I would be a liar if I said it wouldn't be lovely and soothing - that's the word - to have a hit single or a hit album.
As regards my feelings about drummers - there's Buddy Rich, and then there's everybody else.
But, in fairness to them, too, the popular song per se is really a pretty shallow medium to perform in.
Buddy Rich is one of a kind; he's a genius, and that's all there is to it.
My initial career, really, as a baby, was as a singer.
It may sound a bit like an army barracks, but the truth of the matter is: there must be some time laid aside for arranging, time for working on either a book or an article - I've written two articles in the last four months for the New York Times book review section.
Because Chicago was to radio what Hollywood was to films and Broadway was to the theatre: it was the hub of radio.
I didn't really have an act per se - a theatrical performance, as opposed to just: here I am, folks, and you're all supposed to be dead quiet while I sing eight or nine songs, then get off the stage.
So I'm sorry, I'm going to continue to talk to the people, because I do believe that if they get to know you and what you are as a human being, they can more appreciate what you are as a performer.
As a singer, the biggest joy I have are the arrangements.
See, I never wrote arrangements for the band for Judy Garland; I did strictly special material, special lyrics, put together all of her medleys.
There isn't a dearth of it, but I will confess that it's harder for me to find songs on which I'm willing to invest anything from ten to fifteen hours writing an arrangement than it was in times past.
Because obviously the whole purpose of putting records out is purely and simply to make money.
I got into radio when I was eight, and I was one of the busiest child dramatic actors in America.
I want to sing for the broadest possible audience.
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