Everything music from a perspective of a public
school music teacher with subject integration
(especially art, history, and literature) as a focus
to help teach the Common Core Curriculum.
GENERAL MUSIC 01. MUSICAL THEATER: OLIVER ......a. WORKED ON OUR "OLIVER" WORKSHEET FILLING IN INFORMATION AS NEEDED ......b. REVIEWED WHAT WE HAVE SEEN SO FAR ......c. CONTINUED WITH THE FILM ......d. AT THE CONCLUSION OF THE MUSICAL STUDENTS WILL BE INSTRUCTED ON WRITING A PERSONAL CRITIQUE INTO THEIR "OLIVER" WORKSHEET and AS A CLASS WE WILL COMPLETE THE REMAINING QUESTIONS ON THE WORKSHEET BEFORE TURNING IN
ADV. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH IMPORTANT CLASS DISCUSSION CONCERNING FOLLOWING DIRECTIONS ......a. WE WROTE ABOUT WHAT WE DISCUSSED and TURNED IT IN
BEG. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH ......a. HAVE YOURSELF A MERRY LITTLE CHRISTMAS (ADVANCED PART) ...........1) STUDENTS REQUESTED THAT THEY BE ABLE TO TRY THE ADVANCED MUSIC ...........2) STUDENTS WHO FEEL COMFORTABLE PLAYING THIS PART DURING THE CONCERT WILL BE ALLOWED TO SWITCH PARTS
GENERAL MUSIC 01. THEORY: NOTE READING BY STEP-WISE MOTION .......a. IDENTIFYING NOTE NAMES USING STEPS and SKIPS .......b. IDENTIFYING HOW MANY LINES and SPACES THERE ARE IN BETWEEN THE NOTES THAT MOVE BY SKIP 02. JOLLY OLD ST NICK RECORDER SONG TO BE PLAYED ON THE KEYBOARD .......a. TREBLE CLEF ("G" CLEF) SYMBOL REVIEW (NOTES ON LINE 2 OF THE STAFF ARE NAMED "G") .......b. KNOWING THAT LINE 2 OF THE STAFF IS "G" STUDENTS IDENTIFY and WRITE DOWN THE NAMES OF ALL THE OTHER NOTES OF THE SONG .......c. DEMONSTRATION OF WHERE THE NOTES FOR THIS SONG ARE LOCATED ON THE KEYBOARD ............1) FINDING MIDDLE "D" FIRST (THE WHITE KEY IN BETWEEN BLACK KEYS IN PAIRS OF TWO) ............2) USING THE MUSICAL ALPHABET FORWARD TO FIND THE FIRST NOTE OF THE SONG "B" ............3) USING THE STEPS and SKIPS IN THE MUSIC NOTATION TO DETERMINE WHICH NOTES MOVE BY ..................a) WHEN NOTES SKIP IN MUSIC NOTATION THE SIZE OF THE SKIP or INTERVAL (THE AMOUNT OF LINES/SPACES IN BETWEEN THE NOTES) HELPS TO DETERMINE HOW MANY KEYS WILL BE SKIPPED ON THE KEYBOARD (EXAMPLE: WHEN READING NOTES "B" TO "G" THERE IS A SKIP OF ONE SPACE IN BETWEEN THE LINES THE NOTES FALL ON; THAT ONE SKIP THAT ONE WHITE KEY WILL BE SKIPPED ON THE KEYBOARD WHEN PLAYING THOSE NOTES) ..................b) STUDENTS TO TAKE WRITTEN MUSIC WITH THE NOTE NAMES THEY JUST WROTE IN TO THE KEYBOARD TO LEARN TO PLAY THIS LESSON TO BE CONTINUED NEXT WEEK
ADV. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH NEW T-SHIRTS WERE PROCURED FOR THE STRING CLASSES and THEY WERE PASSED OUT TODAY WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED
BEG. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH NEW T-SHIRTS WERE PROCURED FOR THE STRING CLASSES and THEY WERE PASSED OUT TODAY WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED PRACTICED IN THE CAFETERIA TODAY WITH THE CHORUS
