A fellow in the broadest sense is someone who is an equal or a comrade. The term fellow is also used to describe a person, particularly by those in the upper social classes. It is most often used in an academic context: a fellow is often part of an elite group of learned people who are awarded fellowship to work together as peers in the pursuit of knowledge or practice. The fellows may include visiting professors, postdoctoral researchers and doctoral researchers.

Academia[link]

Research fellow[link]

The title of research fellow is used to denote an academic research position at a university or a similar institution.

Teaching fellow[link]

The title of Teaching fellow is used to denote an academic teaching position at a university or similar institution.

Emeritus title in the UK[link]

The title fellow might be given to an academic member of staff upon retirement who continues to be affiliate to a university institution in the United Kingdom.

[edit] Oxford, Cambridge and Dublin

At Colleges of the Universities of Oxford, Cambridge, and Dublin, full fellows form the governing body of the college. They may elect a Council to handle day-to-day management. All fellows are entitled to certain privileges within their colleges, which may include dining at High Table (free of charge) and possibly the right to a room in college (free of charge).

There are a number of types of fellow:

• Research fellows are researchers, whose salaries or stipends are paid by a college from the income of its endowment. Some of the less affluent colleges do not pay their research fellows a salary, instead award fellowships to researchers already employed by the university.
• At Oxford, college tutors are fellows, who are paid to provide small-group teaching to a college's undergraduates. The position is typically a joint appointment (there are a variety of types) with the university.
• At Cambridge, teaching officers (lecturers, readers, and professors) are entitled to a college fellowship. For lecturers and readers, the process is competitive – generally the most able academics get fellowships at the richest and most prestigious colleges^{[citation needed]}. Professors are allocated to colleges by a centralised process to ensure fairness. These fellows may or may not provide small-group teaching to undergraduates in the college, for which they would be paid by the hour. College fellows at Cambridge (except for research fellows) have no duties as such and are not paid. They will typically have a salaried post either with their college or the university.
• At Cambridge, a praelector is a fellow of a college, who formally presents students during the matriculation and graduation ceremony.

Most Cambridge colleges grant fellowships for life after a qualifying period. Retired academics may therefore remain as fellows. In Oxford upon retirement, a Governing Body fellow would normally be elected a fellow emeritus and would leave the Governing Body. Distinguished old members of the college, or its benefactors and friends, might also be elected 'Honorary Fellow', normally for life; but beyond limited dining rights this is merely an honour. Most Oxford colleges have 'Fellows by Special Election' or 'Supernumerary Fellows', who may be members of the teaching staff, but not necessarily members of the Governing Body.

US medical training[link]

In US medical institutions, a fellow refers to someone who has completed residency training (e.g. in internal medicine, pediatrics, general surgery, etc.) and is currently in a 1 to 3 year subspecialty training program (e.g. cardiology, pediatric nephrology, transplant surgery, etc.).

Medical Education Systems in the United Kingdom, Ireland, Canada, Australia and New Zealand[link]

In these five countries the overarching responsibility of postgraduate specialist medical and surgical education is assigned to a number of Royal colleges. Examples of these colleges are: the Royal College of Surgeons, the Royal College of Surgeons in Ireland, the Royal College of Physicians and Surgeons of Canada and the Royal Australian and New Zealand College of Psychiatrists. When a graduate medical doctor completes the speciality training/examinations required by one of these colleges he or she is designated a Fellow of the corresponding college. This designation comes with a post-nominal designation such as FRCS (Fellow of the Royal College of Surgeons), FRCS(I) Fellowship of the Royal College of Surgeons Ireland, FRCP (C) (Fellow of the Royal College of Physicians of Canada) and FRANZCP (Fellow of the Royal Australian and New Zealand College of Psychiatrists).

Graduate school fellowships[link]

In the context of graduate school in the United States and Canada, a fellow is a recipient of a fellowship. Examples are the NSF Graduate Research Fellowship, the National Defense Science and Engineering Graduate Fellowship, the Guggenheim Fellowship, the Rosenthal Fellowship and the Presidential Management Fellowship.

Academia administration[link]

Harvard University[link]

At Harvard and some other universities in the United States, "fellows" are members of the Board of Trustees who hold administrative positions as non-executive trustee rather than academics.

Cambridge and Oxford Colleges[link]

Some senior administrators of a college such as bursars are made fellows, and thereby become members of the governing body, because of their importance to the running of a College.

Secondary education[link]

Teaching fellows in the US[link]

The term used, in the United States, the high school and middle school setting for students or adults that assist a teacher with one or more classes.^[1]

Learned or professional societies[link]

Fellows are the highest grade of membership of most professional or learned societies (see for example, the Chartered Institute of Arbitrators. Lower grades are referred to as members (who typically share voting rights with the fellows), or associates (who may or may not, depending on whether "associate" status is a form of full membership).

