Sunday, November 25, 2018

I Got Latkes

Just when you thought there were enough Chanukah songs already ...

I Got Latkes

Based on I Got Rhythm by George and Ira Gershwin, ©1930
Chanukah lyrics by Sandy Schuman 2017


I got latkes
I got dreidels
I got candles
Nes gadol haya sham

I got gelt and
I got oil
Sufganiyot
Nes gadol haya sham

Antiochus
Matisyahu
Maccabia
Chanukia
Fry the latkes
Spin the dreidels
Light the candles
Nes gadol haya sham

Shehecheyanu
Vekiyemanu
Vehigyanu
Lazman hazeh
.

I got latkes
I got dreidelsI got candles
Who could ask for anything more
Who could ask for anything more

Tuesday, September 25, 2018

Be Kinder to One Another: A Tribute to George Gershwin at 120

Vulcans say, “live long and prosper.” Jews say, “biz hundert un tsvantsik,” “may you live until 120.” For example, one might say, “Happy birthday! Biz hundert un tsvantsik!” It is based on the Biblical verse, “Moses was a hundred and twenty years old when he died; his eyes were undimmed and his vigor unabated” (Deuteronomy 34:7).

Undoubtedly, George Gershwin was familiar with this Yiddish expression and was likely wished biz hundert un tsvantsik many times. Tragically, his lifespan didn’t come close; he died of a brain tumor at age 38. In crafting my own stories about George and Ira Gershwin, I have come to appreciate George’s extraordinary, creative, exuberant life. Born September 26, 1898, he would have reached 120 years today. To honor his memory, I would like to share with you the eulogy delivered by Oscar Hammerstein II at the George Gershwin Memorial Concert at the Hollywood Bowl on September 8, 1937.*
To George Gershwin

Our friend wrote music, and in that mould he created gaiety and sweetness and beauty. And 24 hours after he had gone his music filled the air and in triumphant accents proclaimed to this world of men that gaiety and sweetness and beauty do not die.

A genius differs from other men only in that his immortality is tangible. What he thought, what he felt, what he meant has been crystallized in a form of expression, a form far sturdier than the flesh and sinew of the man. But lesser beings than geniuses leave their marks upon this earth, and it is as a lesser being that George Gershwin’s friends knew him and loved him.

We remember a young man who remained naive in a sophisticated world. We remember a smile that was nearly always on his face, a cigar that was nearly always in his mouth. He was a lucky young man, lucky to be so in love with the world, and lucky because the world was so in love with him. It endowed him with talent. It endowed him with character. And, rarest of all things, it gave him a complete capacity for enjoying all his gifts.

It was a standing joke with us that George could not be dragged away from a piano. He loved to play the piano. He played well, and he enjoyed his own playing. How glad we are now that some divine instinct made him snatch every precious second he could get at that keyboard, made him drink exultantly of his joy-giving talent, made him crowd every grain of gratification he could get into his short, blessed life.

Maybe the greatest thing he left us is this lesson: Maybe we take the good things of life too much for granted. Maybe we took George too much for granted. We loved him. Should we not have loved him more? Have we ever loved him so much as we do now? Have we ever said so as we do now? We are all inadequate, muddling humans with hearts and minds woefully unequipped to solve the problems that beset us. We are eloquent in the recognition of our troubles. Why are we not equally eloquent in the recognition of our blessings, as George was?

Some will want a statue erected for him. He deserves this. Some will want to endow a school of music in his name. He deserves this. But his friends could add one more tribute: In his honor they could try to appreciate and be grateful for the good things in this world. In his honor they could try to be kinder to one another—and this would be the finest monument of all.

*Sources: George Gershwin. Merle Armitage, ed. New York: Longmans, Green, 1938, p. 1-4. The George Gershwin Reader. Robert Wyatt, John Andrew Johnson, eds. Oxford: Oxford University Press, 2007, p. 272.

Thursday, September 13, 2018

His Dying Words

He saved my life and took care of me and taught me what I needed to know to make my own way. And when he grew old, after he turned 181, I took care of him and listened to his stories, even though I’d heard them all before and recorded them in UH, knowing this might be the last time I heard them. I stayed with him night and day, so I would be with him when he died, and I made it a point to hear and remember his dying words, so I could cherish them as his final message to me, so I could reflect on their meaning.

His dying words. He said them clearly enough, but I didn't understand what he said. I just didn't know what the words meant. They were foreign words. I never heard them before.

