Word: singe
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Dates: during 1970-1979
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...road-show entourage is the core of Humbard's cathedral staff of 150. It includes Rex; his wife and soloist; his sister Leona, another singer; Leona's husband, Associate Pastor Wayn Jones; two sons, Rex Jr. and Don, who share television production tasks at home and sing on the road; Public Relations Man Johnny Hope, who sings and plays rhythm guitar; and a pianist and music arranger, Don Koker, who also sings...
...just hit a home run. It is rare for a major executive to leave on a business trip without getting a rousing send-off from the entire office staff at the airport. At Matsushita Electric, Nissan Motors and other firms, the day begins with everybody assembling to sing the company song. At Toyota the day opens with five minutes of supervised calisthenics. There is a vast range of fringe benefits: discount meals at plant cafeterias, cut-rate vacations at company resorts, cheap rental in company apartment houses (roughly $10.80 a month for a two-room flat in one Nippon Kokan...
...that accompanies it on stage. But the first "show-stopper" is a medley of three "follies" routines, each performed with geriatric gusto by old time performers Marcie Stringer, Charles Welch, Fifi d'Orsay and Ethel Shutta, who do their numbers separately (the first two as a duet) and then sing them simultaneously as a kind of old timers freak show. On the album the duet ("Rain on the Roof") has been cut entirely. Miss d'Orsay gets about one minute of recording time and Ethel Shutta is left to wail her magnificent "Broadway Baby" all alone and with about half...
...Girlds Upstairs" tops everything. This song and "Too Many Mornings," a love duct sung by John McMartin and Dorothy Collins, are the best things on the record. Sondheim's lyrics are really magnificent, tender and clever at the same time, and the songs always belong to the characters who sing them. Time called him "Broadway's supreme lyricist" and it is beginning to seem like an obvious statement. But Sondheim is also Broadway's master composer, which fewer critics seem to realize, perhaps because he refuses to write formula AABA melodies unless they are parodies (although all of his parodies...
...events to give meaning to the lives, Lukas has turned his ten character studies into ten distinct views through a sociological kaleidoscope. Individually each portrait is representative of nothing but itself-the precision and detail with which each life is sketched see to that-but, in chorus, they sing of a continuum between America's individualistic, democratic past and its childrens' attempts to ward off the uglier threats of its disputed future. "Like clay," Lukas writes, "the past may be pulled and molded into new shapes, but it is always the past becoming the future...