Click to hear Danielle Darrieux young again - she's 99 today (May 1)!
Click to hear Judy Collins sing a song you'll hear again soon when the first chapter of The Gordon Book is published in BamaBlog's MiddleLink....
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"Let's Do It, Let's Fall in Love" (also known as "Let's Do It (Let's Fall in Love)" or simply "Let's Do It")
.....is a popular song written in 1928 by Cole Porter (June 9, 1891 – October 15, 1964). It was introduced in Porter's first Broadway success, the musical Paris (1928) by French chanteuse Irène Bordoni for whom Porter had written the musical as a starring vehicle. It is the first of Porter's famous "list songs", and features a string of suggestive and droll comparisons and examples, preposterous pairings and double entendres, dropping famous names and events, drawing unexpectedly from highbrow and popular culture. Porter was a strong admirer of the Savoy Operas of Gilbert & Sullivan, many of whose stage works featured similar comic list songs.
"Bread and Roses" is a political slogan as well as the name of an associated poem and song.
It originated from a speech given by Rose Schneiderman; a line in that speech ("The worker must have bread, but she must have roses, too." ) inspired the title of the poem Bread and Roses by James Oppenheim. The poem was first published in The American Magazine in December 1911, with the attribution line "'Bread for all, and Roses, too'—a slogan of the women in the West." The poem has been translated into other languages and has been set to music by at least three composers.
Judy Collins was born the eldest of five siblings in Seattle, Washington, where she spent the first ten years of her life. Her father, a blind singer and radio disc jockey, took a job in Denver, Colorado, in 1949, and the family moved there. Collins studied classical piano with Antonia Brico, making her public debut at age 13, performing Mozart's Concerto for Two Pianos. Brico took a dim view, both then and later, of Collins' developing interest in folk music, which led her to the difficult decision to discontinue her piano lessons. Years later, after she became known internationally, she invited Brico to one of her concerts in Denver. When they met after the performance, Brico took both of Collins' hands in hers, looked wistfully at her fingers and said, "Little Judy—you really could have gone places." Still later, Collins discovered that Brico herself had made a living when she was younger playing jazz and ragtime piano (Singing Lessons, pp. 71–72). In her early life, Collins had the good fortune of meeting many professional musicians through her father.
Plus two tall-standing women of ours who are always
our minds and memories:
Frances (27 April 1902) and Kay (28 April 1928)
Enghien - 1 May 2016