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[Woman] My daughter will be singing in the competition tomorrow evening.
- Oh, June Allison. - Oh, Loretta Young.
Her late father and I had such high hopes for her.
But she's determined to try to be a singer.
- I suppose she has some talent in that area. - [Laughs]
It's such a relief you were able to accommodate us...
by bringing the dresses here today.
Thank you.
Oh! Mother? This is it.
The perfect dress.
Mother, it's a beautiful dress. But it's not for my figure.
A well-made dress works on any figure.
Certainly, Mother.
You're so willful, Edna.
Just like my sister, your namesake,
where in her wild youth, she found herself in the family way.
Your father got her a doctor and took care of her problem.
She hemorrhaged and was scarred inside forever.
My mother made me swear I'd name my first daughter after Edna,
- Who could never bear children of her own. - [Sighs]
Turn around, Edna.
We'll take the dress she has on.
Mother, I can't sing in a dress that doesn't fit.
Look at it.
The dress fits the occasion.
It's you who doesn't fit.
- [Sighs] - [Sighs]
[Whispers] All right.
## [Woman Singing Scales]
## [Singing Scales]
[Sniffling]
# Said the Blues ain't nothin' #
# But a woman cryin' for a man #
# I said the Blues #
# Ain't nothin' ##
- That is such a beautiful song. It... Sorry. - Thank you.
- What is it? - Somethin' I've been singing all my life.
Spiced up a little. [Laughs]
Boy, it's just, you sing it like you really mean it.
What are you gonna sing?
Well, I signed up to sing "You'll Never Walk Alone."
My mother says it's universal.
She says the personal songs never win.
- They make people dwell on themselves. - Oh, I don't know about that.
But I do know it's more fun to sing a song that you like...
than to try to please everybody.
# Hey, there #
- # You with the stars in your eyes # - You know that?
- Rosemary Clooney? - # Love never made a fool of you #
- Yeah. - # You used to be two eyes ##
I mean, sing a song that you like.
And you got a stage, an audience...
and a real pretty dress.
The dress fits the occasion.
It's a real pretty dress.
## [Piano]
# When she wants some lovin' #
# I'm sure all you women will understand #
She'll win. She deserves it.
# Try to keep your man happy #
# Although you find him real hard to please #
# Yeah ##
- [Applause] - [Announcer] Thank you, Miss Shelley.
And coming to the end of the competing vocalists,
Number Nine, Edna Buxton from Chestnut Hill.
She'll be singing "You'll Never Walk Alone."
[Applause]
Uh, Miss Buxton will be singing...
"Hey There."
## [Piano]
# Hey there #
# You with the stars in your eyes #
# Love never made a fool of you #
# You used to be two eyes #
# Hey there #
# You on that high-flying cloud #
# Though he won't throw a crumb to you #
# You think someday he'll come to you #
# Better forget him #
# Him with his nose in the air #
# He has you dancing on a string #
# Break it and he won't care #
# Won't you take this advice #
# I offer #
# Like a mother #
# Or are you not seeing things too clear #
# Are you too much in love to hear #
# Is it all going in one ear #
# And out #
# The other ##
[Applause, Cheering]
And finally, first prize,
a recording contract with McMartin Records,
goes to Miss Edna Buxton.
Let's give her a big hand, ladies and gentlemen.
- [Cheering, Applause] - Congratulations.
- [Traffic Noises] - [Woman] # How can I reach you #
# When you're living #
- # In another world # - [Man] What are you going to be singing?
- [Edna] I'm going to sing "In Another World." - Who wrote it?
- I did. - Oh, okay. Go ahead, any time.
# If I could just tell you #
# How my poor heart #
# Is breaking #
# Maybe you'd think twice #
# 'Bout the road #
# That you're taking #
# Maybe you would look back #
# And change your mind #
# Maybe you would remember #
# Love you left behind #
# All I have is the memory #
# Of when I was your girl #
# How can I reach you #
# When you're living in another world #
# Living in another world ##
Yeah, um...
Thank you. Uh, come on in.
Nice... Nice, uh, voice.
- Thank you. - But the thing of it is, toots, we already have someone...
- Someone just like me. - Just like you.
- [Laughing] - [Crying] Excuse me.
- Sit on the, uh... - I'm sorry.
- Do you want, uh... - That's my only copy.
- [Tape Flapping] - Wait, it's ruining my song!
- Sit, sit, sit, sit. - [Sobbing]
- Boy, you've been at this awhile, huh? - I'm sorry.
It's just that, you know, I came here 11 months ago.
Supposed to be this big recording contract.
And I won this prize. Just all a big publicity stunt.
Bunch of rats. Was it... It was McMartin, right?
Yeah, it was. It was McMartin.
And now I've been pounding the pavement ever since,
only to be told that you just already have someone like me.
You want me to, uh, really burst your bubble?
[Sobbing] Oh, sure. Go ahead.
You know, start bursting.
Well, not only do we all already have someone like you,
but we all are trying to get rid...
of the someones like you we already have.
- [Both Laughing] - Yeah, well.
See, the thing of it is, toots, the Patti Page/Peggy Lee days, they're over.
- Yeah. - Lady singers, they just don't sell.
Male vocal groups, that's the ticket these days.
Yeah. You know, I wrote it.
- It's very nicely written. It, uh, really is. - Thank you.
- Okay, I guess I'll just... - Okay?
take my burst bubble and just-just... I don't know.
- Sorry about that. - No, that's...
- [Sniffles] - You know, wait a second.
Lemme-Lemme-Lemme hold onto this.
- L-I have a stupid idea. - Really?
Yeah. D-Don't hold your breath or anything.
- L-I'll just see what I can do. - Really?
- Yes. - Thank you. [Laughing]
- Thank you. - Very nice.
- Well, yeah. - [Laughing] Thank you.
