An Attitude Of Gratitude


Today’s song is actually a two-song medley from the musical Sweet Charity.

I included it because the first song, “I’m A Brass Band,” mentions the Macy’s Thanksgiving Day parade, which is coming up soon…

I learned online that this year there will be very little marching.

Most of the performances and activity will unfold where the parade usually ends: Herald Square — which is the intersection of Broadway, Sixth Avenue, and 34th street in Manhattan.

Some segments will be pre-recorded and some will be live.

And there will be performances by the casts of many Broadway shows — all of which have been on hiatus for months due to Covid-19.

John McMartin and Gwen Verdon

Sweet Charity was a big hit on Broadway in 1966 starring Gwen Verdon and John McMartin.

Bob Fosse and his wife/muse Gwen Verdon had seen a Fellini movie, The Nights Of Cabiria, and Fosse soon began writing a treatment about how it could become a musical.

Lyricist Dorothy Fields and composer Cy Coleman joined the creative team — and after they had written a few songs, Bob convinced his old friend Neil Simon to work on the script.

I wrote a blog post about Dorothy Fields three years ago which you can read by clicking here if you are curious.

She had an extraordinary career as a lyricist, co-writing hit songs from the late 1920s through the early 1970s.

I’m not sure why she is not a household name similar to Cole Porter or Irving Berlin — both of whom, incidentally, she worked with as a librettist (script writer).

Maybe because she was a woman?

Maybe because she didn’t hire publicists to keep her name in the papers?

When many of her friends and contemporaries like Ira Gershwin, Harold Arlen, and Richard Rodgers had become frustrated by the arrival of rock & roll on the cultural landscape, Fields teamed up with a composer almost half her age — Coleman, who was 37 years old — and experienced one of the biggest hits of her entire career when she was 61!

Dorothy Fields and Cy Coleman

Her lyrics for the songs in Sweet Charity are witty and hip in a pre-summer-of-love-kinda-way.

And I love the verse for “I’m A Brass Band.”

“Somebody loves me — my heart is beating so fast. All kinds of music is pouring out of me — somebody loves me at last…”

I feel very loved — or perhaps a more understated word would be appreciated — by the WordPress community.

I am not sure why, but the average number of people visiting my site has doubled in recent weeks.

And so far in November I have already had more people visit the site than in any previous month!

The WordPress community continues to feel like a blessed parallel universe — where respect for others is still a norm.

I love reading other people’s blog posts, and I love reading the comments that each post inspires.

And I love seeing increasingly familiar names turn up in the comments section of an ever-widening variety of blog posts.

I also love when people take the time not only to read and listen to one of my blog posts but also to leave a comment.

Thank you!!!

Last Sunday I was listening to a sermon via Zoom while addressing postcards to potential voters in Georgia — encouraging them to register to vote in the upcoming senate elections.

The theme of the sermon was gratitude — and how powerful a practice it can be in our lives.

As soon as one slows down and starts looking around, most of us can find a seemingly endless stream of things to be grateful for.

And Thanksgiving IS a traditional time to count one’s blessings.

So let’s begin…

I am grateful for music and for great songwriters like Dorothy Fields and Cy Coleman.

I am grateful for pianist/engineer Doug Hammer, with whom I have recorded (and mixed and mastered) many fun versions of songs over the past 20+ years — some of which I share on this blog and some of which I am starting to share via Spotify, Apple Music, Amazon, Pandora, etc.

I am grateful for marching bands — who do not need any electricity at all to generate a soul-stirring amount of sound and excitement.

I am grateful for friends and family.

I am grateful for food, clothing and shelter.

I am grateful for photosynthesis — which creates oxygen for all of us animals to breathe and transforms energy from a nearby star (our sun) into something we can eat and use to fuel our own lives.

I am grateful for all the folks who grow and harvest and package and deliver food for us city-dwellers to eat.

I am grateful for the two twenty-somethings who recently gave my bike a complete tune-up at a store they help to run not far from where I live.

I am grateful for electricity, my laptop computer, and the internet — which allow me to write blog posts, record songs, and share them with anyone else in the rest of the world who also has access to electricity, a computer and the internet.

I am grateful for my Music Together families — with whom I hop and clap and kick and spin and dance and sing each week (in a local park wearing lots of masks and also via Zoom).

I am grateful for the men installing new, more efficient windows in our basement today.

I am grateful to my friend, the jazz pianist and composer Steve Sweeting, who gave me the sheet music for “I’m A Brass Band” many years ago because he thought I might like to perform it some day…

I am grateful for all the folks around the world and in the USA who are actively engaged in the challenging, ever-evolving work of living in a democracy.

I am grateful to Pixabay and ye olde internet for the images in this blog post.

A happy and healthy Thanksgiving to you and yours

And, of course, I am grateful to YOU for reading and listening to another one of my blog posts.

What are YOU feeling grateful for these days?

Home For The Holidays…

The holidays are approaching, and I am staying home.

As Covid-19 cases rise exponentially around the USA, we are being advised not to travel.

And to limit all gatherings to as few people as possible.

And to wear masks.

And to socialize outside if possible.

It’s very difficult not to spend time with loved ones, especially during the holiday season.

I’ll participate in a couple of Zoom gatherings on Thanksgiving and probably on Christmas, too.

Deep sigh…

I recorded this song by Robert Allen and Al Stillman a few years ago with pianist Doug Hammer at his studio north of Boston.

Composer Robert Allen and lyricist Al Stillman wrote several hits for Perry Como (Allen was his accompanist for many years) and also for Johnny Mathis — such as “It’s Not For Me To Say” and “Chances Are.”

Al Stillman also had a decades-long career as a staff writer at Radio City Music Hall.

Both of them were Jewish.

As I have written in past blog posts, a lot of my favorite holiday songs were written or co-written by Jewish songwriters — including “White Christmas” by Irving Berlin, “Let It Snow, Let It Snow, Let It Snow” by Jule Styne and Sammy Cahn, and “Rudolph The Red-Nosed Reindeer” by Johnny Marks.

Most of these composers and lyricists were immigrants or the children of immigrants.

