Word: lorenz
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Dates: during 1990-1999
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...time he went to Columbia University in the fall of 1919, he had already met his first collaborator, Lorenz Hart. That summer they had sold a song to producer Lew Fields for a show called A Lonely Romeo. (Extraordinarily, some of Rodgers' songs, to his own lyrics, appeared on Broadway even earlier, when...
...times, the shorts directors got composers to cavort onscreen. Some look embarrassed--check out Richard Rodgers' stiff delivery and Lorenz Hart's plaid jammies in Makers of Melody--while others are to the camera born. In the 1934 Hollywood Rhythm, tubby lyricist Mack Gordon (Did You Ever See a Dream Walking?) is fast with a quip and light on his feet; doing a Latin dance, he irrepressibly shouts, "I got rumbatism...
...Lorenz, the longtime cartoon editor of the New Yorker, has confirmed my suspicions: the magazine is running fewer and fewer cartoons featuring bearded men in white robes holding placards emblazoned with some variation on the end is near. This strikes me as odd since, at least from a strictly millennial point of view, the end is near. Shouldn't we be seeing more of these guys, both in real life and breaking up the gray columns of Joe Klein articles? "It's just one of those cartoon cliches that are pretty well played out," Lorenz says. "It's like desert...
Together--and often working with the brilliant arranging skills of Nelson Riddle--Fitzgerald and Granz then went on to songbooks for the likes of Jerome Kern, George and Ira Gershwin, Harold Arlen, Duke Ellington, Richard Rodgers and Lorenz Hart, Irving Berlin and Johnny Mercer, the great composers of the great era of American popular music. Those songbooks became the foundation of a legacy, the single source for a musical standard that Fitzgerald, as much as anyone, helped make timeless. "Some kids in Italy call me 'Mama Jazz,'" she recalled. "I thought that was so cute. As long as they...
READERS ACCUSTOMED TO THE ARTFUL BLEND of whimsy and genteel humor in the New Yorker for 68 years are in for a shock. This week's cover features a painting of a Hasidic man and a black woman engaged in a loving kiss. New Yorker art editor Lee Lorenz and editor Tina Brown, four months on the job since she arrived from sassy Vanity Fair, faced intense opposition to the cover from the magazine's senior staff. Several objected to the painting -- not for its blunt representation of interracial harmony but in the "fear that we were being glib about...