Niccolo Machiavelli
Italian diplomat and political and military theorist (1469-1527)
Dorothy Fieldswas an American librettist and lyricist. She wrote more than 400 songs for Broadway musicals and films.
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Dorothy Fieldswas an American librettist and lyricist. She wrote more than 400 songs for Broadway musicals and films. Her best-known pieces include “The Way You Look Tonight”and “Big Spender” (1966). Throughout her career, she collaborated with various influential figures in the American musical theater, including Jerome Kern, Cy Coleman, Irving Berlin, and Jimmy McHugh. Along with Ann Ronell, Dana Suesse, Bernice Petkere, and Kay Swift, she was one of the first successful Tin Pan Alley and Hollywood female songwriters.
I began to be impressed by what made a good book-how you needed to have a sensible story, a plot that developed, with a beginning, a middle, and an end that would tie everything together.
American librettist and lyricist (1905-1974)
My father assigned me to keep his scrapbooks. At first I was interested in reading only his rave notices, but I got interested in reading what the critics were saying about whether the play was good or not.
American librettist and lyricist (1905-1974)
Write what you feel. Write because of that need for expression.
American librettist and lyricist (1905-1974)
A songwriter should have friends who are similarly interested; should move about in the milieu of work he has chosen for himself.
American librettist and lyricist (1905-1974)
There aren’t more lady songwriters for the same reason that there aren’t more lady doctors or lady accountants or lady lawyers; not enough women have the time for careers.
American librettist and lyricist (1905-1974)
A rhyme doesn’t make a song.
American librettist and lyricist (1905-1974)
Elizabeth Barrett Browning could write a poem two pages long. Could she have brought it to a music publisher?
American librettist and lyricist (1905-1974)
The man in our society is the breadwinner; the woman has enough to do as the homemaker, wife and mother.
American librettist and lyricist (1905-1974)
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won’t buy it; they’ll be unhappy.
American librettist and lyricist (1905-1974)
I don’t care how good a song is – if it holds back the storyline, stalls the plot, your audience will reject it.
American librettist and lyricist (1905-1974)
Love is the reason you were born.
American librettist and lyricist (1905-1974)
A song just doesn’t come on. I’ve always had to tease it out, squeeze it out.
American librettist and lyricist (1905-1974)
I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.
American librettist and lyricist (1905-1974)
No thesaurus can give you those words, no rhyming dictionary. They must happen out of you.
American librettist and lyricist (1905-1974)
Keep it in tune with the times, but don’t write with the specific purpose of trying to create a hit. If you’re doing it strictly to make money, you’re crazy. There are easier ways to make money.
American librettist and lyricist (1905-1974)
In a show or a movie, one must work with many people. Many women just don’t have the time for it.
American librettist and lyricist (1905-1974)
If you don’t have a story that will hold the audience, you won’t have a successful show.
American librettist and lyricist (1905-1974)
The songwriter mustn’t fall in love with his own song. If it doesn’t belong, he can’t push it into a show. Let him save it; maybe it’ll fit in another show.
American librettist and lyricist (1905-1974)
We’ve accumulated a lot of things over the years and many things from our grandmother. Hopefully it’ll be all right. I really don’t want to cry, but I can’t help it.
American librettist and lyricist (1905-1974)