Remembering David Cassidy: Actor, Musician, Songwriter, Dead at 67

Late Tuesday evening, Nov. 21, the New York Times ran the story that confirmed musician David Cassidy had died. Most poignant was the (usually) irrefutable New York Times had two corrections appended at the story’s end for accuracy.

The first error was to correct the spelling of one of David’s half-brothers, Shaun, not Sean; the second was the correct last name of David’s mother, Evelyn Ward (not Wood). As sad as David’s passing is to anyone who ever knew or cared about David as a singer, actor, songwriter, and entertainer, it’s virtually incomprehensible that there was a need for two corrections to facts that any woman over 50 would have been able to answer without Googling.

An even sadder fact is that three other NYT reporters contributed to the story. What does that say about the interest and ability to chronicle a life and legacy of an individual who brought entertainment and distraction to the lives of American (and international) teen fans for decades? It was not like Cassidy’s passing was unexpected, as false news reports had surfaced on Sunday, wrongly quoting his publicist as the source of the news that he’d died that day, “surrounded by family and close friends.”

If you grew up in the 1960s, pre-teen or not-anywhere-near-a-teen yet, you knew who David Cassidy was. Hundreds of issues of Tiger Beat, 16 Magazine, Flip, and other teen-targeted publications ran ever-changing new photos against the backdrop of re-recited family facts and one factoid for fans to take away as “new, exclusive, and tells-all.” Generally the factoids revolved around David’s fave color, the name of his dog, or that he liked to take long walks on the beach as a great first date. Sadly, if you go back and actually read the stories in the archives, you’ll see that the magazines were 95% pictures and 5% text. And as David wrote in his book, he had absolutely no time away from work for long walks on the beach.

What those publications imparted, for teenage girls in those days, was a chance in a million to “meet your idol David Cassidy” or to spend time on the set of The Partridge Family. For teenage boys, the look Cassidy projected was encouraging to those who were not going to be the star athletes of their schools. You didn’t have to spend hours pumping iron; you had to have a ready smile, play a guitar, and have a good haircut and a strand of pooka shells—all four of those achievable by virtually anyone. That was a win-win for teenagers around the world, and thus David Cassidy was welcomed, into homes every week with "The Partridge Family" on television, and blasting from portable stereos, car radios, and lunchroom transistor radios. Anyone who owns a Partridge Family album knew David’s family tree. So, too, do they know many stories inherent in the good and bad aspects of Cassidy’s life, growing up in a Hollywood cocoon, nestled slightly north of reality and south of crazy.

When you’re a young creative talent who may be surrounded by other children of Hollywood celebrities, from this side of the 90210, it is possible that in life, there comes an inevitable fork in the road with two choices: you either embrace your heritage and go forward in the world of creative expression, ignoring people who accuse you of trading on the family name—-which is an entirely false premise virtually 95% of the time--and, you carve out your identity in entertainment.

The premise also applies outside the entertainment field, as the children of successful business dynasties, legendary sports figures, and those who’ve achieved milestones in public service can readily identify. It’s a blessing when you can learn from your parents to be true to yourself and ignore all the chatter around you. Chatter is low-frequency resonance jealousy. Encouragement is high-frequency energy. David learned that, at least from his mother.

Unquestionably, David Cassidy had been blessed with talent from childhood forward, but he was cursed with people always introducing him as actor Jack Cassidy’s and actress Evelyn Ward’s son and singer/actress Shirley Jones’ stepson, later half-brother to Shaun, Patrick, and Ryan. Fortunately, David had just enough magic in him to do his best to choose his own path and make his way into the business.

It’s ironic that the producers of The Partridge Family were shocked that David could sing, extremely well. In fact, there were early recordings “by” The Partridge Family that didn’t include David at all. The extremely talented studio singers (including Tom Bähler, John Bahler, Jackie Ward, and others) were the voices on the records. One of the best songs recorded before the program aired, which excluded Cassidy, was in the pilot, “Let The Good Times In.”

