Label: Sonrise Sunset Entertainment - 54337-2,Young Black Brotha Records - 54337-2,Del Paso Heights Entertainment - 54337-2,Lightyear Entertainment - 54337-2 • Format: CD Album • Country: US • Genre: Hip Hop •
The year is The role of Tevye was originally played by Zero Mostel. But in our little village of Anatevka, you might say every one of us is a fiddler on the roof trying to scratch out a pleasant, simple tune without breaking his neck.
It isn't easy. You may ask why do we stay up there if it's so dangerous? We stay because Anatevka's our home. And how do we keep our balance? That I can tell you in one word - tradition. Tradition, tradition. It's since been performed around the world. Bock died in Their other musicals include "Fiorello!
Jerry Bock, when you were writing the music for "Fiddler On The Roof," how - how Jewish did you want the music to sound? How much did you want it to All My Ni**as Saying - Sonrise Sunset - Turn Of The Century like Klezmer music and how much did you want it to sound like Broadway music?
I knew the ambience was going to be Russian and that it took place in a shtetl. But I had no compulsion to research either early Klezmer or, particularly, Russian music at the turn of that century or just before the turn of the century.
The music that I hadn't been able to write with all our shows was something that I had silently deposited in my creative mind. And the opportunity to now express Nevera - Vinko Coce - Ne Damo Te Pismo Naša with that kind We Should Be Young - Michael Møller & Foreign Lands - Burning Waltz music just opened up a flood of possibilities for me.
We went down looking to see whether there were any performers in that that would be All My Ni**as Saying - Sonrise Sunset - Turn Of The Century for our show, and there was one. There was a man named Svie Schuyler ph who became our innkeeper. But as part of the entertainment, a mother and daughter came out and they did a Hasidic chant all in thirds and sixths with just syllables, no actual words.
And Jerry called me the next day saying he'd Il Me Restera - Jean-Jacques Goldman - LIntégrale 81-91 so taken with this that it inspired him to write something similar.
BOCK: And that was a collaborative thing again because what affected us was both the word chant as well as the accompanying music. I realize, of course, that it's no shame to be poor. But it's no great honor, either. So what would've been so terrible if I had a small fortune? Singing If I were a rich man, ya-ha All My Ni**as Saying - Sonrise Sunset - Turn Of The Century dee-a dee-a dee-a dee-a dee-a dum ph.
All day long, I'd biddy biddy bum ph. If I were a wealthy man. I wouldn't have to work hard, ya-ha, beeble, beeble, beeble, beeble, beeble, bubble, bum ph. If I were a biddy, biddy rich, yidle, diddle, didle, didle ph man, I'd dig a big tall house with rooms by the dozen right in the middle of the town.
A fine tin roof with real wooden floors below. There could be one long staircase just going up and one even longer coming down, and one more leading nowhere just for show. I'd fill my yard with chicks and turkeys and geese and ducks for the town to see and hear, squawking just as noisily as they can. And each loud imitating chickens squawking would land like a The Police - Reggatta De Blanc on the ear as if to say, here lives a wealthy man.
Oh, if I were a rich man, ya-ha, deedle, deedle, deedle, beeble, beeble, bubble, bum ph. GROSS: Sheldon Harnick, the yidle-deedle-digga-digga-do ph part, laughterdid you actually write out the syllables that you wanted Zero Mostel to sing?
When Jerry played me the music he wrote, he did the All My Ni**as Saying - Sonrise Sunset - Turn Of The Century song in that kind of a Hasidic chant, and we decided that it would be great fun to preserve part of the chant and not just to write wall-to-wall lyrics for the song.
But my problem was I don't come from a background where I was comfortable chanting in that fashion. And I thought, OK, I'll have to create some kind of syllables which give the effect of that kind of chanting.
And I came up with the didle-deedle-didle-digga-digga-deedle-didle-dum phwhich I thought was kind of fun and sounded a little like the chanting. But when we played the song for Zero, he said, I come from a background - I don't want to do the syllables you've written.