GENERAL MUSIC 01. THEORY: NOTE READING BY STEP-WISE MOTION .......a. STUDENTS WERE TO WORK ON PAGES AS NEEDED 02. PERCUSSION: SNARE DRUM STICKING WITH DRUM PAD/COUNTING QUARTERS and QUARTER RESTS .......a. STUDENTS GIVEN A RHYTHMIC SHEET WITH QUARTER NOTES and QUARTER NOTE RESTS IN PATTERNS THAT CHANGE ............1) REVIEWED QUARTER NOTE/ QUARTER NOTE REST SYMBOLS and MATHEMATICAL MEANINGS ............2) REVIEWED TERMS: BAR LINE, MEASURE, and METER (TIME SIGNATURE) and HOW TO COUNT BEATS PER MEASURE, RESTS ..................a) REVIEWED HOW IMPORTANT SILENCES (RESTS) ARE TO MUSIC and HOW NOTES ARE FELT and HEARD BUT RESTS ARE ONLY FELT ..................b) RHYTHMS HAVE ENERGY AND THE RESTS THOUGH SILENT STILL MUST HAVE ENERGY SO THE (RESTS MUST BE EXECUTED USING SOME SORT OF MOVEMENT) ............3) DISCUSSED SOME DIFFERENT METHODS OF COUNTING RHYTHMS ..................a) USING WORD RHYTHMS LIKE THE WORD "ONE" FOR THE QUARTER NOTE SYMBOL OR THE SILLY WORD "JELL-O" FOR EIGHTH NOTES IN PAIRS ..................b) "TAH TEE-TEE" METHOD WHERE "TAH" REPRESENTS THE QUARTER NOTE and "TEE-TEE" REPRESENTS THE EIGHT NOTES IN PAIRS ................. c) MUSICAL MATH METHOD WHERE THE BEATS ARE MATHEMATICALLY COUNTED PER MEASURE ..................d) DISCUSSED PROS and CONS OF EACH METHOD and THAT MUSICIANS OFTEN VARY THE COUNTING METHODS THEY USE ..................e) MAIN GOAL OF CHOOSING A COUNTING METHOD IS THAT IT SHOULD BE FAST and ACCURATE ALLOWING FOR AUTOMATIC RESPONSES.... THINKING ABOUT THE RHYTHMIC SYMBOLS INSTEAD OF REACTING TO THE RHYTHMIC SYMBOLS WHEN COUNTING IS OFTEN TOO SLOW WHEN SIGHT READING MUSIC ............4) STUDENTS WROTE THE COUNTING UNDERNEATH THE RHYTHMS IN THEIR WORKSHEETS CIRCLING THE BEATS THAT WERE RESTS ............5) CLASS COUNTED THE RHYTHMS OUT LOUD (SOME TRIED THIS USING DIFFERENT METHODS OF COUNTING) USING BODY PERCUSSION (PATSCHES or PATS FOR QUARTER NOTES and WAVES FOR QUARTER NOTE RESTS) ...................a) THIS WAS REPEATED WITH A BACKGROUND RECORDED ACCOMPANIMENT (KEEPING THE BEAT STEADY LIKE A METRONOME) ............6) SNARE DRUM STICKS/DRUM PADS HANDED OUT REPLACING THE BODY PERCUSSION and THE RHYTHMS WERE COUNTED OUT LOUD AGAIN and REPEATED TO PERFECT THE COUNTING SKILL ..................a) SHORT REVIEW OF HOLDING THE STICKS (MATCHED STICKING) and THE WRIST MOTION NEEDED ............7) CLASS DISCOVERED THAT THE CONCEPT OF COUNTING WAS EASIER THAN THE FOCUSING SKILL NEEDED FOR THE PLAYING OF THESE RHYTHMS AGAINST A TIMED-RECORDED ACCOMPANIMENT ..................a) REPETITION OF EXERCISES SUCH AS THIS ONE HELP TEACH THE SKILL OF FOCUSING ..................b) STUDENTS LEARNED TO TRACK ON THEIR OWN (LEARNING TO KEEP THEIR FOCUS EVEN THROUGH MISTAKES)
ADV. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED
BEG. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED WE PRACTICED IN THE CAFETERIA TODAY WITH THE CHORUS
