grow old and re-experience a sweet tasteof youth, in the company of theirgrandchildren. For his first full-length cartoon,

Snow White, released in 1938, Disneyutilized original music compositions,written by his own songwriters: FrankChurchill, Leigh Harline, and LarryMorey, wholater added“ L a v e n d e rBlue” to hiscatalog. Thesong was a hitfor DinahShore. Other tunesmiths in the Disneystable included those who were alsoknown for writing songs which becamepopular standards, a phenomenon whichbecame evident again in more recentdecades. The earlier composers andlyricists such as Jerry Livingston, NedWashington, Peggy Lee, and Sonny

Burke, also enriched American music byway of “Twelfth of Never,” “My FoolishHeart,” “I Don’t Know Enough AboutYou,” “Midnight Sun,” respectively. In their production for APSS on

February 10, Part of Your World (The

MARCH 2018www.APSSinc.org

Newsletter

VOLUME 39, NUMBER 6 Formerly New York Sheet Music Society

Continued on page 3

To hear what a twenty-somethingyear old Walt Disney sounded like, onehas only to click on YouTube and type inSteamboat Willie, a direct ancestor ofMickey Mouse, voiced by none otherthan Walt.

Upon seeing The Jazz Singer, thefirst “talkie” to come out of Hollywood,Disney was determined to create the firstfully synchronized sound cartoon.Released in glorious black and white onJuly 29, 1928, Steamboat Willie ran eightminutes, helped along by “Steamboat

Bill,” a tune written by Arthur Collins, awell-known recording artist who made ita big hit in 1911. “Turkey in the Straw,”an early American folk song, popularized

by the 1830’s in minstrel shows, was alsofeatured on the soundtrack. During the several generations in

which Walt Disney’s creations becamepart of the American fabric, some of ushave been witness to much of it.Beginning with the Golden Age ofclassical animation – Snow White and theSeven Dwarfs, Pinnochio, Dumbo, Lady

and the Tramp, to live action – TreasureIsland, 20,000 Leagues Under the Sea,Davy Crocket, Old Yeller, to therenaissance of animation – The LittleMermaid, Beauty and the Beast, Aladdin,The Lion King, there’s been a continuumof product, more than enough for kids to

By Jerry Osterberg

Photo by Rose Billings

All Photos by Rose Billings

Steamboat Willie & Company: Snow White toMoana in 80 Years The Dawning of Contemporary

Music in the World of Disney Animation

So sorry to have been away for the February meeting, but I knew thatthe APSS team would carry on brilliantly without me! I don’t get away toooften, but had the opportunity to get out of the NY Winter weather for two

weeks, and go to beautiful, sunny Puerto Vallerta, Mexico. Several of my friends were there anda good time was had by all! If you follow me on Facebook you will have seen photos of thegood times with Board Member Sandi Durell, Joanne and Bernie Furshpan (from the sorely-missed Metropolitan Room) and other pals, some even members of APSS. We all visited thepiano bar, Incanto where NY’s Michael McAssey is playing for the winter months. Those palmtrees and ocean breezes keep calling to me and I hope to return in 2019.

I cannot thank Marilyn Lester enough for graciously hosting the afternoon; everyonereported to me that Michael Lavine and Tom Toce’s Disney Program was fabulous! Luckily, ourin-house Videographer Maryann Lopinto is giving me a copy so that I will be able to see thetape. I heard that we had some technical difficulties: we are working to ensure that this doesnot happen again. I am glad that I can read all about the Program in our remarkable monthlyNewsletter. Thanks to all who make that happen!

We are so proud of our “Member Exchange” table, which people can check out before themeeting. It is very popular, and I hope that our members will continue to donate sheet music,books, CD’s and other memorabilia. It’s so upsetting when people tell me that they didn’t knowwhat to do with some of their stuff and threw it away. What is trash to some, is treasure toothers! Also, it is always good to make room in your place by clearing out some collections,and duplicates. Members tell me they love browsing through the table and you never knowwhat you may find. The price is right: FREE!