And so, over the course of years and decades, as my fortunes allowed, I ordered serially-deeper searches through the TransMetaArchive and its subsidiaries, and I consulted with respected members of the IP Academy of Fundalinguists. But still I am ignorant of the meaning of these words that are apparently derived from some prearchive language. Nonetheless, knowing this man most of my life and the generosity of his character, I am sure they were compassionate words, filled with lovingkindness. And so, as I have passed my 201st year, and I too am about to end my days, I pass on his words to you, exactly as he said them to me.

Zay gezunt.

Friday, August 11, 2017

My Father was a Songwriter

Copyright 1952

Yes, it’s true, my father was a songwriter. He wrote more than 80 songs, many of them with Tony Messina. Tony wrote the music, my father wrote the words. I tell a story about how, as a kid, I became curious about how they wrote songs. So I went downstairs, where they were working at the piano, to observe them in action.

As soon as I entered the room, they stopped. Tony spun around on his piano stool and asked me about school, my favorite subjects, my Boy Scout activities …. I realized they were not going to write songs while I was present.

So, I went back upstairs. And then, after considering the ethical issues, I sneaked into the stairwell, unbeknownst to them, and I heard how they wrote songs. It’s a good story. I’d like to tell it to you sometime. Stay tuned.

For now, I’d like to focus on the ending of the story. In the past, I ended with their song, Bright Tomorrow. It’s a good song and a fitting conclusion.

But, it’s not their best song. Recently, at Caffé Lena, I concluded the story with this one. I think it is perhaps their best:

The Worm is Gonna Turn On You, Music by Anthony Messina, Words by Samuel Schuman, Copyright 1952.

As I listen to that recording—I'll admit it deserves a better rendition—I think I like my father’s version better!

The Worm is Gonna Turn On You, performed by Samuel Schuman.

Saturday, November 12, 2016

Song of the Century, Part 2: Get Happy!

Harold Arlen started out as a piano player and singer. This is the story of how he became a composer of popular music.

Friday, July 8, 2016

We’re in the Same Boat, Brother

We’re in the same boat, brother
We’re in the same boat, brother
And if you shake one end
You’re gonna rock the other
It’s the same boat, brother

(Links to various recordings are below.)


We’re in the Same Boat, Brother
Words by E.Y. Harburg, Music by Earl Robinson, © 1944 Harburg and Robinson

Oh the Lord looked down from his holy place
Said, “Lordy me, what a sea of space
What a spot to launch the human race.”
So he built him a boat for a mixed up crew
With eyes of black and brown and blue
And that’s how come that you and I
Got just one world with just one sky

Chorus:

We’re in the same boat, brother
We’re in the same boat, brother
And if you shake one end
You’re gonna rock the other
It’s the same boat, brother

Oh the boat rolled on through storm and grief
Past many a rock and many a reef
What kept ’em goin’ was a great belief
That they had to learn to navigate
’Cause the human race was special freight
If we don’t want to be in Jonah’s shoes
We’d better be mates on this here cruise

When the boilers blew somewhere in Spain
The keel was smashed in the far Ukraine
And the steam poured out from Oregon to Maine
Oh it took some time for the crew to learn
What’s bad for the bow ain’t good for the stern
If a hatch takes fire in China Bay
Pearl Harbor’s decks gonna blaze away

Reading this morning's newspaper (January 29, 2017) I wrote a new verse:

When the ice cap melt overfilled the seas
When the shorelines surged with refugees
And the courts were filled with desperate pleas
Oh it took some time for the crew to learn
What's bad for the bow ain’t good for the stern
When one group shouts a loud hooray
The other group can’t just walk away

I thought The Same Boat, Brother was an early civil rights song by Huddie Ledbetter, the folk singer better known as “Lead Belly.” It turns out to be a civil rights song – and much more.

I couldn’t make out all the words from Lead Belly’s recordings so I turned to the World Wide Web expecting to find the lyrics without any difficulty. However, after much searching, I found only recordings and videos of the song by Lead Belly and an even larger number by Bhupen Hazarika, a popular Indian singer of whom I had never heard. Finally I found a forum where a few people were carefully listening to Lead Belly’s recordings and piecing together the lyrics line by line. And then, more than four years after the original inquiry was posted, someone posted the authoritative lyrics from The Collected Reprints from Sing Out!: The Folk Song Magazine, Volumes 7-12, 1964-1973 pp. 110-111.* And this source showed the song was not a folk song, not written by Lead Belly, but rather by E.Y. Harburg (words) and Earl Robinson (music). It was written amidst the strife of World War II and was featured in Norman Corwin's hopeful CBS radio program, Unity Fair, which aired on July 3, 1945, just days after the signing of the United Nations Charter on June 26. (You can hear the song at minute 22:00 of the show, sung by the One World Chorus.)

