Theodore "Ted" Weill (July 25, 1925 – November 20, 2009) was the nominee for President of the United States of the Reform Party of the United States of America in the 2008 election. He was nominated at the party's national convention on July 20, 2008 in Dallas, Texas.^[1] During a 2009 interview with Monmouth University's school newspaper, Weill expressed interest in running again in 2012, but he died at his home on November 20, 2009.^[2][3]

Early life[link]

Weill, a graduate of Michigan State University, was also a decorated World War II veteran, who earned four Battle Stars and served aboard the USS Pennsylvania. He was also a Boy Scout instructor. He was invited to the White House Conference on Small Business three times; in 1980, 1985, and 1990.

Political background[link]

In the 1990s, Weill founded the Independent Party of Mississippi. In 1997, the Independent Party of Mississippi became the official state affiliate of the national Reform Party and renamed itself the Mississippi Reform Party.^[4]

Weill was the chairman of the Mississippi Reform Party and a Reform Party National Committeeman.^[4]

In 1996, Weill ran for a United States Senate seat from Mississippi finishing third with 2% of the vote (13,600 votes).^[4]

In 2000, Weill endorsed Natural Law Party candidate John Hagelin instead of Pat Buchanan.

In 2004, Weill campaigned for the Reform Party's 2004 presidential nomination, but withdrew his candidacy after Ralph Nader announced his intention to seek the party's nomination. Weill ultimately endorsed Nader^[4] and contributed thousands of dollars to his political campaigns.^[5]

During his acceptance speech at the 2004 Reform Party National Convention in Irving, Texas, Ralph Nader thanked Weill for his support.^[6]

2008 presidential campaign[link]

At the Reform Party's 2008 national convention, Frank McEnulty of California, the 2008 presidential candidate of the New American Independent Party, was nominated to be Weill's vice-presidential running-mate. However, the party could not announce the results of the national convention on its web site until October, due to a court order obtained by another faction of the party.^[7] The rebel faction also prevented Weill from appearing on the ballot in any of the states in which the party retained access, excluding Mississippi.

Therefore, the Weill/McEnulty ticket appeared on the ballot in only Mississippi and received only 470 votes in that state.^[8][9] He also received write-in votes in Alabama.^[10]

Legacy[link]

Weill died in November 2009. His former running-mate, Frank McEnulty, stated: "Ted truly believed in trying to do what was best for the country and it is what had driven him to spend so much time, money and effort on his campaign and in support of the Reform Party."

Quotes[link]

• "I have six children, 14 grandchildren and four great-grandchildren, and they don't have a chance in hell of being free if we don't turn things around and do it quick. Otherwise, there's only one other route, revolution, and the American people don't have the guts for that. We've become couch potatoes."^[11]

• "I thought the world of Ross Perot. I put him up there with our founding fathers. I liked the way he talked. He’d say 'We’ve got to clean out the barn!' and I agreed with everything he said." ^[12]

• "My reason for joining the third party movement was to save my country from special interests." ^[2]

• "We know there are a lot more people today that are looking to change things in this country." ^[13]

References[link]

External links[link]

• Reform Party National Committee official homepage
• FEC presidential campaign disclosure report

Edmundo William Ros OBE (7 December 1910 – 21 October 2011)^[1] was a Trinidadian musician, vocalist, arranger and bandleader who made his career in Britain. He directed a highly popular Latin American orchestra, had an extensive recording career and owned one of London's leading nightclubs.

Life[link]

Ros was born in Port of Spain, Trinidad. His mother was an Afro-Venezuelan and his father was of Scottish descent. He was the eldest of four children, having two sisters, Ruby and Eleanor, followed by a half-brother, Hugo. His parents separated after Hugo was born, and after various false steps Edmundo was enrolled in a military academy. There he became interested in music and learned to play the euphonium. From 1927-37 his family lived in Caracas, Venezuela. He played in the Venezuelan Military Academy Band as well as being a tympanist in the Venezuela Symphony Orchestra. Later he received a music scholarship from the government, and, from 1937–42, studied harmony, composition and orchestration at the Royal Academy of Music.^[2] At the same time he was the vocalist and percussionist in Don Marino Baretto's band at the Embassy Club, and also recorded several sides as a sideman to Fats Waller, who was visiting London in 1938.

In the 2000 New Year's Honours List, Ros (then aged 90), was appointed an Officer of the Order of the British Empire (OBE). He turned 100 on 7 December 2010.^[3]

Affiliations[link]

Ros was a Freeman of the City of London, having been admitted to the Freedom of the Worshipful Company of Poulters on 5 January 1965 and subsequently clothed with the Livery of the Poulters' Company on 22 June 1965. He was a Mason, a member of Sprig of Acacia Lodge No 41, Javea, Spain.

Personal life[link]

Ros married twice: first to Britt Johansen in 1950. The first marriage produced two children, Douglas and Louisa. He designed and built a large house in Page Street, Mill Hill, London NW7, which he named Edritt House, after himself and his first wife. The house still stands, next to Copthall Girls' School. He remarried in 1971.

Orchestra[link]

In August 1940, Ros formed his own rumba band, performing as Edmundo Ros and His Rumba Band. In 1941 he cut his first tracks with Parlophone, the first number being "Los Hijos de Buda". The band played regularly at the Coconut Grove club in Regent Street, attracting members of high society.^[4] Ros's bands were always based in London nightclubs or restaurants. The first was the Cosmo Club in Wardour Street; then followed the St Regis Hotel, Cork Street, the Coconut Grove and the Bagatelle Restaurant. At the Bagatelle a visit from Princess Elizabeth and party made his name. The future queen danced in public for the first time to Edmundo's music. In later years his orchestra was often invited to play at Buckingham Palace.^[5]

By 1946 Ros owned a club, a dance school, a record company and an artistes' agency. His band grew to 16 musicians and was renamed Edmundo Ros and His Orchestra. His number "The Wedding Samba", 1949, sold three million 78s. His album Rhythms of The South (1958) was one of the first high-quality LP stereo records: it sold a million copies. He was with Decca Records from 1944 to 1974, and altogether he made more than 800 recordings.^[4]

