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[bk]

Well, you've read the notes, the notes were on the road to Dogpatch, and now it is time for you to post until the Dogpatch cows come home.

[bk]

And the word of the day is: MIEN!

[singdaw]

When you're finished with the popcorn, eat the bowl, too...

[singdaw]

bk - especially interesting notes today. Thanks for including all of us on your journey.

[Ben]

Morning all.

That is all.

[singdaw]

A dog's best dream come true:
https://www.youtube.com/watch?v=hLYMD6R6PvU

[Michael]

good morn to all

[Michael]

great li'l Abner yearbook photos from yesterday

[ChasSmith]

Good morning, all.

Lots to do today away from the house, so I will be a bit E&T.

Seems I could have used some more sleep.  Must have been awake last night later than I thought.

Oh well.  Coffee!

[Michael]

And the word of the day is: MIEN!

here are some from the musical film version of Li'l Abner 

[elmore3003]

Good morning, all! I have a day of work but it's mostly here at the computer.

First thing, a trip to the pharmacy for some prescriptions. Then, I have breakfast with my friend Rosemary Ashe, who was Sir Andrew's original London Carlotta in Phantom of the Opera, before she flies back to London. I have to finish a synopsis of Jerome Kern's OH. BOY! and send it to Rob Berman this afternoon, and do some work on the ROBERTA liner notes.

Then, maybe, I'll spend the evening with my Britcoms and perhaps one of the Netfllx discs that's been sitting here for two weeks.

I am enjoying the LI'L ABNER notes immensely.

DR ChasSmith, I had a typo in my post on the London recording of IRMA: there are around 10 tracks from French recordings, not 19.

[ChasSmith]

Great LI'L ABNER notes today!

It's so funny about what we first get familiar with, and how it determines our preferences later.  I saw the movie first, too, but would have been just a little younger.  And then it was probably a year or two before I saw it a second time (I remember that time being on TV) which of course only served to renew my interest and love for the piece.  BUT... I didn't have an album until some time after that, and when we got one, it was the Broadway cast, which I then proceeded to play to death.  So, since I hadn't driven the sound of the film into my head, those arrangements were kind of forgotten until years later.  I did get the soundtrack LP back then (still have my first copy), but for some reason only played it a little bit.  Finally, when I did the show while in 9th or 10th grade, that more or less married me to the original score. 

Over the years, I grew and learned to open myself up to new arrangements, but I was surprisingly rigid back in my teens and twenties.

[ChasSmith]

Correction noted, DR Elmore!  Sounds like a very interesting album.

[ChasSmith]

Theater friends are usually shocked, shocked, to hear that I grew up preferring the soundtrack albums to West Side Story and The Music Man.  I can assure you that's evolved over the years, but those movies were my initial exposure to the shows, and they got driven into the deepest recesses of my LI'L brain.  I still prefer a few things about the latter (notably "Being in Love"), and though I now embrace the original West Side Story, I'll never shake my passion for the hyped up forces and drive of the film score.  But that movie at that age practically changed my life, so what the hell.

Edit:  This applies to any kind of music, certainly in the classical and opera world.  If you grew up with Toscanini recordings, Ormandy wasn't going to cut it.  And so it goes.  What you get used to, man.  Strong stuff.

[FJL]

Congrats and back-slapping and high-fives to John G!

[FJL]

Wishing medical vibes to Dan M!

[Kerry]

Sending good vibes to everybody-- just because.

[singdaw]

Sending good vibes to everybody-- just because.

A lovely sentiment, DR Kerry.  I wholeheartedly concur!       

[Ben]

Congrats to John on his defense!

[Ginny]

Friday morning greetings!  I didn't check in last night because the shopping trip with Mom started on a bad note that left me in quite a funk all evening.

[Ginny]

Heartiest congratulations to DR John G on completion of his graduate degree!

[singdaw]

[singdaw]

{{{DR Ginny}}}}

[John G.]

Good morning, all.

Thank you all. I slept a little better last night. I think my body knows it's over.

And when I get that piece of paper, I'll never have to think again, right?

Now I can start my taxes.

[John G.]

{{{DR Ginny}}}}

And more hugs.

[Ginny]

Thanks, DR Singdaw.

[Ginny]

Thanks, DR John G.

[John G.]

Theater friends are usually shocked, shocked, to hear that I grew up preferring the soundtrack albums to West Side Story and The Music Man.  I can assure you that's evolved over the years, but those movies were my initial exposure to the shows, and they got driven into the deepest recesses of my LI'L brain.  I still prefer a few things about the latter (notably "Being in Love"), and though I now embrace the original West Side Story, I'll never shake my passion for the hyped up forces and drive of the film score.  But that movie at that age practically changed my life, so what the hell.

Edit:  This applies to any kind of music, certainly in the classical and opera world.  If you grew up with Toscanini recordings, Ormandy wasn't going to cut it.  And so it goes.  What you get used to, man.  Strong stuff.

I often have preferred whatever version of a score I first encountered. I love listening to the Finian's Rainbow and the Hello, Dolly! soundtracks, even if the movies leave something to be desired. I think it took until the arrival of what I call the Elmore Finian's that I found a recording to surpass the soundtrack.

[John G.]

Elmore, PremiereOpera has a recording of Most Happy Fella, not a video. Think it'll be OK? The one recording I bought from them was lousy. I don't mean the sound but the physical CD.

[Ginny]

TOD - we watched most of the Hugh Jackman OKLAHOMA! last night, so I'll finish that today and probably watch the disc of bonus features.