Meredith Willson – America’s Music Man is a loving, thorough and accurate examination of one of Broadway’s great composers. It tells the story before, during and after The Music Man opened in 1957. The story of Willson’s family, his life in Mason City, Iowa, and his eventual rise to the top of the music world forms the platform that led to four musicals and dozens of awards. Also included are Willson’s activities scoring movies, directing orchestras on Old Time Radio, and even becoming a character on radio and television shows. This is the first in-depth look at the career of a real music man from north central Iowa.
Chronicles the creation of Meredith Willson’s The Music Man—reprinted now as the Broadway Edition Composer Meredith Willson described The Music Man as “an Iowan’s attempt to pay tribute to his home state.” Now featuring a new foreword by noted singer and educator Michael Feinstein, this book presents Willson’s reflections on the ups and downs, surprises and disappointments, and finally successes of making one of America’s most popular musicals. Willson’s whimsical, personable writing style brings readers back in time with him to the 1950s to experience firsthand the exciting trials and tribulations of creating a Broadway masterpiece. Fresh admiration of the musical—and the man behind the music—is sure to result.
A bear takes a baby into the forest to eat some honey, and her mother is so relieved to find the baby safe and covered in honey that she begins using the endearment "honey," which now all parents use to address their children.
Though Meredith Willson is best remembered for The Music Man, there is a great deal more to his career as a composer and lyricist. In The Big Parade, author Dominic McHugh uses newly uncovered letters, manuscripts, and production files to reveal Willson's unusual combination of experiences in his pre-Broadway career that led him to compose The Music Man.
Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music.
The Music Man stands as one of the greatest achievements in American musical theatre, but few know about its rocky beginnings and the against-all-odds success story of its creator Meredith Willson. Mark Cabaniss steps back into the Golden Age of Broadway and brings to life the origins of this classic show, the music behind it, and the unlikely story of its creator. Interweaving behind-the-scenes accounts of people who worked with Willson, Cabaniss looks at his long and unusual career as a composer, conductor, radio personality, and flutist, which reached its pinnacle in The Music Man. No one initially believed in Willson’s “Valentine to Iowa,” seeing it as nothing but a corny flop or, worse, a recipe for disaster. But when the curtain fell on opening night, a star called The Music Man was born. Over 65 years later, that star is still marching right to this day, endeared by millions around the world. To understand Willson, his career, and his music is to understand how The Music Man came to be: he was truly the only person who could have ever written this show due to his unique background, talent, incredible persistence, and belief. The show’s ultimate success and longevity was anything but inevitable—rather, it was truly a miracle.
Iowa has been blessed with citizens of strong character who have made invaluable contributions to the state and to the nation. In the 1930s alone, such towering figures as John L. Lewis, Henry A. Wallace, and Herbert Hoover hugely influenced the nation’s affairs. Iowa’s Native Americans, early explorers, inventors, farmers, scholars, baseball players, musicians, artists, writers, politicians, scientists, conservationists, preachers, educators, and activists continue to enrich our lives and inspire our imaginations. Written by an impressive team of more than 150 scholars and writers, the readable narratives include each subject’s name, birth and death dates, place of birth, education, and career and contributions. Many of the names will be instantly recognizable to most Iowans; others are largely forgotten but deserve to be remembered. Beyond the distinctive lives and times captured in the individual biographies, readers of the dictionary will gain an appreciation for how the character of the state has been shaped by the character of the individuals who have inhabited it. From Dudley Warren Adams, fruit grower and Grange leader, to the Younker brothers, founders of one of Iowa’s most successful department stores, The Biographical Dictionary of Iowa is peopled with the rewarding lives of more than four hundred notable citizens of the Hawkeye State. The histories contained in this essential reference work should be eagerly read by anyone who cares about Iowa and its citizens. Entries include Cap Anson, Bix Beiderbecke, Black Hawk, Amelia Jenks Bloomer, William Carpenter, Philip Greeley Clapp, Gardner Cowles Sr., Samuel Ryan Curtis, Jay Norwood Darling, Grenville Dodge, Julien Dubuque, August S. Duesenberg, Paul Engle, Phyllis L. Propp Fowle, George Gallup, Hamlin Garland, Susan Glaspell, Josiah Grinnell, Charles Hearst, Josephine Herbst, Herbert Hoover, Inkpaduta, Louis Jolliet, MacKinlay Kantor, Keokuk, Aldo Leopold, John L. Lewis, Marquette, Elmer Maytag, Christian Metz, Bertha Shambaugh, Ruth Suckow, Billy Sunday, Henry Wallace, and Grant Wood. Excerpt from the entry on: Gallup, George Horace (November 19, 1901–July 26, 1984)—founder of the American Institute of Public Opinion, better known as the Gallup Poll, whose name was synonymous with public opinion polling around the world—was born in Jefferson, Iowa. . . . . A New Yorker article would later speculate that it was Gallup’s background in “utterly normal Iowa” that enabled him to find “nothing odd in the idea that one man might represent, statistically, ten thousand or more of his own kind.” . . . In 1935 Gallup partnered with Harry Anderson to found the American Institute of Public Opinion, based in Princeton, New Jersey, an opinion polling firm that included a syndicated newspaper column called “America Speaks.” The reputation of the organization was made when Gallup publicly challenged the polling techniques of The Literary Digest, the best-known political straw poll of the day. Calculating that the Digest would wrongly predict that Kansas Republican Alf Landon would win the presidential election, Gallup offered newspapers a money-back guarantee if his prediction that Franklin Delano Roosevelt would win wasn’t more accurate. Gallup believed that public opinion polls served an important function in a democracy: “If govern¬ment is supposed to be based on the will of the people, somebody ought to go and find what that will is,” Gallup explained.
Michael Feinstein was just 20 years old when he got the chance of a lifetime: a job with his hero, Ira Gershwin. During their six-year partnership, Feinstein blossomed under Gershwin's mentorship and Gershwin was reinvigorated by the younger man's zeal. Now, in The Gershwins and Me, Michael Feinstein shares unforgettable stories and reminiscences from the music that defined American popular song, along with rare Gershwin memorabilia he's collected through the years. Includes an accompanying CD packed with Feinstein's original recordings of 12 Gershwins' songs.
THE STORY: SATCHMO AT THE WALDORF is a one-man, three-character play in which the same actor portrays Louis Armstrong, the greatest of all jazz trumpeters; Joe Glaser, his white manager; and Miles Davis, who admired Armstrong's playing but disliked his onstage manner. It takes place in 1971 in a dressing room backstage at the Empire Room of New York's Waldorf-Astoria Hotel, where Armstrong performed in public for the last time four months before his death. Reminiscing into a tape recorder about his life and work, Armstrong seeks to come to terms with his longstanding relationship with Glaser, whom he once loved like a father but now believes to have betrayed him. In alternating scenes, Glaser defends his controversial decision to promote Armstrong's career (with the help of the Chicago mob) by encouraging him to simplify his musical style, while Davis attacks Armstrong for pandering to white audiences.