How a fellowship is acquired varies for each society, but may typically involve some or all of these:

• A qualifying period in a lower grade
• Passing a series of examinations
• Nomination by two existing fellows who know the applicant professionally
• Evidence of continued formal training post-qualification
• Evidence of substantial achievement in the subject area
• Submission of a thesis or portfolio of works which will be examined

Exclusive learned societies such as the Royal Society have Fellow as the only grade of membership, others like the Faculty of Young Musicians (now defunct) have members holding the post of Associate and posts Honoris Causa.

Honorary fellow[link]

Appointment as an honorary fellow in a learned or professional society can be either to honour exceptional achievement and/or service within the professional domain of the awarding body or to honour contributions related to the domain from someone who is professionally outside of it. Membership of the awarding body may or may not be a requirement.

Industry / Corporate[link]

Large corporations in research and development-intensive industries (IBM or Sun Microsystems in information technology, Bell Labs or L3 Communications in telecommunications, and Boston Scientific in Medical Devices for example) appoint a small number of senior scientists and engineers as fellows. Fellow is the most senior rank or title one can achieve on a technical career, though some fellows also hold business titles such as vice president or chief technology officer. Examples are:

• IBM Fellows.
• Microsoft technical fellows.

Nonprofit / Government[link]

The title fellow can be used for participants in a professional development program run by a nonprofit or governmental organization. This type of fellowship is a short term work opportunity (1-2 years)^[2] for professionals who already possess some level of academic or professional expertise that will serve the nonprofit mission. Fellows are given a stipend as well as professional experience and leadership training. Examples are:

• White House Fellows
• Supreme Court Fellows Program
• Sample of Nonprofit Leadership Programs

Notes and references[link]

"A Whiter Shade of Pale" is the debut song by the British band Procol Harum, released 12 May 1967. The single reached number one in the UK Singles Chart^[1] on 8 June 1967, and stayed there for six weeks. Without much promotion, it reached #5 on the US charts, as well. It is one of the fewer than 30 all-time singles to have sold 10 million (or more) copies worldwide.^{[citation needed]}

With its haunting Bach-flavoured instrumental melody, soulful vocals, and unusual lyrics—by the song's co-authors Gary Brooker, Keith Reid,^[2] and Matthew Fisher-- "A Whiter Shade of Pale" reached #1 in several countries when released in 1967. In the years since, it has become an enduring classic. It was the most played song in the last 75 years in public places in the UK (as of 2009),^[3] and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years.^[4] Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" #57 on its list of the 500 Greatest Songs of All Time.

More than 1000 recorded cover versions by other artists are known.^[5] The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked and notably in Martin Scorsese's segment of New York Stories. Cover versions of the song have also been featured in many films, for example by King Curtis in Withnail and I and by Annie Lennox in The Net.

The original writing credits were for Brooker and Reid only. On 30 July 2009, Matthew Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords.

Recording and personnel[link]

The song was performed and recorded at Olympic Studios in London, England with Gary Brooker providing the vocals and piano, Matthew Fisher on a Hammond M-102 organ, David Knights on bass and Ray Royer on guitar. Drums were by session drummer Bill Eyden. A few days later, the song was re-recorded with the band's then newly-recruited drummer Bobby Harrison. That version, though, was considered inferior^{[citation needed]} and one of the original mono recordings was chosen for release.

Producer for the record was Denny Cordell and Keith Grant was the sound engineer.^[6]

The song was included on the original U.S. release of the Procol Harum album, but not on the UK version.

Lyrics[link]

Reid got the title and the starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale," and the phrase stuck in his mind.^[7][8] The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth.^[9] The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act."^[8] This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.^[10] Other observers have also commented that the lyrics concern a sexual relationship.^[7]

Structurally and thematically, the song is unusual in many respects. While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time (for example, the chorus focuses on Chaucer's The Miller's Tale). Thus, this piece can be thought of as a forerunner to the progressive rock that would reach its zenith about ten years later.

The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries.^[11][12][13] As such, the phrase is today often used in contexts independent of any consideration of the song. (See ^[14] for many annotated examples complete with links to original sources.) It has also been heavily paraphrased, in forms like an Xer shade of Y--this to the extent that it has been recognised^[15][16] as a snowclone – a type of cliché and phrasal template.

Composition[link]

The song is in moderate time, in C major, and is characterised by the bassline moving stepwise downwards in a repeated pattern throughout. In classical music this is known as a ground bass. The harmonic structure is identical for the organ melody, the verse and the chorus, except that the chorus finishes with a cadence. The main organ melody appears at the beginning and after each verse/chorus. But it is also heard throughout, playing variations of its theme and counterpointing the vocal line. Both the vocal and the organ accompaniment reach a crescendo at the beginning of the chorus "And so it was, and later ..."; where the organist rapidly runs his finger down and up the entire keyboard. The final instrumental fades out to silence - a common device in pop music of the time.