In 1951 Ros bought the Coconut Grove on Regent Street and in 1964 renamed it Edmundo Ros's Dinner and Supper Club. The club became popular for its atmosphere and music, but it closed in 1965, when legalised casino gambling had drawn away many of its best customers. During the 1950s and 1960s the Ros orchestra appeared frequently on BBC Radio, continuing into the early 1970s on Radio Two Ballroom.^[5]

In 1975, during Ros's seventh tour of Japan, his band's Musicians' Union shop steward tried to usurp Ros's authority by making arrangements with venues behind his back. Upon their return to the UK Ros organised a celebratory dinner after a BBC recording session and announced the disbanding of the orchestra. He destroyed almost all the charts (arrangement sheets), which conclusively ended the orchestra's existence.^[4]

Death[link]

Ros retired and moved to Jávea, Alicante, Spain. He gave his last public performance on 8 January 1994.

Discography[link]

Harlequin CDs[link]

This set of ten CDs includes all the known 78s recorded up to and including 1951; the source material was the 78rpm collection of Christian af Rosenborg; the notes were by Pepe Luhtala; the remastering by Charlie Crump. The series was never completed, but most of the later Ros material is available on LP or CD. Some of the Harlequin series is available on Naxos. Although the title of these CDs describes his group as "Rumba Band", in the post-war period it expanded to 16 members, and was known as "Edmundo Ros and his Orchestra".

• Edmundo Ros and his Rumba Band 1939-41, Harlequin CD 15. Includes about 8 minutes of Edmundo Ros discussing the early days of his career.
• Tropical Magic: Edmundo Ros and his Rumba Band, vol 2 1942–1944. Harlequin CD 50. Includes four sets of Edmundo Ros continuing his autobiographic reminiscences.
• Cuban Love Song: Edmundo Ros and his Rumba Band, vol 3 1945. Harlequin CD 73.
• Chiquita Banana: Edmundo Ros and his Rumba Band, vol 4 1946–1947. Harlequin CD 105.
• La Comparsa: Edmundo Ros and his Rumba Band, vol 5 1948. Harlequin CD 129.
• Chocolate Whisky and Vanilla Gin: Edmundo Ros and his Rumba Band, vol 6 1948–1949. Harlequin CD 147.
• Mambo Jambo: Edmundo Ros and his Rumba Band, vols 7 & 8 1949–1950. Harlequin CD 164/165.
• Playtime in Brazil: Edmundo Ros and his Orchestra, vols 9 & 10 1951. Harlequin CD 180/181.

10" LPs[link]

Decca issued an initial series of 33rpm 10-inch LPs in the early 1950s, consisting of previously issued 78rpm sides. Labels were Decca (UK and Commonwealth), and London (a subsidiary) in the USA.

• Latin-American Rhythms, Edmundo Ros and his Rumba Band, Decca LF 1002. Latin Rhythms, Edmundo Ros and his Orchestra, London 155, is identical in content.
• Mambo with Ros. Decca LF 1038, and London LPB 341.
• Samba with Ros. Decca LF, and London LB 367.
• Latin-American Rhythms with Ros. Decca LP 1051, and London LPB 368.
• Ros presents Calypsos. Decca LF 1067, and London LB 367.
• Dance the Samba. Decca LF, and London LB 742.

12" LPs[link]

Three labels, all owned by Decca: Decca in UK & Commonwealth; London in USA, and Richmond, a cut-price reissue label in USA.

• Latin-American Novelties. London LL 1090.
• Ros Mambos. London LL 1092. Decca 1956
• Latin Melodies. London LL 1093.
• Ros Album of Sambas. London LL 1117. Richmond B 20032 has same content, but only 10 numbers where Decca/London has 14.
• Ros Album of Calypsos. Decca LK 4102. 1956
• Ros Album of Baions. Decca LK 4111. One side baiãos; the other boleros.
• Latin Carnival. Richmond B 20023.

• Rhythms Of the South (Decca 1958),
• Calypso Man (Decca 1958),
• Perfect for Dancing (Decca 1958),
• Ros on Broadway (Decca 1959),
• Hollywood Cha Cha Cha (Decca 1959),
• Bongos From the South (Decca 1961),
• Dance Again (Decca 1962),
• Sing and Dance with Edmundo Ros (Decca 1963),
• Heath versus Ros (Decca Phase 4 1964),
• Heath versus Ros, Round Two (Decca Phase 4 1967),
• This is My World (Decca 1972),
• Ros Remembers (Decca 1974),
• Edmundo Ros Today (Decca 1978),
• Show Boat/Porgy & Bess, LP
• Ros at the Opera
• Broadway goes Latin
• New Rhythms of the South
• Latin Boss...Señor Ros
• Arriba
• Latin Hits I Missed
• Hair Goes Latin
• Heading South of the Border
• The Latin King
• This is My World
• Caribbean Ros
• Sunshine and Olé!
• Give My Regards to Broadway
• That Latin Sound
• Latin Favourites (Gold Crown 1979),
• Latin Song and Dance Men (Pye 1980),
• Music For the Millions (Decca 1983),
• Strings Latino (London 1985),
• Latin Magic (London 1987),
• That Latin Sound (Pulse 1997)

• Doin' the Samba, CD
• Rhythms of the South/New Rhythms of the South, CD
• Good! Good! Good! CD
• Strings Latino/Latin Hits I Missed CD

References[link]

External links[link]

• Official website
• Robert Farnon Society webpage

Jennifer Stumm is an American concert violist.

Life[link]

Originally from Atlanta, Georgia, and a graduate of The Westminster Schools, Stumm studied at the Curtis Institute of Music in Philadelphia where she was one of the last proteges of the viola pedagogue Karen Tuttle. She also studied astronomy and politics at the University of Pennsylvania, and earned a Master of Music degree from the Juilliard School in New York. Stumm now divides her time between activities in the United States and in Europe, where her recent musical mentors have been violist Nobuko Imai and cellist Steven Isserlis whom she met at the International Musicians Seminar in Cornwall, England. Unlike many viola players, Stumm never played the violin and is outspoken in support of the instrument's having its own distinct identity.