I think of these songs as valuable threads in the social fabric/history of the USA.

However, when I was mixing this particular song with Doug via Zoom earlier this month, one word in the lyrics jumped out at me in a new way.

Dixie.

This year’s activism in the USA has changed the way I hear certain words — such as “Dixie.”

According to an article I found on WRAL.com — a North Carolina TV station’s website — “historians disagree about the origins of the word ‘Dixie.'”

“Some believe it derives from the Mason-Dixon line, between Maryland and Pennsylvania (which) was drawn in 1767 to resolve a border dispute between the colonies but later became the informal border separating the South and North.”

Other historians trace the word “Dixie” back to $10 notes in Louisiana in the 1800s.

On the back of these notes was printed “dix” — which means ten in French — and the Citizens’ Bank of New Orleans issued many of these notes before the Civil War.

They became known as “Dixies.”

The word “Dixie” appears in a LOT of popular songs dating from the middle of the 19th century right through most of the 20th century.

“I Wish I Was In Dixie” a.k.a. “Dixie” was written by Daniel Decatur Emmett and published in 1859 — although some historians believe that Ohio-born Emmett appropriated/stole it from an African-American family (also from Ohio) who performed for many decades as the Snowden Family Band.

“Dixie” originally appeared in minstrel shows — a very popular form of entertainment in which white performers impersonated and made fun of black people using racist stereotypes — which Dan Emmett performed in and produced all around the USA.

Then it became a popular Confederate Army marching song and an unofficial national anthem of the Confederacy.

I was surprised to learn that it was also a favorite song of Abraham Lincoln (who was born in Kentucky) and that many different sets of lyrics for “Dixie” have been written over the years by people living north AND south of the Mason-Dixon line.

You can read a Wikipedia article about the song by clicking here.

After the Civil War, the word “Dixie” continued to turn up in popular songs — often written by northern songwriters who had never even visited the south.

It was usually used to evoke a mythical way of life full of relaxed pleasures while completely ignoring the horrific history of slavery (which happened not just in the southern states but all over the USA, including on an estate in Medford, MA, just a short bike ride away from where I live outside Boston).

This is why the musical group The Dixie Chicks (whose name I did not realize was in part a pun on a beloved album and song, “Dixie Chicken” by the rock band Little Feat) recently decided to rename themselves The Chicks.

This is also why commissioners in Florida’s Miami-Dade county voted unanimously earlier this year to rename sections of the Old Dixie Highway under their jurisdiction as the Harriet Tubman Highway in honor of the abolitionist who led many, many enslaved people to freedom.

So… as soon as Doug is comfortable hosting other human beings in his recording studio again, I am going to re-record the line in “Home For The Holidays” which mentions Dixie — singing “Georgia’s southern shore” instead of “Dixie’s southern shore.”

I will also continue to wear a face mask whenever I go outside.

And I will remain grateful to live in a state led by a governor — and a Republican at that! — who respects science and scientists.

And I will continue to light a candle for all of the folks we have lost to Covid-19 so far.

Deep breath in…

Deep breath out…

Thank you to all of the health care professionals and hospital support staff who take care of folks with Covid-19 — even the people who refuse to wear masks or respect the fact that we are living in a public health emergency.

Thank you to all of the essential workers who staff our food stores and deliver our packages.

Thank you to Al Stillman and Robert Allen for writing “Home For the Holidays.”

Thank you to Doug Hammer for his musical AND production skills.

Thank you to Pixabay for most of the beautiful images in this blog post.

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

May you have safe and loving holidays this year despite our current pandemic.

Another deep breath in…

And deep breath out…

Happiness…


is a thing called Joe!

This song was composed by Harold Arlen with lyrics by one of his top-three collaborators, Yip Harburg.

They wrote it for the great Ethel Waters to sing in a 1943 movie version of the musical Cabin In the Sky made by the Freed unit at MGM.

Ethel Waters

The film had a rather extraordinary cast — including Eddie “Rochester” Anderson, Lena Horne, Louis Armstrong, Butterfly McQueen and Duke Ellington.

It was also the first movie directed by Liza Minnelli’s father, Vincente — who before that had been a successful designer and director on Broadway.

Ethel Waters had also starred in the original Broadway version of Cabin in The Sky, which was directed by the famous choreographer George Balanchine with music composed by fellow Russian Vernon Duke and lyrics by John Latouche.

I’m not sure when I first heard this song, but it was a natural to include in the very first program of music — featuring songs composed by Harold Arlen — which I put together with pianist Joe Reid.

Joe Reid

Joe had called me up and asked me if I would like to do an hour of music with him at a retirement community called Brookhaven (where his dad lives).

This was a few months after I had been laid off from a non-profit where I had worked for 16 years, and I said, “Yes, please!”

Joe has proved to be an excellent collaborator.

During the past seven years we have put together one-hour programs of music featuring songs by — and stories about — Harold Arlen, Sammy Cahn, Hoagy Carmichael, Dorothy Fields, the Gershwin Brothers, Oscar Hammerstein, Yip Harburg, Lorenz Hart, Jerome Kern, Frank Loesser, Johnny Mercer, Cole Porter, Jule Styne, and Harry Warren as well as one-hour programs of songs written for Fred Astaire, Bing Crosby, Judy Garland, and Ethel Merman.

We also have assembled programs featuring Irish-American songs, songs in honor of Father’s Day, songs in honor of Mother’s Day, songs written for Disney movies made while Walt was still alive, and winter holiday songs written by Jewish songwriters.

Joe and Will

In addition to his agile musicality as a jazz pianist, Joe brings a reliable hybrid car and a level temperament to our collaboration.

He always shows up on time, and has only missed one gig in the past eight years due to an unusually bad cold.

He is also passionately involved with politics and recently installed solar panels on the roof of his house.

He is a musical mensch.

In addition to making music together, we have spent hundreds of hours driving to and from gigs in his Prius — discussing the current political climate, his extended family, how he transitioned from corporate lawyer to full-time pianist, and much more…

We were on track to perform over seventy five gigs together in 2020 before Covid-19 stopped us in our tracks.