The Hammond organ line of "A Whiter Shade of Pale" was inspired by Johann Sebastian Bach's "Sleepers, Wake!" and "Air on the G String" - both of which use a similar stepwise bass motion. But contrary to popular belief, the song is not a direct copy or paraphrase of any music by Bach,^[17] although it makes clear references to both pieces. This similarity is referred to in the 1982 play The Real Thing by Tom Stoppard and the 1991 film The Commitments. A yet closer melodic influence that is seldom cited can arguably^{[weasel words]} be found in the organ choral prelude "O Mensch bewein dein' Sünde groß" (O Man, Lament Your Sin So Great), BWV 622, from Bach's Orgelbüchlein (Little Organ Book). The music also borrows ideas from "When a Man Loves a Woman" by Percy Sledge.^[18]

Reception[link]

The single was released on 12 May 1967 by Deram Records and entered the UK charts on 25 May. In two weeks it reached number one where it stayed for six weeks, and on the UK chart for a total of 15 weeks. A May 1972 re-release on Fly Records stayed in the UK charts for a total of 12 weeks, and reached number 13 as highest. In the US, it reached #5 and sold over one million copies. In the Netherlands it entered the chart at number one in June 1967 and again reached number one in July 1972.

Chart positions: # 1 (UK), # 1 (the Netherlands), # 1 (Germany), # 1 (Ireland), # 1 (Australia), # 1 (World), # 3 (Norway VG-lista), # 5 (USA Hot 100). "A Whiter Shade of Pale" also managed to peak at number twenty-two on the soul charts in the U.S.^[19]

Over time, "A Whiter Shade of Pale" has earned extensive critical acclaim:

• John Lennon was a great fan of the song and was known to have played it repeatedly in his Rolls Royce. When it was released in England, Lennon (and friends in his circle) reportedly confused Brooker's soulful vocals with Steve Winwood, who had popularity at the time with The Spencer Davis Group.
• It was named joint winner (along with Queen's "Bohemian Rhapsody", which also uses the word 'fandango') of the Best British Pop Single 1952–1977 at the BRIT Awards, part of Elizabeth II's Silver Jubilee.
• #57 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time in 2004.
• British TV station Channel 4 placed the song at #19 in its chart of the 100 greatest number one singles.^[20]

Authorship lawsuit[link]

In 2005, former Procol Harum organist Matthew Fisher filed suit in the High Court against Gary Brooker and his publisher, claiming that he co-wrote the music for the song.^[21]

Fisher won the case on 20 December 2006 but was awarded 40% of the composers' share of the music copyright, rather than the 50% he was seeking and was not granted royalties prior to 2005.^[22]

Gary Brooker and publisher Onward Music were granted leave to appeal, and a hearing on the matter was held before a panel of three judges during the week of 1 October 2007. The decision, on 4 April 2008, by Lord Justice Mummery, in the Court of Appeal upheld Fisher's co-authorship^[23] but ruled that he should receive no royalties as he had taken too long (38 years) to bring his claim to litigation. Full royalty rights were returned to Brooker.^[24]

On 5 November 2008, Matthew Fisher was granted permission to appeal this decision to the House of Lords.^[25] Lawyers say it is the first time the Law Lords have been asked to rule on a copyright dispute involving a song.^[26] The appeal was heard in the House of Lords on 22–23 April 2009.^[27]

On 30 July 2009 the Law Lords unanimously ruled in Fisher's favour. They noted that the delay in bringing the case had not caused any harm to the other party; on the contrary they had benefited financially from it. They also pointed out that there were no time limits to copyright claims under English law. The right to future royalties was therefore returned to Fisher.^[28][29] The musicological basis of the judgment, and its effect on the rights of musicians who contribute composition to future works, has drawn some attention in the music world.^[30]

Video[link]

The first video for the song was shot in the ruins of Witley Court in Worcestershire, England.^[31] The Witley Court video features four of the five musicians who played on the hit single: Gary Brooker, Matthew Fisher, David Knights and Ray Royer, in performance and walking through the ruins. Only the drummer in the video isn't on the record: early band member Bobby Harrison is seen miming to session man Bill Eyden's drumming. According to Shindig! Magazine's Procol Harum cover story by Alan Robinson (November–December 2009 issue – page 55), the video was directed by Peter Clifton whose insertion of Vietnam War newsreel footage caused it to be banned from airplay on the "Top of the Pops" TV show. The band subsequently made another video using "Scopitone" technology, but by this time, Robin Trower and B.J. Wilson had replaced Royer and Harrison in the band, so only three of the five musicians on the recording are represented, and no performance footage included – only the five musicians cavorting around London, running across fields, etc. This lineup, with Fisher in a monk's cowl, also mimed to the song on Top of the Pops, (though Gary Brooker sang live) and black and white footage of this performance has been shown online, perhaps constituting the third video of the song from 1967. (See also its inclusion on the 'Top of the Pops 40th Anniversary 1964–2004 DVD'.)