Career[link]

Stumm is the winner of the three major international competitions — first prize of the 2005 Primrose International Viola Competition,^[1] second prize at the International Competition in Geneva and the Vriendenkrans Concours of the Concertgebouw, Amsterdam in 2005. In 2006 she became the first solo violist to win first prize of the Concert Artist Guild International Auditions in New York. Her recent performances include her Carnegie Hall recital debut, Kennedy Center debut in Washington, D.C.^[2] as well as performances at Alice Tully Hall, New York, the Wigmore Hall and St. John's, Smith Square, London and the Concertgebouw, Amsterdam, at the Sitka Festival in Alaska and the National Concert Hall of Panama. She has performed Don Quixote with conductor Yan-Pascal Tortellier at the Bridgewater Hall, Manchester and the Sage, Gateshead, and the Bartok Concerto with the Hamburger Sinfonikern in Berlin and the L'Orchestre du Chambre, Geneva. She has appeared in the Rising Stars Series of the Ravinia Festival, Chicago, at the Verbier Festival, Switzerland, and has been heard on BBC Radio 3, NPR, and the Dutch and German national radio networks. For the BBC, she performed in 2008 in Scotland and at the Sage Gateshead's Festival of Russian Music, all for broadcast as well as two live Wigmore Hall performances. She made her BBC Proms debut in 2008, returning in 2009.^[3] She appeared on the cover of Symphony Magazine's January 2011 issue.^[4]

Stumm's collaborative partners have included members of the Beaux Arts Trio, Guaneri, Juilliard and Alban Berg Quartets, and the period ensemble L'Archibudelli. She was until late 2009 a member of the London-based Aronowitz Ensemble, BBC New Generation Artists and received a Borletti Buitoni Trust award in 2009. She participates regularly at the International Musicians Seminar in Cornwall, having performed in that festival's annual tour, and has spent a number of summers at the Marlboro Music Festival in Vermont. Other festival appearances include the Delft, Spoleto and Aldeburgh Festivals and the Kronberg Academy's Chamber Music Connects the World."

Her first disc for Naxos of virtuoso Italian works for viola has been released electronically with full release in Spring 2011.^[5]

Stumm was recently named International Chair of Viola Studies at the Royal College of Music, London.

References[link]

1. ^ Deseret Morning News article on Primrose Competition
2. ^ Washington Post Review
3. ^ BBC Chamber Prom Interview
4. ^ Symphony Magazine Cover
5. ^ Naxos Disc

External links[link]

• Jennifer Stumm homepage
• Concertartists.org webpage on Jennifer Stumm
• Jennifer Stumm Twitter feed

Chelsea Clinton
Clinton speaking during a campaign stop in Philadelphia (2008)
Born	(1980-02-27) February 27, 1980 (age 32) Little Rock, Arkansas, U.S.
Alma mater	Stanford University University College, Oxford Columbia University New York University
Political party	Democratic
Religion	United Methodism[1]
Spouse	Marc Mezvinsky (2010–present)

Chelsea Victoria Clinton (born February 27, 1980) is the only child of former U.S. President William Jefferson (Bill) Clinton and current U.S. Secretary of State Hillary Rodham Clinton. She is a Special Correspondent for NBC News, and works with the Clinton Foundation and Clinton Global Initiative.

Clinton was born in Little Rock, Arkansas during her father's first term as Governor of Arkansas. She attended public schools there until her father's election to the Presidency of the United States at which time she attended and graduated from the private Sidwell Friends School in Washington, D.C. She pursued her undergraduate education at Stanford University and also earned master's degrees from University College, Oxford, and Columbia University's Mailman School of Public Health. She is currently pursuing a doctoral degree at University of Oxford. She has worked for McKinsey & Company, Avenue Capital Group, New York University and serves on the board of the School of American Ballet, Clinton Health Access Initiative, Clinton Foundation, Clinton Global Initiative, Common Sense Media, Shakespeare Theatre Company, Weill Cornell Medical College and IAC/InterActiveCorp.^[2][3]

Between December 2007 and the end of the 2008 primaries, she campaigned extensively across the country, appearing mostly on college campuses, for her mother's ultimately unsuccessful Democratic presidential nomination bid and introduced her mother at the August 2008 Democratic National Convention.

On July 31, 2010, Clinton married investment banker Marc Mezvinsky in Rhinebeck, New York.

Early years[link]

Chelsea Victoria Clinton was born three weeks early on February 27, 1980 in Little Rock, Arkansas to Bill Clinton and Hillary Rodham Clinton. Hillary described the birth of her daughter as "the most miraculous and awe-inspiring event in my life". As his wife recovered, Bill Clinton took Chelsea for father-daughter "bonding" walks about the hospital singing to her, rocking her, and showing her off. Chelsea was their only child, and the first grandchild for both sets of grandparents. Bill's mother happily did "a lot of baby-sitting" as did the Rodhams when they visited. At the age of two, Chelsea accompanied her parents as they campaigned by car throughout Arkansas for the gubernatorial office.^[4]

Hillary has written that Chelsea's name was inspired by a visit to the Chelsea section of London during a Christmas 1978 vacation. She said that upon hearing the 1969 Judy Collins recording of the Joni Mitchell song, "Chelsea Morning", Bill remarked, "If we ever have a daughter, her name should be Chelsea."^[4][5][6]

Chelsea attended Forest Park Elementary School, Booker Arts and Science Magnet Elementary School, and Horace Mann Junior High School, which are public schools in Little Rock.^[7] She skipped the third grade.^[8]

White House years[link]

White House portrait of the Clinton family (unknown date)

Twelve-year-old Chelsea was given the Secret Service codename "Energy" when she moved into the White House with her parents on January 20, 1993, the day of her father's first inauguration.^[9] The Clintons wanted their daughter to grow up as normally as possible given their circumstances, and, to that end, hoped to shield her from the media spotlight.^[10] Hillary followed Jacqueline Kennedy Onassis' advice on raising children in the White House, and asked the press to limit coverage of Chelsea to her participation in public events such as state visits.^[5] The Clintons were supported by Margaret Truman who wrote a Letter to the Editor of The New York Times in March 1993 about the damage that could be done if the press made Chelsea a subject of intense coverage. The press complied, but, in 1997, following Chelsea's high school graduation, media speculation regarding her choice of college resulted in heavy press coverage. Chelsea ultimately chose to attend Stanford University. In sum, Chelsea received 32 stories in The New York Times and 87 network news stories during her father's two terms of office (1993–2001). Of all presidential children, Chelsea has received the most television coverage.^[11]

Chelsea Clinton ringing a replica of the Liberty Bell at her father's first inauguration.

