Larry Hart reflects on the commercial pressures of songwriting while sharing a drink with friends. He recounts a cynical but humorous anecdote about how his artistic lyrics were rejected by a studio executive in favor of the more marketable title Blue Moon.
HART: You know, it wasn’t even supposed to be called Blue Moon. I called it The Bad in Every Man. We wrote it for this movie Manhattan Melodrama. Jack Robbins, formerly Rabinowitz—he had his name circumcised—over at MGM, he hears the song; he calls us into his office, he lowers his pastrami, says: D
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A Portrait of Elizabeth
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Lorenz Hart approaches the writer E.B. White at Sardi's to discuss his artistic obsession with a woman named Elizabeth. Hart reflects on the nature of songwriting, vulnerability, and his disdain for the simplistic lyrics of his contemporaries while seeking validation from a fellow writer.
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