DOCSLIB.ORG

Representations of Aging Women in Three American Musicals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Representations of Aging Women in Three American Musicals A DIFFERENT KIND OF DIVA: REPRESENTATIONS OF AGING WOMEN IN THREE AMERICAN MUSICALS Michael Evans Kinney Department of Music Research Schulich School of Music McGill University, Montréal December, 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology. © Michael Evans Kinney 2016 i TABLE OF CONTENTS TABLE OF CONTENTS....................................................................................................... i ABSTRACT .........................................................................................................................ii RÉSUMÉ.............................................................................................................................iii ACKNOWLEDGMENTS ....................................................................................................iv INTRODUCTION .................................................................................................................1 SYNOPSES .......................................................................................................................12 Gypsy ......................................................................................................................................... 12 Follies ........................................................................................................................................ 15 Grey Gardens ............................................................................................................................. 21 CHAPTER 1: Centrality and the Aging Woman in Musical Theatre ..........................28 Introduction............................................................................................................................... 28 Representation of Aging Women in the Golden Age Musical (1930-1966).................................. 29 Gypsy and Rose as a Leading Lady ............................................................................................ 39 Follies and the Chorus ............................................................................................................... 44 Grey Gardens and Continued Complexity .................................................................................. 53 Conclusion ................................................................................................................................. 58 CHAPTER 2: “Because I was born too soon and started too late”: Complexity of Aging in Gypsy ................................................................................................................60 Introduction: ............................................................................................................................. 60 Ambition: Desire and “I am/I want” songs ................................................................................ 61 Relationships: Desire and the Love Duet ................................................................................... 68 Ambivalence: Desire and Endings ............................................................................................. 72 Conclusion ................................................................................................................................. 77 CHAPTER 3: “Who’s That Woman?”: Difference, Age, and Temporal Complexity in Follies ...........................................................................................................................79 Introduction............................................................................................................................... 79 New Desires: Love and the Aging Woman ................................................................................. 80 Difference and Experiences of Aging ......................................................................................... 87 Ambiguity of Time: Temporality and Age in Loveland .............................................................. 93 Conclusions ................................................................................................................................ 99 CHAPTER 4: “It’s very difficult to keep the line between the past and the present”: The Mother-Daughter Relationship Over Time in Grey Gardens ........................... 101 Introduction............................................................................................................................. 101 Thematization of Time and Fears of Aging .............................................................................. 103 Temporal Ambiguities and Aging-Associated Ambivalences in Act II ..................................... 112 Edith and Reconciliation with the Past .................................................................................... 112 Edie’s Ambivalent Time in Late-Middle Life .......................................................................... 117 Duets and the complexity of the mother-daughter relationship in Grey Gardens ...................... 122 CONCLUSION ............................................................................................................... 132 BIBLIOGRAPHY ............................................................................................................ 