Johnny Mercer
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Johnny Mercer | |
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Background information | |
Birth name | John Herndon Mercer |
Born | Savannah, Georgia, U.S. | November 18, 1909
Died | June 25, 1976 Hollywood, California, U.S. | (aged 66)
Occupation(s) |
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Years active | 1930–1976 |
John Herndon Mercer (November 18, 1909 – June 25, 1976) was an American lyricist, songwriter, and singer, as well as a record label executive who co-founded Capitol Records with music industry businessmen Buddy DeSylva and Glenn E. Wallichs.[1]
He is best known as a Tin Pan Alley lyricist, but he also composed music, and was a popular singer who recorded his own songs as well as songs written by others from the mid-1930s through the mid-1950s. Mercer's songs were among the most successful hits of the time, including "Moon River", "Days of Wine and Roses", "Autumn Leaves", and "Hooray for Hollywood". He wrote the lyrics to more than 1,500 songs, including compositions for movies and Broadway shows. He received nineteen Oscar nominations, and won four Best Original Song Oscars.
Early life
Mercer was born in Savannah, Georgia, where one of his first jobs, aged 10, was sweeping floors at the original 1919 location of Leopold's Ice Cream.[2][3] Mercer lived on Lincoln Street, a block away from the store's East Gwinnett and Habersham location.[4][5]
Mercer's father, George Anderson Mercer, was a prominent attorney and real-estate developer. Mercer's mother, Lillian Elizabeth (née Ciucevich), was the daughter of a Croatian immigrant father and a mother with Irish ancestry. Lillian was the senior Mercer's secretary and second wife. Lillian's father, born in
Mercer liked music as a small child and attributed his musical talent to his mother, who would sing sentimental ballads. Mercer's father also sang, mostly old Scottish songs. His aunt told him he was humming music when he was six months old and later she took him to see minstrel and vaudeville shows where he heard "coon songs" and ragtime.[8] The family's summer home, "Vernon View", was on the tidal waters and Mercer's long summers there among mossy trees, saltwater marshes, and soft, starry nights inspired him years later.[9]
Mercer's exposure to black music was perhaps unique among the white songwriters of his generation[citation needed]. As a child, Mercer had African American playmates and servants, and he listened to the fishermen and vendors about him, who spoke and sang in the Gullah language (also known as "Geechee"). He was also attracted to Black church services. Mercer later stated, "Songs always fascinated me more than anything."[10] He had no formal musical training but was singing in a choir by six and at 11 or 12 he had memorized almost all of the songs he had heard and became curious about who wrote them. He once asked his brother who the best Tin Pan Alley songwriter was, and his brother said Irving Berlin.[11]
Despite Mercer's early exposure to music, his talent was clearly in creating the words and singing, not in playing music, though early on he had hoped to become a composer. In addition to the lyrics that Mercer memorized, he was an avid reader and wrote adventure stories. His attempts to play the trumpet and piano were not successful, and he never could read musical scores with any facility, relying instead on his own notation system.[12]
As a teenager in the Jazz Era, he searched for records by early black blues/jazz figures including Ma Rainey, Bessie Smith, and Louis Armstrong. His father owned the first car in town, and Mercer's teenage social life was enhanced by his driving privilege, which sometimes verged on recklessness.[13] The family would motor to the mountains near Asheville, North Carolina to escape the Savannah heat and there Mercer learned to dance (from Arthur Murray himself) and to flirt with Southern belles, his natural sense of rhythm helping him on both accounts. (Later, Mercer wrote a humorous song called "Arthur Murray Taught Me Dancing in a Hurry".)
Mercer attended the exclusive Woodberry Forest School in Virginia until 1927. Although not a top student, he was active in literary and poetry societies and as a humor writer for the school's publications. In addition, his exposure to classic literature augmented his already rich store of vocabulary and phraseology. He began to scribble ingenious, sometimes strained, rhymed phrases for later use. Mercer was also the class clown and a prankster, and member of the "hop" committee that booked musical entertainment on campus.[14]
Mercer was already somewhat of an authority on jazz at an early age. His yearbook stated, "No orchestra or new production can be authoritatively termed 'good' until Johnny's stamp of approval has been placed upon it. His ability to 'get hot' under all conditions and at all times is uncanny."[15] Mercer began to write songs, an early effort being "Sister Susie, Strut Your Stuff".[16]
Given his family's long association with Princeton, New Jersey, and Princeton University,[17] Mercer was groomed to go to school there, but those ambitions were dashed by his father's financial setbacks in the late 1920s. He went to work in his father's recovering business, collecting rent and running errands, but soon grew bored with the routine and with Savannah.
