Word: songful
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Dates: during 1960-1969
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...Thank you for the informative article on the Oscar Mayer company [April 12], and for printing what I consider to be my theme song. I love it and sing it at least twice a day. I teach high school French, so I ventured Oscar Mayer á la française...
What holds Hair together is the score, which pulses with an insistent, primitive beat. With gleeful impertinence, the music by Gait MacDermot and the lyrics of Gerome Ragni and James Rado manage to release the pent-up yelps of the sons and daughters of the affluent society. A song like Ain't Got No ("Ain't got no class,/Ain't got no mother,/Ain't got no father,/Ain't got no culture") telegraphs the credo of the self-proclaimed have-nots of the '60s. Satire with a playful nip makes a treat...
Anyone following preparations for White Sale expected several things. The show could be depended upon to prove moving, disturbing, and funny, to weld gaiety to bitterness as easily as it moved from song to spoken word. The reputations and records of Mr. Mayer, his cast and his collaborators, put White Sale under a real obligation. As it turned out, White Sale met this obligation payed it off with interest, and moved on to do what theater seldom anywhere accomplishes, to deliver on its promises as well as its commitments. Particularly, White Sale delivered on the promise of its suggestive subtitle...
...format, the show is a musical review. The song texts are Mr. Mayer's and the excellent music was composed by Bradley Burg. In content, it is both the record of a day in Cambridge, from late morning rising til next morning's dawn, and a series of forays into political analysis, artistic exorcism, historical recreation, lyric and comic experiment. Informal in atmosphere, the action of White Sale is remarkable for the case and familiarity with which seemingly disparate ideas, styles, and techniques move together on its stage. These actors, who both take parts in individual sequences and retain strong...
...time he plies a sober, analytical course through the jazz recordings made between New Orleans' Storyville days and the birth of the big-band era in the early 1930s. He scrutinizes Louis Armstrong's solo on Big Butter and Egg Man (1926) as if it were a song of Mozart's. In fact, he writes, "not even a Mozart or a Schubert composed anything more natural and simply inspired." Blues Singer Bessie Smith's laments of a gin-soaked life might as well be lieder sung by Lotte Lehmann for the way Schuller praises their "fusion...