The Clintons' decision to send Chelsea to Sidwell Friends, a private school in Washington, D.C.,^[10] provoked questions, but her father told the Associated Press in May 1993 that the decision had been made because Chelsea did not like "getting a lot of publicity" and would have "more control over her destiny." Her mother argued that "if [Chelsea] were to go to a public school, the press would never leave her alone." The criterion affecting their decision was privacy, not quality of education.^[12] The school and its students remained silent regarding Chelsea, declining to discuss her publicly and thereby giving her the privacy the First Family sought for her.^[10] Chelsea graduated from Sidwell in 1997; her father spoke at the graduation ceremony.^[13]

The matter of Chelsea's privacy was debated in the press, and most media outlets concluded that she should be off-limits due to her age.^[10] But when Clinton was 13 her appearance became a matter of ridicule for some satirists and commentators, including comments by Rush Limbaugh^[10] and the comedy writers of Saturday Night Live.^[14] In 1995, freelance writer Tom Gogola released a tape of songs purportedly recorded by Clinton which commented upon notable people and included lyrics like "let's inhale," the tape proved to be a hoax. Gogola defended the tape, saying "None of it had to do with being mean to Chelsea. Satire is satire."^[10] During this phase of Chelsea's life, her father said, "We really work hard on making sure that Chelsea doesn't let other people define her sense of her own self worth... It's tough when you are an adolescent... [b]ut I think she'll be OK."^[15]

Though her father is a Southern Baptist, Chelsea has been raised in her mother's Methodist faith. She attended Foundry United Methodist Church on 16th Street, NW in Washington and met with other teens on Sunday mornings to examine questions of faith and philosophy, and teen concerns such as dating, parents, and friendship. Her parents joined her at the church's parent-teen round tables. An adult group leader thought Chelsea "a terrific kid" and observed she was treated as an equal in the group. Away from church, Chelsea's social activities included visits to a Planet Hollywood restaurant with friends and sleep-overs in and out of the White House. President Clinton sometimes joined Chelsea and her sleep-over friends for breakfast.^[10]

Clinton began dance classes at four years of age in Arkansas,^[16] and was a student at the Washington School of Ballet for several years.^[10] She was cast in the role of the Favorite Aunt (1993)^[17] in the Washington Ballet production of Tchaikovsky's The Nutcracker.^[10][18]

Clinton was a National Merit Scholarship semifinalist in 1997,^[19] and is a veteran of the Model United Nations.^[20]

In early 1999, the Clintons learned of an article in the works at People that examined the First Family's relationships in the wake of the scandals and impending vote on President Clinton's impeachment. Notified about the article by the First Lady's office, the Secret Service contacted the magazine with their own concerns that the story could complicate Chelsea's security. The decision had been made to run the story however, and Bill and Hillary issued a statement expressing their regret and sadness. Carol Wallace, People managing editor, affirmed the magazine's sensitivity to the Clinton concerns about their daughter, but felt 19-year-old Chelsea was "an eyewitness to family drama and historical events" and thus "a valid journalistic subject". The article, entitled "Grace Under Fire", was published on February 5, 1999 with a cover photo depicting Chelsea and Hillary.^[21]

In 2000, the last year of her father's presidency, Chelsea assumed some White House hostess responsibilities when her mother was campaigning for the U.S. Senate, traveling with her father on several overseas trips and attending state dinners with him.^[22]

Education[link]

Stanford University[link]

Clinton entered Stanford in the fall of 1997 and majored in history.^[23][24]

The week before she arrived on campus, her mother wrote a letter in her syndicated column asking journalists to leave her daughter alone. Chelsea arrived at Stanford in a motorcade with her parents, Secret Service men, and almost 250 journalists. For her security, bullet-proof glass was installed in her dorm windows and cameras placed in hallways. In addition, Secret Service men dressed as students lived in her dorm.^[25] Other than an occasional tabloid story written about her, Chelsea's four years at Stanford remained out of public view.^[26]

Clinton graduated in 2001 with highest honors and a B.A. in history.^[23][26] The topic of her 150-page undergraduate thesis was the 1998 Belfast Agreement in Northern Ireland, for which she interviewed her father.^[26][27] At the time of Chelsea's graduation, President Clinton issued a statement saying, "Hillary and I are grateful for the friendships and great learning experiences Chelsea had at Stanford, and we are very proud of her on this special day."^[28]

University College, Oxford[link]

University College, Oxford

In July 2001, President Clinton revealed at Wimbledon that Chelsea would attend University College, Oxford in the fall – the same college where he studied politics between 1968 and 1970 on a Rhodes Scholarship.^[29] Chelsea did not apply for a Rhodes. The Master of University College, Lord Butler of Brockwell, said he was delighted she was attending: "Her record at Stanford shows that she is a very well-qualified and able student. The college is also pleased to extend its link with the Clinton family." The university implemented security measures upon the recommendation of British and American advisors,^[30] and fellow students were asked not to discuss her with the press.^[31]

Arriving at Oxford just after the September 11 attacks on the United States, Chelsea was drawn to other American students who were also feeling the emotional after-effects of the trauma. She told Talk magazine:

She was criticized for those early remarks in the London press and by the newspaper Oxford Student, which angered the university by directly attacking her in an editorial.^[31]