I’ll see you on March 10 for another marvelous program: “An Afternoon with Sidney Myer.”Sidney has been called, “the most beloved man in cabaret.” I first met him in the early 80’s ata club where he was a singing waiter, and where The Singing Experience was performing.Babysitters were expensive, so my children were assisting: carrying amps and mics, sometimesperforming, and my students lovedand nurtured them. Sidney and Ibonded immediately and we havebeen friends ever since. He waseven a guest at my Jason’s BarMitzvah! Sidney is a greatentertainer, multi MAC Awardwinner, and has been booking Don’tTell Mama for a long time. I’ve beenasking him to do a program for usfor years, and he finally said “Yes!”I’ll be interviewing him, and withterrific Tracy Stark at the piano,the amazing Sidney Myer will surelyentertain us!

Best wishes,

Linda

PAGE 2 AMERICAN POPULAR SONG SOCIETY MARCH, 2018

President’s Message...Linda Amiel Burns, President

Board Of Directors:Linda Amiel Burns

President

Joan AdamsSandi Durell

1st Vice Presidents

Sandi DurellSandy Marrone

2nd Vice Presidents

Glen CharlowTreasurer & Membership

Marilyn LesterSecretary

Bill BoggsWill FriedwaldMichael LavineJudy Stewart

-------------------------------------Publicist

Marilyn Lestermj@mjlester.com

Programs & Special EventsElliott AmesSandi DurellTom Toce

APSS Official Photographer:Rose Billings

Graphic Designer, WebsiteGlen Charlow

N E W S L E T T E REditor/Publisher: Jerry Osterberg

osterbergg@aol.comContributing Editor: Marilyn Lester

mj@mjlester.comAssociate Editor: Joan Adamsjoan.adams@corcoran.com

Graphic Designer: Glen Charlowinfo@APSSinc.org

Membership Mailing Address:American Popular Song Society

P.O. Box 5856Pikesville, MD 21282

info@APSSinc.org(212) 315-3500 (Linda A. Burns)

American PopularSong Society

MEETING LOCATION: Local 802 – Musicians’ Hall322 West 48th Street. Program: 1:45 – 3:30PM.

Come early to look thru Sheet Music & CD’s & stuff, all FREE.

N E W S L E T T E REditor/Publisher: Jerry Osterberg

osterbergg@aol.comContributing Editor: Marilyn Lester

mj@mjlester.comAssociate Editor: Joan Adamsjoan.adams@corcoran.com

Graphic Designer: Glen Charlowinfo@APSSinc.org

left: Lee Roy Reams and Glen Charlowright: Lee Roy with Glen’s helper- Diana Sipe

Disney Animation Renaissance), MichaelLavine, acting as Co-Producer andMusical Director, and Tom Toce, Co-Producer, Director, and Host, focusedmost of their attention onthe Renaissance of WaltDisney Animation,specifically with respect tothe music. Whileproducing a handful offeature film cartoons overa thirty- year period inwhich live action moviesreigned, it wasn’t until1989, the release of TheLittle Mermaid, and 1991,the opening of Beauty andthe Beast, that Disneyreturned to its roots. Reflecting the

transformation, which tookplace over a ten-yearperiod, were clips fromWaking Sleeping Beauty, a2009 documentary. With exceptionalperformances by two Broadway veteransand an exuberant troop of young singersfrom the Fiorello H.Laguardia High School ofMusic & Art & PerformingArts, Michael and Tomprovided a sunnyafternoon of entertainmentto a full-house, completely undeterred bythe rain outside. The lead-up to the main

event featured four pre-renaissancetunes: “When I See An Elephant Fly”(Dumbo), “The Siamese Cat Song” and“He’s a Tramp” (Lady and theTramp), and “When You WishUpon a Star” (Pinocchio). And, what better way to

have transitioned to the newage of Disney than to haveLee Roy Reams, whoperformed “Be Our Guest”(Beauty and the Beast), andBernard Dotson, who sang“Under the Sea” (The LittleMermaid)? Both actors havelong resumes embracing numerousBroadway musicals, including Beauty...,La Cage aux Folles, 42nd Street, HelloDolly for Reams; and Finian’s Rainbow,Dream Girls, Ragtime, Sweet Smell ofSuccess for Dotson, who once performeda Disney medley at Disney Tokyo.In addition to the aforementioned

songs, the program included “Part ofYour World” and “Kiss the Girl” (TheLittle Mermaid), “Belle” (Beauty...),

