Some People (Demo) - Ethel Merman

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Embed: get yourself some new orchestrations,
new routines and red velvet curtains.
Get a feathered hat for the baby;
photographs in front of the theatre.
Get an agent and in jig time
you'll be being booked in the big time."

Oh, what a dream.
A wonderful dream, papa.
And all that I need is eighty-eight bucks, papa.
That's what he said, papa.
Only eighty-eight bucks.

"You ain't gettin' eighty-eight cents from me, Rose."

"Well, I'll get it someplace else! But I'll get it! And get my kids out!"

Goodbye to blueberry pie.
Good ridance to all the socials I had to go to,
all the lodges I had to play,
all the shriners I said hello to.
Hey, L.A., I'm comin' your way!

Some people sit on their butts;
got the dream, yeah, but not the guts.
That's living for some people,
for some hum-drum people I suppose.
Well, they can stay and rot!
But not Rose!Lyrics provided by TANCODEhttp://lyricsever.com/" readonly=""/>

Some People (Demo) Lyrics

Some people can get a thrill
knitting sweaters and setting still.
That's okay for some people
who don't know they're alive.

Some people can thrive and bloom
living life in the living room.
That's perfect for some people
of one hundred and five.

But I at least gotta try
when I think of all the sights that I gotta see
and all the places I gotta play,
all the things that I gotta be at.
Come on, papa, what do you say?

Some people can be content
playing bingo and paying rent.
That's peachy for some people,
for some hum-drum people to be,
but some people ain't me!

I had a dream,
a wonderful dream, papa,
all about June in the Orpheum circuit.
Gimme a chance and I know I can work it.

I had a dream.
Just as real as can be, papa.
There I was in Mr. Orpheum's office
and he was saying to me, "Rose,
get yourself some new orchestrations,
new routines and red velvet curtains.
Get a feathered hat for the baby;
photographs in front of the theatre.
Get an agent and in jig time
you'll be being booked in the big time."

Oh, what a dream.
A wonderful dream, papa.
And all that I need is eighty-eight bucks, papa.
That's what he said, papa.
Only eighty-eight bucks.

"You ain't gettin' eighty-eight cents from me, Rose."

"Well, I'll get it someplace else! But I'll get it! And get my kids out!"

Goodbye to blueberry pie.
Good ridance to all the socials I had to go to,
all the lodges I had to play,
all the shriners I said hello to.
Hey, L.A., I'm comin' your way!

Some people sit on their butts;
got the dream, yeah, but not the guts.
That's living for some people,
for some hum-drum people I suppose.
Well, they can stay and rot!
But not Rose!

Lyrics provided by LyricsEver.com
Ethel Merman (January 16, 1908 – February 15, 1984) was an American actress and singer. Known primarily for her belting voice and roles in musical theatre, she has been called "the undisputed First Lady of the musical comedy stage." Among the many standards introduced by Merman in Broadway musicals are "I Got Rhythm", "Everything's Coming Up Roses", "Some People", "Rose's Turn", "I Get a Kick Out of You", "It's De-Lovely", "Friendship", "You're the Top", "Anything Goes", and "There's No Business Like Show Business", which later became her theme song.

Ethel Agnes Zimmerman was born in the third floor bedroom of her grandmother's house at 359 4th Avenue in Astoria, Queens. Growing up near Famous Players-Lasky's Astoria Studios, young Ethel often watched the silent movie stars drive by in their massive cars, and she dreamed of joining their ranks one day. Her powerful voice won attention when her family worshipped at Holy Redeemer Episcopal Church, and she began making local concert appearances. She also frequently attended vaudeville performances at The Palace Theater in Manhattan, watching great stars like Fanny Brice and Sophie Tucker.

Ethel's parents Edward (an accountant) and Agnes (a school teacher) understood Ethel's love of singing, but they did not see show business as a reliable career choice for a woman. They insisted that she get a solid education with thorough training in secretarial skills, so she would have something to fall back on if her dreams of stardom didn't pan out. After Ethel graduating William Cullen Bryant High School, she earned a respectable $28 a week as a stenographer for the owner of a local factory. She picked up extra money by singing at private parties and in night clubs. Ethel was so efficient that her indulgent boss (who only came in two days a week) overlooked her taking nap breaks at the office after late night performances. When Ethel's gigs multiplied, her parents accepted the inevitable and allowed her to give up the day job and sing full-time.
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