There was also a video shot as part of Joel Gallen's Deja-View music video series.^[32] Originally airing on various networks in late 1985 through 1986, this video starred Harry Dean Stanton and Bernie Taupin, but featured no member of the band. It has also aired on VH1 Classic, and has recently surfaced online.^[33][34]

References[link]

External links[link]

• Bill Eyden Obituary
• Procol Harum — A Whiter Shade Of Pale, live video from Eagle Rock Entertainment's official channel on YouTube
• A Whiter Shade of Pale: authorised lyrics of all four verses

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2008)

Garland Green (born Garfield Green Jr., June 14, 1942, Dunleith, Mississippi) is an American soul singer and pianist.

Career[link]

Green was the tenth child of eleven born in his family, and lived in Mississippi until 1958 when he moved to Chicago. While working and attending Englewood High, he sang on weekends, and one day while singing in a pool room, he was overheard by Argia B. Collins, a local owner of a bar-b-que chain. Collins agreed to bankroll Green's attendance at the Chicago Conservatory of Music, where Green studied voice and piano, and played in local bars and clubs.

In 1967, Green won a local talent show at a club called the Trocadero. His prize was a concert opening for Lou Rawls and Earl Hines at the Sutherland Lounge. In the audience was Mel Collins, and his wife Joshie Jo Armstead, who was a songwriter who had written tunes with Nick Ashford and Valerie Simpson prior to the couple joining Motown. The couple arranged for Green to do a recording session in Detroit and released the result as a single on their label, Gamma Records, a song called "Girl I Love You." It sold well locally and was picked up by MCA subsidiary, Revue Records for national distribution. Revue released three further singles from Green who then moved to MCA's main label, Uni Records.

In 1969, "Jealous Kind of Fella" became a major national success, reaching #5 in the Billboard R&B chart and #2 in the Cashbox soul chart.^[1] Written by Green, R. Browner, M. Dollinson and J. Armstead, the record was released in the U.S. in August 1969.^[1] It sold a million copies by March 1971.^[1] Uni released an album from Green, but the follow-up single did not sell well and Green eventually left MCA, also parting company with Armstead. He then signed with Atlantic Records subsidiary, Cotillion Records, which released five singles from Garland, but only one proved a real success, "Plain and Simple Girl". Produced and arranged by Donny Hathaway, this reached the R&B Top 20.

Moving on to Spring Records in 1973, Green recorded five more singles, some of which charted modestly, notably "Let the Good Times Roll" (not the Shirley and Lee song) and "Bumpin' and Stompin'." His recording for the label, "Just What The Doctor Ordered", remained unissued until 1990, when it was included on a compilation album of his Spring singles on the UK label, Ace/Kent. A move then to RCA Records resulted in three singles and an album, produced by the Los Angeles, California producer/singer Leon Haywood.

In 1979, Green moved to California, and eventually signed with a small independent label, Ocean-Front Records for an album produced by Lamont Dozier and Arleen Schesel, the latter of whom Green would later marry. The album featured a re-worked version of a major hit for Dozier 10 years earlier, "Trying To Hold On To My Woman". When the label closed, Green continued to record and self-release. In 2011 Green signed a deal for a brand new album with Special Soul Music, a new division of the label CDS Records. The album, entitled "I Should've Been The One", was released February 2012. It was his first album of new material in 29 years.

Charting singles[link]

• "Jealous Kind of Fella" (1969) U.S. Billboard Hot 100 #20, Black Singles #5
• "Don't Think that I'm a Violent Guy" (1970) Black Singles #42
• "Plain and Simple Girl" (1971) Black Singles #17
• "He Didn't Know" (1974) Black Singles #67
• "Let the Good Times Roll" (1974) Black Singles #65
• "Tryin' To Hold On" (1983) Black Singles #63

Albums[link]

• "Jealous Kind of Fella" (Uni 1969)
• "Love Is What We Came Here For" (RCA 1977)
• "Garland Green (self titled)" (Ocean Front 1983)
• "The Spring Sides" (Kent 1990)
• "The Very Best Of" (Kent UK 2008)
• "I Should've Been The One" (Special Soul 2012)

Further reading[link]

