Wednesday, October 25, 2017

Vocal Development and Tongue Twisters

Vocal Development

Volume - The degree of loudness or intensity of a voice.

Rate - How fast or slow you speak.

Pitch - The highness or lowness of voice

Flexibility - The manipulation of pitch to express emotion.

Projection - The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience.

Articulation
 - The clear and precise pronunciation of words.

Diction - The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself.



The Ultimate List of Tongue Twisters

Unique New York

Three free throws

Red Leather, Yellow Leather

I thought a thought.
But the thought I thought wasn’t the thought I thought I thought.

One-One was a racehorse.
Two-Two was one, too.
When One-One won one race, Two-Two won one, too.

Say this sharply, say this sweetly,
Say this shortly, say this softly.
Say this sixteen times very quickly.

Rubber Baby Buggy Bumpers! (Repeat. Increase the tempo.)

Silly Sally swiftly shooed seven silly sheep.
The seven silly sheep Silly Sally shooed Shilly-shallied south.
These sheep shouldn’t sleep in a shack; Sheep should sleep in a shed.

Red Bulb Blue Bulb Red Bulb Blue Bulb Red Bulb Blue Bulb

Red Blood Blue Blood

I wish to wish the wish you wish to wish, but if you wish the wish the witch wishes, I won’t wish the wish you wish to wish.

She sells seashells on the seashore.

Mix a box of mixed biscuits with a boxed biscuit mixer.

A proper copper coffee pot.

Toy boat. Toy boat. Toy boat.

Betty bought butter but the butter was bitter, so Betty bought better butter to make the bitter butter better.

I thought a thought.
But the thought I thought wasn’t the thought I thought I thought.
If the thought I thought I thought had been the thought I thought, I wouldn’t have thought so much.

How much wood could a wood chuck; chuck if a wood chuck could chuck wood.

Comical economists.

Which wristwatches are Swiss wristwatches?

Peter Piper picked a peck of pickled peppers,
A peck of pickled peppers Peter Piper picked.
If Peter Piper picked a peck of pickled peppers,
Where’s the peck of pickled peppers Peter Piper picked?

Sascha sews slightly slashed sheets shut.

She should shun the shinning sun.

The big black back brake broke badly.

The big beautiful blue balloon burst.

A shapeless sash sags slowly.

Smelly shoes and socks shock sisters.

Which wrist watches are Swiss wrist watches?

Dick kicks sticky bricks.

Shave a single shingle thin.

Stick strictly six sticks stumps.

Cinnamon aluminum linoleum.

New York is unanimously universally unique.

Cooks cook cupcakes quickly.

Flora’s freshly fried fish.

A bragging baker baked black bread.

Buy blue blueberry biscuits before bedtime.

She sold six shabby sheared sheep on ship.

The sixth sick sheik’s son slept.

These thousand tricky tongue twisters trip thrillingly off the tongue.

Sunday, October 15, 2017

Radio Play History and Significant Moments in the Era







Radio drama is over 70 years old, and, for all serious purposes, has been dead for 50 of those years, being used only occasionally in the classroom as a novelty or curiosity. During the middle to late 1940's, radio drama reached its peak, then, with the advent and expansion of television, it quickly faded into history. Before the 1920's formal radio programs were unknown. Most broadcasts were one time events consisting mainly of talk and music. Broadcast hours were irregular, usually four or five hours a day, and the only regularly scheduled broadcasts were weather reports. Once in a while, musical events such as symphonies and operas were broadcast from the locations where they were being performed. Occasionally stage plays were broadcast from the theatre, and sporting events were broadcast with play-by-play announcing.

In the mid 20's, larger stations began to develop programs using announcers or narrators. These programs used definite openings and closings and were built around specific program ideas. Radio drama was born in 1927, when networks began adapting short stories, and even writing original scripts, for broadcast.

During the last part of the 1920's many one-hour, sponsored network programs started. Musical variety and concert music programs were the most popular forms during this period. Some of these network variety programs used a different format each week—a musical program one week, a talk or a debate the next week, and perhaps a dramatization the third week. During this period the network schedules included two or three minstrel variety programs and a comedy variety program using a series of several comedy acts in a half hour. Song-and-patter teams, usually two person teams that used talk between songs, became popular during this period. Later on patter-only comedy acts appeared. The Amos 'n' Andy show was one of the first to use this format. At first Amos 'n' Andy presented patter five nights a week for fifteen minutes each night.

