paramount Pictures, where they were under contract at the time.

Probably the song was inspired by both of these things…

Not every song has a great verse — which is often why they are not included in popular recordings.

But “Silver Bells” has a lovely verse:

“Christmas makes you feel emotional…

It may bring parties or thoughts devotional…

Whatever happens and what may be, here is what Christmas-time means to me.”

Deep breath in.

Deep breath out.

I hope we are able to consume fewer things this holiday season.

One of the reasons why I am excited about releasing songs via digital music platforms is that I no longer need to create a CD to share my music.

I found these rather stunning statistics on the web site of a waste disposal company in Sioux Falls, South Dakota.

• To manufacture a pound of plastic (30 CDs per pound), it requires 300 cubic feet of natural gas, 2 cups of crude oil and 24 gallons of water.
• It is estimated that it will take over 1 million years for a CD to completely decompose in a landfill.
• People throw away millions of music CDs each year!
• Every month approximately 100,000 pounds of CDs become obsolete (outdated, useless, or unwanted).

Yikes!

A New Jersey company called Back Thru The Future says, however, that “CDs can be recycled for use in new products. Specialized electronic recycling companies clean, grind, blend, and compound the discs into a high-quality plastic for a variety of uses, including: automotive industry parts, raw materials to make plastics, office equipment, alarm boxes and panels, street lights, and electrical cable insulation, and even jewel cases.”

And they offer a free recycling service if one pays to send one’s old CDs, DVDs and hard drives to them:

“CDs and hard drives are made of high value recyclable material – polycarbonate plastic and aluminum respectively. The recycling of CDs and hard drives saves substantial amounts of energy and prevents significant amounts of both air and water pollution attributed to the manufacturing of these items from virgin material.”

Maybe THAT will be one of my holiday projects this year… recycling CDs and DVDs that I will never listen to again.

Another deep breath in.

And deep breath out.

The news here in the USA seems to become simultaneously more hopeful (with the Biden-Harris team starting to build their administrative teams) and terrifying (with supporters of our current president calling for violence and even martial law) each day that we move closer to a graceless and belligerent transition of power.

So I will end this blog post with a bunch of lovely images from Pixabay which the song “Silver Bells” reminded me of.

Thank you to Jay and Ray for writing this song.

Thank you to the executives at Paramount who kept renewing Jay and Ray’s songwriting contracts.

Thank you to Doug Hammer for being such a terrific collaborator.

Thank you for the sun continuing to shine on our blue-green planet.

Thank you for the new, more energy efficient windows in our basement — with blown insulation in our walls on the horizon…

Thank you for the natural gas (energy collected by plants long ago from the sun) now fueling our furnace and kitchen stove.

Thank you for vegetables — which capture energy from the sun and convert it into delicious things for us to eat, such as bell peppers.

Thank you for all the families who have chosen to make music together with me during the past few years. I am grateful for our musical sessions, which serve — for me at least — as a much-needed respite from the unsettling news swirling through our lives these days.

And thank YOU for reading and listening to this blog post!

ps: You are always welcome to visit my website, and you can find me on Spotify, Pandora, Apple Music and other digital music platforms.

Questions…

“Questions” by Steve Sweeting and Will McMillan

I mentioned in my last blog post that I’ve been doing a lot of reading and watching educational videos about how the music industry works.

Today’s song — which I wrote with pianist/composer/songwriter Steve Sweeting many years ago — is perfectly themed for my current state of understanding (and lack thereof…)

In case you are the least bit curious, here’s a little of what I’ve been learning.

As a singer and songwriter, I am supposed to file for two types of copyright: sound recording (also known as the “master recording”) and song composition (of the actual song).

Song compositions generate payments to songwriters and music publishers — and sound recordings generate payments to recording artists and record labels.

So it turns out I need to learn how to wear four business hats: recording artist, record label, songwriter, and publisher.

Actually I also need to learn how to wear a publicist hat, a business manager hat, a booking agent hat, a social media/advertising hat — and the list goes on and on…

I have learned that sound recordings are given a unique ISRC code so that they can be tracked around the planet as they are downloaded, streamed, enjoyed via satellite radio, played in elevators as Muzak, etc.