In the past seven months we’ve performed together once — outside and well-masked — at one of our favorite retirement communities, Springhouse.

We watch the Covid case numbers rising again in Massachusetts and wonder when we will be able to perform together again…

This song also takes on a new resonance following the recent election of Joe Biden and Kamala Harris to lead our country for the next four years.

Joe Biden celebrating his 75th birthday

Many of us are very excited by this election.

I am also aware that there are many who are sad and angry that their candidate lost…

Deep breath out.

Deep breath in.

I remain very grateful to live in a country that holds presidential elections every four years.

I also am truly grateful to live in a country with a system of checks and balances between our president, our congress, our judicial system, and our investigative media.

Joe Biden and Kamala Harris

I am hopeful that our country can re-discover a sense of respect and inclusivity with different leadership in the White House.

In my Music Together classes I see on a weekly basis how strong the “monkey see, monkey do” effect is…

Not just on children, but on everyone!

One of the main ways we learn what is possible — and how to behave — is by seeing other human beings in action.

Joe Biden brings compassion and empathy — which he gained in part due to the heart-breaking losses of his first wife Neilia, baby daughter Amy, and grownup son Beau — to the White House.

He also brings a decades-long history of collaboration in the US Senate, working with Republican peers across the aisle on behalf of the residents of the USA (and also on behalf of many corporate donors and lobbyists…)

We shall see how he governs!

Joe and Jill Biden stepping off an Amtrak train…

I am also very curious to see who Joe and Kamala invite to join them as part of their cabinet and staff…

And as someone who loves to travel via trains, I like that Joe is a long-time commuter — from Washington, DC to Delaware — on Amtrak.

Thank you to Joe Reid for seven years of musical collaboration.

Thank you to all the poll workers who stepped up — some for the first time! — to run our recent national election.

Thank you to Wikimedia Commons and to Stephen Fischer for the photos in this blog post.

Thank you to pianist Doug Hammer for recording this song with me at his studio north of Boston (where I record all of my musical programs so that I have piano-only versions with which to practice…)

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

Another deep breath in.

And deep breath out.

Dancing In The Dark…

I have long loved the song “Dancing In The Dark.”

It was originally written for a 1931 revue called The Band Wagon — which was notable for being one of the last times that Fred Astaire and his sister Adele performed together on Broadway.

The lyrics feel like an existential poem to me.

Howard Dietz and Arthur Schwartz

They were written by Howard Dietz — who also co-wrote the script for The Band Wagon with George S. Kaufman — plus music by Arthur Schwartz.

Dietz went on to become the head of public relations at MGM movie studios.

He is reputed to have chosen their lion logo as well as their motto: Ars Gratia Artis (art for art’s sake).

While based in MGM’s New York office, he wrote co-wrote songs for decades with Arthur Schwartz, including “That’s Entertainment” for MGM’s film version of The Band Wagon in 1953 — which again featured Fred Astaire, who performed with Cyd Charisse while…”Dancing In The Dark.”

Fred Astaire and Cyd Charisse

The message of the song seems particularly appropriate in the days leading up to a very important national election here in the USA.

I have been limiting my exposure to radio and TV because most of the news is simply very high-octane speculation.

However, I was happy to learn that early voter turnout is very high.

People are engaged with the political process!

But I am also concerned that gun/ammunition sales are very high (although I have been told this often happens when gun-using folks in the USA fear a Democratic victory which might lead to future firearm regulations…)

The state of our democracy can seem very dark these days — with our president repeatedly saying that he may not honor the results of our upcoming election while simultaneously casting seeds of doubt about the voting process itself.

And he continues to hold large public rallies during a health pandemic — after one of which his ally (and former presidential candidate) Herman Cain died from COVID-19.

All the while hospitals in cities around the United States fill up to capacity…

And nurses, EMTs, and doctors — who are working 12 hour shifts day in and day out to save the lives of their fellow citizens — continue to plead with us to wear our face masks, wash our hands, and maintain our social distancing…

I am truly amazed by our health care workers’ dedication, selflessness, and love for their fellow human beings.

I am amazed that they show up for work — day after day and night after night — while putting their own lives AND the lives of their loved ones at risk for catching this virus.

I am amazed that they treat the folks who deny the threat of Covid-19 and refuse to wear a mask with as much compassion as they treat the folks who wore a mask and still got sick.

What they are doing is astounding.

I don’t have adjectives to describe how I feel about the virus-deniers.

Or at least adjectives that I want to put into print.

I do sometimes wonder if the extreme dysfunction unfolding in our country is a symptom of mother nature getting serious about reducing the number of human beings who now live on (and some might say over-run and infest) planet earth…

Denying the science of how a virus spreads and multiplies — exponentially! — is a form of madness which has already killed hundreds of thousands of people here in the USA…

I see it as being very similar to denying the science of climate change.

One can deny it all one wants…

Yet the scientific processes — such as the fact that a virus can spread exponentially if unchecked and will swiftly overwhelm the staff of your local hospital — will continue to unfold whether one denies the scientific realities or not.

The fact that our earth’s atmosphere is changing due to our human (mis)use of fossil fuels since the start of the industrial era is also undeniable.

In fact I recently saw a reprint of an article from the early 20th century in which scientists described and predicted how our increasing use of fossil fuels would alter the earth’s atmosphere.

Some people have been aware of this challenge for generations!

The fact that climate change is increasing the severity of storms, increasing the frequency of forest fires, and changing the patterns of how ecosystems around the planet do (or don’t) stay in balance is undeniable.

It’s all over the news in the USA.

It’s what hundreds if not thousands of scientists have been warning about for decades.

Will we as a species continue to deny it is happening?

Will we continue to live our lives as if nothing huge and profound is changing?

Continue to drive our SUVs and pickup trucks as many miles as we (or our credit cards) can afford?

Continue to travel as much as our budgets (or credit cards) will allow?

Continue to refuse to put solar arrays on our roofs?

Continue to consume more resources than can be sustainably grown/harvested/produced here on planet earth?

Fundamental patterns and cycles here on planet earth will continue to tip out of balance regardless of what our leaders may or may not be saying.