137 ii ABSTRACT A Different Kind of Diva: Representations of Aging Women in Three American Musicals Despite increased interest in aspects of identity within musical theatre scholarship, few have turned a critical eye toward issues of aging. This thesis furnishes a new perspective in both musical theatre studies and musicology by engaging in an analysis of aging, gender, identity, and representation in the American musical. By providing close readings of both score and book of three canonic musicals – Jule Styne and Stephen Sondheim’s Gypsy (1959), Sondheim and James Goldman’s Follies (1971), and Scott Frankel, Michael Korie, and Doug Wright’s Grey Gardens (2006) – this project outlines the emergence of a complex set of women in narratives that confront the aging process, both directly and indirectly. Furthermore, these shows act as cross sections of the past 60 years of musical theatre, and therefore exemplify a development of the representation of aging women within the genre. In the first chapter, the thesis considers the representations of aging women in the Golden Age of musical theatre (1930-1966). This was a time when aging women were typically portrayed as one-dimensional characters, found at the margins of these narratives, and stereotypically characterized as sexless, passive, and merely supportive to the youth-oriented plots. However, the musicals Gypsy, Follies, and Grey Gardens boldly place aging women as the focal point of their respective narratives and bring attention to the perspective of aging women, addressing issues of visibility and agency in the aging process. The following three chapters explore the complex protagonists of these musicals. I examine the function of certain songs in the narratives, such as the “I want/I am song” and duets, that reveal age-based complexities of these newer leading ladies. Their motivations, ambitions, relationships, and ambivalences are considered in conjunction with themes outlined in age studies, such as decline, life course, and generational conflict. iii RÉSUMÉ Une diva différent: Représentations du vieillissement des femmes dans trois musicaux américains Malgré un intérêt grandissant de certains aspects de l’identité à l’intérieur de l’étude du théâtre musical, peu ont jeté un regard critique ou ont posé des questions sur le vieillissement. Cette thèse fournit une nouvelle perspective dans deux cadres d’études, celle du théâtre musical et celle de la musicologie, en entreprenant une analyse du vieillissement, genre, identité, et de représentation dans le musical américain. En fournissant des lectures attentives des partitions et du livre de trois oeuvres canoniques musicales – Gypsy (1959) de Jule Styne et Stephen Sondheim, Follies (1971) de Sondheim et James Goldman, et Grey Gardens (2006) par Scott Frankle, Michael Korie, et Doug Wright – ce projet donne un aperçu de l’émergence d’un complexe ensemble de femmes dans des narrations qui font face aux processus direct et indirect du vieillissement. De plus, ces spectacles agissent comme une section transversale des soixante dernières années du théâtre musical, et pour ces raisons, ils illustrent le développement de la représentation des femmes vieillissantes dans ce domaine. Le premier chapitre de cette thèse considère la représentation des femmes vieillissantes dans la belle époque du théâtre musical (1930-1966). Ce fut un temps où les femmes matures étaient décrites comme des personnages unidimensionnels, reléguées aux périphéries du récit, dépeintes comme asexuées, passives, et soutenant presqu’uniquement les scénarios mettant en scène les jeunes. Par contre, les musicaux Gypsy, Follies et Grey Gardens placent audacieusement les femmes vieillissantes au centre de leurs récits respectifs et portent une attention particulière aux femmes vieillissantes en leur donnant plus de visibilité et d'accès aux agences dans une perspective d'un vieillissement actif. Les trois chapitres qui suivent analysent les protagonistes complexes de ces musicaux. J’analyse la fonction de certaines chansons dans ces récits, tels que la “I want/I am song” et les duos, qui dévoilent les complexités fondées sur l’âge de ces grandes dames. Leurs motivations, ambitions, liens, et ambivalences
Load more

Recommended publications
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • Into the Woods Is Presented Through Special Arrangement with Music Theatre International (MTI)
    PREMIER SPONSOR ASSOCIATE SPONSOR MEDIA SPONSOR Music and Lyrics by Book by Stephen Sondheim James Lapine June 28-July 13, 2019 Originally Directed on Broadway by James Lapine Orchestrations by Jonathan Tunick Original Broadyway production by Heidi Landesman Rocco Landesman Rick Steiner M. Anthony Fisher Frederic H. Mayerson Jujamcyn Theatres Originally produced by the Old Globe Theater, San Diego, CA. Scenic Design Costume Design Shoko Kambara† Megan Rutherford Lighting Design Puppetry Consultant Miriam Nilofa Crowe† Peter Fekete Sound Design Casting Director INTO The Jacqueline Herter Michael Cassara, CSA Woods Musical Director Choreographer/Associate Director Daniel Lincoln^ Andrea Leigh-Smith Production Stage Manager Production Manager Myles C. Hatch* Adam Zonder Director Michael Barakiva+ Into the Woods is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Music and Lyrics by Book by STEPHEN JAMES Directed by SONDHEIM LAPINE MICHAEL * Member of Actor’s Equity Association, † USA - Member of Originally directed on Broadway by James LapineBARAKIVA the Union of Professional Actors and United Scenic Artists Orchestrations by Jonathan Tunick Stage Managers in the United States. Local 829. ^ Member of American Federation of Musicians, + Local 802 or 380. CAST NARRATOR ............................................................................................................................................HERNDON LACKEY* CINDERELLA