- There's really no need to cry anymore, okay? - Okay. All right.
- I'm sorry. Good-bye. - All right.
## [Blues]
# Oh, the Blues ain't nothin' #
# But a woman cryin' for her man #
# I said the Blues ain't nothin' #
# But a woman lovin' a married man #
Excuse me, miss.
# Lord, Lord, Lord #
# The Blues ain't nothin' #
# But a common low-down heart disease #
# Yeah, yeah #
# Try to keep your man happy #
# Although you find him real hard to please #
# Oh, yeah ##
[Applause, Cheering]
- Hey. - Oh, my God, it's...
- # Hey there ## - Yeah.
Hi, hi! I tried to return the dress.
Oh... No, it looks good. It looks good.
How's that big recordin' career goin'?
Oh, it's really... Well, it's not too swingin', actually.
Oh, I'm Doris Shelley. This is Betty, and this is Sha Sha.
Hi, I'm Edna. You guys are swell. You were really, really swell.
- Stop it. - Um,
well, I just better go.
Oh, Edna, come back. We play Tuesday through Friday.
Weekends are reserved for him.
[Laughing] Gotcha.
[Laughs]
Edna?
Oh. Joel Millner.
I been lookin' for you for months. Okay, all weekend. You don't have a phone?
- No. - Why don't you have a phone? You gotta have a phone.
You can't make it in this business without a phone. What are you drinking?
- A vanilla coke. - That's disgusting.
Are you eating? I'm buying.
Can we get service here? We been waiting 20 minutes.
Hold on a sec. I'm busy.
She'll have a grilled cheese and tomato and onion rings. I'll have a cheeseburger combo.
- Anyway, so your demo. That's the one. - Yes. "In Another World."
- Nice voice. Great song. - Thank you. I wrote it.
I know you did. It was funny.
When I listened to it, I thought how nuts it was...
for a gal to be singing such strong material.
- Oh, I'm unfeminine now too. - And that's what I like.
- Only... - Only you have someone like me.
No, I don't think there's another one like you in the world.
I manage a male vocal group called The Stylettes. You heard of them?
- Yeah, sure. Yeah. Yeah. - Yes? Yes? Good.
This song is perfect for their voices. We could all make money.
- I bet you have other songs too. - No, I'm planning to record my own songs.
What do you mean? You're either a singer or songwriter. Which is it?
- I'm both. - Nobody's both. You're either one or the other.
Well, I'm both.
The day will come again when girl singers are top of the heap.
'Til the timing's right, why not make a little money writing songs for other people?
- You want me to sell my songs to you? - Let me prove it.
I'll book a studio, right?
You can meet the fellas, listen to them sing your song.
If you don't like it, I won't bug you again.
Trust me. I'm Joel Millner. I'm a nice Hebrew boy.
- Actually, my mother's Italian. I'm from New Jersey. - [Laughing]
- Can I be perfectly honest? - Hmm?
You gotta change your name.
Edna Buxton. That's the worst name I ever heard in my life.
Where are you from that would curse you with a name like that?
- Philadelphia. - Oh, ouch. Keeps getting worse.
Wait a minute. The Buxtons of Philadelphia?
- Not Buxton Steel? - Mm-hmm.
- We gotta do a little reinvention. - Oh.
# Ooh, we, ooh # [Snapping fingers]
# Ooh, we, ooh #
- Psst! - # Ooh, we, ooh ##
- Hey, kiddo. - Hi, Joel.
- Come on in. Good to see you. - Sure, sure.
Fellas, this is the young lady who wrote your next hit.
I want to introduce you all to... Denise Waverly.
Denise Waverly from South Philly.
- You ever been to South Philly? - No.
- She's an original. To rise outta those slums, lemme tell you. - Y-yeah.
- Denise... Waverly. Hi. - Walter. Pleasure to meet you.
- Full service. Get your coat? - [Laughing]
- I'm the maitre d'. - Denise Waverly? What's it all about, Joel?
- # Ooh # - # All I have is the memory #
- # Ooh # - # When you were my girl ##
- Come on, man. - Get him a lyric sheet, somebody. Come on.
I know the lyrics. That's just it.
- I know the lyrics. - You know them? I don't hear you knowin' 'em.
- I apologize, Miss Waverly. - [Guys Laughing]
What you wrote here, being in love with someone you can't have,
and you let 'em go and have their own life... beautiful.
It's something that happened to me before.
I know how personal it must be. I don't want to invade your privacy.
- I just want to do the song righteous. - [Laughing]
Uh, geez. I don't need to hear any more, Joel.
Listen, the song is yours, guys.
It's never happened to me anyway.
I just made it up to pass the night away, you know.
- Denise, we need a B-side. What else you got? - B-side?
Well, you know, I sort of write for girls like myself.
- [Joel] We need somethin' upbeat. - Upbeat?
Up-tempo? Okay. Something... Hmm.
Something new for me, but okay. Let's see what I can do.
- You get the same percentage as me. - Okay.
But this is only until I can record my own stuff, right?
- When I make my own record... - Absolutely, when the time is right.
Read it before you sign it.
Toots, my new receptionist, Judy.
- Hi. - Hello.
Now I want you to worry about writing the songs.
I want personal ones like "In Another World."
Now I am worried. What if I can't just think up another one like that?
Keep your eyes and ears open. Everyone is in pain.
Come on. I want to show you your office.
You got a piano, nice frosted glass, window, view.
Huh? You got a roof.
You put a plant here, it's like you're in the country.
Okay, look at this. You could pace back and forth if you're a pacer.
Hey, Monte! How ya doin'?
You hear the sound? You can hear airplanes, everything.
Good vocal sound. You're frustrated? You schmuck!
- You don't like it? - No, I like it.
- You don't like it. - I like it. It's...