There are scientific processes and realities at work which can’t be denied or spun or ignored until they go away.

Deep breath in.

Deep breath out.

It is indeed an extraordinary time to be alive…

I hope and trust that we will persevere.

That enough people will wake up to the realities of science.

That enough people will realize that wearing a mask and continuing to practice social distancing is in fact a very loving and respectful thing to do for one’s self, for one’s family, for one’s co-workers, for one’s neighborhood, and for all the folks who risk their lives working at one’s local hospital.

And that we can continue to dance through this period of darkness, keeping a sense of love and light and fairness and respect burning in our hearts as we cast our ballots.

Thank you to Howard Dietz and Arthur Schwartz for writing this song during another very challenging era in our country’s history…

Thank you to pianist Doug Hammer for making music and recording music with me for the past 20+ years AND then for fixing and mixing songs with me from his home studio via Zoom in recent months.

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

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

I truly treasure our community of WordPress bloggers and readers and commenters…

I’ll Cover You…

Today’s blog post features a song from Jonathan Larson’s hit musical Rent.

I recorded it several years ago with fellow singer Bobbi Carrey and pianist Doug Hammer for a CD called If I Loved You.

You can find it on Spotify if you are curious by clicking here.

It is an appropriate choice for today’s blog post because — in addition to learning how to release my original songs — I am learning how to release cover songs.

As you probably already know, a cover song is a new interpretation/recording of someone else’s song.

It was once a much more common phenomenon than it is today, with several versions of a new hit song – recorded by singers such as Bing Crosby, Rosemary Clooney, Frank Sinatra, Tony Bennett, Peggy Lee, Dean Martin, and Doris Day — climbing the charts at the same time.

Then came singer-songwriters, rock bands who write their own material, and producers who co-write hit songs with/for pop stars… so nowadays it is less common for major recording artists to release cover songs.

Pianist Doug Hammer has a wonderful recording studio in the lower level of his home, and I have been recording all of my rehearsals with him for over twenty years.

If you are curious to learn more about Doug and his studio, you can click here for a lovely interview with him.

Every now and then he and I come up with a particularly fun or moving interpretation of someone else’s song.

In recent years I’ve shared a bunch of these recordings via my blog…

Now, during this period of Covid-19 isolation, we are polishing/tweaking many of them — with me listening at home via Zoom and Doug in his studio — so that I can distribute them to anyone in the world who has access to Spotify, Apple Music, Amazon, and other digital platforms.

In order to distribute a cover song, one needs to pay for a mechanical license to the person who wrote the song.

This income is often split with the songwriter’s publishing company.

Originally a mechanical license allowed someone to reproduce a song in mechanical form — starting with player piano rolls, wax cylinders, and early phonographs.

Nowadays, even though it is still called a mechanical license, there is very little “mechanical” left in the process — since most of the music sold and listened to these days is distributed digitally in streams of zeros and ones.

You can read a terrific historical summary of how recording technology has evolved over the past 100+ years on Wikipedia by clicking here.

Money paid for a mechanical license goes to the songwriter and possibly their publisher.

There are at least three organizations in the USA where one can purchase mechanical licenses — the Harry Fox Agency (which has been around for a long time), Songfile (which I think is affiliated with the Harry Fox Agency) or Easy Song Licensing (which is the one I am using).

The US Government sets the rates for mechanical licenses, which started out in 1909 at two cents — meaning the songwriter and publisher each earned a penny — and remained unchanged for 67 years.

In 1976 Congress created a Copyright Royalty Tribunal, which decided that mechanical rates should be raised to 2.75 cents.

In 1987, the Music Publishers Association, the Songwriters Guild Of America and the Recording Industry Association of America successfully filed a joint proposal with the Copyright Royalty Tribunal to ask that mechanical royalty rates be increased every two years, based on U.S. inflation data.

Currently the statutory mechanical royalty rate is 9.1 cents per song per unit for recordings of compositions up to five minutes (5:00) in length. If your recording is longer than five minutes, you have to pay additional 1.75 cents per minute or fraction thereof.

The next song I am releasing was written by a fellow songwriter named Barbara Baig whom I met twenty years ago at open mics I used to host in Harvard Square.

My recording of her song is 5 minutes and 39 seconds long; so I paid her and her personal publishing company in advance for 100 digital downloads — (100 x 9.1 cents) + (100 x 1.75 cents) = $10.85.

If all goes well, my recording of her song will be available for streaming and downloading next month.

Once it is released, I will need to register my recording with a non-profit organization called SoundExchange — which was first created by the Recording Industry Association of America and then expanded by Congress — to collect and distribute digital performance royalties for sound recordings. 

And I think Barbara will need to register her song (and my recording of it) with an even newer nonprofit organization — the Mechanical Licensing Collective which will soon be issuing and administering blanket mechanical licenses for eligible streaming and download services in the United States. 

The Mechanical Licensing Collective will also collect royalties due under those licenses and pay them to songwriters, composers, lyricists, and music publishers.

I may write more about both of these organizations in future blog posts.

Basically they are attempts to keep up with the ever-changing technologies of how we purchase and listen to recorded music.

And they are a perfect example of how many important details there are to learn when one is beginning to share one’s music with the world…

Thank you to Bobbi and Doug for their contributions to our recording of “I’ll Cover You” — and to Jonathan Larson for writing it in the first place!

Thank you to Pixabay for the great images.

Thank you to everyone who has registered to vote — and may even have already voted! — in our upcoming election.

Thank you to all the folks who are engaged with our electoral process — writing postcards, donating money, making phone calls, sending texts, helping to get out the vote, and much, much more…

Thank you to everyone who is educating herself/himself/themself about the challenges facing all of us here on planet earth.

Thank you to our extraordinary health care workers, who are again in the midst of a pandemic hospital crisis due to rising cases of Covid-19 here in the USA.

Thank you to everyone who cares enough about their neighbors and neighborhood to wear a face mask in public.

And thank YOU for reading and listening to yet another blog post!

Now Streaming…


Greetings!

I hope you remain well during this odd and at times terrifying time in our planet’s history.