    [Show full text]
  • Cal-Western Region Regional Categories Finals Concert
    Cal-Western Region Regional Categories Finals Concert A. Childrens Classical Bella Leybovich Wie Melodien zieht es mir Johannes Brahms Isabella Xiong High Green Mountain Ruth Morris Gray Marla Jones, pianist (Gao Shan Qing) Savannah Springer Valenciana arr. Christine Donkin Jenn Crandall, pianist B. Childrens Music Theater Brooklyn Martin Waiting For Life Stephen Flaherty McKenzie Lopezlira Middle Of A Moment Benj Pasek & Justin Paul Bella Leybovich The Tree William Friedman & Will Holt C. Youth Classical Sydney Sublette Se tu m'ami, se sospri Giovanni Pergolesi HyeJung Shin, pianist Wesley Geary Cangio d'aspetto G. F. Handel Marie Sierra, pianist Baylee Horvath Heigh-ho the Sunshine Montague F. Phillips Jenn Crandall, pianist D1. Youth MT 11-12 Year Olds Evan Vance The Kite Clark Gesner Stephen Shermitzler, pianist Maddie Miller Everlasting Chris Miller & Nathan Tysen Baylee Horvath Good Morning Nacio Brown Jenn Crandall, pianist Hadley Fugate Amazing Maizie Lynn Ahrens & Stephen Flaherty Cal-Western Region Regional Categories Finals Concert P. 2 D2. Youth MT 13-14 Year Olds Sky Keyoung Pulled Andrew Lippa Wesley Geary Try Me Jerry Bock Shreya Ghoshal In My Own Little Corner Richard Rodgers E. Youth CCM Baylee Horvath First Lauren Diagle Jenn Crandall, pianist Bella Leybovich Better Place Rachel Platten & Sally Seltman Hadley Fugate Hallelujah Leonard Cohen F1. HS CCM Treble 14-16 Year Olds Kayla Venger Misty Erroll Garner Kyle Blair, pianist Makenna Jacobs There's a Place for Us Carrie Underwood Jenn Crandall, pianist Zoie Moller Brand New Key Melanie Safka Melissa McGuire, pianist F2. High School CCM 17-18 Year Olds Isabella Brown This Thing Called Living Eloïse (TTCL) Kylie Merrill Piece by Piece Kelly Clarkson & Greg Kurstin Karen Rowley Better on My Own Karen Rowley Cal-Western Region Regional Categories Finals Concert P.
    [Show full text]
  • PDF of the Princess Bride
    THE PRINCESS BRIDE S. Morgenstern's Classic Tale of True Love and High Adventure The 'good parts' version abridged by WILLIAM GOLDMAN one two three four five six seven eight map For Hiram Haydn THE PRINCESS BRIDE This is my favorite book in all the world, though I have never read it. How is such a thing possible? I'll do my best to explain. As a child, I had simply no interest in books. I hated reading, I was very bad at it, and besides, how could you take the time to read when there were games that shrieked for playing? Basketball, baseball, marbles—I could never get enough. I wasn't even good at them, but give me a football and an empty playground and I could invent last-second triumphs that would bring tears to your eyes. School was torture. Miss Roginski, who was my teacher for the third through fifth grades, would have meeting after meeting with my mother. "I don't feel Billy is perhaps extending himself quite as much as he might." Or, "When we test him, Billy does really exceptionally well, considering his class standing." Or, most often, "I don't know, Mrs. Goldman; what are we going to do about Billy?" What are we going to do about Billy? That was the phrase that haunted me those first ten years. I pretended not to care, but secretly I was petrified. Everyone and everything was passing me by. I had no real friends, no single person who shared an equal interest in all games.
    [Show full text]
  • The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness
    The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness Erik R. Scott Summer 2008 Erik R. Scott is a Ph.D. candidate in the Department of History, at the University of California, Berkeley Acknowledgments I would like to thank Professor Victoria Frede and my fellow graduate students in her seminar on Imperial Russian History. Their careful reading and constructive comments were foremost in my mind as I conceptualized and wrote this paper, first for our seminar in spring 2006, now as a revised work for publication. Abstract: As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians entertained, dined with, and in some cases married Russian noblemen, bureaucrats, poets, and artists. Because the Gypsies’ extraordinary musical abilities supposedly stemmed from their unique Gypsy nature, the effectiveness of their performance rested on the definition of their ethnic identity as separate and distinct from that of the Russian audience. Although it drew on themes deeply embedded in Russian— and European—culture, the Orientalist allure of Gypsy performance was in no small part self-created and self-perpetuated by members of Russia’s renowned Gypsy choirs. For it was only by performing their otherness that Gypsies were able to seize upon their specialized role as entertainers, which gave this group of outsiders temporary control over their elite Russian audiences even as the songs, dances, costumes, and gestures of their performance were shaped perhaps more by audience expectations than by Gypsy musical traditions. The very popularity of the Gypsy musical idiom and the way it intimately reflected the Russian host society would later bring about a crisis of authenticity that by the end of the nineteenth century threatened the magical potential of Gypsy song and dance by suggesting it was something less than the genuine article.