In theory this tracking leads to various payment streams for the artist who recorded the song, their record company, the person (or team) who wrote the song, and their publishing company.

Also each original song composition is given a unique ISWC code for tracking purposes.

For example, Dolly Parton wrote and recorded “I Will Always Love You” when she made a very difficult decision to leave Porter Wagoner’s TV show.

This song has a unique ISWC code as a composition AND a unique ISRC code as her particular sound recording of it.

I loved reading in a 2012 interview about how Ms. Parton came to write this iconic song.

Porter and Dolly

“I was trying to get away on my own because I had promised to stay with Porter’s show for five years. I had been there for seven. And we fought a lot. We were very much alike. We were both stubborn. We both believed that we knew what was best for us. Well, he believed he knew what was best for me, too, and I believed that I knew more what was best for me at that time. So, needless to say, there was a lot of grief and heartache there, and he just wasn’t listening to my reasoning for my going.”

She continued, “I thought, ’He’s never going to listen. He’s just going to bitch every day that I go in to talk about this.’ So I thought, ’Well, why don’t you do what you do best? Why don’t you just write this song?’ Because I knew at that time I was going to go, no matter what. So I went home and out of a very emotional place in me at that time, I wrote the song, ’I Will Always Love You.'”

“It’s saying, ’Just because I’m going doesn’t mean I won’t love you. I appreciate you and I hope you do great and I appreciate everything you’ve done, but I’m out of here. And I took it in the next morning. I said, ’Sit down, Porter. I’ve written this song, and I want you to hear it.’ So I did sing it. And he was crying. He said, ’That’s the prettiest song I ever heard. And you can go, providing I get to produce that record.’ And he did, and the rest is history.”

Since then her song has been recorded by a lot of other singers — most famously by Whitney Houston.

And each recorded version has its own unique ISRC code as part of its metadata (plus Dolly’s ISWC code for writing the song) so that it can be monitored — and monetized — via unimaginably vast banks of computers keeping track of playlists, streams, downloads, broadcasts, Muzak services, etc.

Right now the music industry is in the middle of a paradigm shift which began when digital recording technology and CDs arrived in our lives.

When I was first making music as a young adult — performing with a jazz pianist, in a folk duo, and as part of an original five-person pop/rock band — I earned money from live gigs and from the sale of cassettes and CDs.

That era is over…

Music has gone from being sold on an analog object — such as a piano roll, wax cylinder, record, or cassette tape — to being sold as a long string of zeros and ones.

The zeros and ones which encoded music onto CDs allowed us to make copies of songs using our computers… and then share those copies with the rest of the world.

We could share them with our other devices (such as an iPod), with our friends and family, and eventually — via sites like Napster — with anyone else on the planet who also had a computer.

And no one got paid for any of this free file sharing!

Since then the music industry has continued to evolve — with streaming platforms such as Spotify entering our lives — but revenues for recorded music are still way down.

And now we also have COVID-19 reducing opportunities for musicians to earn money from live performances.

In fact many small music venues in the Boston area have already closed their doors…with more likely to succumb in upcoming months.

Deep breath in.

Deep breath out.

It’s hard to know what’s coming next!

My current plan, since the wonderful Doug Hammer is not yet welcoming customers back into his recording studio in person, is to work with him remotely (using Zoom) and polish some songs we’ve recorded in past years.

And write a few more blog posts explaining what I am learning about the music industry.

And continue to wear a face mask when I leave my house.

And ride my bike and walk whenever possible.

And lead Music Together classes — both outside (wearing a new face shield + wireless headset) and inside via Zoom.

And give as much money as I can afford to various political candidates and non-profit organizations who are doing their best to prevent our country from lurching into an autocracy.

Another deep breath in.

And out.

Thank you to Pixabay for their lovely images.

Thank you to Steve Sweeting for writing songs with me and to Doug Hammer for helping us record a bunch of them.

And thank YOU for reading another blog post!