GENERAL MUSIC 01. THEORY: NOTE READING BY STEP-WISE MOTION .......A. STUDENTS WERE TO WORK ON PAGES AS NEEDED 02. RECORDER .......B. WARM-UP ............1) ECHO EAR TRAINING USING NOTES B, A, G BY STEP and SKIP ............2) ECHO EAR TRAIN NOTES "G" (T123) TO LOW "E" (T12345) ..................a) WORKING ON FINGER MUSCLE MOVEMENT COORDINATION TO GAIN AN AUTOMATIC REFLEX ............3) REVIEWED THE MUSICAL ALPHABET BACKWARDS OB THE RECORDER TO SHOW HOW THE FINGERERING CONCEPT IS APPLIED ............4) REVIEWED POSTURE ............5) REVIEWED BLOWING/TONGUING TECHNIQUE ESPECIALLY WHAT MIGHT BE GOING WRONG WHEN SQUEAKING SOUNDS OCCUR .......C. JOLLY OLD ST NICK (USING B, A, G and LOW E) ............1) REVIEWED MUSICAL ROAD SIGNS (REPEATS/1ST and 2ND ENDINGS) ............2) SEPARATED BLOWING FROM FINGER MUSCLE MOVEMENTS ..................a) CLASS SAID THE LETTER NAMES OF THE NOTES IN THE SONG AS THEY FINGERED SILENTLY ..................b) BEFORE STARTING PREPARED ALL FINGERS NEEDED TO BE USED IN THE SONG OVER THE APPROPRIATE FINGER HOLES IN ADVANCE ..................c) AFTER MAKING SURE THE FINGERS WERE PREPARED FIRST, STUDENTS THEN PLAYED THE SONG WITH THE RECORDED ACCOMPANIMENT .......D. NUTCRACKER MARCH (B, A, G SONG) ..............1) SOME CLASSES REVIEWED THIS SONG AS THE TIME ALLOWED
ADV. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED
BEG. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED COMBINED MELODY PARTS WITH THE STUDENT HARMONY PARTS
QUOTE FROM THE BOARD: “One supreme fact which I have discovered is that it is not willpower, but fantasy-imagination
that creates. Imagination is the creative force. Imagination creates reality.”
AUTHOR:Richard Wagner
MEANING OF THE QUOTE: "Creativity starts first in your imagination."
COMPOSER
DVORAK
NEW WORLD SYMPHONY
http://www.youtube.com/watch?v=ETNoPqYAIPI
NEW WORLD SYMPHONY
ANALYSIS BY LEONARD BERNSTEIN
http://www.youtube.com/watch?v=79D5sOD5duE
GENERAL MUSIC 01. THEORY: NOTE READING BY STEP-WISE MOTION 02. RECORDER (HOLIDAY MUSIC PREPARATION) .......a. WARM-UP ............ 1) ECHO EAR TRAINING USING NOTES B, A, G BY STEP and SKIP .............2) REVIEWED WORKING TOGETHER AS A TEAM FOR GROUP PLAYING .............3) REVIEWED BLOWING/TONGUING TECHNIQUE .......b. WHACKY NUTCRACKER MARCH (B, A, G SONG) .............1) PLAYED SONG BY NUMBERS/TEACHER HELPED TRACK .............2) EXPLANATION OF MUSICAL ROAD SIGNS: REPEATS, METER, MEASURES REST .............3) REVIEWED QUARTER NOTES and QUARTER NOTE RESTS .............4) DISCUSSED HOW THE CONDUCTOR HELPS THE GROUP OF PERFORMERS KNOW HOW LONG TO PLAY EACH NOTE TO BE CONTINUED TOMORROW ADV. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED
BEG. STRINGS
PREPARATION FOR THE HOLIDAY CONCERT DECEMBER 6TH WE WORKED ON OUR HOLIDAY MUSIC FOR THE CONCERT AS NEEDED COMBINED MELODY PARTS WITH THE STUDENT HARMONY PARTS
Jerome Kern was born in New York City on January 27, 1885. He studied piano with his mother and in high school was often asked to play piano and organ and compose music for school theatrical productions.