With the acting skills David Cassidy and Shirley Jones brought to the on-stage performances of the band (ignoring for now the collective lack of skills the youngest performers had at the time), teenage audiences were convinced the actors in fact were actually the ones singing on the tracks. Brilliant editing and massive retakes made it look seamless, as evidenced by this episode that includes “Together (Having a Ball).”

Once again, it’s the voices you love paired with the faces you adore and presto, it’s magic. Studio singers and musicians are who American teenagers owe a very large debt of gratitude to, for the true soundtracks of their lives, and yet, teen magazine covers “sold” the show. The Cowsills themselves were the inspiration, of course, for the show, as the producers have said, but when they went to observe the band in concert, only Susan Cowsill was considered “perfect” and her elder teenage brothers were already considered “too old.”

The television show could easily have become a parody of The Cowsills’ life on the road, the way teleplays can take a true story as inspiration and then ruin it, but the show was a success because it showed a happy family going on the road in show business and succeeding.

Very subjectively, the personality quirks of each sibling made the program unique—the wily con artist, Danny, and beleaguered Ruben Kincaid were worth 1% of the impact, with another 1% for Danny’s red hair. Teenage boys tuned in to see Susan Dey, so that was 3%. And then the success was 5% having the beloved Shirley Jones’ smiling face for credibility affixed to the project, and the other 90% was all David Cassidy’s ability to carry the show on his youthful shoulders.

When producers found out that David could sing, the same session singers joined him and together they blasted “I Think I Love You,” to the top sales spot over The Beatles’ “Let it Be” and Simon and Garfunkel’s, “Bridge over Troubled Water” in 1970. Yet, save for David Cassidy, and one track saved back for Shirley Jones’s voice, occasionally, it was all manufactured magic.

The “real” band included legendary session players: Larry Carlton and Louie Shelton on guitars, Hal Blaine on drums, Joe Osborne and Max Bennett on bass, with Larry Knechtel and Mike Melvoin on keyboards and harpsichord. Hal Blaine said, “We put on our teenage thinking caps when they said ‘bubblegum’ and we knew exactly where we were going bubblegum-wise.” Millions and millions of records sales later, there is a substantial discography.

How many present-day surgeons, lawyers, senators, business executives and public servants today aren’t reflecting in quiet solitude today, a little bit sadder, knowing their former teen idol is now gone? How many of them owned some of these albums? How many of the same group of people purchased teen magazines faithfully and plastered photos from inside the magazines onto your pre-teen and teenage bedroom walls? No one is looking, but hands in the air now.

Across Facebook today, if you had a dollar for everyone who has shared their remorse and intense sorrow for the loss of David Cassidy from this world, you could fund California’s educational expenses for a year. It’s hit everyone hard. Yet, why is that?

The common denominator behind the myriad of emotions surrounding David Cassidy’s death as it reveals itself through the rest of the day is: a fond, fast holding-on to the days of our youth. First crush, first love, first time you set a goal and tried to accomplish it—the successful achievement of all these elements requires someone on the other side looking back at you, telling you what you need and want to hear. You are loved, you are respected, you are appreciated.

In fact, this theme was internationally true, as seen in the YouTube featuring the photo of the Japanese pressing, “Doesn’t Somebody Want to Be Wanted.” Here, we hear the singing and spoken words of David Cassidy, who broke through young girls’ feelings of inadequacy, offering understanding, identification and validation, the most common of human needs.

Four years of David Cassidy’s life were invested, spent, enriched and wasted (depending on your and his perspectives) on “The Partridge Family.” The same contract you make with Hollywood to make you a star often has hidden clauses that can present difficult challenges in life, which primarily center around when you’re not in the same vehicle that made you famous.

Celebrity, the omnipresent two-edged sword of joy and sorrow simultaneously, brings with it great responsibility. Wherever you go in public, someone sees you and they have a reaction. Some fail to keep their reactions to themselves; instead, they feel they must share them. Publicists and publications offer normal people the opportunity to become famous. The more times you see a name and a face, the more people know you. Television propels that recognition to the nth degree.

The David Cassidy phenomenon would not have been possible without people who live in the same homes they’ve always lived in, raised their families, and mow the lawns around. TV producers, writers, musicians, songwriters, record producers, singers, makeup artists, set dressers, key grips, best boys, lighting gaffers—every single one of these television production professionals plays a key role in creating the image that people come to love.

