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"Tomorrow Belongs to Me" is a song from the 1966 Broadway musical Cabaret, and the 1972 film of the same name, sung primarily by a Nazi character. It was written and composed by two Jewish musicians – John Kander and Fred Ebb – as part of an avowedly anti-fascist work; the nationalist character of the song serves as a warning to the musical's characters of the rise of Nazism.
He dubbed the singing voice for "Tomorrow Belongs to Me" in Cabaret (1972), although the screen role was played by Oliver Collignon, a young German extra; both Lambert and Collignon were uncredited. [ 5 ]
Perry began his career focusing on singing, being part of the Serendipity Singers and with his stage credits including the 1967 musical Now Is the Time for All Good Men. [citation needed] He also appeared as an extra in the crowd scene in the "Tomorrow Belongs to Me" segment in the 1972 film Cabaret.
Tomorrow Belongs to Me is the fourth studio album by The Sensational Alex Harvey Band.It was released in 1975 on Vertigo Records. While no A-side singles were released from this album, three compositions were used as B-sides to other SAHB singles: "Soul in Chains", as a live version taken from the subsequent tour, "Shake That Thing" and "Snake Bite".
Cabaret is an American musical with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff.It is based on the 1951 play I Am a Camera by John Van Druten, which in turn was based on the 1939 novel Goodbye to Berlin by Christopher Isherwood.
Vito Rocco Farinola (June 12, 1928 – February 11, 2018), known professionally as Vic Damone, was an American singer and actor. His discography comprises 31 original studio albums, 3 original live albums, various compilation and archival projects, and 115 singles .
The Impossible Dream was the third album by The Sensational Alex Harvey Band, released October 4, 1974. [3] The album was released separately on CD but can be hard to find; however, the CD is widely available on a 2-in-1 album, the other album being Tomorrow Belongs to Me.
AllMusic wrote that the 1972 film "contains some definitive [Liza] Minnelli performances, particularly her rendition of the title song". [3]Reviews of the 2014 Broadway revival included: The Guardian described the song as "the hardest scene in the show, so shopworn as to have long ago collapsed into kitsch". [4]