During the 1930-31 season, the comedy dramatic form became an important part of radio programming, when Amos 'n' Andy adopted a story line. Amos 'n' Andy was so popular that the program survived even into the TV era.

In the early 1930's national advertisers recognized the potential for radio advertising and became willing to buy air-time and sponsor programs. As this happened, networks competed for their share. The result was the development of many new program forms. Among the new program types were: vaudeville variety programs, dramatized news programs, programs built around a comedian, advice/interview programs, amateur contest programs, town meeting programs, daily network news programs, daytime "soap opera" serialized drama, after school juvenile serialized adventure drama, and hillbilly variety programs. As network daytime serials became popular, stations developed daytime schedules.

In order to survive the depression years, many local stations scheduled commercial religious programs, programs with cultural appeal (country music for instance), and astrology programs that included strong appeals for donations to keep the show on the air. During this time, local news programs were usually one fifteen-minute broadcast per day, getting their news from daily newspapers.

In the early 1940's, radio programs reflected America's involvement in World War II. As the number of news and human interest programs grew, evening variety, musical, quiz, and audience participation programs shrunk. During this time, evening dramatic programs exploded in number.

As a result of the country's involvement in the war, the number of hours per week devoted to news broadcasts nearly doubled. It was probably this abundance of war news that propelled the spectacular growth of evening dramatic programs. As listeners grew tired of war talk, they turned to other programs for escape. The forms that offered the most escape were comedy-variety, comedy drama, and thriller drama. As a matter of fact, one of the dramatic series created during this period was entitled Escape. During the 1944-45 season, the networks scheduled 8 hours of comedy variety, 8 hours of comedy drama programs, and 14 hours of thriller drama each week. By the end of this period, networks offered 47 hours a week of dramatic programs during the evening and on Sunday. Thriller drama programs counted for about 25 hours of these each week.

In the early years of television, not enough homes had a TV receiver and national sponsors were hard to find, therefore, production costs had to be controlled. It was too expensive to create new forms and take a chance on an unknown show, so the forms that existed at the time on radio were moved directly to television. In fact, many of the successful radio series went directly to television. Gunsmoke, an extremely successful western drama, was one among several that could be heard on radio and seen on TV. Suspense, radio's longest running thriller series, was another.


Web Resource: balancepublishing.com

Radio Play Project (4 people per group): 
Students will create their own radio play, Murder Mystery. 

Materials Needed: 
character plot, plot mountain, script, sound effects, commercials, recording device, lots of imagination

Duties:
Two Playwrights: It is the responsibility of the playwright to write the actual script for the radio drama. The other members of the group will provide creative input, but the playwright will be held accountable for actually writing the script on paper.

Foley Artist: It is the responsibility of the Foley artist to create the sound effects (six) for the radio drama. This person will be responsible for ensuring that all props are brought to the recording studio when needed. The Foley artist will make sure that the playwright includes all sound effects in the script.

Advertising Executive: It is the responsibility of the advertising executive to write the commercials (three) for the radio drama. This person should decide where the commercials should be placed in the script and inform the playwright of these decisions.


Sunday, October 8, 2017

Radio Play Project

Murder Mystery Radio Play Project
This is a group work project. Your group is going to write a Radio Play script. The theme of the play will be a murder mystery. Before you can begin you must make some choices.
1 – What? We already know this scenario; a murder has taken place.
2 – Where? Where will the play take place (at a school, the mall, a Halloween party, the zoo…)?
3 – Who? Who is in your play and what is their relationship to each other? Are they friends, strangers or enemies?
Use this table to create your characters.

Who is the Protagonist (the good guy/girl)? This is ONE person.
Name and describe them.
















Who is the Antagonist (the bad guy/girl)? This is ONE person.
Name and describe them.

Who supports the Protagonist?
One or multiple characters
Name and describe them.

Who supports the Antagonist?
One or multiple characters
Name and describe them.


Now it's time you create the plot of your murder mystery!

Radio Play Plot Mountain
Exposition – In this section you will introduce your characters and backstory.



























Beginning Action – In this section we will see the first glimpse of conflict.
Rising Action – In this section the conflict escalates.
Climax – In this section the conflict reaches its peak (example – someone dies, is kidnapped, gets into a fight, gets arrested…).
Falling Action – In this section the conflict begins to resolve.
Resolution – In this section the conflict is resolved. The resolution does not have to be good. It is simply a means to an end (example – the missing person’s body is found, the most lovable character is sentenced to life in prison…).