Today’s song was written by Canadian singer-songwriter Ron Sexsmith.

Ron Sexsmith

After my friends in Toronto exposed me to several of his beautiful, wise creations, I recorded “Gold In Them Hills” with the terrific pianist (and sound engineer) Doug Hammer.

I have ruminated in past blog posts about the value of music in our lives — how sometimes it seems quite disposable and unimportant, yet at other times it can feel quite meaningful and essential.

Here is some recent feedback about the value of music from folks on my e-mail list:

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

“A song fixes memories of life events indelibly. “

“Music is a distraction from the troubles of the day.”

“Essential.”  

“Music is an easily accessible treat at a time when other treats are difficult to come by.”

“We all need it.”

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

“Music is a balm during these stormy times.” 

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

Every time I read these ideas, I attempt to breathe them deeper into my soul.

Deep breath in.

Deep breath out.

Today I share news that my song “Another Good Morning” has finally been distributed to a bunch of digital music platforms — including Spotify, Apple Music, iTunes, Amazon Music, Deezer, Napster, Tidal, and Google Play.

I found — and played!— it on Spotify, which for better (and mostly for worse) is a key market for musicians these days.

I write “and mostly for worse” because the various streaming platforms pay a tiny fraction of what a performer/songwriter used to earn from the sale of actual records/tapes/CDs. 

As you may already know, the pay rate for listening to a song via streaming  — which varies over time based on a formula which I can’t even begin to explain involving each company’s most recent amount of earnings and profit — is very low.

Here are some recent rates — ranging from a high of $.019 (almost 2 cents) by Napster to a low of $.00402 (less than half a cent) by Amazon.

  • AMAZON: $0.00402 per play.
  • SPOTIFY: $0.00437 per play.
  • YOUTUBE MUSIC (GPM): $0.00676 per play.
  • APPLE MUSIC: $0.00783 per play.
  • TIDAL: $0.0125 per play.
  • NAPSTER: $0.019 per play.

Using the Spotify numbers for example, at $0.00437 per stream, a song would need to be streamed 22,883 times to earn around $100. 

One can still buy a digital download of an individual song at places like iTunes, from which the recording artist earns $.60 – $.70 per purchase.

So it would take 142 (at 60 cents per download) to 166 (at 70 cents per download) purchases to earn around $100 for the folks who recorded it.

But how many of us are still buying digital downloads of specific songs or albums?

The current name of the game appears to be Spotify playlists. 

If one can get one’s song onto a popular playlist, one can earn hundreds of thousands of streams — which theoretically translates into a decent amount of money. 

So… if you are someone who uses Spotify, please consider listening to “Another Good Morning” by clicking here.

And maybe adding it to one of your playlists.

I found a story on NPR from last year which explores the pros and cons of streaming from the perspective of a recording artist and/or songwriter.

Here is one interesting paragraph:

According to a 2017 study from Digital Media Finland, the current payment model for digital streaming services “tend(s) to benefit the services themselves, who keep about 30% of a subscriber’s fee. The rights holders of the recordings, which include record labels, producers, and performers, split about 55 to 60% of the fee. Meanwhile, the rights holders of the song itself (the composition) — which at once includes composers, arrangers, music publishing companies and lyricists — see about 10 to 15% of that pie.”

You can read the whole article by clicking here.

Another deep breath in.

And deep breath out.

If you are someone who still buys digital downloads, please consider buying a copy of “Another Good Morning” from iTunes or Amazon or another digital music marketplace.

But I am certainly aware that lots of us have very little cash flow in our lives nowadays!

Since my gigs with jazz pianist Joe Reid have all dried up (except for one outdoor performance last month) due to prudent concerns about possible COVID transmission, I have been working each week via Zoom with Doug Hammer.

We are re-visiting and polishing strong takes of songs we’ve recorded during the past 20+ years.

And I will be distributing them via CD Baby to all of these far-flung digital platforms in the upcoming weeks and months.

THANK YOU for reading and listening to another blog post!

Thank you to Ron Sexsmith for writing great songs.

Thank you to Doug Hammer for his inspired piano playing as well as his superb engineering skills.

Thank you to the photographers at Pixabay for these sublime images.

Let us all keep breathing in and out in the days ahead…

I will continue leading Music Together classes two days each week.

And riding my bike.

And walking.

And checking the latest polling data about our upcoming elections.

And donating small amounts of money to down-ballot races around the USA which could use a little help…

And wearing a blessed mask when I go outside.

Deep breath in.

Deep breath out.

As Mr. Sexsmith reminds us:

“Don’t lose heart… give the day a chance to start!”

Fever…

“Fever”

In my last two posts, I have started explaining a little of what I’ve been learning in recent months about the music business.

My musical selection for this post is from a CD I recorded with fellow singer Bobbi Carrey and pianist Doug Hammer — which was then enhanced by arranger Mike Callahan as well as other local musicians.

“Fevered” might be one way to describe my current mental state as I recover from our recent — deeply disrespectful and dangerous — presidential non-debate and THEN make sense out of the news that our president and his wife and many members of his staff have been diagnosed with COVID-19.

Deep breath in.

Deep breath out.

At the very least, this is a stark reminder of how a virus makes its presence felt in every niche of human society — from the folks with (allegedly) daily testing and access to the best (and in the case of our political ruling class, FREE) health care to the folks who have to go to work with very little (or no) protection and very little health coverage in places like meat packing plants.

Deep breath in.

Deep breath out.

Let us all continue — in this time of COVID-19 — to remain aware of our daily temperatures and to continue wearing our blessed face masks!

Now I will attempt to explain a little bit about performance rights organizations.

One thing a songwriter must do is affiliate with a performance rights organization (also known as a PRO).

In the USA, there are two entry-level ones — ASCAP and BMI — as well as two more — SESAC and GMR — which you can be invited to join when you are earning a fair amount of money from your songs and also a (new?) one called Pro Music Rights about which I know almost nothing.

Most other countries around the world only have one PRO.

This is just one example of how things are often done differently in the USA than in the rest of the world…

ASCAP was the first performing rights organization founded in the USA.