Pruter, Robert. Chicago Soul. Urbana, IL: University of Illinois Press, 1991, ISBN 978-0-252-06259-9

References[link]

External links[link]

• Garland Green at Allmusic.com
• Garland Green Garland Green Discography

Tom Lehrer
Lehrer performing in 1960
Background information
Birth name	Thomas Andrew Lehrer
Born	(1928-04-09) April 9, 1928 (age 84) New York, New York
Occupations	Mathematician, teacher, lyricist, pianist, composer, singer/songwriter
Instruments	Vocals Piano
Years active	1945–1971, 1998
Labels	Reprise/Warner Bros. Records Rhino/Atlantic Records Shout! Factory
Associated acts	Joe Raposo

Thomas Andrew Lehrer (born April 9, 1928) is an American singer-songwriter, satirist, pianist, and mathematician. He has lectured on mathematics and musical theater. Lehrer is best known for the pithy, humorous songs he recorded in the 1950s and 1960s.

His work often parodies popular song forms, though Lehrer usually creates original melodies when doing so. A notable exception is his song "The Elements", where he sets the names of the chemical elements to the tune of the "Major-General's Song" from Gilbert and Sullivan's Pirates of Penzance. Lehrer's earlier work typically dealt with non-topical subject matter and was noted for its black humor, seen in songs such as "Poisoning Pigeons in the Park". In the 1960s, he produced a number of songs dealing with social and political issues of the day, particularly when he wrote for the U.S. version of the television show That Was The Week That Was.

In the early 1970s, he retired from public performances to devote his time to teaching mathematics and music theatre at the University of California, Santa Cruz. He did two additional performances in 1998 at a London gala show celebrating the career of impresario Cameron Mackintosh.^[1]

Early life[link]

Lehrer was born in 1928 to a Jewish family in the New York City borough of Manhattan, and began studying classical piano music at the age of seven. He was more interested in the popular music of the age, however. Eventually, his mother also sent him to a popular-music piano teacher.^[2] At this early age, he began writing his own show tunes, which eventually helped him in his future adventures as a satirical composer and writer in his years of lecturing at Harvard University, and later at other universities.^[3]

Lehrer graduated from the Horace Mann School in Riverdale, NY.^[4] He attended Camp Androscoggin, both as a camper and a counselor.^[5] While studying mathematics as an undergraduate student at Harvard College, he began to write comic songs to entertain his friends, including "Fight Fiercely, Harvard" (1945). Those songs were later named The Physical Revue,^[6] a joking reference to a leading scientific journal, The Physical Review.

Mathematics career[link]

Lehrer earned his AB in mathematics (magna cum laude) from Harvard University in 1946, when he was nineteen.^[7] He received his MA degree the next year, and was inducted into Phi Beta Kappa. He taught classes at MIT, Harvard, and Wellesley.

He remained in Harvard's doctoral program for several years, taking time out for his musical career and to work as a researcher at Los Alamos, New Mexico. He served in the U.S. Army from 1955 to 1957, working at the National Security Agency. (Lehrer has stated that he invented the Jell-O Shot during this time, as a means of circumventing liquor restrictions.)^[8] All of these experiences eventually became fodder for songs, viz. "Fight Fiercely, Harvard", "The Wild West Is Where I Want To Be" and "It Makes a Fellow Proud to Be a Soldier". Despite holding a master's degree in an era when American conscripts often lacked a high school diploma, Lehrer served as an enlisted soldier, achieving the rank of Specialist Third Class, which he described as being a "corporal without portfolio".^[9] In 1960, Lehrer returned to full-time studies at Harvard, but he never completed his doctoral studies in mathematics.

From 1962, he taught in the political science department at Massachusetts Institute of Technology (MIT).^[10] In 1972, he joined the faculty of the University of California, Santa Cruz, teaching an introductory course entitled "The Nature of Mathematics" to liberal arts majors—"Math for Tenors", according to Lehrer. He also taught a class in musical theater. He occasionally performed songs in his lectures, primarily those relating to the topic.^[11]

In 2001, Lehrer taught his last mathematics class (on the topic of infinity) and retired from academia.^[12] He has remained in the area, and still "hangs out" around the University of California, Santa Cruz.^[13]

Mathematical publications[link]

The American Mathematical Society database lists Lehrer as co-author of two papers:

• RE Fagen & TA Lehrer, "Random walks with restraining barrier as applied to the biased binary counter", Journal of the Society for Industrial Applied Mathematics, vol. 6, pp. 1–14 (March 1958) MR0094856
• T Austin, R Fagen, T Lehrer, W Penney, "The distribution of the number of locally maximal elements in a random sample", Annals of Mathematical Statistics vol. 28, pp. 786–790 (1957) MR0091251

Musical career[link]

Lehrer was mainly influenced by musical theater. According to Gerald Nachman's book Seriously Funny, the broadway musical, "Let's Face It" (lyrics by Sylvia Fine; music by Cole Porter) made an early and lasting impression. Lehrer's style consists of parodying various forms of popular song. For example, his appreciation of list songs led him to set an unordered list of the chemical elements to the tune of Gilbert and Sullivan's "Major-General's Song".