Silent Film History

Silent Film History




Silent Film Project - Your group will use your mime, pantomime and combat mime scenes to create a silent film by mapping it out on a storyboard.

Storyboard - A sequence of drawings, typically with some directions and dialogue, representing the shots planned for a movie or television production.



Silent Film Project

-         Create a storyboard to map out your planning for your Silent Film.

What should be on my storyboard?

Shots and Signs - Each square represents a shot (video recording of scene work) or sign (written dialogue or narration). The squares are designated for writing descriptions of what happens in your scenes/shots or to show what your signs will state.

Types of Shots - Close-up, Long and Mid-range (You should have at least one close-up and mid-range shot in your film). You will receive three storyboard sheets, one for each section of your film (Beginning, Middle, Ending). Each sheet contains six squares for shots/signs. You may not need to use all six squares for each section.

What is on a sign?


Dialogue - "Oh no! Watch out!!!"

Description – The next day….




Group________________________________________                                              
Silent Film Project Storyboards
Beginning/Exposition


*Remember, you should have at least one close-up and mid-range shot in your film.
Title Page – What is the name of your Silent Film?











Sign – Brief, introductory dialogue or narration to set up the beginning of your film.
Shot – First filmed scene for the beginning section of your film.
Sign – Brief dialogue or narration for the beginning of your film.











Shot – Second filmed scene for the beginning section of your film.
Sign – Brief dialogue or narration for the beginning of your film.



Group________________________________________                                              
Middle/Climax (conflict)

Shot – First filmed scene for the middle section of your film.











Sign – Brief, introductory dialogue or narration to set up the middle of your film.
Shot – Second filmed scene for the middle section of your film.
Sign – Brief dialogue or narration for the middle of your film.











Shot – Third filmed scene for the middle section of your film.
Sign – Brief dialogue or narration for the middle of your film.



Group________________________________________                                              
Ending/Resolution


Shot – First filmed scene for the ending section of your film.











Sign – Brief, introductory dialogue or narration to set up the ending of your film.
Shot – Second filmed scene for the ending section of your film.
Sign – Brief dialogue or narration for the ending of your film.











Shot – Third filmed scene for the ending section of your film.
Sign – Brief dialogue or narration for the ending of your film.



Project Example/Previous Student Work

Tuesday, October 3, 2017

Friday Night Football!

Showstoppers first performance of the season!



Friday, August 18, 2017

Welcome Back!

August 18, 2017
(Minnie Evans Play Festival, Fall 2016)
Dear Student and Parent/Guardian,

Welcome back to another exciting year at South Columbus High School. Perhaps this is your first year at South or maybe this year will lead to the conclusion of your high school career. In either case, as the dance and theater educator at SCHS, I assure you the 2017 – 2018 academic school year will be filled with much learning, special events and performance opportunities.

For your convenience I have provided my information and policies online. Simply click the link, Important Classroom Information located in the left-hand column on my site to access links for:
1 – The Common Core Curriculum for Dance and Theater
2 – Classroom Procedures and Grading (Parent Portal, BYOT Policy, Course Contracts, NC Essential Standards Pacing Guides for Dance and Theater, Make-Up Work Policy, Band, Student Youtube Channels (Online Portfolios)
3 – Additional Resources
*Please take the time to read the above listed information thoroughly, so you may know what your child is responsible for.
(Black Box Dance Theater Workshop, Fall 2016)

What do I expect from my students?
My classes are heavily participation- based. Therefore, regular attendance and class participation are necessary to insure success. If a student is absent from class, they should consult the Make-Up Work Policy on my website. * Please note that all make-up work must be completed and submitted within five days of the student’s return to school unless there are special circumstances which have been approved by me in advance.

Do I have to perform?
Of course, you are enrolled in a performing arts course! We perform in class every day! As far as formal performances are concerned, Intermediate, Proficient and Advanced classes will have extensive performance requirements and outside-of-class related activities. Beginning students are learning fundamentals and aren’t quite ready for formal performance. Beginning Theater does not have a required performance. Beginning Dance has one performance at the end of the semester, our annual spring concert.
*Please note, students who miss performances/events/rehearsals, etc… are required to complete an alternate assignment to replace the missed grade. Students who fail to complete and submit an alternate assignment will not receive credit for the missed grade.

(Christmas Concert, Winter 2016)


How will I be graded in your class?
As mentioned before, my class is largely participation-based. For this reason students will receive a weekly participation grade. This grade is an average of their daily participation in my class. When students are absent they do not receive points for the day. It is imperative that students are familiar with my Make-Up Work Policy and complete make-up assignments when they are absent. 

