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It’s hard to ignore the familiarity of Patrick Wolf’s video for “The Magic Position.” Featuring bright colors, symbolic pigeons, happy dancing people and an orange-haired Wolf, the video manages to invoke Rodgers and Hammerstein, Mary Poppins, and David Bowie simultaneously. The point is, we’ve seen this before in a music video, and can’t help but compare it to something like Björk’s “It’s Oh So Quiet.” Thus...

Author: By Elsa S. Kim, CONTRIBUTING WRITER | Title: POPSCREEN: Patrick Wolf | 4/6/2007 | See Source »

...comes as no surprise, to be honest. We’re an old school; we like old things. Harvard’s founding predates many popular forms of entertainment—musical theater, for example, a comparatively modern genre that came of age with the 1927 production of Oscar Hammerstein II and Jerome Kern’s “Show Boat.”In a sense, musical theater has never left adolescence. Essential questions remain: is it a play with music? Is it merely verbose opera? Is it a revue with plot? The “modern?...

Author: By Kyle L. K. Mcauley, CRIMSON STAFF WRITER | Title: Notes on the Sound of New Music(als) | 10/19/2006 | See Source »

Indeed, Verba said that he is sometimes known as the “Ado Annie of academia,” referring to a character in the Rodgers and Hammerstein musical Oklahoma, who sings, “I’m just a girl who can?...

Author: By Lulu Zhou, CRIMSON STAFF WRITER | Title: Library Chief To Close the Books | 9/27/2006 | See Source »

...much notice. From 1937 to 1939 she appeared in nine two-reel musicals, made in New York for 20th Century-Fox and Warner Bros. And she hoofed in the chorus of shows with scores by some pretty sharp tunesmiths: Harold Rome (Sing Out the News), Jerome Kern and Oscar Hammerstein (Very Warm for May ), Richard Rodgers and Lorenz Hart (Higher and Higher) and Cole Porter (Panama Hattie). In three of those shows she shared stage space with Vera Ellen, who would join Allyson in MGM musicals; in another she played with Eve Arden, who'd supply comic vinegar to Allyson...

Author: /time Magazine | Title: In Defense of June Allyson | 7/11/2006 | See Source »

...book is stuffy but whose songs are ordinary. They're knowing pastiche, like the ones in The Producers and its progeny, but not, it's fair to say, up there with the stuff churned out by George and Ira Gershwin, Richard Rodgers and Lorenz Hart, Jerome Kern and Oscar Hammerstein II and Cole Porter all by himself. Or with the fabulous songs written in the '30s and '40s by such Hollywood tunesmiths as Harry Warren and Johnny Mercer...

Author: /time Magazine | Title: Old Musicals Like New | 5/12/2006 | See Source »

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