Author Isaac Asimov recounted in his second autobiographical volume In Joy Still Felt of seeing Lehrer perform in a Boston nightclub on October 9, 1954, during which Lehrer sang very cleverly about Jim getting it from Louise, and Sally from Jim, "and after a while you gathered the 'it' to be venereal disease [the song was likely "I Got It From Sally (in later versions 'Agnes')"]. Suddenly, as the combinations grew more grotesque, you realized he was satirizing every perversion known to mankind without using a single naughty phrase. It was clearly unsingable (in those days) outside a nightclub." Asimov also recalled a song that dealt with the Boston subway system, making use of the stations leading into town from Harvard, observing that the local subject-matter rendered the song useless for general distribution. Lehrer subsequently granted Asimov permission to print the lyrics to the subway song in his book. "I haven't gone to nightclubs often," said Asimov, "but of all the times I have gone, it was on this occasion that I had by far the best time."^[14]

Lehrer was inspired by the success of his performances of his own songs, so he paid for some studio time to record Songs by Tom Lehrer. At the time, radio stations would not give Lehrer air time because of his controversial subjects. Instead, he sold his album on campus at Harvard for three dollars, while "supportive record merchants and dorm newsstands bought copies…and marked them up fifty cents."^{[citation needed]} After one summer, he also started to receive mail orders from all parts of the country (as far away as San Francisco, after The Chronicle wrote an article on the record). Interest in his recordings was spread by word of mouth; friends and supporters brought their records home and played them for their friends, who then also wanted a copy.^[15]

The album—which included the macabre "I Hold Your Hand in Mine", the mildly risqué "Be Prepared", and "Lobachevsky" (regarding plagiarizing mathematicians) became a cult success via word of mouth, despite being self-published and without promotion. Lehrer then embarked on a series of concert tours and recorded a second album, which was released in two versions: the songs were the same, but More of Tom Lehrer was studio-recorded, while An Evening Wasted with Tom Lehrer was recorded live in concert.

Lehrer's major breakthrough in the United Kingdom came as a result of the citation accompanying an honorary degree given to Princess Margaret, where she cited musical tastes as "catholic, ranging from Mozart to Tom Lehrer". This prompted significant interest in his works and helped secure distributors for his material in the UK. It was there that his music achieved real popularity, as a result of the proliferation of university newspapers referring to the material, and the willingness of the BBC to play his songs on the radio (something that was a rarity in the United States).

By the early 1960s, Lehrer had retired from touring and was employed as the resident songwriter for the U.S. edition of That Was The Week That Was (TW3), a satirical television show. An increased proportion of his output became overtly political, or at least topical, on subjects such as education ("New Math"), the Second Vatican Council ("The Vatican Rag"), race relations ("National Brotherhood Week"), air and water pollution ("Pollution"), American militarism ("Send the Marines"), World War III "pre-nostalgia" ("So Long, Mom", premiered by Steve Allen), and nuclear proliferation ("Who's Next?" and "MLF Lullaby"). He also wrote a song that famously satirized the alleged amorality of rocket scientist Wernher von Braun, who had previously worked for Nazi Germany before working for the United States. ("'Once the rockets are up, who cares where they come down? That's not my department', says Wernher von Braun.") Lehrer did not appear on the television show; his songs were performed by a female vocalist and his lyrics were often altered by the network censors. Lehrer later performed the songs on the album, That Was The Year That Was, so that, in his words, people could hear the songs the way they were intended to be heard.

In 1967, Lehrer was persuaded to make a short tour in Norway and Denmark, where he performed some of the songs from the television program. The performance in Oslo, Norway, on September 10 was recorded on video tape and aired locally later that autumn; this program was released on DVD some 40 years later.^[16]

Also around 1967, Lehrer composed and performed on piano original songs in a Dodge automobile "industrial" film that was distributed primarily to Dodge automobile dealers. It was also shown at promotional events organized by Dodge. Set in a fictional American wild west town, the full proper title of the film appears to be "The Dodge Rebellion Theatre presents Ballads For '67" Since the film is introducing 1967 model automobiles, it was possibly produced in late 1966.