A group of composers, lyricists, and publishers (who were selling millions of copies of sheet music on behalf of the songwriters under contract to them) decided it was time for them to get paid for public performances of their songs — which I think was already the norm in many European countries.

It 1914 they formed a not-for-profit organization called the American Society of Composers, Authors and Publishers (ASCAP).

The founders included Victor Herbert — who according to an article in Irish America magazine wrote the music for “forty operettas, 23 musicals, two operas, and several Ziegfeld Follies; did musical scores for motion pictures; and composed for the Paul Whiteman Orchestra” from the 1890s through the 1920s.

Yowza!

Victor Herbert circa 1895

Herbert was himself a transplant from Europe, having been born (out of wedlock) on Guernsey island in the English Channel and raised in England and Germany.

His mother told, him, however, he had been born in Dublin, and he maintained a strong emotional connection to Ireland for his entire life (perhaps jumpstarted by his mother’s and his grandfather’s strong Irish nationalism).

Herbert was also a cellist, conductor AND long-time advocate for the rights of songwriters.

According to Wikipedia he testified before Congress and influenced the formation of the Copyright Act of 1909, which allowed composers to earn royalties from the sale of new-fangled sound recordings.

And then in 1914 he helped found ASCAP to collect money for public performances of musical works in cafes, hotel ballrooms, live-music clubs, and theaters.

Thank you, Victor Herbert, along with your fellow songwriters and political advocates!

As our technologies continued to evolve, public performances grew to include music broadcasts — live or pre-recorded — on radio and TV as well as in elevators, grocery stores, theme parks, and much more…

In 1940 there was a historical turning point.

During the 1930s ASCAP had been increasing the royalty rates they were charging to radio broadcasters for the use of their members’ songs.

So… for many months the radio broadcasters decided to STOP playing any songs affiliated with ASCAP — a period which is mentioned in the biographies of many famous songwriters such as Irving Berlin and Cole Porter as a time when many potential hit songs never got airplay and consequently languished…

In 1940 the radio broadcasters took another huge step and founded a competing PRO called Broadcast Music Incorporated (BMI).

BMI signed up a very different cohort of songwriters, including people from the R&B, gospel, jazz, country, folk and Latin music communities.

And some degree of competition — and diversity — was introduced into this particular segment/function of the music industry (the collection of money due to songwriters and publishers for the use of their songs…)

These days BMI remains a bit more accessible than ASCAP — because BMI is free to join while ASCAP charges $50 to join as a songwriter and another $50 to join as a publisher.

I went with ASCAP partly because my fellow songwriter Steve Sweeting had already joined BMI, and I thought it might be interesting to compare his experiences with mine over time…

There is also a man who has been at ASCAP for decades named Michael Kerker who loves the Great American Songbook and is an avid supporter of new songwriters.

I met him many years ago when I invited him to a Boston-area songwriter showcase I co-produced at the Cambridge Center for Adult Education (where I worked for 16 years).

Then one of my guardian angels, Amanda McBroom — a delightful and generous songwriter whose biggest hit (so far) has been “The Rose” — recommended I reach out to him.

So very shyly, I did.

And he got back to me almost immediately.

We ended up having a long conversation on the phone — and when I had a couple of follow-up questions, he was equally prompt in replying to me.

So I am now an ASCAP member.

And on October 10th, my first recording is scheduled to be released to Spotify, iTunes, Apple Music, and a bunch of other online musical platforms.

I’ll be blogging more about that soon!

Now that I think about it, songs are kind of like viruses — they are not alive and cannot reproduce themselves without the assistance of a living host.

Hmmm…

I’ll also be sharing how people who do NOT write their own music collect money for the use of their unique recordings of other people’s songs.

And I will continue to give tiny amounts of money to as many political candidates who are in close races as I can.

And I will continue wearing a face mask.

And I will continue walking and riding my bike.

And leading my Music Together classes — both outside in a local park and online via Zoom.

And I will continue to be very grateful that I have a roof over my head, and electricity, and a functioning laptop, and food to eat on a daily basis.

Thank you to Bobbi Carrey, Doug Hammer, Mike Callahan, and the other musicians involved with our recording of “Fever” — as well as the original songwriters Eddie Cooley and Otis Blackwell AND Peggy Lee, who added several sets of new lyrics when she recorded her classic version in 1958.

Thank you to Pixabay for wonderful images.

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

Let us all remained engaged — and vigilant — during the upcoming days and weeks and months!

ps: Have you gotten a flu shot yet?

Questions…

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!

‘S Wonderful

Hello!

It’s been many months since I have shared a blog post — although I’ve continued reading blog posts by others…

When COVID-19 became serious here in the Boston area, I started leading sing-alongs each night via FaceBook Live.

So the extra time which I had previously devoted to writing blog posts became focused instead on researching and practicing 5-6 new songs each day.

And then sharing them each night at 8:oo pm.

One hundred and twenty one of these sing-alongs are queued up on my FaceBook page in case you are curious to sample any of them.

In July I went to Cape Cod to write original songs, and my focus shifted from sing-alongs to composition.

Now I’m back at home.

And very grateful that folks continued to visit my site even when I was not actively sharing new blog posts.

I am also grateful for my fellow bloggers who reached out — via email and Facebook — during the past months to see if I was OK.

I happily dedicate the Gershwin Brothers’ song in the player at the beginning of this post to YOU.

George and Ira Gershwin…

As Ira once wrote, “(it)’s wonderful, (it)’s marvelous that you should care for me…”

As those of you who have read past blog posts may remember, I am someone who loves the spring and summer.

I do not like when the days get shorter and the nights get colder — and on top of that I hear from Dr. Fauci that we will probably be wearing masks until the end of 2021…

But accept autumn I must, as I must accept the mask-wearing and the lack-of-hugs and the increased-hand-washing and the ongoing sense of anxiety and loss during this COVID era.

Deep breath in.

And deep breath out.

Thank goodness for music!

It is can be a comfort, a balm, a tonic, an inspiration…

Ira and George at work together…

“‘S Wonderful” was written by George Gershwin and his older brother Ira for a show called Funny Face starring Adele Astaire and her younger brother Fred in 1927.

