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Shaw's 1940 arrangement was a collaboration between Shaw and his chief arranger, Lennie Hayton, who was also an important Music Director, arranger and orchestrator at MGM until 1953. It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook .
This musical comedy stars William Powell as Emery Slade, an unlikeable actor who was once a major film star, but who has not worked in ten years. Slade tries to convince studio chief Melville Crossman (Adolphe Menjou) to give the female lead in the film version of a Broadway musical to an unknown, rather than the actress he was sent to New York to sign.
Fred Astaire and Eleanor Powell's tap dance to the tune in the 1940 film Broadway Melody of 1940 became one of the most popular dance scenes on film. [103] "In a Sentimental Mood" [4] [10] [104] [105] is a jazz song with music by Duke Ellington and lyrics by Manny Kurtz
It was also the first of a record-tying seven top 10 hit singles to be released from Born in the U.S.A. "Dancing in the Dark" also held the No. 1 spot for six weeks on Billboard's Top Tracks chart. [13] The song reached No. 1 on the Radio & Records CHR and AOR airplay charts. [14] "Dancing in the Dark" also had worldwide success.
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
You can go from a jazzy number that spells out letters (like “L-O-V-E” by Nat King Cole) to a rock hit that breaks down the true meaning of love (like “I Want to Know What Love Is” by ...
The AOL.com video experience serves up the best video content from AOL and around the web, curating informative and entertaining snackable videos.
"Dancing in the Dark" is a 1983 song by English pop singer Kim Wilde, released as the second single from her third studio album, Catch as Catch Can (1983). The song marked a change in direction for the singer, with more of a dance-oriented style than her earlier work. It did not meet with the success of previous singles, only just scraping into ...