Career
Starting out
Mercer moved to New York in 1928, when he was 19. The music he loved, jazz and blues, was booming in Harlem and Broadway was bursting with musicals and revues from George Gershwin, Cole Porter, and Irving Berlin. Vaudeville, though beginning to fade, was still a strong musical presence. Mercer's first few jobs were as a bit actor (billed as John Mercer). Holed up in a Greenwich Village apartment with plenty of time on his hands and a beat-up piano to play, Mercer soon returned to singing and lyric writing.[18] He secured a day job at a brokerage house and sang at night. Pooling his meager income with that of his roommates, Mercer managed to keep going, sometimes on little more than oatmeal. One night he dropped in on Eddie Cantor backstage to offer a comic song, but although Cantor didn't use the song, he began encouraging Mercer's career.[19] Mercer's first lyric, for the song "Out of Breath (and Scared to Death of You)" (1930), composed by friend Everett Miller, appeared in a musical revue The Garrick Gaieties in 1930. Mercer met his future wife at the show, chorus girl Ginger Meehan. She had earlier been one of the many chorus girls pursued by the young crooner Bing Crosby. Through Miller's father, an executive at the prominent music publisher T. B. Harms, Mercer's first song was published.[20] It was recorded by Joe Venuti and his New Yorkers.
The 20-year-old Mercer began to frequent the company of other songwriters and to learn the trade. He traveled to California to undertake a lyric writing assignment for the musical Paris in the Spring and met his idols Bing Crosby and Louis Armstrong. Mercer found the experience sobering and realized that he much preferred free-standing lyric writing to writing on demand for musicals. Upon his return, he got a job as staff lyricist for Miller Music for a $25-a-week draw, which give him a base income and enough prospects to win over and marry Ginger in 1931.[21] The new Mrs. Mercer quit the chorus line and became a seamstress, and to save money the newlyweds moved in with Ginger's mother in Brooklyn. Johnny did not inform his own parents of his marriage until after the fact, perhaps in part because he knew that Ginger being Jewish would not sit comfortably with some members of his family, and he worried they would try to talk him out of marrying her. In 1932, Mercer won a contest to sing with the
During the golden age of sophisticated popular song of the late Twenties and early Thirties, songs were put into revues with minimal regard for plot integration. The 1930s saw a shift from revues to stage and movie musicals using song to further the plot. Demand diminished accordingly for the pure stand-alone songs that Mercer preferred. Thus, although he had established himself in the New York music world, when he was offered a job in Hollywood to compose songs and perform in low-budget musicals for RKO, he accepted and followed idol Bing Crosby west.[25]
Hollywood years
Mercer moved to Hollywood in 1935, and began writing music for films. His first Hollywood assignment was a B-movie college musical, Old Man Rhythm, to which he contributed two songs and appeared in a small role. His next project, To Beat the Band, was a commercial flop, but it led to a meeting and a collaboration with Fred Astaire on the moderately successful song "I'm Building Up to an Awful Let-Down".
Mercer landed into a hard-drinking circle, and began to drink more at parties and was prone to vicious outbursts when under the influence of alcohol, contrasting sharply with his ordinarily genial and gentlemanly behavior.[26] Often he would assuage the guilt he felt for this behavior by sending roses the following day to the friend or acquaintance he had treated unkindly while drunk.[27] Ironically, he would later say that he found the Hollywood nightlife lacking: "Hollywood was never much of a night town. Everybody had to get up too early ... the movie people were in bed with the chickens (or each other)."[28]
Mercer's first big Hollywood song, the satirical "
During a lull at Warners, Mercer revived his singing career. He joined Crosby's informal minstrel shows put on by the "Westwood Marching and Chowder Club", which included many Hollywood luminaries.[30] Mercer worked on numerous duets for himself and Crosby to perform: several were recorded, and two, "Mr. Gallagher and Mr. Shean" (1938) a reworking of an old vaudville song, and "Mister Meadowlark" (1940), became hits.[31]
In 1939, Mercer wrote the lyrics to a melody by Ziggy Elman, a trumpet player with Benny Goodman. The song was "And the Angels Sing" and, although recorded by Crosby and Count Basie, it was the Goodman version with vocal by Martha Tilton and klezmer style trumpet solo by Elman that became a major hit. Years later, the title was inscribed on Mercer's tombstone.