With the right script, an actor can appear to be onscreen precisely what he or she is nothing like in real life. With the right song, an average musician can use their talents and turn the song into a good one. With the right song, superb musicians can create gifts of musical memories to imprint permanently on the minds and in the hearts of listeners around the world.

Music therapy is what it is because when words fail, music remembers. When words hurt, music heals. Where there is loss, music supplies texture and strength to fill in where there are holes. David Cassidy healed many hearts with his smile and his talents.

Years ago, I began reading David’s 2007 book, “Could it be Forever? David Cassidy: My Story.” I got through about the first ten chapters and tossed it down on my desk, disgusted with the litany of nameless, faceless conquests, out-of-control episodes and such detailed sorrow and pain that he endured as a famous television idol. Of course, he made a deal with the powers that be to be exactly that person. Yes, there were excesses that can be described typical for one given access to wealth and power too soon, but it's hypocritical to judge when I was one of those people who watched the show, enjoyed the music and have at least one Partridge Family album in my collection. I bought the softcover book for about $5.00 in a Half-Price Books & Records store. Today on amazon.com this exact edition is going for $100.31. What a difference a day, or 3,650 of them, makes.

Genetically, David Cassidy couldn’t win for losing. From his mother and his maternal grandfather, clearly now, we know his dementia was inherited, exacerbated and accelerated possibly by youthful lifestyle excesses, not my diagnosis to make. From his father, whose proclivities for arrogance, decadence, and jealousy at the successes of his own progeny was embarrassing to see play out.

However, that notwithstanding, four handsome, talented sons arrived, thanks to Jack and, aside from David’s struggles, Shaun, Patrick and Ryan have been grounded in success, but have (to the public eye) escaped the sad excesses that come when other people own your soul. And still, for Jack Cassidy, the world revolved around, of course, Jack Cassidy. Life’s tough and then you are best remembered for an episode of "Columbo" that was better than most of his body of work.

David Cassidy tried to escape the music rollercoaster, several times in fact. He tried acting and was good at it. With his adult image came stylish suits, and the days of teen idolhood were far behind him. On Feb. 27, 2013, the camera opened up on CBS’s “CSI” and there was David Cassidy, as Peter Coe, a professional poker player, entering an elevator, where he was awaiting an uncertain fate.

Beyond all irony, the music in the elevator playing in the scene was Gary Puckett singing “Young Girl.” It was hard enough that David’s Peter Coe was just about to lose his life, he had to have “the competition” singing as he got killed. Some screenwriter or producer was surely having his or her own private joke. I guess you couldn’t use “Together” or “I Think I Love You” there anyway, but still…you’d think. Perhaps not. Ultimately, though, in the past many years, David Cassidy joined tours that were considered "bubblegum" and was paired with others who were concurrent teen idols, including Micky Dolenz and Mark Lindsay, the three of them sharing time on TV and in bands that were professionally augmented for varying periods of time, until the teens gained new footing breaking out and going solo from the bands that brought them first fame.

On Feb. 18, 2017, a friend saw David Cassidy’s final concert at The Canyon Club in Agoura Hills, California. As she always shares concert fun with friends on Facebook, she often live broadcasts and that night as she did, friends saw a man on stage who looked disheveled. To be present for that final concert was something unknown to all those in the audience that night. I remember the feeling of being at what would later be called one of Davy Jones’ last three concerts in 2012 before he died. Perhaps we realize our own mortality, as defined by those whose talents were shared as you grew up.

As he announced that “2017 is the last year that he was going to be playing and touring…c’mon, 49 years…the world was a different place in 1970.” Listen for yourself. Most of the audience chalked it up to Cassidy being drunk; given that he’d had several DUIs in recent times, that was an easy assumption to make. Was he drunk? Was he fighting to remember what he wanted to say? Was he both? Not our call to make.