Well, I write songs in the bedroom...
or in the bathtub or on the fire escape.
That won't do, Denise. You're a professional now.
I'm gonna let you in on a secret.
This is where all the hits are gonna be made from now on.
Right here. One scene, all happening under one roof.
If you have your artists, your songwriters, lead sheets office,
recording studio, studio musicians, all in the same building,
you can have a new hit record every week.
- [Cash Register Dings] - Thanks, Roberta. See you tomorrow.
Hey, can I listen to that for a sec?
- Come on, come on. Just for a sec. - # How my heart is breaking #
Oh, my God, it's "In Another World."
- Lady, can I listen to the song now? - Why don't you buy the record?
Why don't you go buy it, lady, if you can find it.
- I bought the last copy at the record store. - You're kidding.
She bought the last copy.
Oh, my God! Taxi!
## [Big Band Swing]
[Crowd Chattering, Laughing]
- I didn't do it. - L-I don't want to hear it.
I haven't! Sh...
Hey, Sha Sha. Hey, Betty.
Hey, so where's Doris?
Oh, out back with him,
or it, I should say.
- She's with Eddie again? - He's a dog, girl.
Look, I mean it. I mean it!
- Maybe I should go speak to her. - Uh-huh.
- Talk some sense into her, Edna. - Me? I'll do my best.
Did I just hear her call you Edna?
Joel, what are you doing here?
- Your name is Denise Waverly. - I know.
What do I got to do to protect your image?
If I got to introduce you to everyone in this goddamn place as Denise Waverly,
- That's what I'll do. - Okay.
- Oh, now I have to see this guy. - What guy?
Joel Millner! What are you doin' here?
What do you mean? I'm always here.
What are you doing here? Never mind. Let me introduce you to a real songwriter.
- Denise Waverly. Denise, this is Howard Caszatt. - Hi.
- A Village phony. - Hi. Nice to meet...
Why are you introducing me to him?
I'm introducing him to you, a nobody to a somebody. Hey, Caszatt.
- What? - Denise did something you'll never do.
- She wrote a Number One hit. - Ooh, Number One?
Well, it will be Number One. It's Number Five now.
It's Number 12, Joel. Number 12.
- [Joel] "In Another World." You've heard it? - You wrote that?
- Yes. - That's cool.
I gotta go see a girl. Uh...
- Nice meetin' ya. - Yeah, nice meeting you, buddy.
[Barking, Growling]
That is one odd-looking woman.
Don't get any ideas, Caszatt, That girl's got too much class for you.
- [Sobbing] - Sweetie.
- Look, my... - [Sniffling]
my manager's out there tonight.
Joel. I told you about him.
Just forget about Eddie for a while.
Just forget about it. Go out there and sing your song.
Okay?
I'm okay.
# Nobody knows #
# The way I feel this mornin' #
Wow, Joel, aren't they just the most?
They'd make terrific backup singers.
[Contemptuously] Backup singers.
Thanks, Caszatt. You're a doll.
## [Continues]
- I really like that song you did for the Stylettes. - You really like it?
Well, it's very commercial.
And, you know, even with Negroes singin' it, it's very white.
- ## [Continues] - What?
Because it didn't deal with the real nightmares,
like unemployment, that cripple male egos.
Which, I suspect, is the true reason why romance is so tortured for these people.
You were goin' for a mass audience.
And the lyrics, well, a little sentimental.
- I gotta hand it to you. They really do work. They do. - [Laughing]
If anything, it suffers most from a shoddy arrangement.
So what exactly did you like about my record? The thickness of the vinyl?
[Laughing]
By the way, I did that shoddy arrangement that you were describing.
- You're a horse's ass. - Hey! Hey!
- What did you do to her, Caszatt? - Nothing. She went nuts.
## [Continues]
- I think she wants me. - # I feel like I could scream ##
# He's a playboy But I know one day #
# Across the threshold He'll carry me #
- # You're dreamin' Ooh # - # I don't care #
# What the other girls say #
# One fine day He'll marry me #
- [All Laughing] - I'm dreamin'.
I didn't know there was a solo there.
- She's dreamin'! - She dreamin', all right.
- I kinda like it. Let's do it. - Me too.
- # Ooh # - # Across the threshold He'll carry me #
# You're dreamin' Ooh #
# I don't care what the other girls say #
# One fine day He'll marry me ##
- [Sighs] - That's nice.
- That was good. - We good.
- Okay. Yes. - Oh, Jesus.
- When he comes in, he wears a wig, so don't mention it. - It is a wig!
I'm not in the mood to meet anyone until my fourth cup of coffee.
- You should know that. - Okay, try and keep an open mind.
Coffee... coffee. Coffee, coffee, coffee. I need coffee.
Come on.
Okay. All right.
Joel, just... just sit there and listen.
- Hey. How ya doin'? - Hi.
- Okay. - ## [Piano Intro] - # He doesn't love me #
# But I love him so #
# Always thinking of that boy #
# But he never thinks of me #
## [Piano]
# My heart's a toy and like a little child #
# He breaks it when he's through #
# He fools around and he puts me down #
# But there's nothing I can do #
- [Betty, Sha Sha] # Ooh # - # I just live for the moments with him #
- # Be careful # - # His touch is soft #
- # And the lights are dim # - # Watch out #
- # Oh, what a trance he puts me in # - # Ooh #
# I guess that I was born #
- # To love that boy # - # She was born #
# To love that boy #
# I guess that she was born to love that boy #
- # Ooh # - # He's a playboy but I know one day #
- # Ooh # - # Across the threshold he'll carry me #
- # You're dreaming, ooh # - # I don't care what the other girls say #
# One fine day he'll marry me #
# I guess that I was born #
- # To love that boy # - # She was born #
# To love that boy #
- # Love that boy # - # I guess that she was born to love that boy #
- # Yeah, yeah # - # She was born to love that boy #
- # I guess that I was born # - # She was born #
# To love that boy ##
[Sighs]
That was great! That was really great. Right, Joel?