A Melody Played In A Penny Arcade…

As longtime readers of my blog probably recall, when I was laid off from my day job as assistant director of the Cambridge Center for Adult Education seven years ago, I decided to devote my life to making music.

And writing songs.

And leading Music Together classes.

A few months after my lay-off, a Boston-area jazz pianist named Joe Reid reached out to see if I might like to do a gig at the retirement community where his dad lives.

I had met Joe several years earlier — when HE was in the midst of a life transition from working full-time as a lawyer to working full-time as a musician — and promptly said, “Yes!”

We needed to prepare an hour of music, and I mentioned that I had long loved many songs co-written by composer Harold Arlen — a list which includes “My  Shining Hour,” “I’ve Got The World On A String,” “Accentuate The Positive,” “Anyplace I Hang My Hat Is Home,” “Come Rain Or Come Shine,” “Blues In The Night,”  “That Old Black Magic,” “If I Only Had A Brain,”  “Over The Rainbow,” “Happiness is Just A Thing Called Joe,” “Let’s Fall In Love,” “Get Happy,” and “It’s Only A Paper Moon.”

I had sung a few of these songs in a program of music featuring the lyrics of Johnny Mercer with singer Bobbi Carrey and pianist Doug Hammer — because one of Mr. Arlen’s many collaborators was Mr. Mercer.

And I was familiar with others due to the movie version of The Wizard Of Oz, for which Mr. Arlen composed the music and Yip Harburg wrote lyrics (and a lot of uncredited dialogue  —  a topic I will explore in a future blog post dedicated to Yip).

I biked over to Joe’s house — in the town next to mine — with a bunch of sheet music.

We spent about 90 minutes running through thirteen songs — picking comfortable keys and exploring tempos/feels for each of them.

And that was it for rehearsing with Joe.

Joe (on the left) is very much a “let’s-trust-in-the-moment” kind of musician who welcomes improvisation and spontaneity.

I, too, value spontaneity — and I also appreciate structure.

So I booked time with pianist Doug Hammer at his studio north of Boston.

We recorded all of the Arlen songs once or twice so that I could have a set of piano-only tracks to play on my iPod as I walked around Arlington memorizing lyrics.

And some of the versions we recorded — such as the version of “It’s Only A Paper Moon” included in the player at the beginning of this blog post — came out surprisingly well.

“It’s Only A Paper Moon” was written for a 1932 play (not a musical) called The Great Magoo set in Coney Island which was not a big success.

It is credited to Arlen, Harburg, and impresario Billy Rose — who was somewhat infamous for adding his name to the songwriting credits of other people’s work after having contributed an idea or two during the creative process.

You may recognize Rose’s name because he was married for many years to the great performer Fanny Brice, and his character appears in the movie Funny Lady starring Barbra Streisand as Brice.

Somehow this Coney Island hot dog made me think of him…

Luckily the song was rescued from The Great Magoo and included in a movie called Take A Chance the next year — which led to successful recordings by a wide range of musicians over the past 70+ years.

I love the metaphors and imagery used in the song — all things one might encounter at an amusement park like Coney Island.

I also love the sentiment of the song — that if someone believes in and loves another person, their belief and love can be transformative.

And looking at these photos, I am struck by the way an amusement park transforms from day to night…

Valentine’s Day is just around the corner, and I would like to dedicate Doug’s and my version of “It’s Only A Paper Moon” to all of the folks who have at one time or another believed in me — including friends and acquaintances in the WordPress blog-o-sphere.

Your positive feedback regarding my music and my blog continues to touch and inspire me every day.

Thank you to Pixabay for the great color photographs of Coney Island and other amusement parks around the world.

Thank you to Harold Arlen and Yip Harburg and Billy Rose for writing this wonderful song.

And to Joe Reid for asking me to do a gig with him seven years ago.

Since then Joe and I have done hundreds of gigs together and created twenty five different one-hour musical programs.

Thank you to Doug Hammer for his engineering excellence and his playful virtuosity at the keyboard.

And THANK YOU for reading and listening — and even leaving a comment or two from time to time.

Happy Valentine’s Day!