“Friend Like Me” and “AWhole New World”(Aladdin), “HakunaMatata” and “Can YouFeel the Love Tonight”(The Lion King), “Colors

of the Wind” (Pocahontas), “Out There”(The Hunchback of Notre Dame), “Go

the Distance” (Hercules), “When SheLoved Me” (Toy Story 2), “Do You Wantto Build a Snowman,” “For the First

Time in Forever,” “Love is anOpen Door,” and “Let It Go”(Frozen), and “How Far I’llGo” (Moana). The songwriters who were

instrumental in ushering themodern age of Disneyanimation, a period nowapproaching an additionalthirty years, are KristenAnderson-Lopez, HowardAshman, Elton John, Robert

Lopez, Lin-Manuel Miranda, AlanMenken, Randy Newman, Tim Rice,Stephen Schwartz, and David Zippel.The extraordinarily talented studentperformers from LaGuardia, under theguidance of Sandy Faison, whoportrayed Grace Farrell in the originalproduction of Annie, were Daisy

Carnelia, Zoeymae Dillon-Levine, Violetta Fisco,Deborah Grausman,Michael Thomas Holmes,Michael McBride, KylaMcMillan, Alyssa Romeo,Tatyyana Smith, KevinTappan, Gabriela Veciana,and Mark William. Michael and Tom

effectively demonstratedhow the music of Disney’sanimation productionsevolved from being arelatively simpleaccompaniment for fairytales, to becoming a morecrucial part of the telling.As the characters and themusic became integrated, the

stories took on more epic proportions,and literally required a bigger stage.Although the arrival of the renaissancetook some time, the further transition toBroadway was practically simultaneous.Clearly, its success foreshadowed thesucceeding phase of Disney, a period inwhich the audience continues to broaden,insuring an endless appetite for storiesyet to be told, and music yet to besung.

MARCH, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 3

World of Disney...

Photos by Rose Billings

Continued from page 1

PAGE 4 AMERICAN POPULAR SONG SOCIETY MARCH, 2018

MEMORIESOF MARLENE

Losing a friend is alwaysa painful experience. It wasparticularly painful yesterdaywhen I learned that MarleneVerPlanck had left us theprevious evening. I knewthat she was seriously ill, buthad seen her only a weekearlier, and she seemeddetermined to beat whateverit was that she was fighting. Isay that because she was notforthcoming about her healthissue, even to close friends.Right to the end, Marleneremained a strong and bravelady, determined to deal withthe challenge on her ownterms.My first awareness of

Marlene’s artistry was onAmerican Popular Song, aradio show hosted by AlecWilder. The series first airedin 1976. It was a show thatintroduced me not only toMarlene, but also to BarbaraLea and other marveloussingers. Marlene was theguest on one of the firstshows. I was immediatelystruck by her singing,especially the way shearticulated the lyrics. It wasa part of her artistry that onceled me to write that she was alyricist’s best friend. A yearor two later Marleneappeared at Michael’s Pub inNew York City as part of aseries highlighting many ofthe performers who appearedon the radio series. She waseven more exciting in personthan she had been on theradio.Not long afterward I read

about a new Marlene

VerPlanck album. I went to afavorite record store, CrazyRhythms in Montclair, toorder it. The owner said thathe had an earlier album byher in the closeout-stock hehad bought from Savoy

Records. It was a 1955album credited to simplyMarlene, no last name, titledI Think of You With EveryBreath I Take. I bought acopy. I was going to see herat Gulliver’s in West

Paterson that evening, so Itook the album along. Wehad not previously met, andshe was most gracious. Ishowed her the album. Sheasked me where I had boughtit and what I had paid for it. I

said Crazy Rhythms charged$5. Amazed, she informedme that it was a collector’sitem that was selling for $75.When I told her that they hadabout a half-dozen morecopies, she said that she

would go there to buy them. She was proud of that

album, and wanted copies toshare with friends.As the years went by, we

went to see Marlene at everyopportunity. We became two

of her most loyal fans. Soona personal friendshipdeveloped between theLangs and the VerPlancks.We were enthralled with herspecial talent, but equallyenjoyed her warm and