But she was described as charming, poised and unaffected by people who met her, and she appeared to successfully adjust to life abroad.^[31] During her time at Oxford, Chelsea adopted a more sophisticated look, reportedly assisted by family friend Donatella Versace, whose couture shows she attended in early 2002. Geordie Greig, the editor of Tatler, ranked her No. 5 on the magazine's 2002 "Top 10 Girls" list, behind Jessica de Rothschild and Sophie Dahl.^[31]

Clinton was awarded an M.Phil. in international relations in 2003.^[32] Following graduation, she returned to the States, taking up residence in New York City.^[23]

As of 2011, Clinton is pursuing a doctoral degree at Oxford University.^[33]

Columbia University and New York University[link]

In the spring of 2010, Clinton completed a Master of Public Health degree at Columbia Mailman School of Public Health.^[34] .^[35]

Professional life[link]

In 2003, Clinton joined the consulting firm McKinsey & Company in New York City,^[23] and went to work for Avenue Capital Group in the fall of 2006. She served as co-chairperson for a fund-raising week for the Clinton Foundation, and serves on the board of the School of American Ballet.^[23] On September 22, 2011, she was elected to IAC's board of directors.^[36]

On November 14, 2011, NBC announced that it has hired Clinton as a correspondent, reporting feature stories about "Making a Difference" for NBC Nightly News and Rock Center with Brian Williams. The contract was for only three months and it allowed her to continue to work for the Clinton Foundation as well as pursue her education while working for NBC.^[37][38]

Hillary Rodham Clinton presidential campaign[link]

Chelsea Clinton speaking during a campaign stop for her mother in Madison, Wisconsin, February 2008

In December 2007, Clinton began campaigning in Iowa in support of her mother's bid for the Democratic presidential nomination.^[39] She appeared across the country, largely on college campuses.^[40][41][42] By early April 2008, she had spoken at 100 colleges on behalf of her mother's candidacy.^[43]

On the campaign trail, Chelsea answered audience questions but did not give interviews or respond to press questions,^[44] including one from a nine year old Scholastic News reporter asking whether or not her father would be a good "first man."^[45] She replied, ""I'm sorry, I don't talk to the press and that applies to you, unfortunately. Even though I think you're cute."^[46] Philippe Reines, her mother's press secretary, intervened when the press attempted to approach Chelsea directly.^[45]

Clinton speaking at the 2008 Democratic National Convention

When MSNBC reporter David Shuster characterized Chelsea's participation in her mother's campaign as "sort of being pimped out," the Clinton campaign objected. Shuster subsequently apologized on-air and was suspended for two weeks.^[47]

The first time a college student asked about her mother's handling of the Lewinsky scandal at a campaign stop she responded, "I do not think that is any of your business."^[43] But as she became a more experienced campaigner she refined her response and deflected questions on the issue with comments like "If that's what you want to vote on, that's what you should vote on. But I think there are other people [who are] going to vote on things like healthcare and economics."^[43][48]

On August 26 at the 2008 Democratic National Convention, Chelsea called Hillary "my hero and my mother" and introduced her with a long video tribute.^[49] After this appearance she returned to New York City and her private life.

Engagement and marriage[link]

On July 31, 2010, Clinton and Marc Mezvinsky were married in an interfaith ceremony at Rhinebeck, New York. The venue for the nuptials was Astor Courts, a 50-acre, 1902 Beaux-Arts estate on a bluff overlooking the Hudson River. The estate at that time was the home of Hillary Clinton supporter Kathleen Hammer, once a producer at Oxygen Media, and Arthur Seelbinder, a developer and businessman.^[50]

Mezvinsky was born December 15, 1977 to former Iowa Democratic congressman Edward Mezvinsky and former Pennsylvania Democratic congresswoman Marjorie Margolies-Mezvinsky, and is one of their 11 adopted and biological children. He was raised in the Conservative Jewish tradition.^[51]

The Clintons and the Mezvinskys were friends in the 1990s and their children met on a Renaissance Weekend retreat in Hilton Head Island, South Carolina.^[51] They first were reported to be a couple in 2005, and became engaged over Thanksgiving weekend in 2009.^[52]

Marc was a Goldman Sachs investment banker, and, at the time of the marriage, an investment banker at 3G Capital Management.^[52] The couple live in New York City's Gramercy Park neighborhood.^[53]

References[link]

External links[link]

Wikimedia Commons has media related to: Chelsea Clinton

• Chelsea Clinton at the Internet Movie Database

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Kurt Weill in 1932.

Kurt Julian Weill (March 2, 1900^[1] – April 3, 1950^[1]) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist^{[2][unreliable source?]} who held the ideal of writing music that served a socially useful purpose.^[3] He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.

Personal life[link]

Kurt Julian Weill was born on March 2, 1900,^[4] the third of four children to Albert Weill (1867–1950) and Emma Weill née Ackermann (1872–1955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor.^[1] At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.^[5]

In 1915, Weill started taking private lessons with Albert Bing, Kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him piano, composition, music theory, and conducting. Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. The following years he composed numerous Lieder to the lyrics of poets such as Joseph von Eichendorff, Arno Holz, and Anna Ritter, as well as a cycle of five songs titled Ofrahs Lieder to a German translation of a text by Yehuda Halevi.^[6]

Weill graduated with an Abitur from the Oberrealschule of Dessau in 1918, and enrolled at the Berliner Hochschule für Musik at the age of 18, where he studied composition with Engelbert Humperdinck,^[1] conducting with Rudolf Krasselt, and counterpoint with Friedrich E. Koch, and also attended philosophy lectures by Max Dessoir and Ernst Cassirer. The same year, he wrote his first string quartet (in B minor).^[7]

Early work and compositions[link]

Weill's family experienced financial hardship in the aftermath of World War I, and in July 1919, Weill abandoned his studies and returned to Dessau, where he was employed as a répétiteur at the Friedrich-Theater under the direction of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau. In December 1919, through the help of Humperdinck, Weill was appointed as Kapellmeister at the newly founded Stadttheater in Lüdenscheid, where he directed opera, operetta, and singspiel for five months, and also composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the new director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra.