Yes. Yes, it was nice, real nice. Thank you.
It was great. You guys were great.
- Thank you. - You were great.
You can be so rude.
I can be rude? You dragged me here before I had my caffeine.
- You know they were great. - Great song. You are holding out on me.
Why did you save your best song for girls?
I've told you I can't sell girl singers. Not at this time!
I didn't save the song for the girls. The song came from the girls.
- You didn't write it? - Yeah, I wrote it, but it's their story.
"Look around. There's pain everywhere." Remember? I took your advice.
- That doesn't change the fact I can't sell girl singers. - Okay. Swell.
- So could you leave then so I can go back to work? - I mean, they're a mess.
I mean, they're cute, but those hairdos.
- [Scoffs] Their hairdos? - Those trashy, cha-cha high heels.
The cheesy outfits. Couldn't they at least get matching dresses...
like the one the lead singer obviously stole?
- Well... - What's the name of that song?
- "Born To Love That Boy." - # I was born #
- [Snapping Fingers] # To love that boy # - ## [Humming Melody]
- # I was born to love that boy # - # To love that boy #
What a great fuckin' song... Excuse my language. A great song!
- All right, I'll think about it. - You'll think about it?
Think about it? It's in my system. I can't get it out.
It was a great... Congratulations. It was a wonderful song.
Thanks, Joel. [Sighs]
- # Girls tell me he's a renegade # - # He'll hurt you #
# And I know about the games he's played #
- ## [Continues] - Oh, my God!
- Number three! - [Screams]
- # I guess that I was born #
[Both Laughing]
# To love that boy #
See this? You'll love that group. Get in there.
- You hear this song? - Yeah! "Born To Love That Boy."
You should go inside.
"The success of the Luminaries' debut can only be attributed to the savvy of Joel Millner,
"securing a record deal for unknowns at a time...
"when female voices are virtually absent from the airwaves.
"The heart and vision of this femme phenomenon is songwriter Denise Waverly.
"Her haunting courage to admit the failure, pain and flaws...
"in the people for whom she writes and her contradictory mystical optimism...
"is both bittersweet and affirming.
"The Luminaries are the great vocal discovery of the year,
but the voice behind their power is Denise Waverly."
- You just made that up. - You think I could dream up a review like that?
"Mystical 'opticism"'?
"Optimism." I will take a little of the credit.
The reviewer, John Murray, from Songwriter magazine, he's a friend of mine.
- I've been telling him about you. - What'd you say?
How I'm Miss Mass Audience, exploiting the pain of the working class Negro?
I told him the truth... that you're the best songwriter in this joke of a business.
- Wow. Thank you, Caszatt. - You're welcome, Miss Waverly.
What are you doing around here anyway?
What, are you spying on us evil, imperialist pop songwriters?
I have an office down the hall too.
- What, are you the janitor or something? - Oh, ho-ho! That's funny.
- Listen, I wanted to propose something. - Mm-hmm?
- Would you consider writing a song with me? - [Laughs]
No, hear me out. Hear me out.
We set a love song in an underclass ghetto.
Yes?
Two machinists fall in love on the graveyard shift at a plumbing parts factory.
Ooh, boy, you are some romantic.
I think we'd make a good team.
- Oh, is that so? - Yeah.
I appreciate what you're saying, I do,
but I wouldn't know the first thing about how to save even myself...
with a song, much less the world.
Besides, I don't intend to write songs for much longer,
because I'm a singer and I'm going to record my own stuff.
But I appreciate the offer.
- Well... please keep me in mind, Miss Waverly. - ## [Hits Piano Key]
Oh, I will, Mr. Caszatt. I'll keep you in mind.
Know-it-all. "Optimism."
Well, don't you look nice. [Chuckles] Oh, this old thing?
Okay, that's enough of that.
The real test is after you're already making out, so... let's practice.
Mmm. Mmm!
Oh, Howard. Oh, Howard!
- Howard, stop that. Howard. Howard, no, please... - [Knock At Door]
Oh, Jesus. Okay.
[Coughs, Clears Throat, Sniffs]
[Sighs]
Whew!
[Chuckles]
[Gasps] Mmm.
- [Denise Moaning, Grunting] - Mmm.
- ## [Humming] - ## [Piano]
## [Edna Humming] No, you're fighting my melody.
- ## [Both Humming] - ## [Piano]
- [Clears Throat] This is the melody. - What do we got?
- All right. - This is the lyric.
- Got a Negro couple under a street lamp. - No, a street lamp, my ass.
- They were on the fire escape. - You're so literal.
We're making art. A street lamp signifies the urban condition.
- Were you there? - No, I wasn't.
- Were you there? - No.
I was there, and they were on the fire escape.
How about a fire escape under a street lamp?
- That way, you get your realism... - And you get your urban existential...
Hey, Betty. Here you go, the new lead sheets.
- [Girl Sobbing] - Who's that?
[Betty] That's Annie, my niece.
- [Sobbing] - She got herself into some trouble.
You dig? For love.
- She's so young. - You're telling me! She's 12 years old.
- Does she have any family? - I'm her family.
- [Annie] I just hate you. - What's gonna happen to her?
I don't know, but I'm not getting her out of this one.
Don't you have anything to say? You're just standing there.
Don't you have anything to say?
She doesn't know how to listen. Trouble with girls these days is they all think they're grown.
So the boy in our song is depressed. Why is he depressed?
Because he's 16, he's a Negro, and no one's gonna hire him.
No, no, no. He's depressed because he knocked up his 12-year-old girlfriend.
Anyway, it's her story. It's not his story.