By Joe Lang

MARCH, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 5

welcoming friendship. Oneof the most endearing thingsabout seeing Marlene waswatching Billy watching herperform. They were a deeplydevoted couple, and Billytruly believed her to be themost talented person in theworld. He would gaze at herin complete adoration, andsoftly utter words like, Wow,she’s marvelous or I don’tbelieve how wonderful sheis. It was sincere andtouching. Marlene wasequally devoted to Billy. Hearranged all of her charts,and often provided her withoriginal tunes with lyricspenned by friends andassociates. Billy had a giftfor melody, and Marlenebrought out the best in eachof his tunes.I have fond memories of

the times that we spenttogether on strictly socialterms. In particular Iremember attending theirannual New Year’s Eveparties. Another VerPlanckenthusiast, Ray Hoffman,and I used to spend much ofthese evenings hanging withBilly as he tended the bar,listening to his engagingband stories. Billy andMarlene had met on theCharlie Spivak band whenshe was just starting out inthe business. They moved toTommy Dorsey’s Orchestra,and soon became husbandand wife. As the eveningwore on, and Billy hadserved himself a few drinks,the stories became better andfunnier. I wish his stories hadbeen written down andpreserved. Marlene was completely

devoted to the music that sheloved. Early in their

marriage, Billy encouragedher to learn about thetechnical side of music, sothat she would be prepared tohandle any kind of musicalchallenge that came along.This was especiallyimportant in the world ofcommercial jingles withwhich she became involved.She had to be able to readdown a chart, and execute itprecisely within very tighttime frames. She had thevoice capable of singing justabout anything, but it washer technical acumen that sether at a special level. Suchwas her commitment andtalent that she became one ofthe most in-demand jinglesingers in the business. Longbefore I was aware of hername, I was hearing her singthings like Mmm, mmmgood, that’s what Campbell’sSoups are, or Winston tastesgood, like a cigarette should,and I love New York. Whenthis specialized segment ofthe business began todecline, Marlene turnedmore and more to singingwhat she loved most, theGreat American Songbook.Her catalog of over 20albums for Audiophile couldform the basis for a course onthe Great AmericanSongbook, Her albumsdevoted to Johnny Mercerand Alec Wilder remainamong my favorites.In 1997, I was privileged

to present a program of songsby Alec Wilder at the NewYork Sheet Music Society, incelebration of his 90thbirthday year. My choice ofsingers to perform thematerial was easy: MarleneVerPlanck and Barbara Lea.They were both eager to

participate, and with thesupport of Tony Monte at thepiano, these two ladies, themost accomplishedinterpreters of the Wildercatalog, performed anenchanting and memorableprogram. Long afterward,Marlene remembered thatafternoon as one of herspecial memories. I have reviewed many

albums and performances byMarlene during my years ofwriting for Jersey Jazz. Itbecame an increasingchallenge to write somethingfresh and different about heras I was running out ofsuperlatives. It was,however, a pleasure to hearher performing new material.She never felt satisfied torely solely on the wonderfulcatalog of songs that sheknew, rather was alwaysseeking out new songs, andinvariably came up withgems that made you shakeyour head at her magnificenttaste. Another impressiveaspect of Marlene’s characterwas her toughness. Johnny Mercer’s

centennial was celebrated in2009. Marlene was invited toparticipate in a concertdevoted to Mercer in hishometown of Savannah.While at Newark airport totake the flight to Savannah,Marlene tripped and brokeher ankle. Airport personnelbrought her a wheelchair.She boarded the plane,performed at the concert, andthen had her injuryaddressed. For the next fewmonths she worked from awheelchair.That year she also lost

her beloved Billy. Many ofher friends were concerned

about how she wouldrespond to being on her ownafter over 50 years havingBilly at her side. She provedto be resilient, busier thanever. She aggressivelysought bookings, andexpanded the range ofvenues where she performed.Each year for many years,Marlene spent the month ofMarch touring in GreatBritain and Europe. A fewyears ago, she had a fall atthe end of January thatresulted in several brokenbones, including her pelvis.She was determined torehabilitate herself in time tomake her scheduled tripoverseas, a month away.When the departure datearrived, she boarded theplane for England. Duringthe following month sheperformed over 20 concertsacross England.She faced her final

illness with the samedetermination, but this timeshe could not overcome therelentless challenge shefaced. Her family and friendsprayed she would win again,but pancreatic cancer is anunforgiving foe. MarleneVerPlanck will be muchmissed by everyone whoselife she touched. There willbe a massive void for each ofus, but we will always haveher music to remind us whata great lady MarleneVerPlanck was, right to theend. RIP dear Marlene!