Why do I have to submit a course contract?
A signed course contract is my way of knowing parents/guardians have been informed of my classroom procedures and expectations. For this reason, I treat the contract as a graded assignment. *Students who turn in a signed contract will receive a one-hundred percent, quiz grade. Students who do not will receive a zero, failing quiz grade.


(Musical Tech Days, Spring 2017)



How can I contact you?
If you have any questions or concerns about my class, you may contact me at SCHS (910 – 653 – 4073), by email (amj@columbus.k12.nc.us), or through the Band APP.


When and where can we see students perform?
I have a calendar including performance dates and events for my classes on my website!

(Spring Musical, Spring 2017)


I am excited to see how much each of my students will learn and grow in class, day by day. They are hard-working, creative and intelligent. They always amaze me and make me very proud. I hope the parents and family members of students in the Arts department will continue their support at our performances. Every year the seats in the auditorium fill up quickly. This means so much to our kids! The only thing better than performing, is performing for a full house! Additionally, please remember, it takes a great deal of courage to stand onstage and share something you are passionate about. I ask you to be encouraging and praise them for their exceptional efforts each time they step onstage. 

Thanks so much for your time and attention. Let’s have another great semester!


Sincerely,
Amy Jones

Printable Copy

Monday, April 10, 2017

Sunday, January 29, 2017

Poetry Out Loud, Columbus County Schools, January 27, 2017

Congratulations to Miranda Sibbett for taking first place and being promoted to the state competition to be held in Greensboro, NC on March 4, 2017. Congratulations to Savannah Seay for taking second place and serving as our county's alternate for state.


Wednesday, January 25, 2017

Chicago the Musical Cast List



Southstage Company 2017

Leading Roles

Velma – Julia Armstrong
Roxie – Miranda Sibbett 
Billy – Evan Cribb 
Amos – Gabe Buchannon 
Mamma – Aniya Ingram 
Mary Sunshine – Carley Cribb 

Secondary Roles

Conductor – Savannah Seay
Sergeant Fogarty – Elijah Taylor 
Fred Casely – Auston Nunez 
Court Clerk – Taryn Priest 
Judge – Jenia Livingston 
Aaron – Quintay Kelly 
Martin Harrison – Devan Clewis 
Harry/Juror – Not yet cast 
Kitty – Hannah Williams 
Hunyak – Caroline Garland 
Mona – Lynsey Timmons 
Annie - Not yet cast 
June – Not yet cast 
Liz – Lilah Elliott

Ensemble (*Some ensemble members double as secondary roles.) 

Madison McPherson
Savannah Seay* 
Taryn Priest* 
Carson Faulk 
Amber Pirko (audition required) 
Lacey Hinson (audition required) 
Jenia Livingston* 
Caroline Garland* 
Peresha Jenerette 
Hayla Watts (audition required) 
Quintay Kelly* 
Elijah Taylor* 
Auston Nuzez* 
Dasha Hickman 
DeJana Hickman 
Gabe Buchanon* 
Devon Clewis* 
Lilah Elliott* 
Lynsey Timmons*

Second Semester Welcome Letter

January 25, 2017


Dear Student and Parent/Guardian,

Welcome back to another exciting semester at South Columbus High School. Perhaps this is your first year at South or maybe this year will lead to the conclusion of your high school career. In either case, as the dance and theater educator at SCHS, I assure you the 2016 – 2017 academic school year will be filled with much learning, special events and performance opportunities.


For your convenience I have provided my information and policies online. Simply click the link, Important Classroom Information located in the left-hand column on my site to access links for:
1 – The Common Core Curriculum for Dance and Theater
2 – Classroom Procedures and Grading (Parent Portal, BYOT Policy, Course Contracts, NC Essential Standards Pacing Guides for Dance and Theater, Make-Up Work Policy, Remind, Student Blogs (Online Portfolios)
3 – Additional Resources
*Please take the time to read the above listed information thoroughly, so you may know what your child is responsible for.


What do I expect from my students?
My classes are heavily participation- based. Therefore, regular attendance and class participation are necessary to insure success. If a student is absent from class, they should consult the Make-Up Work Policy on my website. * Please note that all make-up work must be completed and submitted within five days of the student’s return to school.