- That'll work. Yeah, all right. - Really?
She's knocked up and he's a wreck because he doesn't want the kid.
- He doesn't know how he's gonna support the kid... - And she was unwanted,
- Right. - But she wants to keep the kid.
She wants a family. That'll work.
- # How can I tell them How can I explain # - # Ooh #
- # All the love # - # Love #
- # That I never had # - # Had #
# I found in him #
- ## [Piano Chord] - Wait, I got this one.
- [Chuckling] - He gave her his... child,
- ## [Piano] - # But wouldn't give her his name #
Oh-ho! # There's a... There's a... #
- Come on, that was good. Admit it! - It was good.
- # There's a local game where they # - ## [Humming Melody]
# Mention my shame... Whisper my shame #
[Together] # They say he gave her his child #
- # He wouldn't give her his name # - Ho-ho, Denise!
- # How can I tell her How can I express # - # Ooh #
- # How it felt # - # Felt #
- # When he came to my room # - # Room #
# And helped me to undress #
- # Ooh # - # What can she tell me How can I believe #
- # That she really # - # Really #
- # Didn't hear me cry # - # Cry #
# When he wouldn't leave #
- ## [Continues] - The record company's under pressure...
from the churches to pull the record.
That's great. Controversy's good for business.
- Controversy is good? You're out of your mind, Caszatt. - It is.
These Bible thumpers are putting pressure on the radio station.
If the record company pulls it, that's it, no business. Get it?
Write a sympathetic song about two kids who aren't married and about to have a baby...
Between the two of you's, you kids have no idea how the world works.
Maybe your friend John Murray can help.
You're no stranger to controversy.
I've been writing controversial songs for the last five years.
Record companies wouldn't take a risk on me, but, uh, that's me.
You know, risk and controversy.
Denise, are you also an advocate?
Yeah, we're both advocates.
Denise?
Um... hell, [Chuckling] I just write pop songs.
Sure, but you realize, of course, that no one else...
is writing pop songs about unwed pregnancy, just you.
I was wondering, is it because of your working class background...
that you feel free to examine these very real, honest themes in your music?
Um... I can assure you my background doesn't have anything to do with it.
I'm curious. You had a big hit last year with "In Another World"...
that you wrote by yourself.
I was curious why you decided to collaborate.
We met and hit it off, decided to work together.
Denise?
Well, I guess what he's saying is basically true.
- Joel actually... - Joel Millner introduced us at Fernando's Blue Room up in Harlem.
He's the man that we blame.
Is it a marriage made in heaven?
No! We're not... married. We're partners. We're not married.
I'm here right now with Denise Waverly and Howard Caszatt...
who have written a very controversial new song by the Luminaries.
- "Unwanted Number." - "Unwanted Number."
- Available now. - Thank you, Howard.
Voss-Beat Records. We certainly are going to keep playing it here.
- Thank you, John. - ## ["Unwanted Number"]
- Wasn't l... I thought I was terrible. - You were wonderful.
You were great, honey. You were terrific.
I thought you were very honest and straightforward with everything you said.
- Oh, thank you. You helped. - ## [Song Continues]
- Can we take these off? - No, take 'em with you.
[All Laughing]
- [John] Because I'm not gonna do it. - Hi.
- Okay? - Could I just give this to, uh...
- I'm not gonna say that. - John? Yeah.
- What? - Miss Waverly just dropped this by.
I'll call you back.
Denise! Hi. So glad I caught you.
I didn't mean to drag you from your work.
No, I can't think of a more delightful way...
- To avoid a confrontation with one of my writers. - Ah!
- So what is this? - Well, it's a toaster. What do you think?
- [Laughing] - No, it's... Pretty obvious.
Got these... I just wanted to thank you for having us on the show.
This is amazing. I've been looking for these for years.
I heard you say it on your show, and I happened to be in the Village...
in this thrift shop, and I saw them, so I got them for you.
- You like them? - Thank you so much.
[Chuckles]
Well, l... I should get back. Can't avoid this forever.
Oh.
- Thank you. - You're welcome.
- Howard? - Hmm.
We should write a wedding song.
What's the social angle?
Oh, well, I wasn't thinking about that. That's your department.
I don't believe in marriage.
What do you mean you don't believe in marriage? You're joking, right?
No. Why?
Oh, God. Come on. You believe in it?
Marriage is a bourgeois convention...
You honestly think a contract can or should bind people to each other?
Why should modern affairs between men and women be modeled on an arrangement...
that was forced on people by the church and state during feudal times?
Even then, it didn't work. Men were bringing home syphilis to their wives.
- Well... I mean, I just think that, you know, - Hmm?
people taking vows in front of other people...
- What? - It's kind of beautiful.
I think that kind of romanticism bullshit's...
what keeps people in bondage.
Your friend John Murray's married. He's not conservative.
- But... John Murray? - Mm-hmm.
What... What is this... You have a crush on this guy or something?
- No. - Huh?
- You do. Look at you. - [Laughing] Do not!
Forget about him, all right? You're mine.
- Am I? - # I know, girl you were runnin' round #
## [Continues]
[Phone Ringing, People Chattering]
- ## [Continues] - You married him?
- [Joel Laughing] - You told me to sign here, right?
- Just sign here. - Joel, listen...
- I'd like you to meet... - I know, the new receptionist.
Oh, golly, no. This lady here is a new member...
of the Charny Music family.
I just signed Cheryl and her partner.
First song they've written is gonna be the Luminaries' next hit.
Oh, that's great! That's great.
- Thanks. - They could use a hit.
The last three songs we wrote for them were banned from the radios.
It's funny, because in Europe such bannings are never heard of.
- Really? - I guess it's 'cause we're far more freethinking.
- Yeah. - Denise Waverly.
Cheryl Steed. Hi.