Mercer was invited to the Camel Caravan radio show in New York to sing his hits and create satirical songs, like "You Ought to be in Pittsburgh", a parody of "You Ought to be in Pictures", with the Benny Goodman orchestra, then becoming the emcee of the nationally broadcast show for several months. Two more hits followed shortly, "Day In, Day Out" and "Fools Rush In" (both with music by Rube Bloom), and Mercer in short order had five of the top ten songs on the popular radio show Your Hit Parade.[32] Mercer also started a short-lived publishing company during his stay in New York. Mercer undertook a musical, Walk with Music (originally called Three After Three), with Hoagy Carmichael, but it was critically panned and commercially unsuccessful.
Shortly thereafter, Mercer began working with Harold Arlen, who wrote jazz and blues-influenced compositions while Mercer wrote lyrics. Their first hit was "Blues in the Night" (1941), which Arthur Schwartz called "probably the greatest blues song ever written."[33]
They went on to compose "One for My Baby (and One More for the Road)" (1941), "Ac-Cent-Tchu-Ate the Positive" (1944),[34] "That Old Black Magic" (1942),[35] and "Come Rain or Come Shine" (1946), among others.[36]
"Come Rain" was Mercer's only Broadway hit, composed for the show St. Louis Woman with
Mercer re-united with Hoagy Carmichael with "
Mercer founded
Mercer by the mid-1940s enjoyed a reputation as one of the premier Hollywood lyricists. He was adaptable, listening carefully and absorbing a tune and then transforming it into his own style. Like Irving Berlin, he was a close follower of cultural fashion and changing language, which in part accounted for the long tenure of his success. He loved many words (Too Marvelous for Words), including puns (Strip Polka), and current terms ("G. I. Jive"). He employed sound effects, as well, such as the train whistle sounds in "Blues in the Night" and "On the Atchison, Topeka, and the Santa Fe."
Mercer preferred to have the music first, taking it home and working on it. He claimed composers had no problem with this method provided that he returned with the lyrics.
Mercer was often asked to write new lyrics to already popular songs. The lyrics to "Laura", "Midnight Sun", and "Satin Doll" were all written after the melodies had become hits. He was also asked to compose English lyrics to foreign songs, the most famous example being "Autumn Leaves", based on the French song "Les Feuilles Mortes".
Radio programs
In 1943, Johnny Mercer's Music Shop was a summer replacement for The Pepsodent Show on NBC.[37] Mercer was the star, and singers Ella Mae Morse and Jo Stafford were regulars on the program, with musical support from The Pied Pipers and Paul Weston and his orchestra.[38] The Chesterfield Music Shop, a similar program in a 15-minute version, was broadcast in 1944.[37]
1950s–1970s
In the 1950s, the advent of rock and roll cut deeply into Mercer's natural audience, and dramatically reduced venues for his songs. Mercer wrote for several
His more successful songs of the 1950s include "
An indication of the high esteem in which Mercer was held can be observed in that he was the only lyricist to have his work recorded as a volume of Ella Fitzgerald's series of Song book albums. Ella Fitzgerald Sings the Johnny Mercer Song Book was released by Verve Records in 1964.