Kern enrolled in the New York College of Music in 1902 and in 1903 went abroad to study music in Germany. He took up permanent residence in London, where he began writing songs for British musical hall productions. A year later, he returned to New York, taking jobs with music publishers; writing musical interpolations for British shows.
In 1915 Kern began writing musicals for the Princess Theater in New York. These productions, "Nobody Home," "Very Good Eddie," "Oh Boy!," and "Oh Lady! Lady!!," were distinguished by a new approach to musical theater (replacing the musical revue format with unrelated numbers strung together) developed by Kern in collaboration with librettist Guy Bolton, and, beginning in 1917, the talents of lyricist P. G. Wodehouse. This new format had a more coherent story, more sophisticated songs, and characters that were more believable and realistic.
"Showboat" became the first American musical with a serious plot drawn from a literary source; it represents a landmark in the history of musical theater and due in part to this musical he has won general recognition as the father of the American musical theater as we know it today.
In the 1940's Kern moved to Hollywood and devoted the rest of his career to writing music for films. In 1946 Metro-Goldwyn-Mayer released a lavish musical film biography of Kern, TILL THE CLOUDS ROLL BY, with appearances by Judy Garland, Frank Sinatra, Lena Horne, and other stars. http://www.pbs.org/wnet/broadway/stars/kern_j.html
Hammerstein (1895-1960) was born into a prominent theatrical family. He collaborated with prominent composers such as Rudolph Friml ("Rose Marie") Sigmund Romberg ("The Desert Song") and Jerome Kern. Later, he was most known for his collaboration with composer Richard Rodgers in the following musicals:
Ferber was a Pulitzer Prize winning novelist, short story writer and playwright born in Kalamazoo, Michigan, on August 15, 1885. She was raised in often precarious economic circumstances in small towns in Iowa and Wisconsin and used her novels to explore America's range of distinctive and evocative regional cultures. She always identified with the lives of ordinary working people, believing that they had "a kind of primary American freshness and assertiveness."
Ferber's novels generally featured strong female protagonists, although she fleshed out multiple characters in each book. She usually highlighted at least one strong secondary character who faced discrimination ethnically or for other reasons; through this technique, Ferber demonstrated her belief that people are people and that the not-so-pretty persons have the best character.
She won the Pulitzer Prize for her 1924 book So Big, which was made into a silent film.
Depicts the lives and loves of a troupe of performers that work under the command of Captain Andy on the Cotton Blossom.
In the end of the Nineteenth Century, the show boat "Cotton Blossom" owned by Captain Andy Hawks flies along the rivers in the South with the lead stars Julie LaVerne and her husband Stephen Baker and musical entertainment. When Julie and Stephen are accused of miscegenation, they have to leave the boat, and Captain Hawk's daughter Magnolia and the gambler Gaylord Ravenal take their places. They fall in love for each other, get married and move to Chicago, living in a fancy and expensive hotel. Magnolia soon faces reality quickly, that gambling means more to Gaylord than anything else. When Julie la Verne and her husband Steve Baker are forced to leave the showboat Cotton Blossom (their marriage is illegal because of Julies mixed blood),their places are taken by Magnolia Hawks, the Captains daughter, and Gaylord Ravenal, a gambler. Magnolia and Ravenal fall in love, marry, leave the boat and move to Chicago, where they live off Ravenals earnings from gambling. After they go broke Gay feels guilty and leaves Magnolia, not knowing she is pregnant.Show Boat' is considered one of America's classic musicals. Written by Jerome Kern and Oscar Hammerstein II - the show opened on Broadway in 1927. The plot chronicles the lives of those living and working on the Cotton Blossom, a Mississippi River Showboat, from 1880 to 1927.
This is a musical about life on a Mississippi River gambling boat. One of the performers on the boat is a mulatto woman trying to pass as white. The story revolves around her romance with a white man. Alcohol abuse and gambling addiction are problems for the characters. It is not a passenger boat, but simply a boat that performs musical entertainment to towns along the Mississippi River.