Studies with Busoni[link]

Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. After examining some of Weill's compositions, Busoni accepted him as one of five master students in composition at the Preußische Akademie der Künste in Berlin.^[8] From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. During his first year he composed his first symphony, Sinfonie in einem Satz, as well as the lieder Die Bekehrte (Goethe) and two Rilkelieder for voice and piano. In order to support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In spring of 1922, Weill joined the November Group's music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht (The Magic Night) premiered at the Theater am Kurfürstendamm; it was the first public performance of any of Weill's works in the field of musical theatre.^[9]

Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Henry (then known as Heinz) Jolles,^[10] and Nikos Skalkottas. Arrau, Abravenel, and Jolles, at least, would remain members of Weill's circle of friends thereafter,^[11] and Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly.^[10] Weill's compositions during his last year of studies included Quodlibet, an orchestral suite version of Die Zaubernacht, Frauentanz, seven medieval poems for soprano, flute, viola, clarinet, French horn, and bassoon, and Recordare for choir and children's choir to words from the Book of Lamentations. Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, and the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni.^[12]

Success in the 1920s and early-1930s[link]

Weill in the 1920s.

In 1922 he joined the ‘Novembergruppe’, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe.^[13] In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grünheide, Weill also first met the actress and future wife Lotte Lenya in summer 1924.^[14] The couple got married twice: In 1926 and again in 1937 (following their divorce in 1933). Lenya took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation.

From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.^[15]

Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8 or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern.

His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by Georg Wilhelm Pabst in two language versions: Die 3-Groschen-Oper and L'opéra de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit that Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Although Weill associated with socialism,^[16] after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lenya, that he was unable to "set the communist party manifesto to music."^[17]

Paris, London and New York[link]

Weill fled Nazi Germany in March 1933.^[18] A prominent and popular Jewish composer, Weill was officially denounced for his socialist views and populist sympathies,^[19] and became a target of the Nazi authorities, who criticized and interfered with performances of his later stage works, such as Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny, 1930), Die Bürgschaft (1932), and Der Silbersee (1933). With no option but to leave Germany, he went first to Paris, where he worked once more with Brecht (after a project with Jean Cocteau failed) on the ballet The Seven Deadly Sins.

On April 13, 1933 his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews.^[4] In 1934 he completed his Symphony No.2, his last purely orchestral work, conducted in Amsterdam and New York by Bruno Walter, and also the music for Jacques Deval's play, Marie Galante.^[18]

A production of his operetta Der Kuhhandel (A Kingdom for a Cow) took him to London in 1935, and later that year he went to the United States in connection with The Eternal Road,^[1] a "Biblical Drama" by Franz Werfel that had been commissioned by members of New York's Jewish community and was premiered in 1937 at the Manhattan Opera House, running for 153 performances.

Weill and his wife rented a house during the summer near Pine Brook Country Club in Nichols, Connecticut, the summer home of the Group Theatre, while working on Johnny Johnson (musical). Some of the other artists who summered there were; Elia Kazan, Harry Morgan, John Garfield, Lee J. Cobb, Will Geer, Clifford Odets, Howard Da Silva and Irwin Shaw ^[20][21][22]

He and his wife moved to New York City on September 10, 1935, living first at the St. Moritz Hotel before moving on to an apartment at 231 East 62nd Street between Third and Second Avenues.^[4] Weill believed that most of his work had been destroyed.^{[citation needed]} He seldom (and reluctantly) spoke or wrote German again, with rare exception^{[citation needed]} (for example, letters to his parents who had escaped to Palestine^{[citation needed]}).

Rather than continue to write in the same style that had characterized his European compositions, Weill made a study of American popular and stage music, and his American output, though held by some to be inferior, nonetheless contains individual songs and entire shows that not only became highly respected and admired, but have been seen as seminal works in the development of the American musical. Unique among Broadway composers of the time, Weill insisted on writing his own orchestrations (with some very few exceptions, such as the dance music in Street Scene).^[23] He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically successful. The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score.^[24]

In the 1940s Weill lived in Downstate New York near the New Jersey border and made frequent trips both to New York City and to Hollywood for his work for theatre and film. Weill was active in political movements encouraging American entry into World War II, and after America joined the war in 1941, Weill enthusiastically collaborated in numerous artistic projects supporting the war effort both abroad and on the home front. He and Maxwell Anderson also joined the volunteer civil service by working as air raid wardens on High Tor Mountain between their homes in New City, New York and Haverstraw, New York in Rockland County. Weill became a naturalized citizen of the United States in 1943.^[1]

Weill had ideals of writing music that served a socially useful purpose. In the US, he wrote Down in the Valley, an opera including the song of the same name and other American folk songs. He also wrote a number of songs in support of the American war effort, including the satirical "Schickelgruber" (with lyrics by Howard Dietz), "Buddy on the Nightshift" (with Oscar Hammerstein) and – with Brecht again as in his earlier career – the "Ballad of the Nazi Soldier's Wife" ("Und was bekam des Soldaten Weib?"). Intended for broadcast to Germany, the song chronicled the progress of the Nazi war machine through the gifts sent to the proud wife at home by her man at the front: furs from Oslo, a silk dress from Paris etc., until finally, from Russia, she receives her widow's veil.^[3]

Apart from "Mack the Knife" and "Pirate Jenny" from The Threepenny Opera, his most famous songs include "Alabama Song" (from Mahagonny), "Surabaya Johnny" (from Happy End), "Speak Low" (from One Touch of Venus), "Lost in the Stars" (from the musical of that name), "My Ship" (from Lady in the Dark), and "September Song" (from Knickerbocker Holiday).

Death[link]

Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950 in New York City.^[18] He was buried in Mount Repose Cemetery in Haverstraw, New York. The text and music on his gravestone^[25] come from the song "A Bird of Passage" from Lost in the Stars, itself adapted from a quotation from the Venerable Bede:^[26]

This is the life of men on earth:

Out of darkness we come at birth

Into a lamplit room, and then –

Go forward into dark again.