The record deal with Reprise Records for the That Was The Year That Was album also gave Reprise distribution rights for Lehrer's earlier recordings, as Lehrer wanted to wind up his own record imprint. The Reprise issue of Songs by Tom Lehrer was a stereo re-recording. This version was not issued on CD, but the songs were issued on the live Tom Lehrer Revisited CD instead. The [live] recording also included bonus tracks "L-Y" and "Silent E", which Lehrer wrote for the PBS children's educational series The Electric Company. Lehrer later commented that worldwide sales of the recordings under Reprise surpassed 1.8 million units in 1996. That same year, the album That Was The Year That Was went gold.^[15] The album liner notes (and Lehrer himself in one routine) promote Tom Lehrer's songs using reverse psychology, by deliberately quoting his negative reviews. ("I know it's very bad form to quote one's own reviews, but there is something the New York Times said about me [in 1958], that I have always treasured: 'Mr. Lehrer's muse [is] not fettered by such inhibiting factors as taste.")

Departure from the music scene[link]

There is an urban legend that Lehrer gave up political satire when the Nobel Peace Prize was awarded to Henry Kissinger in 1973. He did comment that awarding the prize to Kissinger made political satire obsolete, but has denied that he stopped creating satire thereafter as a form of protest, asserting that he had stopped several years prior to the award.^[17] Another mistaken belief is that he was sued for libel by the estate of Wernher von Braun, the subject of one of his songs, and forced to relinquish all of his royalty income to von Braun. Lehrer firmly denied this in a 2003 interview.^[13]

When asked about his reasons for abandoning his musical career, in an interview in the book accompanying his CD box set (released in 2000), he cited a simple lack of interest, a distaste for touring, and boredom with performing the same songs repeatedly. He observed that when he was moved to write and perform songs, he did, and when he was not, he did not, and that after a while he simply lost interest. Although many of Lehrer's songs satirized the Cold War political establishment of the era, he stopped writing and performing just as the 1960s counterculture movement gained momentum.

Lehrer's musical career was brief; in an interview in the late 1990s, he pointed out that he had performed a mere 109 shows and written 37 songs over 20 years. Nevertheless, he developed a significant cult following both in the United States and abroad.

In the 1970s, Lehrer concentrated on teaching mathematics and musical theater, although he also wrote ten songs for the children's television show The Electric Company—Lehrer's Harvard schoolmate Joe Raposo was the show's musical director for its first three seasons.

Revivals and discographic reissues[link]

In the early 1980s, Tom Foolery, a revival of his songs on the London stage, was a hit. Although not its instigator, Lehrer eventually gave the stage production his full support and updated several of his lyrics for the production (such as "Who's Next", in which Neiman-Marcus [or in the San Francisco production, J.C. Penney], not Alabama, gets the bomb). Tom Foolery contained 27 Lehrer songs and led to more than 200 productions,^[15] including an off-Broadway production at the Village Gate, which ran for 120 performances in 1981.^[18]

In conjunction with the Tom Foolery premiere in 1980 at Criterion Theatre in London, Lehrer made a rare TV appearance on BBC's Parkinson show, where he sang "I Got It from Agnes".^[19][20]

On June 7 and 8, 1998, Lehrer performed in public for the first time in 25 years at the Lyceum Theatre, London as part of the gala show Hey, Mr. Producer! celebrating the career of impresario Cameron Mackintosh, who had been the producer of Tom Foolery. The June 8 show was his only performance before Queen Elizabeth II. Lehrer sang "Poisoning Pigeons in the Park" and an updated version of the nuclear proliferation song "Who's Next?". The DVD of the event includes the former song.^[21]

In 2000, a boxed set of CDs, The Remains of Tom Lehrer, was released by Rhino Entertainment. It included live and studio versions of his first two albums, That Was The Year That Was, the songs he wrote for The Electric Company, and some previously unreleased material. It was accompanied by a small hardbound book containing an introduction by Dr. Demento and lyrics to all the songs.

In 2010, Shout! Factory launched a reissue campaign, making his long out-of-press albums available digitally. They also issued a CD/DVD combo called The Tom Lehrer Collection, which includes his best-loved songs, plus a DVD featuring an Oslo concert.^[22]

Musical legacy[link]

Lehrer has commented that he doubts his songs had any real effect on those not already critical of the establishment: "I don't think this kind of thing has an impact on the unconverted, frankly. It's not even preaching to the converted; it's titillating the converted... I'm fond of quoting Peter Cook, who talked about the satirical Berlin kabaretts of the 1930s, which did so much to stop the rise of Hitler and prevent the Second World War."^[17]

In 2003 he commented that his particular brand of political satire is more difficult in the modern world: "The real issues I don't think most people touch. The Clinton jokes are all about Monica Lewinsky and all that stuff and not about the important things, like the fact that he wouldn't ban land mines... I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirise George Bush and his puppeteers, I want to vaporize them."^[13]

In a phone call to Gene Weingarten of the Washington Post in February 2008, Lehrer instructed Weingarten to "Just tell the people that I am voting for Obama."^[23]

A play, Letters from Lehrer, written by Canadian Richard Greenblatt, was performed by him at CanStage, from January 16 to February 25, 2006. It followed Lehrer's musical career, the meaning of several songs, the politics of the time, and Greenblatt's own experiences with Lehrer's music, while playing some of Lehrer's songs. There are currently no plans for more performances, although low-quality audio recordings have begun to circulate around the internet.