Mercer was humble about his work, attributing much of his success to luck and timing. He was fond of telling the story of how he was offered the job of doing the lyrics for Johnny Mandel's music on The Sandpiper, only to have the producer turn his lyrics down. The producer offered the commission to Paul Francis Webster and the result was "The Shadow of Your Smile", which became a huge hit, winning the 1965 Oscar for Best Original Song. However, Mercer and Mandel did collaborate on the 1964 song "Emily" from the film The Americanization of Emily starring Julie Andrews.[11]
In 1969, Mercer helped publishers Abe Olman and Howie Richmond found the National Academy of Popular Music's Songwriters Hall of Fame. In 1971, Mercer presented a retrospective of his career for the "Lyrics and Lyricists Series" in New York, including an omnibus of his "greatest hits" and a performance by Margaret Whiting. It was recorded live as An Evening with Johnny Mercer.[40] In 1974, he collaborated on the West End production The Good Companions. He also recorded two albums of his songs in London in 1974, with the Pete Moore Orchestra and with the Harry Roche Constellation, later compiled into a single album and released as ...My Huckleberry Friend: Johnny Mercer Sings the Songs of Johnny Mercer.
Late in his life, Mercer became friends with pianist Emma Kelly. He gave her the nickname "The Lady of Six-Thousand Songs" after challenging her, over several years, to play numerous songs he named. He kept track of the requests, and estimated she knew 6,000 songs from memory.[41]
Posthumous success
In the last year of his life, Mercer became fond of pop singer
Singing style
Well regarded also as a singer, with a folksy quality, Mercer was a natural for his own songs such as "Ac-Cent-Tchu-Ate the Positive", "On the Atchison, Topeka and the Santa Fe", "One for My Baby (and One More for the Road)", and "Lazybones". He was considered a first-rate performer of his own work.[11]
It has been said that he penned "One for My Baby (and One More for the Road)"—one of the great torch laments of all times—on a napkin while sitting at the bar at P. J. Clarke's when Tommy Joyce was the bartender. The next day Mercer called Joyce to apologize for the line "So, set 'em up, Joe," explaining "I couldn't get your name to rhyme."
ATCO Records issued Two of a Kind in 1961, a duet album by Bobby Darin and Johnny Mercer with Billy May and his Orchestra, produced by Ahmet Ertegun.
Personal life
In 1931, Mercer married Ginger Meltzer, a chorus girl, later a seamstress; and in 1940, when he was 30, the Mercers adopted a daughter, Amanda ("Mandy"). In 1960, Mandy married Bob Corwin, who was a pianist for Peggy Lee, Anita O'Day, and Carmen McRae, and also Mercer's long-time accompanist. They had a son, Jim Corwin, in 1961.[42]
In 1941, Mercer began an affair with 19-year-old
Mercer died on June 25, 1976, from an inoperable
Awards and legacy
Academy Awards
Mercer won four Academy Awards on eighteen nominations for Best Original Song:
- 1946: "On the Atchison, Topeka and the Santa Fe" (music by Harry Warren) for The Harvey Girls
- 1951: "In the Cool, Cool, Cool of the Evening" (music by Hoagy Carmichael) for Here Comes the Groom
- 1961: "Moon River" (music by Henry Mancini) for Breakfast at Tiffany's
- 1962: "Days of Wine and Roses" (music by Henry Mancini) for Days of Wine and Roses
Mercer was also nominated for Best Original Song Score for the 1970 Mancini collaboration Darling Lili.[45]
Other
In 1980, the Songwriters Hall of Fame established the annual
In 1983, Mercer earned a posthumous nomination for a Tony Award for Best Original Score for his original lyrics and for Gene de Paul's original music and score with new songs by Al Kasha and Joel Hirschhorn for the stage musical Seven Brides for Seven Brothers at the 37th Tony Awards,[47] but lost to Andrew Lloyd Webber and T. S. Eliot for Cats.
Mercer was given tribute in John Berendt's 1994 novel Midnight in the Garden of Good and Evil. The 1997 film adaptation directed by Clint Eastwood features prominently Hoagy Carmichael/Johnny Mercer song "Skylark", sung by k.d. lang. The movie soundtrack contains 14 Mercer songs performed by artists such as Alison Krauss, Paula Cole, and Cassandra Wilson; the film's star, Kevin Spacey, sang Mercer's 1942 hit "That Old Black Magic".
For the occasion of Mercer's 100th birthday in 2009, Eastwood produced a documentary film about Mercer's life and work called
The Complete Lyrics of Johnny Mercer was published by
In November 2009, a bronze statue of Mercer was unveiled in Ellis Square in Savannah, Georgia, his hometown and birthplace. It was commissioned by the Friends of Johnny Mercer.
