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After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
Not being a natural songwriter... for me the appreciation of a great song and the writers came early on, growing up in a musical family. My dad got to sing songs by some of the greatest writers of all time, Rodgers and Hammerstein.
And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.
I feel very fortunate to have been associated with people such as Rodgers and Hammerstein. I think they were geniuses of their time.
Larry Hart and Dick Rodgers were both bright Jewish boys from Manhattan who at one point or another went to Columbia, but there the similarity in their backgrounds ends.
Like Rodgers and Hammerstein, I'm not afraid to deal with themes about the ups and downs of life, yet which are still entertaining, and you still feel these stories.
I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.
That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.
Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
It's kind of hard to get deep with Rodgers and Hammerstein. I can't think of a moral in the music - it's just fun.
When I listen to most forms of music, in their most raw and pure, it all has a punk edge to me, like Lead Belly, Jimmie Rodgers, Otis Redding or Nirvana.
We never thought we were writing for posterity, because at the time everyone assumed that all the great standards had already been written by Irving Berlin, Cole Porter, Rodgers and Hammerstein... The songs we were writing were supposed to be temporary things, of the period, like comic books.
I like to think I'm pretty close in comparison to Aaron Rodgers. He's very athletic and gets the ball out quickly. He's very knowledgeable of the game, controls the offense totally, and that's something I try to do. Just know the offense inside and out.
I think my knowledge of music theory is rooted in jazz theory, and a lot of the writers of standards - Rodgers and Hart, and Gershwin.
In the Rodgers and Hammerstein generation, popular hits came out of shows and movies.
I've never met a Mormon I didn't like. They're really nice people. They're so Disney. They're so Rodgers and Hammerstein.
I was mainly influenced by the Carter Family, Jimmie Rodgers, Loretta Lynn, Merle Haggard, and others like Bob Dylan, Johnny Cash.
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