The Gershwins and the Astaires had been friends for many years — ever since they first met as teenagers when George was working as a song plugger and Adele and Fred were looking for new material for their vaudeville act.

Fred and Adele performing in vaudeville…

Funny Face was originally called Smarty, and the creative birth of Smarty was not easy.

Reminiscing about the out-of-town tryout period for Smarty, Ira later recalled, “Everyone worked day and night, recasting, rewriting, rehearsing, recriminating…of rejoicing there was none.”

Program cover from London run…

He and George ended up writing 24 songs for the show, the title of Smarty changed to Funny Face, and miraculously it ended up being a hit, opening in New York City on November 22, 1927.

Adele performed “‘S Wonderful” with a Canadian actor named Allen Kearns (who Wikipedia tells us also debuted another classic Gershwin Brothers song, “Embraceable You” in their 1930 musical Girl Crazy).

As they had done with their previous Gershwin Brothers’ hit — Lady, Be Good! — the Astaires agreed to perform Funny Face in London, where it was met with even greater enthusiasm than in NYC.

The Astaires — particularly Adele who was more outgoing and spontaneous than her hard-working younger brother — were the toast of the town and became friends with members of the royal family (even being invited at one point to meet the new princess Elizabeth as a baby).

Fred and Adele Astaire with their London co-star Leslie Henson…

In fact Adele stopped performing three years later when she married the Earl of Cavendish (whom she had met on the night of their final performance in London of Funny Face) and moved to a castle in Ireland.

You can click here for a link to Adele’s Wikipedia page with many more details from her fascinating life.

In addition to leading more sing-alongs and finishing more original songs, I have decided it is time to start releasing my original songs via a company called CD Baby to Apple Music, iTunes, Spotify, YouTube, Napster, and a bunch of other online music platforms.

As some of you may know, this is not a simple process.

I have registered my first collection of songs with the Library of Congress, have joined a performing rights organization (ASCAP), have done a lot of reading, and have watched a lot of helpful videos to learn about how radio play, downloads, and streaming generate different kinds of income — which are collected by a bewildering combination of organizations…

I hope to share more about this process in future blog posts.

George and Ira Gershwin…

I end THIS post with gratitude for Ira and George Gershwin, who have left us an extraordinary legacy of music.

And I am grateful for pianist/producer Doug Hammer, who recorded and mixed this uptempo version of “‘S Wonderful” with me before COVID-19 entered our lives.

I am also grateful to YOU for reading and listening to another one of my blog posts.

I am not sure if writing blog posts and releasing original songs is the best use of my time with the climate change crisis breathing down own necks…

The fires burning in California and Oregon and Washington are terrifying and extraordinary.

The hurricanes battering the Caribbean and Mexico and the southeastern United States are catastrophic and astounding.

Will my nieces and nephews at some point say to me, “Why weren’t you out in the street every day with signs protesting climate change while life as we know it on planet earth was irreparably being changed/altered/destroyed?”

We shall see…

I am glad to be back blogging and very grateful that folks continued to visit my site even when I have been focused elsewhere.

Let us continue to sing and dance and wear our masks and wash our hands and send money (if we can) to folks who need it and write new blog posts and record new songs and send postcards to potential voters and donate (if we can) to political candidates and remain engaged in the political process here on planet earth.

Adele and Fred Astaire…

If I Only Had A…

If I Only Had A…

WIZARD_OF_OZ_ORIGINAL_POSTER_1939

As we in Massachusetts enter the second week of staying at home due to COVID-19, I have been happy to connect with family and friends and acquaintances via their WordPress blog posts and Facebook updates.

THANK YOU to everyone for your words and images and information!

Since it’s been almost a month since my last blog post, I am finally putting my fingers to the laptop keyboard in order to share another great song by composer Harold Arlen and lyricist Yip Harburg (in photo below…)

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Yip lived a full and passionate and creative and principled life — and wrote the lyrics for a bunch of great songs, including “Springtime in Paris,” “Old Devil Moon,” “How Are Things In Glocca Morra?”  “Down With Love,” “It’s Only A Paper Moon,” “Happiness Is A Thing Called Joe,” “Lydia The Tattooed Lady, and “Brother, Can You Spare A Dime?”

And then there are the songs he and Harold Arlen wrote for a movie inspired by the work of author L. Frank Baum and illustrator William Wallace Denslow.

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These include “We’re Off To See The Wizard,” “If I Only Had A Brain,” and “Over The Rainbow” — which won the Academy award for best song in a motion picture in 1939.

TinWoodmanGoodbye

I learned from reading a biography about Yip — co-written by his son Ernie Harburg — that in addition to writing the lyrics for the songs in The Wizard Of Oz, Yip also wrote all the dialogue that sets up the songs — and he even wrote the dialogue for one of my favorite scenes near the end, when the Wizard gives medals to the Scarecrow, Tin Woodman, and Cowardly Lion in honor of their heart, brains and nerve.

ScarecrowGoodbye

I also learned that, in classic Hollywood fashion, eleven different screenwriters were involved with the script — with Yip serving as the final script editor, pulling the whole thing together and giving it coherence and unity. But he didn’t get any official screen credit for all of that work on the script.

CowardlyLionGoodbye

Yip is also the person responsible for including the powerful metaphor of a rainbow in the movie — which was produced partly to showcase MGM’s Technicolor prowess.

In the original book The Wonderful Wizard of Oz, there is no mention of a rainbow.

rainbow

Yip’s son Ernie describes in an interview I found on YouTube how “Over The Rainbow” came to be written:

Yip and Harold Arlen’s contract at MGM had run out, and they still didn’t have a key song for Dorothy written.

YipAndHarold

Frank Baum writes in The Wonderful Wizard Of Oz that where Dorothy lived, “not a tree nor a house broke the broad sweep of flat country that reached the edge of the sky in all directions. The sun had baked the plowed land into a gray mass. Even the grass was not green, for the sun had burned the tops of the long blades.”