Editor’s Note: This piecefirst appeared in Jersey Jazzon January 16, 2018, and re-printed here with thepermission of the author.

PAGE 6 AMERICAN POPULAR SONG SOCIETY MARCH, 2018

Life is a Cabaret, So Say the DutchCall it a speakeasy, a nightclub, a supper club, or what you

will, but the roots of what we now call cabaret go back to theCity of Lights in the late 1800s. On November 18, 1881,Rodolphe Salis opened Le Chat Noir in the BohemianMontmartre section of Paris. Patrons sat at tables, consumedalcoholic beverages and were entertained by a variety of acts onstage, introduced by a master of ceremonies. Where Salis got theidea from seems to be largely a matter of pure inspiration,derived from some small precedent. But we really owe the word,and the tiny seeds of the concept to the Dutch. The word “cabaret” was first recorded in 1655, derived from

Middle Dutch (“cambret”). This establishment was a type oftavern, a cousin of the wine bars and coffee houses of Franceand England, which were all the rage at that time. These wereplaces where ideas and deep thoughts were exchanged, mostlyamong that era’s hipsters, the writers, poets and artists. Still,there was noprecedent in thehistory of Europeanculture for presentingentertainment in anintimate space,particularly afterdark. In 1773 aParisian “cabaret”called Le Caveauopened, wheremusicians and othercreative met tocompose songs. Itclosed in 1816,forced out ofbusiness because itsclientele wrote tunesmocking the royal government. In the early 1800s, the “café-chantant” appeared, offering food along with music, singers, ormagicians. The most famous of these were the Café desAmbassadeurs, which opened in 1843, and the Eldorado, whichopened in 1858. By 1900, there were more than 150 cafés-chantants in Paris. Yet, these were not cabarets as we’ve come toknow them.Thus, we owe the invention of cabaret to Salis, himself, a

Bohemian. Prior to Le Chat Noir he established L’ecole Vibrant,a place for his artistic group to gather––a small complement ofmen engaged in making and painting religious objets d’art. Fromthis grew the notion of Le Chat Noir as an informal saloon whereall artists and performers could gather, share ideas and test newmaterial in front of a live audience. To entice patrons, alcoholcould be had quite cheaply. Salis served as host in his club,calling himself a “gentleman-cabaretier.” He began each showthrowing jibes at the wealthy, ridiculing the deputies of theNational Assembly, and making jokes about the events of the

day. The idea caught on like proverbial wildfire, with other clubsspringing up all over Paris, and soon to other cities in Europe.Within years, the popularity and success of these intimate spacesspawned a more structured approach, with scheduledentertainment and more elaborate shows, in which the interactionwith the audience became part of the entertainment. Inevitably, the idea of cabaret crept across the Atlantic

Ocean to New York City, introduced in 1911 by Jesse LouisLasky, who was producing two musicals on Broadway at thetime––Hello, Paris and A la Broadway. Previously, cafés andbeer gardens offered singers and music, most notably a veryyoung Sophie Tucker, who’d arrived in New York around 1905.Lasky’s influence led to establishments such as Delmonico’s,Reisenweber’s, Palaise Royale and Shanley’s, adding dancingto the entertainment, thereby birthing the nightclub concept. In1915 the popular dance team of Vernon and Irene Castle opened

a Parisian-stylecabaret, Sans-Souci,on 42nd Street. Still,such spaces weren’tnecessarily intimate,and unlike theEuropean model,were devoid of anykind of satire andcommentary, orinteraction with ahost. What thoseearly cabarets didoffer, however, werelate nightenvironments wheresophisticated menand women could

mix socially and where boundaries could be challenged, leadingmany moralists of the era to condemn cabarets as degraded anddepraved. The 1918 Volstead Act, commonly known as Prohibition,

effectively ended the early cabaret era in America. With alcoholunavailable legally, the clubs went underground. Enter theSpeakeasy–a kind of freewheeling, illegal, secret cabaret withan emphasis more on booze than entertainment. With the end ofProhibition in 1933, the trend moved to large showrooms, builton elegance and exclusivity. Yet, in the late 1930s another trendbegan to take root. Unlike the larger nightclubs, these weresmall-room establishments called supper clubs (so namedbecause New York law mandated that establishments servingliquor must also provide food). Cabaret as we’ve come to knowit was beginning. Not the least of these venues was the OakRoom, opening in 1939 for a brief, shining moment beforeWorld War II put an end to it––its revival in 1980 yet faraway.

