And tell me what street
Compares with Mott Street in July
Here in the same neighborhood on 13 Essex Street was my second apartment in New York; fourth floor walkup, one bedroom, tub in kitchen, $85 a month.
This picture’s from the 90s. When I lived here, the boutique was a kosher grocery that stayed open till 11pm.
From the 1925 revue Garrick Gaieties. The song was introduced by Sterling Holloway (of Fractured Fairy Tales fame) and June Cochran.
The indication “burlesque strip style” was actually written on the music right around 4:00. Both Ramin and Ginzler cut their teeth writing swing arrangements; lead trumpet in the original Gypsy pit was Dick Perry, late of the Tommy Dorsey Orchestra. Solo trumpet Mike Lovatt here lays it down fine. Some people obviously know something about burlycue. Composer Jule Styne was pleased with this orchestration. Once again, the BBC Proms program The Broadway Sound, 2012.
Also at 4:00 John Wilson shimmying like a brazen hussy. This is the moment one year ago today when I fell in love with you my bonny, that lovely luscious moment when I stumbled onto this old clip and caught a glimpse of your hidden fires…
John and O don’t always perform semi-staged fully-voiced musicals badly at their BBC Proms appearances at the Royal Albert Hall—their 2012 My Fair Lady was pretty much all right, no shenanigans there (pronounced The Guardian, “John Wilson’s adapted score—which borrows from Andre Previn’s movie arrangement—adds a sparkle to even the most drearily expository songs: the flutes somehow sound cheekier, the brass ruder, the strings zingier”). And in fact their 2014 Kiss Me Kate was as it was meant to be: big, sexy and playful. Winsome John even gets a speaking part!
That’s the wonderful Louise Dearman as singer/sexworld adventuress Lois Lane. (Yes I swear to God, that’s the name the writers of this classic 1948 Broadway musical gave her.)
Now, we all know about “Too Darn Hot” with its descriptions of nice normal congress (“I’d like to sup with my baby tonight / Play the pup with my baby tonight”) and “Tom, Dick or Harry” with its lyrics “I’m a maid mad to marry and would take double quick / Any Tom, Dick or Harry, any Tom, Harry or Dick” and the lilting refrain “A-dick-a-dick dick dick, a-dick-a-dick dick dick”…
But did you ever stop to think about the song “Always True to You in My Fashion”? Which was one of my party pieces years and years ago (alternating with “I Cain’t Say No” from Oklahoma). I once gave it some thought and what I worked out is this: Lois isn’t just your ordinary sex supplier—no, she specializes in those extra-special somethings that make a man (well, certain men) happy and willing to pay top dollar for them. Not to mention that in every verse she pretty much announces her rates:
- There’s a madman known as Mac
Who is planning to attack
If his mad attack means a Cadillac, okay!…
- I would never curl my lip
To a dazzling diamond clip
If a clip meant “Let ‘er rip!”
I’d not say nay…
- There’s an oilman known as Tex
Who is keen to give me checks
And his checks I fear
Means that sex is here to stay…
…ending always with the last line, “But I’m always true to you darling in my fashion / Yes I’m always true to you darling in my way.” Which to me is the number-one indication she keeps it hot with her boyfriend because with him it’s, like I said, nice normal congress. You know, vanilla. But with her clients? As you may recall I was in the business, where scenarios abound. (Remember that “Basingstoke” I mentioned above?)
All this to say it amused me to no end to watch Lois size up within two seconds The Conductor, cunningly portrayed by my beloved John Wilson. Because I know exactly what’s going on in her head, in descending order:
- How much do orchestra conductors make, anyway?
- Tell mama what your kinks are.
- Hey, he’s kinda cute. Skinny, but cute.
But don’t blame me, take it up with Cole Porter. Kiss Me, Kate is available in its entirety here.
Have you ever seen a conductor so much in the heart of the music as 38 year-old, New York-born Mexican-American Alondra de la Parra? Bernstein yes, definitely. Carlos Kleiber was also known to joyfully respond to a joyful chord. And this girl, like those fine blokes, has got it all—joy, knowledge and consummate control. On the road to being one of the greats, she is.
The title “Le Bœuf Sur le Toit” is that of an old Brazilian tango, one of close to 30 Brazilian tunes, or choros, quoted in the composition. The piece was originally to have been the score of a silent Charlie Chaplin film; its transformation into a ballet was the making of the piece, with a scenario by Jean Cocteau, stage designs by Raoul Dufy, and costumes by Guy-Pierre Fauconnet. There is no real story to speak of, but is a sequence of scenes based on music inspired by Brazil, a country in which Milhaud spent two years during World War I.
The ballet’s premiere was given in February 1920 at the Théâtre des Champs-Élysées, and in turn gave its name to a celebrated Parisian cabaret-bar, Le Bœuf Sur le Toit, which opened in 1921 and became a meeting-place for Jean Cocteau and his cronies.
…But to get on with this posting. One of the nominees at the 64th Tony Awards was the revival of Promises, Promises with a score by Burt Bachrach, including some of his interpolated standards (like “A House is Not a Home” and “I Say a Little Prayer”, neither of which were in the original production), so I’m thinking that this bootleg vidcomp from an actual performance would be a good introduction to the work of this (as my beloved John Wilson, Conductor might deem him) “top-drawer American tunesmith”. The connection to my posting on Milhaud above? Bachrach was a student of Darius Milhaud, and you can hear what he retained from the modernist master in his distinctive, almost Latin, rhythms—think of “Always Something There to Remind Me” or “Twenty-four Hours from Tulsa”.