Who Put the Rainbow in The Wizard of Oz?: Yip Harburg, Lyricist by Harold Meyerson

Who Put the Rainbow in The Wizard of Oz?: Yip Harburg, Lyricist by Harold Meyerson

An informative non-fiction biography about Yip Harburg, the little-remembered lyricist, who is responsible for, among other notable works, writing the lyrics to “Somewhere Over the Rainbow”.

Similar to Malcolm Gladwell’s “successful hockey players who were born in January” thesis, Yip was among an extraordinary group of lyricists, all born within a short time of each other, who wrote for Broadway and Hollywood. It wasn’t just talent, of which Yip had a great deal, it was also opportunity.

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A myriad of different factors came into play in just the right way at the perfect time to create musical theater and a chance for lyricists to make a huge impact on the national consciousness. Prior to this time period, that type of entertainment, musical theater, didn’t even exist.

Yip grew up in poverty but claimed that didn’t affect him all that much. Children are surprisingly resilient.

“You lived from month to month. But youngsters didn’t feel the sting of it because everyone else was poor, too. We knew no other way of life, and it didn’t mean much to a kid who turned the street into an exciting playground.” pg 9

The Great Depression hit Yip hard and he lost everything. He decided, when the chips were down, to try his hand at a new career. And so, he began writing lyrics for composers. It’s a curiously difficult profession.

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“The challenge of becoming a lyricist involves not only perfecting individual writing skills but also learning to be an effective collaborator, one of the most demanding of human relationships. … The theater lyricist must also be collaborating with the book writer of a musical, as well as directors, actors, designers, and producers who impact the lyric-writing process.” pg 32

Beyond the life of Yip Harburg, this book gives the ins-and-outs of the lyric writing business. It is a tricky art, limited by not only the written music but also the demands of the show or song in which the words are appearing.

“The word rainbow never appears in L. Frank Baum’s book, “The Wizard of Oz”. It was lyricist Yip Harburg who put it in the film.”From the introduction.

“Somewhere Over the Rainbow” is arguably one of the most recognizable Hollywood songs of all time and most people don’t remember the man who made it possible. Yip was also responsible for the almost “operatic” flow of the music during Dorothy’s time in Oz. In fact, Judy Garland wanted Yip to write the lyrics for her turn in “A Star is Born” but her husband, the producer, was unable to get Yip under contract because of his blacklisting during the McCarthy-era.

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But Yip didn’t let it get him down. He kept writing even though some of his friends completely fell apart when they couldn’t get a contract.

I enjoyed learning about not just the difficulties of lyric writing, including the plot lines and back stories of some of Yip Harburg’s most popular works, but also learning about the life of this man who affected so many people by putting thoughts into words. He encapsulated dreams. And that’s not an easy thing.

“I think everybody, not only every artist, but every person who thinks, is confronted with… — his drive to be related to the universe, but that’s a hard thing because there are so many stars and it’s very hard to grasp that relationship. … But, if he can identify himself, and relate really with one other person, he will relate with all of humanity and he will relate with all the universe.” pg 69

Thank you, Yip, for giving Dorothy rainbows. The world would have been a darker place without you.

Recommended for fans of Broadway shows and musicals, but also for readers who enjoy learning forgotten history about people who deserve to be remembered.

Thanks for reading!

Here’s The History Guy episode about Yip Harburg:

Vivaldi’s Virgins by Barbara Quick

Vivaldi’s Virgins by Barbara Quick
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Vivaldi’s Virgins is a sparkling historical fiction about Anna Maria dal Violin, one of the orphans trained to perform music for the well-fare of the souls of Venice in the 1700’s.

One of her instructors is Antonio Vivaldi, who is called “The Red Priest” because of his fiery hair: “I heard and then watched Maestro Vivaldi climb the stairs. He has been my teacher- and one of the very few men who has ever seen my face or spoken to me- for nearly half of my lifetime. I was only a girl of eight when, newly ordained as a priest, Antonio Vivaldi, native son of Venezia, was hired by the governors of the Pieta to be our master of the violin.” pg 2

Only girls are allowed to perform music in the Pieta. They are kept separate from the general population and all men, except for the priests who are their instructors, to maintain their purity. “Our lives are arranged so that every piece of every day and night is fit together into an intricate mosaic of music and study and prayer. But it is only a counterfeit of real life. We have no more reality in the world than the trompe l’oeil floor tiles of the church have depth or height.” pg 85

There is drama among the children through their interactions and competition with each other and some of their instructors, who are either nuns or priests. “Whoever says that girls are kind has never lived among them.” pg 13.

Anna longs to know who her family was, but that is a secret kept by the nuns who watch over the children. She spends much of her time trying to figure out how to learn more about who her family may be.

Anna also strains against the restrictions placed on her because of her gender in the 1700’s. The government only allows the female musicians from the Pieta to perform in public if they remain in the cloister. If they choose to marry, they have to sign a contract to promise not to perform or pay an exorbitant amount of money to the orphanage to pay for their childhood musical education. “It is one of the great injustices of this fair city. And it has made me dream sometimes of other cities- of London and Paris and Vienna, where, I’ve heard, female instrumentalists have actually been welcomed, from time to time, on the performance stage.” pgs 145-146.

A probable portrait of Vivaldi

During these struggles, Anna forms true friendships with other foundlings in the Pieta. “When I think of who my companions will be in Hell, I feel rather glad that I will be going there. It will be filled with those I most well and truly loved.” pg 150

I learned a lot about 18th century Venice in this book and Vivaldi. All that I knew about Vivaldi, before reading this book, was that he liked to use a bunch of stringed instruments in his compositions.

It makes so much more sense when I discovered who it was he had been composing for.

Recommended for those who enjoy historical fiction, books about composers or stories about troubled childhoods.

Thanks for reading!