    [Show full text]
  • GYPSY CHARACTER DESCRIPTIONS: • Momma Rose
    GYPSY CHARACTER DESCRIPTIONS: • Momma Rose (age from 35 - 50) The ultimate stage mother. Lives her life vicariously through her two daughters, whom she's put into show business. She is loud, brash, pushy and single- minded, but at times can be doting and charming. She is holding down demons of her own that she is afraid to face. Her voice is the ultimate powerful Broadway belt. Minimal dance but must move well. Comic timing a must. Strong Mezzo/Alto with good low notes and belt. • Baby June (age 9-10) is a Shirley Temple-like up-and-coming vaudeville star, and Madam Rose's youngest daughter. Her onstage demeanor is sugary-sweet, cute, precocious and adorable to the nth degree. Needs to be no taller than 3', 5". An adorable character - Mama Rose's shining star. Strong child singer, strong dancer. Mezzo. • Young Louise (about 12) She should look a couple years older than Baby June. She is Madam Rose's brow-beaten oldest daughter, and has always played second fiddle to her baby sister. She is shy, awkward, a little sad and subdued; she doesn't have the confidence of her sister. Strong acting skills needed. The character always dances slightly out of step but the actress playing this part must be able to dance. Mezzo singer. • Herbie (about 45) agent for Rose's children and Rose's boyfriend and a possible husband number 4. He has a heart of gold but also has the power to defend the people he loves with strength. Minimum dance. A Baritone, sings in one group number, two duets and trio with Rose and Louise.
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • Inventory Acc.13182 Edith Macarthur
    Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland.
    [Show full text]
  • Downloaded by [New York University] at 12:57 13 August 2016 the HOARDING IMPULSE
    Downloaded by [New York University] at 12:57 13 August 2016 THE HOARDING IMPULSE There has been an increased awareness of hoarding in recent years, but clinical treatments aimed at helping people with this condition often have low success rates. In The Hoarding Impulse Renee M. Winters explores how depth psychology can enrich current conceptual models and treatment standards for compulsive hoarding. The book presents case studies of prominent sufferers including Edie and Edith Beale, the Collyer Brothers, and Andy Warhol and explores common themes of loss, shame and object clusters. Winters sets out to provide a clear understanding of a hoarder’s lived experiences and their core schemas of value, worth and personal identity, revealing a direct connection to excessive acquisition of objects. She illuminates the process of how objects can come to possess a hoarder and become not only their main source of happiness but also part of their identity and in doing so puts forward a new treatment plan based on providing a deeper understanding of and potent treatment approach to what is a core issue for hoarding individuals: the wounding of the soul. This new perspective to treating individuals who hoard helps them in the long term understand their processes, value system, and struggles with negative interpersonal relationships. Downloaded by [New York University] at 12:57 13 August 2016 Providing a fascinating insight into the psyche of people who struggle with hoarding, this book will be essential reading for depth psychologists, Jungian psychotherapists, psychiatrists, social workers, students of analytical psychology and anyone interested in understanding the dynamics of this complex condition.
    [Show full text]
  • Desperate Housewives a Lot Goes on in the Strange Neighborhood of Wisteria Lane
    Desperate Housewives A lot goes on in the strange neighborhood of Wisteria Lane. Sneak into the lives of five women: Susan, a single mother; Lynette, a woman desperately trying to b alance family and career; Gabrielle, an exmodel who has everything but a good m arriage; Bree, a perfect housewife with an imperfect relationship and Edie Britt , a real estate agent with a rocking love life. These are the famous five of Des perate Housewives, a primetime TV show. Get an insight into these popular charac ters with these Desperate Housewives quotes. Susan Yeah, well, my heart wants to hurt you, but I'm able to control myself! How would you feel if I used your child support payments for plastic surgery? Every time we went out for pizza you could have said, "Hey, I once killed a man. " Okay, yes I am closer to your father than I have been in the past, the bitter ha tred has now settled to a respectful disgust. Lynette Please hear me out this is important. Today I have a chance to join the human rac e for a few hours there are actual adults waiting for me with margaritas. Loo k, I'm in a dress, I have makeup on. We didn't exactly forget. It's just usually when the hostess dies, the party is off. And I love you because you find ways to compliment me when you could just say, " I told you so." Gabrielle I want a sexy little convertible! And I want to buy one, right now! Why are all rich men such jerks? The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened.