Some of his songs ("I Hold Your Hand in Mine" and "Poisoning Pigeons in the Park") were reworked into German by the Austrian-Jewish singer satirist Georg Kreisler who lived in the United States from 1938 until 1955. Lehrer was praised by Dr. Demento as "the best musical satirist of the twentieth century". Other artists who cite Lehrer as an influence include "Weird Al" Yankovic, whose work generally addresses more popular and less technical or political subjects,^[24] and educator and scientist H. Paul Shuch, who tours under the stage name Dr. SETI and calls himself "a cross between Carl Sagan and Tom Lehrer: he sings like Sagan and lectures like Lehrer." More stylistically influenced performers include American political satirist Mark Russell,^[25] and the British duo Kit and The Widow.^{[citation needed]} British medical satirists Amateur Transplants acknowledge the debt they owe to Tom Lehrer on the back of their first album, Fitness to Practice. Their songs "The Menstrual Rag" and "The Drugs Song" are to the tunes of Lehrer's "The Vatican Rag" and "The Elements" (itself set to the tune of the "Major-General's Song" from The Pirates of Penzance by Gilbert and Sullivan), respectively. Their second album, Unfit to Practise, opens with an update of Lehrer's "The Masochism Tango" and is called simply "Masochism Tango 2008". Syndicated conservative morning-radio talk show host Jim Quinn sings with piano backing in a Lehrer-like tribute in a song on how political correctness has destroyed so many Christmas traditions with the song "A Politically Correct Christmas".

Lehrer has said of his musical career, "If, after hearing my songs, just one human being is inspired to say something nasty to a friend, or perhaps to strike a loved one, it will all have been worth the while."^[2]

Music lists[link]

Reviews selected by Lehrer for his liner notes[link]

• "Mr. Lehrer's muse is not fettered by such inhibiting factors as taste." — The New York Times (9 February 1959)
• "More desperate than amusing" — New York Herald Tribune
• "He seldom has any point to make except obvious ones" — The Christian Science Monitor
• "Plays the piano acceptably" — The Oakland Tribune

Solo discography[link]

• Songs by Tom Lehrer (1953)
• More of Tom Lehrer (1959)
• An Evening Wasted with Tom Lehrer (1959)
• Revisited (1960) (1990 CD reissue includes 1971 studio recordings of Silent E and L-Y)
• Tom Lehrer Discovers Australia (And Vice Versa) (1960; Australia-only)
• That Was the Year That Was (1965)
• Songs by Tom Lehrer (1966 re-recording)
• Tom Lehrer in Concert (1994; UK compilation)
• Songs & More Songs by Tom Lehrer (1997; US compilation of his first two studio albums with additional songs)
• The Remains of Tom Lehrer (2000)
• The Tom Lehrer Collection (2010)

Many Lehrer songs also are performed (but not by Lehrer) in That Was The Week That Was (Radiola LP, 1981)

The sheet music to many of Lehrer's songs is published in The Tom Lehrer Song Book (Crown Publishers, Inc., 1954) Library of Congress Card Catalog Number 54-12068 and Too Many Songs by Tom Lehrer: with not enough drawings by Ronald Searle (Pantheon, 1981, ISBN 0-394-74930-8; Methuen, 1999, ISBN 978-0-413-74230-8). There is also a second song book, called "Tom Lehrer's Second Song Book," which is out of print and has no ISBN.

Lehrer wrote The SAC Song that was sung in the 1963 film A Gathering of Eagles.^[26]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Tom Lehrer

• That Was the Wit That Was Tom Lehrer interview in SF Weekly, published 2000-04-19, retrieved 2010-08-26
• Tom Lehrer Annotated Song Lyrics, many with MIDI files, collected by Graeme Cree, retrieved 2011-04-13
• 59 minute long mp3 radio programme from 1983, with a telephone interview with Tom Lehrer, as well as a 10 minute follow-up 1989 From "Bob Claster's Funny Stuff" on KCRW, retrieved 2010-08-26
• A Conversation with Tom Lehrer done by Paul D. Lehrman on September 7, 1997, retrieved 2010-08-26
• Tom Lehrer page on The Demented Music Database—includes biography, discography, lyrics and other miscellanea, retrieved on 2011-01-23