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[Interview with Ernest Harburg : raw footage]

Verfasser/in: Ernest Harburg; Michael Kantor; Buddy Squires
Verlag: New York , 1999.
Ausgabe/Format   VHS-Video : VHS-Band   Bildmaterial : Englisch
Datenbank:WorldCat
Zusammenfassung:
Raw interview footage used for the documentary Broadway, the American musical. Author Ernest Harburg, son of lyricist E. Y. (Yip) Harburg, speaks about his father's life and career as a songwriter who worked with many well-known composers. Topics of discussion include Yip's poverty as a child growing up in a tenement on New York's Lower East Side; his friendship and professional relationship with lyricist Ira  Weiterlesen…
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Gattung/Form: Documentaries and factual works
Musicals
Unedited footage
Interviews
Name: Ernest Harburg; E Y Harburg; E Y Harburg; E Y Harburg; E Y Harburg
Medientyp: Videoaufnahme
Dokumenttyp: Bildmaterial
Alle Autoren: Ernest Harburg; Michael Kantor; Buddy Squires
OCLC-Nummer: 123086275
Anmerkungen: Videocassette one: 12 min. Videocassette two: 55 min.
Copy of transcript available.
This interview is one of a group of interviews with 90 individuals used in making the documentary Broadway, the American musical. The completed production is available on NCOX 2058.
Credits for completed production from pbs.org: A film by Michael Kantor ; produced by Jeff Dupre, Michael Kantor and Sally Rosenthal ; written by Marc Fields, Michael Kantor, Laurence Maslon, and JoAnne Young ; directed by Michael Kantor.
Time code on frame.
Contains various takes, at occasional brief intervals, audio continues without sound.
Mitwirkende: Cameraman: Buddy Squires.
Interpret(en): Interviewer: Michael Kantor. Interviewee: Ernest Harburg.
Aufnahmehinweise Videotaped in New York, N.Y. , probably in Ernest Harburg's residence, on April 23, 1999.
Beschreibung: 2 videocassette (VHS) (67 min.) : sd., col. SP ; 1/2 in.
Andere Titel Broadway, the American musical
Broadway: the American musical :

Abstract:

Raw interview footage used for the documentary Broadway, the American musical. Author Ernest Harburg, son of lyricist E. Y. (Yip) Harburg, speaks about his father's life and career as a songwriter who worked with many well-known composers. Topics of discussion include Yip's poverty as a child growing up in a tenement on New York's Lower East Side; his friendship and professional relationship with lyricist Ira Gershwin; his decision to become a full-time lyrcist after the failure of his electrical appliance business following the stock market crash in 1929; his introduction to composer Jay Gorney, and his first hit "I'm yours," which was recorded by Johnny Green; Yip's learning the craft of lyric writing by working with many composers; the creation of his hit song "Brother, can you spare a dime?" originally written for the Broadway musical Americana, including how the song came to be published, its meaning and structure, and its initial reception; Broadway as a bastion of artistic freedom; the artistic achievements of the immigrant Jewish community on the Lower East Side, including its second generation, particularly in songwriting; changes in the economics of producing shows on Broadway during the 1980s in comparison with the 1950s; the business tactics of producer David Merrick for the show 42nd Street; the "vintage period" of musicals produced on Broadway from the 1930s to the 1960s; Yip's desire to entertain as well as communicate social messages through his lyrics, as he does in his anti-war song Hooray for what? the show Bloomer girl, about a suffragette who invented bloomers, and musical Finian's rainbow, one of the first to contain a racially integrated chorus line; Yip's gifts as a collaborator who worked with over 60 composers; songwriting as a collaboration dependent equally on lyricist and composer; how rock music, after 1964, affected the popularity of Broadway show tunes; Broadway's formula which requires mixing commercial interests with artistic ones; the collaborative nature of creating shows on Broadway, the difficulties, and the rarity of success. Interview continues with audio only for last six minutes, with discussion on how words and music unite to make a good song; and the continuing relevance and popularity of "Brother, can you spare a dime?"

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