Is it OK with you if I do it the way I think it should be done? And I said, absolutely. I said, can't sing it that way. So Zero did it with his - stylistically, it sounded quite BOCK: By the way, if Sheldon had said no, absolutely not, you must do the lyric, he would've done it his way anyway.
And, as a matter of fact, he did me a huge favor. And then I went for a serious ending, and I began to worry whether I should change the ending and make the ending droll also.
And Zero looked at me, he said, Sheldon, don't change the ending. If you want to - this is the man. The jokes in the song are terrific, but this is the man that you've described, the one who wants a seat by the eastern wall, who wants to be able to pray. This is the real Tevye. So he saved - we kept the Aquarium Suite: Moorish Idol - Billy Mayerl - The King Of Syncopation, and I'm glad we did.
So Sheldon Harnick, when you were writing the lyrics, it seems to me you intentionally avoided All My Ni**as Saying - Sonrise Sunset - Turn Of The Century anything Yiddish with the exception of this song.
Not too long before we went into rehearsal, I went to see a comedian named Lenny Bruce. I'd heard that Lenny Bruce was controversial I Dont Have A Clue - Jedd Hughes - Transcontinental he used a lot of profanity and obscenities in his act, and I was curious.
So I went to see him and it turned out that the obscenities and the profanities were all done as characters that he portrayed and so that they sounded like things those particular characters would actually say.
And I wasn't disturbed by the profanity or the obscenity at all. What did disturb me was that when he wasn't doing the characters and he was just talking, he would throw in Yiddish words and they would elicit laughter from a few people here and there, but many of the other people in the club turned to each other and said, what'd he say?
What'd he C.W.N.
- Jesus & His Judgemental Father - It Might Get Better So I thought it'll be probably useful to use a couple of Yiddish words in our show, in the dialogue and in the lyrics - just a couple for flavoring. But if anyone laughs when they're used Aint That Love - Ray Charles - Ray Charles they come out.
And also when they're used, they have to be used in a way that the audience will know what they mean. So of course in "To Life" there's an explanation that goes along with those words. To life, to life, l'chaim, l'chaim. Nobody could miss that. And the word mazel tov is usually used in a setting where it's pretty clear that it means congratulations, you know? BOCK: Unhappily, after the show was running - the original show was running, our dear star Zero would occasionally go into a matinee and use more Yiddish than we ever could've dreamed of in certain performances to sort of make him a confidant of what he thought that kind of audience was.
We all - we all thought that was naughty, to put it mildly. Joe Stein made a terrible mistake one day. We were in the audience when he used a kind of really naughty Yiddish word.
And we went backstage and Joe said to him - he said, Zero, you were wonderful today. Buddy, I couldn't have done it better. And Joe said - he said, Zero, do you have to add those kind of words, especially the words that have the naughty implications? And Zero kind of did what he wanted so it was another two weeks before he would take those words out. Then when he thought, OK, I've done it enough, then he took it out.
So that answers your question. Yes, he was difficult. But, audiences adored him, you know? Whatever he did, usually what he did was so funny that audiences just loved him. Terry Gross spoke with them in We'll hear more of their conversation after a break. Let's get back to Terry's interview with the show's composer, Jerry Bock, and its lyricist, Sheldon Harnick.
They don't want their father Tevye to decide who they're going to marry. They don't want the matchmaker to decide it. At this point, they want to fall in love, and at least one of them already All My Ni**as Saying - Sonrise Sunset - Turn Of The Century.
And she wants to marry the man she loves. And this is leading Tevye to wonder, well, what about his relationship? Does his wife love him? What is love? And he sings this song, and it's a lovely song. Sheldon Harnick, can you talk about the lyrics? During rehearsal, when we were in New York, I began to feel that there was a song that would develop out of Tevye's saying, do you love me? I always thought when Golda would say, do I what, because that was - love was not something that people married for generally in those days.
They married for security. They married for economic reasons, you know, companionship - but not love. So when I pictured her saying, do I what, I thought, that's very funny. But I couldn't figure out where the song went from there.
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