Show Boat is often characterized in terms of superlatives: the first modern American musical, the most influential Broadway musical, and even the greatest American musical. Written at a time when most shows consisted of little more than thin plots and catchy tunes, Show Boat became a touchstone for the musical as we now know it -- a cohesive dramatic presentation in which the music becomes a vehicle for the development of character and action.
her stage name (or alias) is Julie La Verne. She is a singing actress on the show boat of mixed race, who sacrifices her job as headliner at a Chicago nightclub to allow Magnolia her big break. Julie is married to Steve Baker, and both are actors on the show boat Cotton Blossom. However, they harbor a secret - Julie is partly African-American, and Steve is white; therefore, according to the laws in effect at that time, their marriage is illegal. They are an exceptionally close couple, and Steve is fiercely protective of her. Julie is also a close friend and surrogate mother figure to ten year old Magnolia Hawks, daughter of Cap'n Andy Hawks, the show boat's owner. Andy is married to the shrewish Parthy Ann, who disapproves of all actors, especially Julie.Julie, the mulatto whose life spirals into the gutter after she is barred from the show boat
star attraction of the show, Julie (Ava Gardener), which raises social issues. Julie is mixed-race but her husband is white, thus breaking the miscegenation laws. Poor Julie's plight, just like the plight of the black slaves that workthe cotton fields, is doomed to misery.
gamblerGaylord Ravenal, a dashing young man who is also an irresponsible gambler, He is a compulsive riverboat gambler, and he becomes leading man of the show boat Cotton Blossom at the same time that Magnolia Hawks, the captain's daughter, becomes the leading lady.
Mother of Magnolia; Cap'n Andy Hawks and his wife Parthenia (Parthy) owners of the show boat. shrewish Parthy Ann disapproves of all actors, especially Julie.
09a. Inner messages within the story (ex: morals, ethics,
etc.) and explain the messageyou think the author of the movie (or story) is trying to convey:
One of the great things about the American Musical Theater is that difficult or controversial issues are not ignored or censored, but become the primary themes of the the work. This marvelous tradition started with the first production of “Showboat.” In the case of “Showboat” there are two issues. One is prejudice against a mulatto attempting to cross the color line by marrying a white person (miscegenation). The second is marital fidelity and desertion (Steve will not leave Julie, and Gaylord Ravenal deserts Magnolia).
The black characters are not stereotypical typical of that time. Also, “Showboat” was the first racially integrated musical. The black chorus of the musical gives enlightening commentary on the action. The white chorus is not near as perceptive.
deals with racism, mixed marriage and marital abandonment (subjects that had been taboo in musicals)
Show Boat, which tackled the theme of interracial marriage, also addressed the issue of social constraints.The show's dominant themes include racial prejudice and tragic, enduring love.One of the performers on the boat is a mulatto woman trying to pass as white. The story revolves around her romance with a white man. Alcohol abuse and gambling addiction are problems for the characters.
racism
dysfunctional romantic relationships
interracial marriage
gambling
alcohol abuse
That first-night audience saw the white folks' playhouse, the show boat, where blacks couldn't play — a fact soon to be made explicit in the text when a member of the Cotton Blossom troupe (Julie LaVerne, played by Helen Morgan, above, in the stage production and in the 1936 film) is exposed as a woman of mixed race and expelled from the show boat community. All the while, the music of black America pervades the playhouse, shapes the entertainment offered there.
Stevedore,dockworker,docker,dock laborer,wharfieandlongshoremancan have variouswaterfront-related meanings concerning loading and unloadingships, according to place and country.
