Richard Rodgers Quotes

Do I love you because you're beautiful, or are you beautiful because I love you?

The sweetest sounds I'll ever hear are still inside my head.

Whenever I feel afraid I hold my head erect and whistle a happy tune.

Walk on, walk on With hope in your heart And you’ll never walk alone

The sun has gone To bed and so must I

Blue moon ... You saw me standing alone

«Ben, milioni di persone potranno dire di essere stati al Richard Rodgers Theatre per vedere Hamilton. Noi siamo gli unici che possono dire di essersi seduti sul marciapiede e di essersi fatti una scorpacciata di pezzi di Broadway in una sola sera.» «E tu sei sicuro che sia meglio? Perché...» Arthur mi zittisce con un bacio. «Ben giocata» dico. Ci alziamo. «Davvero, mi dispiace...» Altro bacio. «Okay, ma ho rovinat...» Altro bacio. «Lasciami dir...» Altro bacio. «Che mi baci ogni volta che cerco di scusarmi non è male, come problema di coppia.» «Ben, sono felice. È stato meraviglioso e romantico e perfetto. Sei il re delle riparazioni.» Ci tuffiamo nel cuore di Times Square. Valanghe di pedoni continuano a separarci, ma noi troviamo sempre il modo di riunirci, senza permettere ai passanti o ai selfie di gruppo di tenerci lontani. Quando ritrovo la sua mano per l’ennesima volta, me lo tengo vicino. Non voglio più lasciarlo andare. Né stasera. Né mai più

The very first hit factory was T.B. Harms, a Tin Pan Alley publishing company overseen by Max Dreyfus. With staff writers like Jerome Kern, George and Ira Gershwin, Cole Porter, and Richard Rodgers, T.B. Harms was the dominant publisher of popular music in the early twentieth century. Dreyfus called his writers “the boys” and installed pianos for them to compose on around the office on West Twenty-Eighth, the street that gave Tin Pan Alley its name, allegedly for the tinny-sounding pianos passersby heard from the upper-story windows of the row houses. The sheet-music sellers also employed piano players in their street-level stores, who would perform the Top 40 of the 1920s for browsing customers.

But we did come up with the kicker together, in which the boy from Tacarembo la Tumbe del Fuego Santa Malipas Zatatecas la Junta del Sol y Cruz—a made-up mouthful of a name—turns out to be heading to a town with an even longer one: Llanfair-pwllgwyngyll-gogery-chwyrn-drobwll-llan-tysilio-gogo-goch. That town, in Wales, is real; we called the first Welsh person we could think of, Sybil Burton, Richard Burton’s ex, from two extensions in my apartment, scribbling down her pronunciation phonetically so we could teach it to Linda Lavin later.

Perhaps the most common device for giving people focus and direction is goal setting, but goals, as often as they are used, have their pros and cons. Sure, if you can convince everybody that profits must increase 20% next quarter or we’re going out of business, people will hurry around looking for ways to hype profits by 20%. When discussing “mission” I assigned Susan a goal of 25% improvement in sales, based on what I calculated was needed to avoid closing the factory and on what I felt her district could reasonably provide. It was not a number pulled from the ether, and I went to some length to explain this to her. Short of any such basis in reality, people will often do the easiest things, such as firing 20% of the workforce, canceling vital R&D programs, or simply not making any payments to suppliers. In other words, they will take achieving the goal as seriously as they feel you were in setting it; they will sense whether you have positioned yourself at the Schwerpunkt. Goals, as we all know, can be motivators. Cypress Semiconductor, a communications-oriented company founded in 1982, used to have a computer that tracked the thousands of self-imposed goals that its people fed into the system. Cypress founder T. J. Rodgers identified this automated goal tending system as the heart of his management style and a big factor in the company’s early success.136 Frankly, I find this philosophy depressing, not to mention a temptation to focus inward: If the boss places great importance on entering and tracking goals, as he obviously does, then that is what the other employees are going to consider important.137 In any case, what’s the big deal about meeting or missing a goal? A goal is an intention at a point in time. It is, to a large extent, an arbitrary target, whether you set it or someone above you assigns it. And we all know that numerical goals can be gamed, like banking (delaying) sales that we could have made this quarter to help us make quota next quarter. Unlike a Schwerpunkt, which gives focus and direction for chaotic and uncertain situations, what does a goal tell you? Just keep your head down and continue plugging away?

Verse speakers and opera singers could learn a great deal if they listen to all forms of popular music from Billie Holiday to Edith Piaf, where the passion, the feeling, the intonation, the tempo all arise from the word. In Broadway jargon, this is called ‘reading’ a song. I once asked Richard Rodgers, composer of Oklahoma! and countless other musicals, whether he had a stash of melodies in a top drawer, waiting to be used. ‘Of course not!’ he said. ‘I need the words.’ Like every composer of songs, it is the words that are proposed by a lyric that awaken the tune”.

Glad To Be Unhappy" Look at yourself, if you had a sense of humor You would laugh to beat the band Look at yourself, do you still believe the rumor That romance is simply grand? Since you took it right on the chin You have lost that bright toothpaste grin My mental state is all a-jumble I sit around and sadly mumble Fools rush in, so here I am Very glad to be unhappy I can't win, but here I am More than glad to be unhappy Unrequited love's a bore And I've got it pretty bad But for someone you adore It's a pleasure to be sad Like a straying baby lamb With no mammy and no pappy I'm so unhappy But oh, so glad! Writer(s): Richard Rodgers, Lorenz Hart (1955) As performed by Chris Botti & John Mayall, Chris Botti In Boston (2008) Originally performed by Frank Sinatra, In The Wee Small Hours (1955)

canciones del interior: Where or When, música de Richard Rodgers y letra de Lorenz Hart, © 1937 Chappel & Co., WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers I Didn’t Know What Time It Was, música de Richard Rodgers y letra de Lorenz Hart, © 1939 Chappel & Co., WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers My Funny Valentine, música de Richard Rodgers y letra de Lorenz Hart, © 1937 Chappel & Co., Derechos gestionados por WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers. Publicado de acuerdo con Alfred Publishing, LLC y Williamson Music