Well, if you need anything, my office is just down the hall.
Thank you, and mine is just next door,
- If you need me for anything. - [Chuckles]
- [Chuckles] What? - Uh, next door?
The front of the building. You have windows. That's nice.
l... I insisted. This place is so dreary.
- Mm, yeah. - Hello.
Hi.
- Howard, honey, - Hmm?
this is Cheryl,
- And she's part of the Charny Music family now. - Charmed.
- Welcome. - So just think of her like a sister.
Howard is my writing partner, and he's also my boyfriend.
- Oh. - Who's your partner?
Uh, Matthew. He... He's my husband.
Oh! That's great. Isn't that great?
- Oops! - Oops.
[Howard] Hmm.
- Joel will be next door. - I'm just lookin'.
- Miss, uh, Waverly. - Yeah. Welcome aboard.
Howard.
- Adieu. - Adieu.
- Whew! She's got the cutest little... accent. - I'll "adieu" you.
She's from Europe.
All I know is I'm gettin' hot.
Cheryl, your husband's 20 minutes late!
I know. But I called and they said he's on his way. I think we should wait.
- Where is he? - We have to wait for Matthew. I can't start without him.
- Time is money and money is time. Let's go. - Come on, Joel.
I'm not waiting any longer. Sorry.
- [Drumsticks Clicking] - Let's put one down.
- I can't afford it. - Okay, fine, but you're laying it on a bit thick.
- Make sure the vocal is up high so we can really hear the lyric. - Yeah, I understand.
# Well, I met you in December #
# Underneath a winter's sky #
# I could tell by the kissing on New Year's #
# You were gonna be my guy #
- # February, tapped me on the shoulder # - # Tap, tap #
# Turned around and whispered in my ear #
Decided to come, did you? We've been waiting two hours for you.
Joel's been looking at his watch. The girls have been hanging around.
- Costs a fortune to keep studio time when people are hanging around. - Get off my back.
- # I do for you # - Where were you?
I'm here now, okay? Let's go to work.
- We are working, Matthew. - # And now it's June #
# And we're gonna get married the day you say #
# That I'm the one #
- # Ooo # - # Do you make a promise that we'll always be together #
- # I do # - # I do #
Denise, what do you think?
I think it's a sure hit, Joel. Congratulations.
- # I do # - Excuse me.
- # Do you make a promise that we'll always be together # - Cheryl.
- # I do, I do # - Thanks.
# Do you make a promise that our love'll last forever #
- # I do # - # I do #
- # Do you # - # I do #
- [Humming] - # Do you make a promise that we'll always be together ##
Okay, so I'm a boob. You should've written that wedding song. "I Do" is number four.
- Howard? - Hmm?
You're not gonna believe this, but, um... I think I'm pregnant.
No, you can't be. I pulled out.
I went to the doctor today and, um... Well, he's pretty sure that I am.
I just have to wait and see if the rabbit dies.
- How long does that take? - About a week.
Oh, shit.
- There is something else. - What?
My name isn't... Well, it isn't really Denise.
It's... [Sighs]
It... It's Edna. Edna Buxton. Buxton Steel.
- That's my family's business. - You putting me on?
You see, Joel invented the whole name and the working class persona,
and I didn't know how to tell you 'cause you'd be disappointed.
Let me get this straight. You're telling me that you're an heiress?
- Yeah. - You're an heiress?
- Yeah. - You don't look like an heiress.
That's nice. What's an heiress supposed to look like?
Grace Kelly. That's funny. That's the sort of woman I thought I'd end up with.
Someone with that kind of grace. When we'd hit it off, it'd surprise me.
I thought my dream girl would be blond, coy.
- Howard! [Crying] - Oh.
- That's a terrible thing to say! - Honey, listen. I'm sorry.
It's just I'm scared, that's all. We don't have any money right now.
- If you have a baby, you're not gonna be able to work. - Yes, I can!
I can take the baby to work with us.
Oh, yeah. The Brill Building. That's a great place to bring up a kid.
It's not a bad place. [Crying Continues]
[Sighs]
What... What the hell's your name again? Ethel? Effie? Alberta?
- It's Edna. - Buxom?
- Edna Buxton. It's a fine name. - Buxton? Well.
- Thank God the kid's gonna have my name at least, huh? - Caszatt. That's terrible.
[John] Songwriters Denise Waverly and Howard Caszatt...
were married in a 15-minute civil ceremony in New York this weekend.
The couple are expecting a child in October.
# You're hanging on to dreams that will never come true ##
Hey, guys. That was really terrific.
Um, on the bridge, when you get to the "kid", you're cutting it off a little.
- Stretch it out. Stretch "kid" out, guys. - You can just...
Let it really come to a natural ending, okay?
- Why don't you sit down? You have my son in there. - Okay. All right, sweetie.
- Let's make hit records. Let's start. - # Heartbreak kid #
# King of sorrow #
# Blue today #
# Bluer tomorrow #
# It's all up to you #
# What will you do Heartbreak kid #
That's a damn good song, doll.
Keep this gal knocked up and she'll make you a millionaire. This is gonna be a hit.
- What? - Her first since...
- Since she started writing with me, huh? - I didn't say that.
- Could you guys... - I'll see you at home.
Howard, you can't just leave during my session.
For God's sake, Denise, concentrate on your work!
- Joel, Jesus, your tact doesn't exactly help. - My tact?
You blame it on me that your husband is jealous of your talent!
He's not jealous. I mean, I'm getting really fed up with the way...
- [Water Spilling] - Oh! Howard!
- My water is breaking. - What's happening?
- Cheryl, my water's breaking. Get Howard! - L, uh... I'm gonna be sick.
- Get Howard! - [Joel] What's happening?
- I'm having a baby, Joel. Please, get Howard. - Dagmar!