(lyric: Maxwell Anderson)

An excerpt from Maxwell Anderson's eulogy for Weill read:

"I wish, of course, that he had been lucky enough to have had a little more time for his work. I could wish the times in which he lived had been less troubled. But these things were as they were – and Kurt managed to make thousands of beautiful things during the short and troubled time he had…"^[3]

Influence[link]

German stamp commemorating Weill.

Sixty years after his death, Weill's music continues to be performed both in popular and classical contexts. In Weill's lifetime, his work was most associated with the voice of his wife, Lotte Lenya, but shortly after his death "Mack the Knife" was established by Louis Armstrong and Bobby Darin as a jazz standard. His music has since been recorded by many performers, ranging from Nina Simone, The Doors, Judy Collins, , John Zorn, Dagmar Krause and PJ Harvey to New York's Metropolitan Opera and the Vienna Radio Symphony Orchestra. Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Dee Dee Bridgewater, and Marianne Faithfull have recorded entire albums of his music.

In 1985, Hal Willner produced Lost in the Stars: The Music of Kurt Weill, a tribute album in which Weill's songs were interpreted by a variety of artists, including Todd Rundgren, Tom Waits, Lou Reed and Sting.^[27]

Amanda Palmer, singer/pianist of the 'Brechtian Punk Cabaret' duo The Dresden Dolls, has Kurt Weill's name on the front of her keyboard (a pun with the name of the instrument maker Kurzweil) as a tribute to the composer. In 1991, seminal Swiss Industrial music band The Young Gods released their album of Kurt Weill songs, The Young Gods Play Kurt Weill. In 2008, Weill's songs were performed by Canadian musicians (including Sarah Slean and Mary Margaret O'Hara) in a tribute concert as part of the first annual Canwest Cabaret Festival in Toronto. In 2009 Duke Special released an EP, entitled Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel by Mark Twain.

Compositions[link]

Stage works[link]

See List of works for the stage by Weill

Concert works[link]

Cantatas[link]

• 1920 : Sulamith, choral fantasy for soprano, female chorus and orchestra (lost)
• 1927 : Der neue Orpheus, cantata for soprano, solo violin and orchestra, op.16 (text: Yvan Goll)
• 1927 : Der Tod im Wald, cantata for bass and band (originally belonged to Das Berliner Requiem)
• 1928 : Das Berliner Requiem, cantata for tenor, baritone, male chorus (or three male voices) and wind orchestra (text: Bertolt Brecht)
• 1929 : Der Lindberghflug, cantata for tenor, baritone and bass soloists, chorus and orchestra (text: Bertolt Brecht, first version with music by Paul Hindemith and Weill, second version, also 1929, with music exclusively by Weill)
• 1940 : The Ballad of Magna Carta, cantata for tenor and bass soloists, chorus and orchestra (text: Maxwell Anderson)

Chamber music[link]

• 1918 : String Quartet in B minor (without opus number)
• 1923 : String Quartet op. 8
• 1919–1921 : Sonata for Cello and Piano

Piano music[link]

• 1917 : Intermezzo
• 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)

Orchestral works[link]

• 1919 : Suite for orchestra
• 1919 : Die Weise von Liebe and Tod, symphonic poem for orchestra after Rainer Maria Rilke (lost)
• 1921 : Symphony No.1 in one movement for orchestra
• 1922 : Divertimento for orchestra, op.5 (unfinished, reconstructed by David Drew)
• 1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, op. 6 (unfinished)
• 1923 : Quodlibet, suite for orchestra from the pantomime Zaubernacht, op. 9
• 1925 : Concerto for violin and wind orchestra, op. 12
• 1927 : Bastille Musik, suite for wind orchestra (arranged by David Drew, 1975) from the stage music to Gustav III, by August Strindberg
• 1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper for wind orchestra, piano and percussion, (premiere conducted by Otto Klemperer)
• 1934 : Suite panaméenne for chamber orchestra, (from Marie Galante)
• 1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)
• 1939 " mother courage and her childen" with Bertolt Brecht
• 1947 : Hatikvah, arrangement of the Israeli National Anthem for orchestra

[edit] Lieder, Lieder cycles, songs and chansons

• 1919 : Die stille Stadt, for voice and piano, text: Richard Dehmel
• 1923 : Frauentanz op.10, Lieder cycle for soprano, flute, viola, clarinet, horn and bassoon (after medieval poems)
• 1923 : Stundenbuch, Lieder cycle for baritone and orchestra, text: Rainer Maria Rilke
• 1925 : Klopslied, for high voice, two piccolos and bassoon ('Ick sitze da un' esse Klops'/Berliner Lied)
• 1927 : Vom Tod im Wald (Death in the Forest), Op. 23, ballad for bass solo and ten wind instruments, text: Bertolt Brecht
• 1928 : Berlin im Licht-Song, slow-fox, text: Kurt Weill; composed for the exhibition Berlin im Licht, first performance in Wittenbergplatz (with orchestra) on October 13, and on October 16 in the Kroll Opera (with voice and piano)
• 1928 : Die Muschel von Margate: Petroleum Song, slow-fox, text: Felix Gasbarra for the play by Leo Lania, Konjunktur
• 1928 : Zu Potsdam unter den Eichen (In Potsdam under the Oak Trees), song for voice and piano, alternatively male chorus a cappella, text: Bertolt Brecht
• 1928 : Das Lied von den braunen Inseln, text: Lion Feuchtwanger, from the play by same author, Petroleum Inseln
• 1933 : Der Abschiedsbrief, text: Erich Kästner, intended for Marlene Dietrich
• 1933 : La complainte de Fantômas, text: Robert Desnos; for a broadcast of Fantômas in November 1933 (the music was lost, and later reconstructed by Jacques Loussier for Catherine Sauvage)
• 1933 : Es regnet, text: Jean Cocteau (direct into German)
• 1934 : Je ne t'aime pas, text: Maurice Magre for the soprano Lys Gauty
• 1934 : J'attends un navire, text: Jacques Deval, from Marie Galante ; as an independent song for Lys Gauty; used for the Hymne der Resistance during the Second World War
• 1934 : Youkali (originally the Tango habanera, instrumental movement in Marie Galante), Text: Roger Fernay
• 1934 : Complainte de la Seine, text: Maurice Magre
• 1939 : Stopping by Woods on a Snowy Evening, song for voice and piano, text: Robert Frost (unfinished)
• 1942 : Mine Eyes Have Seen the Glory, patriotic song arrangements for narrator, male chorus, and orchestra, of the Battle Hymn of the Republic (text: Julia Ward Howe), The Star-Spangled Banner (text: Francis Scott Key), America (text: Samuel Francis Smith) and Beat! Beat! Drums! (text: Walt Whitman)
• 1942–44 : Propaganda Songs, for voice and piano; written for the Lunch Hours Follies performed for the workers of a shipbuilding workshop in New York, then broadcast:
  • 1942 : Buddy on the Nightshift, text: Oscar Hammerstein
  • 1942 : Schickelgruber, text: Howard Dietz
• 1942 : Und was bekam des Soldaten Weib? (And what was sent to the soldier's wife?), ballad for voice and piano, text: Bertolt Brecht
• 1942–47 : Three Walt Whitman Songs, later Four Walt Whitman Songs for voice and piano (or orchestra), text: Walt Whitman
• 1944 : Wie lange noch?, text: Walter Mehring; premiere: Lotte Lenya