Yip and Harold discussed this description, and how Dorothy’s neighbor Miss Gulch had threatened to take away her beloved companion, Toto, and how Dorothy was looking for a way to escape…

arlenHarburg

At this time in their lives, both Yip and Harold were living in Beverly Hills, with lush green lawns — plus elaborate sprinkler systems to keep them green!

RainbowSprinkler

One day when his gardener turned on the sprinklers, Yip was struck by the little rainbows that appeared in the air. When he next saw Harold he said, “Dorothy wants to escape — to be on the other side of the rainbow,” and Harold went away and came back with a beautiful melody which Yip then worked on for three weeks to find words with exactly the right syllables to fit Harold’s melody.

And, thanks to Judy Garland’s beautifully poignant rendition of their song,  the rest is cinema history.

DorothySinging

“If I Only Had A Brain” (a version of which is included in the player at the beginning of this blog post) is based on a melody for a song called “I’m Hanging On To You” which Yip and Harold had written for — and then cut from — a 1937 anti-war musical called Hooray For What!

Apparently another song that Yip and Harold wrote for Hooray For What! — called “In the Shade of the New Apple Tree” — so impressed the powers-that-be at Metro Goldwyn Mayer in California that they chose Harold and Yip to write the songs for what became The Wizard of Oz.

yip-harburg

When they were working on a song to be sung by the Scarecrow, Tin Woodman, and Cowardly Lion, Yip recalled the melody from “I’m Hanging On To You,” and fashioned an entirely new set of lyrics — including short verses (one of which I have included in my recording with pianist Doug Hammer) which were not used in the final cut of the movie.

TinWoodmanSwaying

Rainbows continued to be an important metaphor for Yip throughout his life — popping up in quite a few of his songs.

Yip once explained, “I belong to a tribe of what used to be called troubadors. Sometimes they were called minstrels. Now we’re called songwriters…we worked for, in our songs, a better world, a rainbow world… Now my generation, unfortunately, never succeeded in creating that rainbow world; so we can’t hand it down to you. But we could hand down our songs, which still hang on to hope and laughter.”

For that I am immensely grateful — to Yip and to Harold and to all of the other hard-working songwriters from the 20th century who have left us such a treasure trove of music.

Yip US Stamp

Yip differed from many of his contemporaries in that he was eager to wrestle with social and political issues in his creative projects.

I already mentioned the anti-war musical Hooray For What! in 1937 (two years before the start of WWII) and the Depression-era classic “Brother, Can You Spare A Dime?” which Yip wrote with one of his first collaborators, the composer Jay Gorney,  for a revue in 1932 called Americana.

Breadline

With composer Harold Arlen he wrote the songs for 1944’s Bloomer Girl, which was set in upstate NY and explored the women’s suffrage and abolitionist movements in the years leading up to the Civil War while featuring an integrated cast on stage.

Three years later Yip helped create another musical classic, Finian’s Rainbow — set in a fictional region of the American South called Missitucky. Yip not only wrote lyrics, he also co-authored the script — and the integrated cast featured characters such as a leader of a union of black and white share-croppers, a leprechaun, two recent Irish immigrants, and a white racist Southern Senator who is transformed into an African-American citizen for several days as an opportunity for growth and education.

Finian’s Rainbow gave us a wide variety of songs, including “When The Idle Poor Become The Idle Rich, “Old Devil Moon,” “Look To The Rainbow,” and “How Are Things In Glocca Morra?”

It may seem a bit odd that a song like “How Are Things In Glocca Morra” was written by two Jewish songwriters (Burton Lane was the composer of Finian’s Rainbow).

But Yip was himself the child of immigrants — Orthodox Yiddish-speaking Russian Jews — and he grew up very poor on the lower east side of Manhattan.

hester-street-lantern-slide

His official name when he was born in 1896 — the youngest of four surviving children out of ten total — was Isidore Hochberg, and he was nicknamed “Yip” (from Yipsele, a Yiddish term of endearment referring to a squirrel) because he was so active as a child.

Yip was very successful in grammar school — winning prizes for his ability to recite poems and performing in many musical productions. He earned a spot at Townsend Harris — a prestigious public high school associated with City College of New York where you could earn both a high school and bachelor’s degree in seven years.

He found himself seated alphabetically next to a young fellow named Israel Gershovitz — also known as Ira Gershwin. Yip and Ira became life-long friends — sharing a deep admiration for Gilbert & Sullivan and later co-writing a humor column for the newspaper at City College.

YipQuote

I could go on and on about Yip.

Although he was not a Communist, he was blacklisted from working in the movies, TV  and radio for 12 years during the 50s and early 60s.

He kept working on Broadway, however, and even co-wrote a song which was recorded by the folk/pop trio Peter, Paul & Mary.

If you are curious to learn more about this creative and inspirational human being, you can click here to read his Wikipedia entry and/or track down the biography co-written by his son, Ernie Harburg.

YipBio

Perhaps some of his songs like “Brother, Can You Spare A Dime?” and “It’s Only A Paper Moon,” will take on a new resonance in the days and weeks ahead…

For the time being, I remain grateful that we in Massachusetts are still allowed to leave our homes and go for walks in our neighborhoods — as long as we maintain a healthy physical distance from other human beings we encounter along the way — so that I can continue to “while away the hours, conferring with the flowers (and) consulting with the rain.”

While COVID-19 buffets our human societies, the natural world continues — blessedly — to create a new buds, new leaves, new flowers!

NotInKansasAnymore

Part of the reason for the gap between my last blog post and this one is that I have begun leading half-hour singalongs at 8:00 pm each night via Facebook Live.

If you are feeling hungry for some musical camaraderie and fun, please consider joining us any night starting at 8:00 pm (Eastern Standard Time in the USA).

Previous sing-alongs also remain on my Facebook home page in case you are curious to visit at any time of the day or night.

NoPlaceLikeHome

You can click here to visit my Facebook home page.

Thank you to Pixabay for some of the images included in this blog post.

Thank you to Giphy.com for all of the GIFs included in this blog post.

Thank you to Doug Hammer for his tremendous skills as a pianist AND as an engineer.

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

RubySlippers