By Marilyn Lester

MARCH, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 7

Linda Amiel Burns, APSS President, is celebrating four decades of TheSinging Experience. A number of APSS members have taken this workshop,some more than once. For those of us who have, we can assure you thatyou’ll feel like a pro by the night of the performance. Although many studentshave never sung in public before, the supportive environment has preparedthem well for their debut. Call Linda at 212-315-3500 to sign up. The SingingExperience Cable TV show continues on MNN Time Warner: Channel 56 orRCN: Channel 111. The program broadcasts are every Sunday at 5:00 PM.You can also see your fellow NYSMS members on YouTube at any time.

Linda is back from her vacation, feeling rested, and about to welcome in theSpring with a new edition of The Singing Experience. Classes for Life is aSong begin on May 16, and continue on May 23, 30, and June 6.Performance will take place on June 13. Contact Linda for additionalinformation at 212-315-3500 or linda@singingexperience.com.

Midday Jazz Midtown continues on Wednesdays (1:00 PM to 2:00 PM) atSaint Peter’s Church (East 54 Street (entrance) @ Lexington Ave), NYC,Hosted by Ronny Whyte. Programs: March 7, Carol Sudhalter; March 14,Barbara Rosene; March 21, John Colianni Big Band. Suggested donation:$10. Parking: Icon Parking, East 51 St, between Third and Lexington Ave.$15 including tax for five hours with validation@SaintPeter’s ReceptionDesk.www.ronnywhyte.com www.saintpeters.org/jazz/midtownjazz.htm.

Mary Fahl, one of the fine singers who performed at our Jo Stafford tributelast Fall. Mary, who was formerly with the October Project, will bring her bandto the City Vineyard on Tuesday, March 13. Doors open at 4:30 PM for foodand wine. Show begins at 8:30 PM. Tickets are $20 in advance or $25 atthe door. City Vineyard is on the Hudson River at 233 West Street in LowerManhattan. For information contact 646-677-8350 orinfo@cityvineyardnyc.com.

The always busy Ronny Whyte will be back at the Knickerbocker on March2 & 3, from 9:00 PM to 1:00 AM. Joining him will be his favorite bass, BoatsMaleson. East Ninth Street & University Place. For reservations, call 212-228-8490.

Kaye Allyn, another of our Jo Stafford tribute performers, will be appearing atLa Revista on Sundays, March 11 and 25, @ 6:30 PM. No cover and Nominimum. 313 West 46th Street. www.larivistanyc.com. Kaye will also bereturning to Tomi Jazz on Sunday, March 17 @ 6:00 PM. $10 cover and $10minimum. 239 East 53rd Street, between Second & Third Avenues (lowerlevel). www.tomijazz.com.

Ann Kittredge, who appeared at APSS not so long ago, will be at the LaurieBeechman Theatre on Monday, March 19 @ 7:00 PM. $25 cover & $20minimum. 407 West 42nd Street @ the West Bank Cafe.www.annkittredge.com/upcoming.

Katie Martucci, yet another of the Jo Stafford tribute players, is going to be abusy gal in March, beginning March 1 @ 9:00 PM at the Williamsburg MusicCenter, duo with Dylan McKinstry playing orginal songs.https://wmcjazz.com/events; March 6, from 8:00 to 10:00 PM @ Starr Bar,swing band with Will Greene, Daniel Pencer, Eladio Rojas, and Henry Fraser.https://www.facebook.com/events/392503114529120/; March 15 @ 10:00PM at Pete’s Candy Store, duo with Mali Obomsawin, playing western andswing classics, http://petescandystore.com/calendar/; March 30 @ 7:00 PMat the Rockwood Music Hall: Stage 3, Katie will be leading her nine-pieceband Amalia, playing original compositions.http://www.rockwoodmusichall.com. For additional details about any or allof these events, please visit Katie’s website www.katiemartucci.com.