Film music[link]

• 1938 : You and Me
• 1945 : Where Do We Go From Here? text: Ira Gershwin

Select discography[link]

Orchestral, chamber, choral and other works[link]

• Berliner Requiem / Violin Concerto op.12 / Vom Tod im Walde. Ensemble Musique Oblique/ Philippe Herreweghe (Harmonia Mundi, 1997)
• Kleine Dreigroschenmusik / Mahagonny Songspiel / Happy End / Berliner Requiem / Violin Concerto op.12. /Ballade vom Tod im Walde op.23 /Pantomime I (from Der Protagonist op.14) London Sinfonietta, David Atherton, Nona Liddell (violin), Meriel Dickinson (mezzo-soprano), Mary Thomas (mezzo-soprano), Philip Langridge (tenor), Ian Partridge (tenor), Benjamin Luxon (baritone), Michael Rippon (bass), (Deutsche Grammophon 4594422, 1999)
• Kurt Weill à Paris, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000
• Melodie Kurta Weill'a i coś ponadto Kazik Staszewski (SP Records, 2001)
• Complete String Quartets. Leipziger Streichquartett (MDG 307 1071-2)
• Symphonies 1 & 2. BBC Symphony Orchestra, Gary Bertini (EMI, 1968)

Song collections[link]

• Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs (Sony 1997)
• Speak Low – Songs by Kurt Weill – Anne Sofie von Otter, conducted by John Eliot Gardiner (Deutsche Grammophon 1995)
• Youkali: Art Songs by Satie, Poulenc and Weill. Patricia O'Callaghan (Marquis, 2003)
• The Unknown Kurt Weill (Nonesuch LP D-79019, 1981) – Teresa Stratas, soprano, Richard Woitach, piano. Track list: "Nanna's Lied" (1939), "Complainte de la Seine" (1934), "Klops-Lied" (1925), "Berlin im Licht-song" (1928), "Und was Bekam des Soldaten Weib?" (1943), "Die Muschel von Margate: Petroleum Song" (1928), "Wie Lange Noch?" (1944), "Youkali: Tango Habanera" (1935?), "Der Abschiedsbrief" (1933?), "Es Regnet" (1933), "Buddy on the Nightshift" (1942), "Schickelgruber" (1942), "Je ne t'aime pas" (1934), "Das Lied von den Braunen Inseln" (1928)

Tributes[link]

• Lost in the Stars: The Music of Kurt Weill – Produced by Hal Wilner, with performances by Tom Waits, Lou Reed, Sting, Marianne Faithfull, Carla Bley, Charlie Haden, John Zorn and others. (A&M Records, 1987)
• September Songs: The Music of Kurt Weill – also produced by Wilner, with performances by Elvis Costello, PJ Harvey, Nick Cave, William S. Burroughs, and others) (Sony Music, 1997)
• Gianluigi Trovesi/Gianni Coscia: Round About Weill (ECM, 2005)
• The Young Gods Play Kurt Weill (Pias, April 1991), Studio recording of the songs performed live in 1989.
• Ben Bagley's Kurt Weill Revisited and Kurt Weill Revisited, Vol. 2, with performances by Chita Rivera, Ann Miller, Estelle Parsons, John Reardon, Tammy Grimes, Nell Carter, Arthur Siegel, and Jo Sullivan, among others. (Painted Smiles)
• An Evening of Kurt Weill, starring Bebe Neuwirth, Roger Rees, and Larry Marshall, was performed in NYC at Alice Tully Hall. Rees directed the production.

See also[link]

• Paul Hindemith
• A Kurt Weill Cabaret
• LoveMusik
• Bertolt Brecht

Bibliography[link]

• David Drew. Kurt Weill: A Handbook (Berkeley, Los Angeles, University of California Press, 1987). ISBN 0-520-05839-9.
• Kim H. Kowalke. A New Orpheus: Essays on Kurt Weill (New Haven, Yale University Press, 1986). ISBN 0-300-03514-4.
• Ronald Sanders. The Days Grow Short: The Life and Music of Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 0-03-019411-3.
• Donald Spoto. Lenya A Life (Little, Brown and Company 1989)
• Lys Symonette & Kim H. Kowalke (ed. & trans.) Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya (University of California Press 1996)
• (German) David Drew (Editor), Über Kurt Weill (Frankfurt am Main, Suhrkamp, 1975) Excellent collection of texts, including an introduction by David Drew and including texts by Theodor W. Adorno
• (German) Jürgen Schebera, Kurt Weill (Rowohlt, Reinbek bei Hamburg, 2000)

References[link]