- Howard! - [Joel] Everybody out!
It's not an epidemic. I'm having a baby. It is a perfectly natural...
- We gotta get you to the hospital. - Guys, I'm really sorry.
- I'll get Howard. - Guys, I'm sorry.
- [Screaming] - We gotta get you to the hospital.
Geez, I know. I know the... Cheryl.
[Groans] Oh, God. What did I do here?
- [Sighs] - What happened?
- I'm gonna have a baby. - Now?
- Yeah. - Oh, God! Come on.
- Okay. It's okay. - Just do it like this.
I'll wheel you out. It's okay.
## ["Heartbreak Kid"]
# He was the one #
# Second to none in your eyes #
- [Laughs] - # But you couldn't see #
- # What's turned out to be a disguise # - Oh, come on. She's asleep.
- Sweet darling. - She's asleep.
- # She led you on # - [Groans] Okay.
# She had you fooled from the start #
- [Kissing] - # And though she's long gone #
# Boy, you're still playing the part #
- Oooh! - [Chuckles]
- # Heartbreak kid # - That's okay.
- # King of sorrows ## - Luma's got a pretty face.
This is where I work. And this is where I come to work every day...
and I write pretty, pretty songs with your daddy.
- [Coughing] - ## [Piano]
- Here's your Uncle Joel. You got her? - [Joel] Yeah.
Now that your collaboration with... Caszatt...
has taken a slightly different direction,
I started lookin' around this place for a...
Well, uh... for an interesting, uh...
Look. I thought maybe you two gals...
could try writing a song together.
- Cheryl writes with her husband. - I write with Matthew.
- How would Matthew feel? - Matthew would be devastated.
I understand, but I don't see why Cheryl's talent should be exclusive to her husband.
- I'm sure she'd agree with you. - There's a whole other set of problems.
Whoa, whoa, take it easy. I'm not asking... This is no "Et tu, Brute?" business.
There's no betrayal here. It's an experiment.
If you guys combine, if you combust, we ignite, we go.
- [Both Disagreeing] - [Whistles]
Now the first assignment...
is to come up with something for Kelly Porter.
Okay?
- No, Joel. No. - [Laughing]
- Kelly Porter, the ingenue. No. - Kelly Porter, yes.
- "Dring Dring. Are you home?" Kelly Porter? - She ran out of hair spray.
- [Laughing] Here. Have it. - She's home getting her hair done.
I'm glad you're so enthusiastic.
[Sighs] Well, I'm gonna split in ten minutes because this is, you know...
- Waiting here for how... how long now? - Cheryl, patience, patience.
- My God. - Oh, look. Look.
She seems upset.
- Oh. Hi. Hi. - Hi.
[Denise] Let me talk first when she gets here.
- Hi. - [Together] Hi.
- Sorry we're late. - Hi. Oh, I'm Marion. I'm Kelly's roommate.
- Marion. Denise. Uh, Cheryl. - Cheryl Steed.
Hi, I'm Kelly Porter. So nice to meet both of you.
[Sighs]
Okay, so you have your meeting.
I'll make your reservation. Chinese.
Yeah, that'll be swell. Bye.
So, uh...
Gosh, I'm honored that you'd consider writing a song for me.
- Oh. - I mean, people have, you know, certain ideas about me...
that are created by my publicist and this TV show that I do.
They really have no idea who I am or what my life is like...
or what I go through...
[Crying] with the person I love. [Chuckles]
Kelly.
- You know, boy problems are always hard. - [Sobbing]
I wouldn't know.
Sorry, I'm fine.
Now, I read that Johnny Crawford gave you a puppy for your birthday.
- That is so fabulous. He's such a dream boat. - Trust you to read that.
- He is very good looking. - He's very nice. He sweats a lot.
- Oh! Hi. - Hi, Marion.
- I'm here. Are you ready? - Yeah, sure.
- I mean, I think I am. Aren't I? - Yeah, I think we...
- Got a great sense of who you are, what you're about... - I've got some ideas.
- And we're gonna write you a terrific song. - Wonderful.
- Call me if you have any kind of questions. - Bye, Kelly and Marion.
It was nice to...
- [Both Laughing] - I don't believe it.
- Oh, my God. - What?
It's my breasts. My milk is leaking. It's Luma's feeding time. I gotta go.
I'll see you back at the office in a half an hour. Sorry. I gotta feed her before I burst.
- Yes, but l... - Wait 'til I tell Howard. He's gonna die.
Hey, Howard. Kelly Porter. Boy, she's not the square we thought she was.
Uh...
Oh, my... Come here, Luma.
[Crying] Oh, my God.
- Honey, let me explain. - Explain? Just stay.
Both of you. Just stay.
[Luma Crying]
[Sighs]
- [Cab Driver] Where do you wanna go, lady? - I don't know.
- Can we just drive for a bit? - Sure.
# My secret love #
[Speaking Dramatically] # You and I We are like spies #
# In the house of holy love #
# We are actors in a heartless play #
# I smile my smile and play my part #
# And forever hide my lonely heart #
# My secret love #
- ## [Fades] - Kelly, it sounds good, but the key to the song is the build.
And you can be dramatic as long as it's truthful. Okay?
Guys, I know there's a lot of chefs in the kitchen here.
Let's just try and get a great take, and groove, all right? Let's start.
[Snaps Fingers] Roll tape.
Oh, Larry, you're so manly.
# Love has never been easy for me #
# Can't you see #
- It's better already. - # I have always been lonely #
- I think you did a good job. - Hey, we did a good job.
- Yeah. - Joel was right.
- Well, for God's sakes, don't tell him that. - No. Don't.
# Girls like me #
# Have to hide our hearts away #
- # If only we could live one day # - Cheryl?
- What? - I'm pregnant again.
- What? - Yeah, I'm pregnant again.