Do I have to perform?
Of course, you are enrolled in a performing arts course! We perform in class every day! As far as formal performances are concerned, Intermediate, Proficient and Advanced classes will have extensive performance requirements and outside-of-class related activities. Beginning students are learning fundamentals and aren’t quite ready for formal performance. Beginning Theater does not have a required performance. Beginning Dance has one performance at the end of the semester, our annual spring concert.
*Please note, students who miss performances/events/rehearsals, etc… are required to complete an alternate assignment to replace the missed grade. Students who fail to complete and submit an alternate assignment will not receive credit for the missed grade.



How will I be graded in your class?
As mentioned before, my class is largely participation-based. For this reason students will receive a weekly participation grade. This grade is an average of their daily participation in my class. When students are absent they do not receive points for the day. It is imperative that students are familiar with my Make-Up Work Policy and complete make-up assignments.

Why do I have to submit a course contract?
A signed course contract is my way of knowing parents/guardians have been informed of my classroom procedures and expectations. For this reason, I treat the contract as a graded assignment. *Students who turn in a signed contract will receive a one-hundred percent, quiz grade. Students who do not will receive a zero, failing quiz grade.


How can I contact you?
If you have any questions or concerns about my class, you may contact me at SCHS (910 – 653 – 4073) or by email (amj@columbus.k12.nc.us).


When and where can we see students perform?
I have a calendar including performance dates and events for my classes on my website!



I am excited to see how much each of my students will learn and grow in class, day by day. They are hard-working, creative and intelligent. They always amaze me and make me very proud. I hope the parents and family members of students in the Arts department will continue their support at our performances. Every year the seats in the auditorium fill up quickly. This means so much to our kids! The only thing better than performing, is performing for a full house! Additionally, please remember, it takes a great deal of courage to stand onstage and share something you are passionate about. I ask you to be encouraging and praise them for their exceptional efforts each time they step onstage. 

Thanks so much for your time and attention. Let’s have another great semester!


Sincerely,
Amy Jones

Tuesday, January 3, 2017

It's that time again! Chicago the Musical!


SIGN UP HERE!

Auditions for Chicago the Musical will take place on exam make-up day, January 24, 2017. Please note, ensemble cast members must audition this year with Principle and Secondary actors.

Principles Roles:

(Female Principles) Velma Kelly (Cicero - Cell Block Tango), Roxie Hart, Matron "Mama" Morton, Mary Sunshine (singer)

(Male Principles): Billy Flynn (lawyer), Amos Hart (Roxie's husband)

Secondary Roles:

(Female Secondary/Ensemble Roles) Mona "Lipschitz"/Ensemble Member #3, Go-To-Hell Kitty/Ensemble Member #8, Annie "Six"/Ensemble Member #9, June "Squish"/Ensemble Member #10, Hunyak "Uh Uh"/Ensemble Member #12, Liz "Pop"/Ensemble Member #13


(Male Secondary/Ensemble Roles) Sergeant Fogarty/Ensemble Member #4, Aaron/Ensemble Member #5, Martin Harrison/Ensemble Member #6, Harry/Juror/Ensemble Member #7, Fred Casely/Ensemble Member #11


(Either Secondary/Ensemble Roles) Court Clerk/Ensemble Member #1, Judge/Ensemble Member #2

Audition Requirements:
Song (selected by Mr. Price)
Scene (selected by Mrs. Jones)
Dance (choreographed by Mrs. Jones)

Special Note:
- Your song and scenes must be prepared in advance (you can pick up a script from Mrs. Jones).

- The dance routine will be taught the day of auditions.

- The song information is available here.

Guys: "All I Care About"

Broadway Version



Instrumental Version



Lyrics for "All I Care About"

[Girls:]
We want Billy
Where is Billy?
Give us Billy
We want Billy
B-I-Double L-Y.
We're all his
He's our kind of a guy
And ooh what luck
'Cause here he is.

[Announcer:]
Ladies and Gentlemen, presenting the silver-tounged prince of the courtroom, the one, the only Billy Flynn!

Billy:
I don't care about expensive things
Cashmere coats, diamond rings
Don't mean a thing
All I care about is love
[Girls:]
That's what he's here for
[Billy:] That's what I'm here for
I don't care for wearin' silk cravats
Ruby studs, satin spats
Don't mean a thing
All I care about is love
[Girls:]
All he cares about is love
[Billy:]
Gimme two eyes of blue
Softly saying "I need you" [Girls:] (with Billy) I need you
Let me see her standin' there
And honest, Mister, I'm a millionaire

I don't care for any fine attire
Vanderbilt might admire
No, no, not me
All I care about is love...
[Girls:]
All he cares about is love.
[Billy:] (whistles)
(girls hum..)