The Johnny Mercer Collections, including his papers and memorabilia, are preserved in the library of Georgia State University in Atlanta. GSU occasionally holds events showcasing Mercer's works.
On March 25, 2015, it was announced that Mercer's version of the popular song "Ac-Cent-Tchu-Ate the Positive" would be inducted into the Library of Congress's National Recording Registry for the song's "cultural, artistic and/or historical significance to American society and the nation's audio legacy".[49] The music was written by Harold Arlen and the lyrics by Mercer. The song was nominated for the "Academy Award for Best Original Song" at the 18th Academy Awards in 1945 after being used in the film "Here Come the Waves." In describing his inspiration for the lyrics, Mercer told the "Pop Chronicles" radio documentary "[my] publicity agent ... went to hear Father Divine and he had a sermon and his subject was 'you got to accentuate the positive and eliminate the negative.' And I said, 'Wow, that's a colorful phrase!'"[50]
Songs
Date | Song title | Music by | Notes |
---|---|---|---|
1933 | "Lazy Bones" | Hoagy Carmichael | |
1934 | "P.S. I Love You" | Gordon Jenkins | |
1936 | "Goody Goody" | Matty Malneck | |
1936 | " I'm an Old Cowhand from the Rio Grande " |
Johnny Mercer | |
1937 | "Hooray for Hollywood" | Richard A. Whiting | |
1937 | "Too Marvelous for Words" | Richard A. Whiting | |
1938 | "Jeepers, Creepers!" | Harry Warren | Film - Going Places
Nominated Best Original Song |
1938 | "You Must Have Been a Beautiful Baby" | Harry Warren | |
1938 | " When a Woman Loves a Man " |
Bernie Hanighen, Gordon Jenkins | |
1939 | "And the Angels Sing" | Ziggy Elman | |
1939 | "Cuckoo in the Clock" | Walter Donaldson | |
1939 | "Day In, Day Out" | Rube Bloom | |
1939 | "I Thought About You" | Jimmy Van Heusen | |
1939 | "Wings Over the Navy" | Harry Warren | |
1940 | "Love of My Life" | Artie Shaw | Film - Second Chorus
Nominated Best Original Song |
1940 | "I'd Know You Anywhere" | Jimmy McHugh | Film - You'll Find Out
Nominated Best Original Song |
1940 | " Fools Rush In " |
Rube Bloom | |
1941 | "Blues in the Night" | Harold Arlen | Blues in the Night
Nominated Best Original Song |
1941 | "I Remember You" | Victor Schertzinger | |
1941 | "Tangerine" | Victor Schertzinger | |
1941 | "This Time the Dream's on Me" | Harold Arlen | |
1942 | "Moon Dreams" | Chummy MacGregor (co-writer) | |
1942 | "Dearly Beloved" | Jerome Kern | You Were Never Lovelier
Nominated Best Original Song |
1942 | " Hit the Road to Dreamland " |
Harold Arlen | |
1942 | "I'm Old Fashioned" | Jerome Kern | |
1942 | "Skylark" | Hoagy Carmichael | |
1942 | " That Old Black Magic " |
Harold Arlen | Star Spangled Rhythm
Nominated Best Original Song |
1942 | "Trav'lin' Light" | Jimmy Mundy, Trummy Young | |
1943 | "Dream" | Johnny Mercer | |
1943 | "My Shining Hour" | Harold Arlen | The Sky's the Limit
Nominated Best Original Song |
1943 | "One for My Baby (and One More for the Road)" | Harold Arlen | |
1944 | "Ac-Cent-Tchu-Ate the Positive" | Harold Arlen | Here Come the Waves
Nominated Best Original Song |
1944 | "G.I. Jive" | Johnny Mercer | |
1944 | "How Little We Know" | Hoagy Carmichael | For the film To Have and Have Not |
1945 | "Laura" | David Raksin | |
1945 | "Out of This World" | Harold Arlen | |
1946 | "Any Place I Hang My Hat Is Home" | Harold Arlen | |
