Songs Week of 9 October 2007
THE GOLD DIGGERS' SONG
THE GOLD DIGGERS' SONG
("We're in the Money")
Ginger Rogers introduced this Harry Warren-Al Dubin song in the film, Gold Diggers of 1933. The phrase, "we're in the money" is idiomatic for "we have a lot of money." Jackie Gleason uses that idiom in an episode of The Honeymooners for this week's study.Gone are my blues and gone are my tears. I've got the news to shout in your ears. The long-lost dollar has come back to the fold, With silver you can turn your dreams to gold.
Oh, we're in the money, we're in the money. We've got a lot of what it takes to get along. Oh, we're in the money, the sky is sunny, Old Man Depression you are through, you've done us wrong.
Oh we never see a headline, 'bout a breadline today and when we see the landlord we can look that guy right in the eye.
We're in the money, c'mon my honey, let's lend it spend it send it throw it around! {Repeat chorus}
ALWAYS
This is one of possibly hundreds of Irving Berlin songs that became standards and are now considered part of the "Great American Song Book." (For most people, Berlin is most famous as the writer of "God Bless America," "Easter Parade," and the perennial, "White Christmas.") The song became the theme song of The Honeymooners. For those in my film class, every musical cue (or theme) has a purpose. Here the point is that despite Ralph Kramden's insensitive treatment of his wife, Alice, it's all a masculine bluff, and they will be lovers "always." The same point is made with the music in the reconciliation scenes usually featured in Honeymooner episodes at the end (see below). The great Bobby Darin recorded this song, though there must be hundreds of recordings available even now. Darin started out as a Rock singer in the wake of Elvis Presley but, eager for an adult audience, switched to Big Band Pop stylings. His idol was Frank Sinatra and he seemed obsessed with trying to capture Sinatra's sound. He had a limited vocal instrument, but his phrasing, in my opinion, places him among the great song stylists in twentieth-century popular music. Kevin Spacey's mother loved Darin; for this reason, Spacey filmed a biopic of Darin's life (Beyond the Sea), but, despite his age, cast himself as a young Bobby Darin and also sang his own songs, modeled on Darin's style.
I'll be loving you always, with a love that's true always. When the things you plan need a helping hand, I will understand always, always. Things may not be fair always, that's when I'll be there always. Not for just an hour, not for just a day, not for just a year, not for just a year. Ah, I'll be loving you always with a love that's true for always. When the things you plan need a helping hand I will understand always, always. Things may not be fair always, that's when I'll be there always, not for just an hour, not for just a day, not for just a year, ah, but always.This is one of possibly hundreds of Irving Berlin songs that became standards and are now considered part of the "Great American Song Book." (For most people, Berlin is most famous as the writer of "God Bless America," "Easter Parade," and the perennial, "White Christmas.") The song became the theme song of The Honeymooners. For those in my film class, every musical cue (or theme) has a purpose. Here the point is that despite Ralph Kramden's insensitive treatment of his wife, Alice, it's all a masculine bluff, and they will be lovers "always." The same point is made with the music in the reconciliation scenes usually featured in Honeymooner episodes at the end (see below). The great Bobby Darin recorded this song, though there must be hundreds of recordings available even now. Darin started out as a Rock singer in the wake of Elvis Presley but, eager for an adult audience, switched to Big Band Pop stylings. His idol was Frank Sinatra and he seemed obsessed with trying to capture Sinatra's sound. He had a limited vocal instrument, but his phrasing, in my opinion, places him among the great song stylists in twentieth-century popular music. Kevin Spacey's mother loved Darin; for this reason, Spacey filmed a biopic of Darin's life (Beyond the Sea), but, despite his age, cast himself as a young Bobby Darin and also sang his own songs, modeled on Darin's style.
LOVE IS HERE TO STAY
This beautiful anthem to enduring love was one of two last songs American composer, George Gershwin wrote with his brother, Ira, before George's untimely death in 1938. (The other was "Love Walked In.") It was introduced in The Goldwyn Follies (1938) and sung again by Gene Kelly in An American in Paris (1951). Jackie Gleason used it as background music for the reconciliation scenes in The Honeymooners shows, when Ralph Kramden apologizes to his wife, Alice for doing something foolish. The point is the same as that made with the title song, "Always": that this couple, no matter how much they fight, will stay together no matter what. Both songs are examples in television or movies of how directors use not merely a melody, but the educated viewer's knowledge of the lyrics that go with the melody in order to make a point.It's very clear our love is here to stay. Not for a year, but ever and a day. The radio and the telephone and the movies that we know may just be passing fancies and in time may go. But oh my dear our love is here to stay. Together we're going a long, long way. In time the Rockies may crumble, Gibralter may tumble, they're only made of clay, but our love is here to stay.
THEY ALL LAUGHED
Another standard by the Gershwin brothers. Introduced by Ginger Rogers in Shall We Dance (1937), this song is a virtual history lesson and refers to famous people whose inventions must have seemed unrealistic at the time but have since endured. In the classic American pop song, an only half-sung verse usually preceded the chorus in order to allow an easy transition between speaking and singing. But often the verse was included in the middle of the chorus when recorded, probably because buyers were impatient to hear the main melody first. Finally, the verse was omitted entirely for radio airplay. Fortunately the more serious singers insist on including these beautiful half-spoken, half-sung gems of American popular music in their recordings of the "Great American Song Book."
Ho, ho, ho, ha, ha, ha, ha, hee, hee, hee, you think the laugh's on me! They all laughed at Christopher Columbus when he said the world was round. They all laughed when Edison recorded sound. They all laughed at Wilbur and his brother when they said that man could fly. They told Marconi wireless was a phony, it's the same old cry. They laughed at me wanting you, said I was reaching for the moon but oh you came through now they'll have to change their tune. They all said we never could be happy, but ho, ho ho who's got the last laugh now? {verse} The odds were a hundred to one against me, the world thought the heights too high to climb. But people from Missouri never incensed me. Oh I wasn't a bit concerned for from history I had learned how many many times the world had turned. {Chorus} They all laughed at Rockefeller center now they're fighting to get in. They all laughed at Whitney and his cotton gin. They all laughed at Fulton and his steamboat, Hershey and his chocolate bar; Ford and his Lizzie kept the laughers busy, that's how people are. They laughed at me wanting you said it would be hello goodby, but oh you came through, Now they're eating humble pie. Darling let's take a bow. For who's got the last laugh now?Another standard by the Gershwin brothers. Introduced by Ginger Rogers in Shall We Dance (1937), this song is a virtual history lesson and refers to famous people whose inventions must have seemed unrealistic at the time but have since endured. In the classic American pop song, an only half-sung verse usually preceded the chorus in order to allow an easy transition between speaking and singing. But often the verse was included in the middle of the chorus when recorded, probably because buyers were impatient to hear the main melody first. Finally, the verse was omitted entirely for radio airplay. Fortunately the more serious singers insist on including these beautiful half-spoken, half-sung gems of American popular music in their recordings of the "Great American Song Book."
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