Really? But... I thought you said you were using a diaphragm.
[Laughs] We never used it. It's on the ceiling.
# They'll destroy us if they can #
- # Say we were struck down by the hand # - What do you wanna do?
What can I do? Howard's not even around. I gotta raise Luma. It...
I feel like I don't have a choice.
# And keep our disguise #
# Stand by our lives #
He's in... he's in Pennsylvania and, uh...
he'll only charge you $100.
He'll give you anesthesia, a shot of penicillin and you get a night's rest.
If you're gonna do something, do this. Don't go to one of those doctors in Spanish Harlem,
unless you wanna end up bleeding to death in some elevator shaft.
# I refuse #
# I'd sooner die than tell #
# I'm under your sweet spell #
# My secret love #
Thanks. I owe you one.
I think we got a hit record here, girls.
# No #
[Chuckling]
What do you say we go get a drink after the session?
I know a really nice place.
- No, thank you. No. - # Can't be sure that we won't be heard #
# Like Romeo and Juliet #
# They will chase us to our death #
# Then voice their false regret #
# The liars ##
I couldn't... I couldn't keep this one. I'm sorry.
# I can't believe it's over #
# Although I know it's true #
# How could this happen to me and you #
# It happens to other people #
# Somehow their lives go on #
# What will I do now #
- Come on, Emily. Let's go. - # That we're through #
- Hi. - Denise!
Oh, my God. John.
[Chuckling] This little redhead yours?
- Yeah. Is this your little girl? - Yeah.
- Hi. - Come and have a seat.
Hey, sweetie.
She's adorable.
Uh, we, uh... we're just gonna meet her brother on the other side of the park,
but she made me stop and wait.
Like a woman. [Chuckles]
How's your little girl getting along without her daddy?
Uh, you know.
- She sees Howard every weekend, he and the new wife. - Yeah.
But he's crazy about her anyway.
- She was never really the problem. - Yeah.
Still, divorce is tough on a kid.
That's kind of a conventional notion, don't you think?
- Well, I'm kind of a conventional person. - [Chuckles]
# We can't predict the future #
# We can't undo the past #
# But it won't always hurt this bad #
Well, you know, I've got friends...
- And just try and keep busy, you know. - Mm-hmm.
- How's your wife? - Oh, well, she's holding up. She... [Clears Throat]
She doesn't get out much. She won't hire a baby-sitter, and, uh...
She doesn't feel comfortable leaving them,
- So we don't have much social life. - Oh, you're kidding.
# Love doesn't ever fail us #
# We've got it turned around #
I gotta get Luma. I gotta get to work. I got a lot of stuff to do.
- It was great to see you. - It was great seeing you too.
- Maybe we should plan it next time. - [Sighs]
# Girl, it was us #
- # Who let love die ## - You look great.
- [Girl] Hi. - Don't eat the burnt part.
Oh, Annie, Jesus, thank God you're here. Here you go, butter 'em up.
- Denise, it's only 8:00. I'm ten minutes early. - I know, but...
You know, there's a new invention called pantyhose that make your life a lot easier.
- Oh, keys, keys, keys! - Keys, keys.
Oh. Okay, she's got a little cold. Make sure she wears a sweater. Bye, sweetie.
Eat your breakfast. Be good. Ooh.
Your coat! Your coat!
Oh. Annie, I'm gonna be home a little late, about 6:30.
- Bye. - Leaves early. Comin' home late.
Smells like there's a man in your mama's life, Luma girl.
Oh, John. I don't...
I don't need a friend. I mean, I have friends.
- Yeah. - I mean, you'd be a wonderful friend, really.
- It's just that... - Yeah. I know.
You know. Gosh.
I'm sorry. Maybe we should go, or something.
[Chuckles]
How do you look without those glasses on?
I've seen it happen, Edna. He gives you nothing.
Didn't your mother ever teach you Rule Number One?
Don't fall in love with married guys.
No, that wasn't part of the breeding. Sex... never discussed.
You haven't written a song since you got caught up with this guy.
He's made you forget about yourself, your work, your dreams,
so you could plan your life around his timetable.
He hasn't made me do anything. For the first time in my life I love someone without conditions.
- He's costing me money! - He's gonna inspire me so much,
I'll write you a dozen hit songs.
Yeah, sure. When he breaks your heart.
No, thank you.
Uh, new receptionist, Joel?
How are The Beatles gonna put us out of a job?
They write their own stuff and every group coming up from England now...
is following that trend.
Well, what are you gonna do when there's no need for Songwriter magazine?
Oh, probably start a little fanzine for Denise Waverly on the west coast.
Ah!
Why? Are you moving?
Moving? Not that I know of.
Oh, but you could, right? You could move away.
With your family. Just move away so I'd never see you again.
A safe could fall on my head.
Look, I'm not gonna disappear on you.
[Tammy Lee] # You said you'd stay #
- Hey. - Yeah.
# Here by my side #
- # The truth is you lied ## - Let's wash the doll.
[John] That was little Tammy Lee with "Truth Is You Lied" written by Denise Waverly.
You're listening to the RCA Songwriters' Hour on WKEE. I'm John Murray.
One more show and I'll be transplanted to Chicago of all places.
- But we hope you'll continue to stay tuned to WKEE to hear... - Mommy.
the very best songwriters showcased such as Denise Waverly...
whose life is every bit as inspiring as her work; amazing stuff.
You wanna cut a record?
- Cut it out, Joel. - I talked to Red Bird today.
They'll sign you for one single.
I don't have a song to sing.
For five years you've been buggin' me to let you record.
I would've thought that you'd been saving up material for this day.
No, contrary to what you always suspected, I never held out on you.
That's my girl. So write something. Isn't that what I pay you for?
[Softly] Yeah, write something.
I don't... I don't know.
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