1946 | "I Had Myself a True Love" | Harold Arlen | |
1946 | " Come Rain or Come Shine " |
Harold Arlen | |
1946 | "On the Atchison, Topeka and the Santa Fe" | Harry Warren | For the film The Harvey Girls
WON Oscar |
1946 | "Two Hearts Are Better Than One" | Jerome Kern | For the film Centennial Summer |
1947 | "Autumn Leaves" | Joseph Kosma, orig. French lyrics by Jacques Prévert | |
1949 | "Early Autumn" | Ralph Burns, Woody Herman | |
1949 | "Truly" | Antone Iavello | |
1951 | "In the Cool, Cool, Cool of the Evening" | Hoagy Carmichael | For the film Here Comes the Groom
WON Oscar |
1952 | "I Wanna Be a Dancing Man" | Harry Warren | |
1952 | "The Glow-Worm" | Paul Lincke | |
1953 | "Satin Doll" | Duke Ellington, Billy Strayhorn | |
1954 | " Midnight Sun " |
Lionel Hampton, Sonny Burke | |
1955 | "Something's Gotta Give" | Johnny Mercer | Daddy Long Legs
Nominated Best Original Song |
1956 | "I'm Past My Prime" | Gene de Paul | |
1956 | " Jubilation T. Cornpone " |
Gene de Paul | |
1956 | "Bernardine" | Johnny Mercer | For the film Bernardine |
1956 | "Technique" | Johnny Mercer | For the film Bernardine |
1959 | "I Wanna Be Around" | Johnny Mercer, Sadie Vimmerstedt | |
1960 | "The Facts of Life" | Johnny Mercer | The Facts of Life
Nominated Best Original Song |
1961 | "Moon River" | Henry Mancini | For the film Breakfast at Tiffany's
WON Oscar |
1962 | "Days of Wine and Roses" | Henry Mancini | For the film Days of Wine and Roses
WON Oscar |
1962 | "Drinking Again" | Doris Tauber | |
1963 | "Charade" | Henry Mancini | For the film Charade
Nominated Best Original Song |
1963 | " Meglio Stasera " (It Had Better Be Tonight) |
Henry Mancini | For the film The Pink Panther |
1964 | " Emily " |
Johnny Mandel | |
1964 | "Lorna" | Mort Lindsey | |
1965 | "The Sweetheart Tree" | Henry Mancini | The Great Race
Nominated Best Original Song |
1964 | "Talk to Me, Baby" | Bobby Dolan |
For the Broadway musical comedy Foxy |
1965 | "Summer Wind" | Henry Mayer | |
1970 | "Whistling Away the Dark" | Henry Mancini | For the film Darling Lili
Nominated Best Original Song & Best Original Song Score |
1971 | "Life Is What You Make It" | Marvin Hamlisch | For the film Kotch
Nominated Best Original Song |
1973 | "The Phony King of England" | Johnny Mercer | For the Disney film Robin Hood
|
Discography
- Johnny Mercer Sings (Capitol, 1950)
- Two of a Kind with Bobby Darin (Atco, 1961)
- Johnny Mercer with Paul Weston's Orchestra 1944 (Hindsight, 1980)
- Sweet Georgia Brown with Paul Weston (Hindsight, 1995)
- Johnny Mercer Sings Personality (ASV-Living Era, 2002)
- Johnny Mercer: Mosaic Select #28 (Mosaic, 2007)
- Mercer Sings Mercer (Capitol, 2009)
References
- ^ a b "Johnny Mercer (1909–1976)". The New Georgia Encyclopedia. Archived from the original on March 17, 2012. Retrieved December 9, 2006.
- ^ "Leopold's Ice Cream: A Century of Tasty Memories" - Deep South Magazine, September 2, 2020
- ^ "Road Trip USA: In Savannah, heritage comes in many flavors" - USA Today, April 2, 2016
- ^ "Leopold's Ice Cream: A family affair" - Savannah Morning News, March 25, 2010
- ^ Our History - Leopold's Ice Cream's official website
- ^ Lees 2004, p. 15.
- ^ Lees 2004, p. 11.
- ^ Furia 2003, p. 11.
- ^ Lees 2004, p. 21.
- ^ Furia 2003, pp. 12–13.
- ^ ISBN 978-0918432797.
- ^ Lees 2004, p. 28.
- ^ Furia 2003, p. 22.
- ^ Furia 2003, p. 25.
- ^ Furia 2003, p. 26.