Dutchess, a Boswell Sisters style trio which includes a former APSSperformer Hilary Gardner, who’s also been a frequent guest of VinceGiordano, will be appearing at Dizzy’s Club at Jazz at Lincoln Center onWednesday, March 21 @ 7:30 and 9:30 PM. Call 212-258-9595 forreservations

APSS Board member Tom Toce has recorded a studio version of hissuccessful MAC Award nominated cabaret show Songwriter in the House atthe Metropolitan Room last year. The recently released CD is different thanTom’s earlier album. It features his singer-songwriter songs and his vocalsthroughout. Backing Tom are Jon Burr - bass, Sean Harkness - guitar, JustinMcEllroy & Peter Millrose - vocals. The CD is available on CD Baby.https://www.cdbaby.com/cd/tomtoce.

Carol J. Binkowski’s new book, Opening Carnegie Hall: The Creation andFirst Performances of America’s Premier Concert Stage was just publishedby McFarland & Co. www.caroljbinkowski.com.

Hilary Kole’s newest CD: The Judy Garland Project (Miranda Music) is nowon-sale. The remarkable performer conjures the spirit and beauty of JudyGarland in stunning arrangements of songs made famous by the legendarysinger, including The Trolley Song, The Man That Got Away, Over theRainbow.

Do you seek an elusive song? If you do, write APSS Board member SandyMarrone @ smusandy@aol.com or call 856-829-6104. You can also visitSandy in New Jersey to see thousands and thousands of sheets of music,most of which can be yours very reasonably. She is a marvelous resourceand a super-great lady! Having heard from only a few of our members overthe past year or so, Sandy wants to remind you that she’s still at it, adding toher collection every day, and always willing to part with sheet music atespecially fair prices for us. Sheet music was the reason we were foundedthirty plus years ago, after all, and she’s only a phone call or e-mail away.Sandy continues to be willing to offer free appraisals with no expectation ofhaving right of first refusal, and can provide unbiased advice as to how andwhere to sell music. It’s not a secret, pass it on please.

Member News...

Send Member News to Osterbergg@aol.com no later than the 15th of each month for the next issue.

If you have any member news, or other items you would like to haveconsidered for this newsletter, please send it by e-mail to the co-editor, Jerry Osterbergg: osterbergg@AOL.com. It will be subject toediting, depending on size and content, and please remember thatwe try to go to press two weeks before each monthly meeting. Weoften get very good items that get to us after the newsletter has beenprinted and mailed.

As a Booking Manager forthree decades (Don't TellMama, Rose's Turn andPanache), Sidney Myer haspresented artists that havegone on to careers onBroadway, television andmotion pictures and receivedthe Emmy, Grammy, TONY,Oscar and Pulitzer Prizeawards. In 2009, Mr. Myer was

featured in the NY Times under the headline " Saviors of theAmerican Songbook".Sidney has performed Off-Broadway, at the Edinburgh Fringe

Festival, a regular on "The Joey Reynolds Show" and withNancy Lamott in "I'll Be Here With You". He has entertained inmany New York clubs and at the NY, San Francisco,Philadelphia, Chicago, Hamptons, Palm Springs and LondonMabel Mercer Cabaret Conventions. He is the recipient of MAC,Bistro and Mabel Mercer Foundation'S Cabaret Classic & PaulaLaurence Awards.

October 14, 2017Will Friedwald, tied to his new book launch

November 11, 2017Jerry Osterberg on Jo Stafford

December 9, 2017Harvey Granat, on Sammy Cahn

January 13, 2018Robert Rawlins - Tunes of the Twenties

(with input from Elliott Ames)February 10, 2018

Michael Lavine & Tom ToceThe contemporary music of Disney Animation 

March 10, 2018(Cabaret Month) Linda Burns,performance by Sidney Myer

April 14, 2018(Jazz Appreciation Month) Marilyn Lester

New directions in JazzMay 12, 2018

Sandi Durell, Songwriter ShowcaseJune 9, 2018

Richard Skipper on Cabaret and ColeA celebration of Cole Porter on his Birthday

P.O. Box 5856 • PIKESVILLE, MD 21282

Did you know every issue of this newsletteris in COLOR online at www.APSSinc.org

American PopularSong Society

NEXT

“Without music todecorate it, time is

just a bunch ofboring productiondeadlines or datesby which bills must

be paid .”

March 10, 2018

Cabaret Month - Sydney Myer performs

Produced byLinda Amiel Burns

Frank Zappa