[Billy:] (spoken:) Maybe you think I'm talking about physical love. Well, I'm not. Not just physical love. There's other kinds of love. Like love of...justice. Love of... legal procedure. Love of lending a hand to someone who really needs you. Love of your fellow man. Those kinds of love are what I'm talkin' about. And physical love ain't so bad either.
(sung:)
It may sound odd
But all I care about is love
[Girls:]
That's what he's here for
[Billy:]
(Female chorus too:)
Honest to god
All I care about is love
[Girls:]
All he cares about is love
[Billy:]
Show me long raven hair
Flowin' down, about to there
And when I see her runnin' free
Keep your money, that's enough for me
I don't care for drivin' packard cars
Or smoking long, buck cigars
No, no, not me
All I care about is
Doin' the guy in
Who's pickin' on you
Twistin' the wrist
That's turnin' the screw

[Billy and (Female Chorus):]
All I (he) care(s) about is love!

Girls: "I Can't Do It Alone"

Broadway Version



Instrumental Version



Lyrics for "I Can't Do It Alone"

(Announcer) Ladies and gentlemen,
Miss Velma Kelly in an act of desperation.

(VK)
My sister and I had an act that couldn't flop.
My sister and I were headed straight for the top.
My sister and earned a thou a week at least, oh yeah...
But my sister is now unfortunately deceased.
I know it's sad, of course,
but a fact is still a fact.
And now all that remains is the remains
of a perfect double act!
Watch this!

Velma Kelly (to Roxie):
Now, you have to imagine it with two people!
It's swell with two people.

(VK)
First I'd -
then she'd -
then we'd -
but I can't do it alone!
Then she'd -
then I'd -
then we'd -
but I can't do it alone!
She'd say, "What's your sister like?"
I'd say man...
she'd say, "You're the cat's meow!"
then we'd wow the crowd again!
When she'd go -
I'd go -
we'd go -
then those ding dong daddies started to roar,
whistled, stomped, stamped on the floor!
Yelling, screaming, begging for more!
And we'd say, "Ok, fellas, keep your socks up,
'cause you ain't seen nothing yet!"
(Instrumental)
But I simply cannot do it alone!

Velma Kelly (to Roxie):
So what'd ya think, huh?
Come on, you can say...

[Roxie blows a raspberry]

Velma Kelly (to Roxie):
I know you're right, the first part's crap.
But the second part, the second part is really nifty! Ok...

(VK)
She'd go -
I'd go -
We'd go -
Then those two-bit johnny's did it around
to cheer the best attraction in town
they nearly tore the balcony down!
And we'd say, "Ok boys, we're going home.
But before we go, here's a few more partin' shots!"
And this, this we did in perfect unison!
(Instrumental)
Now you see me going through it
you may think there's nothing to it
but I simply cannot do it alone!


Ensemble: "All That Jazz"




Lyrics for "All That Jazz"


Come on, babe
Why dont we paint the town?
And all that jazz

I'm gonna rouge my knees
And roll my stockings down
And all that jazz

Start the car
I know a whoopee spot
Where the gin is cold
But the piano's hot

It's just a noisy hall
Where there's a nightly brawl
And all that jazz

Slick your hair
And wear your buckle shoes
And all that jazz

I hear that Father Dipp
Is gonna blow the blues
And all that jazz

Hold on, hon'
We're gonna bunny hug
I bought some asprin
Down at United Drug

In case you shake apart
And wanna brand new start
To do that jazz

Oh, you're gonna see you
Sheba shimmy shake
And all that jazz


Oh, she's gonna shimmy
Till her garters break
And all that jazz

Show her where to park her girdle
Oh, her mother's blood'd curdle
If she'd hear her baby's queer
For all that jazz

Find a glass
We're playing fast and loose
And all that jazz

Right up here
Is where I store the juice
And all that jazz

Come on, babe
We're gonna brush the sky
I betcha lucky
Lindy never flew so high

'Cause in the stratosphere
How could he lend an ear
To all that jazz?

So that's final, [Incomprehensible]
Yeah, I'm afraid so, kiddo
Afraid? Yeah
Nobody walks out on me

No, I'm no one's wife
But, oh, I love my life
And all that jazz
That jazz

If you have any questions, please see Mrs. Jones.