Still, I couldn't figure out the chords to play on the guitar. I searched for sheet music and finally found a song book entitled 12 Negro Spirituals published in Denmark! Most vendors who showed the booklet said it was "not available." One seller, in the UK, would sell it for about $10 plus $25 shipping. So, expecting that it would be available from one of the larger university music libraries, I requested it via inter-library loan. When finally it arrived, it bore the stamp of Det Fynske Musikkonservatorium, now the Danish National Academy of Music, and was sent airmail from Esbjerg, Denmark. I felt guilty for the expense!



* You can order a copy of the song from Sing Out! magazine.

Here is some additional background information from various sources.

Introductory notes: The Collected Reprints from Sing Out!: The Folk Song Magazine, Volumes 7-12, 1964-1973, pp. 110-111

Composed originally in the waning days of World War II, this song was a popular folk-style appeal for the United Nations. Leadbelly was enthusiastic about the song and sang it constantly. The composers are a distinguished team. Earl Robinson, many of whose songs have appeared in these pages, is composer of “Joe Hill,” “Ballad for Americans,” “Lonesome Train,” “House I Live In,” “Black and White,” and scores of other works. E. Y. “Yip” Harburg is best known for the libretto to “Finian's Rainbow.” He is also author of the lyrics to the songs in the film version of “Wizard of Oz,” and lyricist for that depression classic, “Brother Can You Spare A Dime?” Harburg and Robinson also collaborated on “Free and Equal Blues.”

Introductory notes: Earl Robinson Sings, Folkways FG 3545

The usual relationship between folk music and the composer is where the latter discovers some of the beauty and excitement in a folk song and says to himself , ‘I can do something with that.’ So perhaps he arranges it simply or complexly, for an interesting group of instruments, or even a full orchestra, moving the folk song onto a new level. Some composers immerse themselves in a folk style so well that they don‘t find it necessary to quote exact tunes, but create new works while still giving the feeling of folk derivation. Men like Vaughn Williams, Bartok, Villa Lobos come to mind.

As a composer I have taken part in all these processes. But it has been my particular fortune to also have the opposite happen. Huddie Ledbetter, (perhaps the king of all the folk singers), not only took sections of the “Lonesome Train” to sing, but liked “The Same Boat, Brother” well enough to make it his own. If you listen to his recording sometime you will hear the folk process at work, in reverse so to speak.

Yip Harburg and I met in Hollywood early in 1944 and out of this came not only some movie scores but songs like “Free and Equal Blues” and “Same Boat.” The latter received an early climactic performance in San Francisco over the CBS network at the formation of the United Nations. Since then it has had no similar large scale performance. But it has made its way around nevertheless, through hundreds of copies distributed by the Y.W.C.A. plus the inexorable folk process. Still a good idea for singing.

Introductory notes: Who Put the Rainbow in the Wizard of Oz?: Yip Harburg, Lyricist, by Harold Meyerson, Ernie Harburg, p. 217.

Another [high point in Yip’s career as the bard of left liberalism] was to come the following spring after the San Francisco conference that established the United Nations. Radio producer Norman Corwin put together a live broadcast from San Francisco that CBS carried nationally. It was entitled “Unity Fair,” and Yip provided the songs and some of the script as well. The broadcast was almost an anthology of Yip’s popular front work: it included performances of “The Son of a Gun Who Picks on Uncle Sam,” Meet the People’s “It’s Smart to be People,” and a new Robinson-Harburg folk song, “The Same Boat, Brother.” The new entry was directed against postwar isolationism and intended to promote a one-world perspective—indeed, it was given its inaugural performance by the One World Chorus.

Here are links to various recordings.


Unity Fair radio broadcast, July 3, 1945, performed by the One World Chorus at minute 22:00 of the show.

Earl Robinson: Earl Robinson Sings Earl Robinson: Earl Robinson Sings

Lead Belly: Lead Belly's Last Sessions

Bhupen Hazarika:


Lou Majaw, Papon, Angarag Mahanta at the 12th South Asian Games:

Bengali Lyric:



Kevin Russell and Shinyribs at the Albino Skunk Music Festival:

Zubeen, Nahid, Papon, Choir Group




Randy Kaplan: Five Cent Piece

Long John Baldry: Remembering Leadbelly

Bill Lake & Rick Bryant: We're in the Same Boat, Brother (library citation) (album cover

Monday, June 6, 2016

My Russian Interview - Мастер еврейского сказа

I don't speak, read, or understand Russian. But when I received an email from Polina Eremenko, a writer for jewish.ru, asking for an interview on storytelling, I was delighted to oblige. The interview questions were brief and to the point; my answers were long. Five pages. Gladly the final article is much shorter. http://www.jewish.ru/culture/art/2016/06/news994334146.php