The word stevedore originated in Portugal or Spain, and entered the English language through its use by sailors. It started as a phonetic spelling of estivador (Portuguese) or estibador (Spanish), meaning a man who stuffs, here in the sense of a man who loads ships, which was the original meaning of stevedore
Trocadero
Vagrant
12a. Song Titles: (hint: listen for repeated words or phrases in the song and guess the name of the song if you don’t know the name)
This is the original overture, as heard in the 1927 Broadway production and all productions until the 1946 revival when it was replaced by a more commercial medley of hits. Dark and brooding, it properly foreshadows the dramatic story soon to unfold. A prominent feature in the overture is the long neglected chorale "Mis'ry's Coming Around" which was cut out of town, much to the dismay of the composer
It reveals that they are smitten with each other almost immediately upon meeting and sets the tone for the contrasts between the ideal “make believe” world of the young lovers and the harsh realities of life that they will encounter throughout the story.
expresses the African American hardship and struggles of the time with the endless, uncaring flow of the Mississippi River;The song is notable for several aspects: the lyrical pentatonic-scale melody, the subjects of toil and social class, metaphor to the Mississippi, and as a bass solo (rare in musicals, solos for baritones or tenorsbeing more common).The great classic “Old Man River” is a moving protest song ~ ~ “There’s an old man called the Mississippi, That’s an old man that I want to be. What does he care if the world has troubles? What does he care if the land ain’t free?” ~~ not even in 1887 when the action of the musical takes place.
The song "Bill" from Show Boat is one of the most famous examples of a "trunk song": Jerome Kern had written it for a musical in 1918, it was cut from that show and one other, and Kern interpolated it into Show Boat in 1927. It works, in part, because in the second act of Show Boat most of the "show-within-a-show" numbers are real songs from the period, and the slightly old-fashioned sound of "Bill" (in a gentler style that Kern had abandoned for a richer sound) sounds about right as an example of something Julie might have been singing in her stage career.
To put the song into Show Boat, though, Kern rewrote the music a little bit, which required Oscar Hammerstein to add some new lyrics to P.G. Wodehouse's original.
The 1890s witnessed the emergence of a commercial popular music industry in the United States. Sales of sheet music, enabling consumers to play and sing songs in their own parlors, skyrocketed during the “Gay Nineties,” led by Tin Pan Alley, the narrow street in midtown Manhattan that housed the country’s major music publishers and producers. Although Tin Pan Alley was established in the 1880s, it only achieved national prominence with the first “platinum” song hit in American music history—Charles K. Harris’s “After the Ball”—that sold two million pieces of sheet music in 1892 alone. “After the Ball’s” sentimentality ultimately helped sell over five million copies of sheet music, making it the biggest hit in Tin Pan Alley’s long history. Typical of most popular 1890s tunes, the song was a tearjerker, a melodramatic evocation of lost love.
In the 1951 film, instead of singing it to Kim just before he leaves, Ravenal sings it to her when he meets her for the first time after being away for several years - the exact reverse of the situation in the original show and the 1936 film version. He has finally returned and now asks her to pretend that he has never been away.
JOE: [brushing Pete's clothes off immediately after his fistfight with Steve] Please, Mister Pete, don't go gettin' yourself all riled up over things. Besides, Mister Steve and Miss Julie, they gotta play performances here. PETE: Yeah? Well I know a thing or two; we'll see how many performances they play in this town!
JULIE:
Pride is smaller than kindness.
CAP'N ANDY HAWKS:
It's Saturday night again! [He slaps Parthy affectionately on her rear end]
PARTHY:
Oh! It's Wednesday night and don't you strike me!
CAP'N ANDY HAWKS:
It's Saturday night forever!
PARTHY: Yes, and Fourth of July... and Christmas... and [imitating Cap'n Andy when he celebrates New Year's Eve] Hap - - -py New Year!
GAYLORD: [borrowing Magnolia's jewels so that he can pawn them] Don't worry darling, it's only temporary. I'll get them back for you.
MAGNOLIA: Everything can be temporary - -except us.
CAP'N ANDY HAWKS: (hearing of Magnolia's engagement to Gaylord) Son, I hope it's not Saturday night one minute, with a cold Monday morning to follow. Whatever happens, Nollie, always remember to smile. MAGNOLIA: [to Gaylord] I know there's no other woman... no flesh-and-blood woman. But I can't fight this Lady Luck of yours, this fancy queen in her green felt dress. JULIE: Mister... if you ever get to see Nollie, not get together with her I mean, but- if you ever do get to talk to her, don't ever tell her you saw me; I mean, don't ever tell her you saw me like this.
MEANING OF THE QUOTE:
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