    [Show full text]
  • The A-List Songlist 2015
    The A-List Song List Artist Song Adele Make You Feel My Love Adele One And Only Adele Rolling In The Deep Al Green Let’s Stay Together Alicia Keys If I Ain’t Got You Alicia Keys No One Amy Winehouse Rehab Amy Winehouse Valerie Andy Grammar Keep Your Head Up Aretha Franklin Chain of Fools Aretha Franklin Respect Ariana Grande Love Me Harder Avicii Wake Me Up Beyonce Crazy In Love Beyonce Halo Beyonce Love On Top Bon Jovi Livin’ On A Prayer Bruno Mars Locked Out Of Heaven Bruno Mars Treasure Bruno Mars Uptown Funk Carly Rae Jepsen Call Me Maybe Cee Lo Green Forget You Chris Brown Fine China Clean Bandit Rather Be Coldplay Fix You T (844) 369-6232 E [email protected] W www.downbeat.la The A-List Song List Artist Song Coldplay Viva La Vida Corinne Bailey Rae Put You Records On Daft Punk Get Lucky Daft Punk Lose Yourself To Dance David Guetta Ft. Sia Titanium Destiny’s Child Say My Name Earth, Wind, and Fire Let’s Groove Earth, Wind, And Fire September Ed Sheeren Thinking Out Loud Ellie Golding Love Me Like You Do Ellie Golding Need Your Love Emeli Sande Next To Me Estelle American Boy Etta James At Last Frank Sinatra Fly Me To The Moon Frank Valli December ’63 (Oh What A Night) Gnarls Barkley Crazy Guns ‘N’ Roses Sweet Child Of Mine Jackson 5 ABC Jackson 5 I Want You Back Jason Mraz I’m Yours Jay Z & Alicia Keys Empire State Of Mind Jazz Standard Summertime Jessie J Domino John Legend All Of Me T (844) 369-6232 E [email protected] W www.downbeat.la The A-List Song List Artist Song John Legend Ordinary People Journey Crazy Little Thing Called Love Journey Don’t Stop Believin Justin Timberlake Señorita Justin Timberlake Sexyback Justin Timberlake Suit & Tie Katy Perry California Girls Katy Perry Firework Katy Perry Roar Katy Perry Teenage Dream Kenny Loggins Footloose Lady Gaga Just Dance Lorde Royals Maroon 5 Moves Like Jagger Maroon 5 Sugar Maroon 5 Sunday Morning Marvin Gaye What’s Going On Marvin Gaye Ft.
    [Show full text]
  • Solomon and Sinatra: the Song of Songs and Romance in the Church Robert Case a Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016
    1 Solomon and Sinatra: The Song of Songs and Romance in the Church Robert Case A Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016 Part 3 There are a multitude of biblical themes expressed by non-believing Jewish songwriters in the American Songbook, but one fine example for our purposes in this class is the theme of: no Sex before marriage “Love and Marriage” In 1955 Jimmy Van Heusen (a Methodist) with Jewish lyricist Sammy Cahn wrote “Love and Marriage” which was introduced (ironically) by Frank Sinatra in the television production of Thornton Wilder's Our Town. It is the biggest hit to ever come out of a television special. In 1956, the song, "Love and Marriage" won the Emmy Award for Best Musical Contribution from the Academy of Television Arts and Sciences. The Cahn inspired clever lyrics euphemistically call “sex” “love” and claim that mom told dad you can’t have sex (“love”) without marriage. The song was used as the theme song for the long-running (1987–97) FOX television sitcom Married... with Children. Additionally, the song has been used in several national commercial campaigns. “Love and marriage, love and marriage, go together like a horse and carriage. This I tell you brother you can't have one without the other. Love and marriage, love and marriage, it's an institute you can't disparage. Ask the local gentry and they will say it's elementary. Try, try, try to separate them it's an illusion Try, try, try, and you will only come to this conclusion.
    [Show full text]