- ^ Lees 2004, p. 32.
- ^ located in Mercer County, New Jersey, which is named after his 3rd-great-grandfather
- ^ Furia 2003, p. 39.
- ^ Lees 2004, p. 58.
- ^ Lees 2004, p. 61.
- ^ Furia 2003, p. 61.
- ^ "Paul Whiteman and His Orchestra," Joel Whitburn, Pop Memories 1890-1954 Record Research, Menomonie Falls, WI p. 453. Mercer is on the recording but not mentioned in the listing.
- ^ Furia 2003, p. 70.
- ^ Furia 2003, p. 73.
- ISBN 0-8109-8060-6.
- ^ Furia 2003, p. 83.
- ^ Steyn, Mark (November 19, 2009). "Johnny Mercer, Moon River and me". Maclean's. Retrieved October 10, 2014.
- ^ Lees 2004, p. 115.
- ^ "Music USA #7881-A, Interview with Johnny Mercer". July 28, 1976.
- ^ Furia 2003, p. 106.
- ^ "Johnny Mercer," Whitburn, p.306.
- ^ Furia 2003, p. 111.
- ISBN 0-8184-0331-4.
- ^ MacKenzie, Bob (October 29, 1972). "'40s Sounds Return to Radio". Oakland Tribune.
- ^ a b c Gilliland 1994, cassette 1, side A.
- ISBN 0-19-507473-4.
- ^ ISBN 978-0-19-507678-3.
- Newspapers.com.
- ^ Roger Hall, A Guide to Film Music: Songs and Scores, PineTree Press, 2007, p. 13.
- ^ DRG 5176
- ^ Lavender, Julie (October 18, 2015). "Our 'Mrs. Emma'". Statesboro Herald.
- ^ Paton, Chris. "Oral History Georgia State". Digitalcollections.library.gsu.edu. Retrieved October 6, 2019.
- ^ Furia 2003, pp. 130–131.
- ISBN 9780738542010. Retrieved September 28, 2021 – via Google Books.
- ^ "Academy Awards Database". Academy of Motion Picture Arts and Sciences. Retrieved June 19, 2016.
- ^ "The Johnny Mercer Award Winners". The Johnny Mercer Foundation. Retrieved June 10, 2016.
- ^ "1983 Best Original Score (nominee)" ibdb.com. Retrieved March 25, 2019
- ^ The Complete Lyrics of Johnny Mercer on the Random House website.
- ^ Fishman, Karen (March 26, 2015). "National Recording Registry Adds New Titles! | Now See Hear!". Blogs.loc.gov. Retrieved October 6, 2019.
- ISBN 978-1-55935-147-8. OCLC 31611854. Tape 1, side B.
Further reading and listening
- Bach, Bob; Mercer, Ginger (1982). Our Huckleberry Friend: The Life, Times, and Lyrics of Johnny Mercer. Lyle Stuart.
- Eskew, Glenn T. (2013). Johnny Mercer: Southern Songwriter for the World. University of Georgia Press.
- Eskew, Glenn T. (2013). "A Southern Spin on Consensus America: Johnny Mercer Skewers Politics on Broadway". Georgia Historical Quarterly. 97 (3): 322–346.
- Furia, Philip (1990). Poets of Tin Pan Alley. Oxford University Press.
- Furia, Philip (2003). Skylark: The Life and Times of Johnny Mercer. St. Martin's Press.
- OCLC 31611854. Mercer interviewed 1971.
- Kimball, Robert; et al. (2009). The Complete Lyrics of Johnny Mercer. Knopf.
- Lees, Gene (2004). Portrait of Johnny: The Life of John Herndon Mercer. Hal Leonard.
- Wilder, Alec (1990). American Popular Song. Oxford University Press.
External links
- Johnny Mercer at IMDb
- Johnny Mercer at the Internet Broadway Database
- Johnny Mercer at the Internet Off-Broadway Database
- Johnny Mercer Collection in the Georgia State University Library Special Collections & Archives
- Johnny Mercer Oral History Project at Georgia State University Library
- Johnny Mercer historical marker
- Johnny Mercer Foundation
- Johnny Mercer in Hollywood
- Johnny Mercer recordings at the Discography of American Historical Recordings.