Importantly, he told the story of how he almost quit “The Partridge Family” because the producers wanted him to do a song with a middle, spoken part, and he thought it was absolutely not the right thing to do. Turned out to be one of this biggest hits, “Doesn’t Somebody Want to Be Wanted” and again, that was the question virtually every teenage and preteen girl could respond, “Yes, we do” to.

Producers knew their audience and market; David Cassidy knew what was cool and what wasn’t. Royalty and residual checks are not sufficient balm on the wound when you’re 22 years old, playing a high school teenager, and you want to be taken seriously as an adult, but you’re 5’6” and you look 17.

Which brings us back to February 18, at the Canyon Club. Video notes from a frequent YouTube poster claimed that “immediately after the show, the Dr. Phil television show film crew interviewed David Cassidy backstage, then recorded audience attendees’ reaction to the evening’s performance.

“The Dr. Phil Show” was broadcast on March 1, 2017, an exclusive interview and if adult businesspeople all of a sudden took a late lunch hour that day to watch this show, you’d know how many people cared about David Cassidy’s well-being. As usual Dr. Phil was probing, yet gentle, as he posed his questions, for David’s tearful answers.

The most poignant message shared (paraphrasing) was that David told his son, Beau, when you see me become like my mother (Evelyn) is now, please find a way to let me go. He didn’t want his son to relive what he had to live through, watching his mother disintegrate. Of course, Beau never took that to heart.

As I’ve checked into Facebook and Twitter, throughout this morning and now into the afternoon, it’s surprising that David Cassidy is not a “trending topic” on either social media outlet. I’m no expert on personal feeds and what shows trending to each person, if there’s a major difference, what with all their mysterious algorithms and advertisements, and yet, on Facebook, what’s trending now does not include the man who sold over 30,000,000 records.

His was an unpleasant disease; his was a decline and demise that robbed him of his soul, and while one can argue that a lifestyle lived to “beyond barriers of good sense” can accelerate and destroy chances of a normal life, you can’t fight genetics. Theoretically the dementia was inevitable. The tragedy was that it came far too soon for a young man who still had years of life left to watch his son continue to grow up.

David has a daughter, Katie, who grew up in Calabasas, CA. She’s a lovely actress (raised by her mother, model Sherry Williams, and her stepfather), who is now age 30, and unmistakably has her father’s green eyes. Her given name is Katherine Evelyn Anita Cassidy, and she’s worked continuously on the CW network (Melrose Place, Supernatural, Gossip Girl, and back for her fifth year of “Arrow”). Plus, she’s been in a few music videos.

Katie once recorded “I Think I Love You.” Hey, why not? It’s all about trying to earn a living in a town that grants approval on a temporary basis and offers the opportunity to make you a star, or a pauper, in a moment’s notice. These are the two options with success and failure that she understands well already. She watched it from the front row. To win, though, is divine, and that's what keeps everyone going in life, the quest for success.

Speaking of money, Cassidy had a multitude of financial difficulties and trials that are lesser known than the lyrics and melodies that everyone knows by heart. He battled each trial with bravery, working any job his agent could get him, to earn the money and climb back out of bankruptcy. It’s in comprehensible to the average fan that a man whose collective work sold over a reported 30,000,000 records can be bankrupt. And yet, business insiders understand well what things cost to keep up appearances. He loved thoroughbred racing and eventually married a woman he met through mutual horse friends, and while horses brought him great joy, not only did their expense and upkeep cost a fortune, so did his ultimate divorce from that unfortunate union. He exited with about $1,000 and two suitcases to his name, in his version of that experience. Still, he remained upbeat and happy to be working.

Fans did their part, though, in buying tickets and showing up wherever David Cassidy performed over the last decade. On Sunday when it was falsely reported that David had died (ah, the Internet twerps) I picked up the book that had a fairly thick coast of dust along its side, as it was being used as one of five books used to raise the level of a desk lamp, so I began to scan the book again.

I learned that even when he was at his lowest financially, he turned down the opportunity to make $500,000 because of the source of the funds. Cassidy had integrity and relevant values, even when no one was looking to applaud the choice. He met an agent who’d been a fan and explained that “he was basically a mess” but she took him on as a client and he began to work again.

His marriages are not a matter of great interest and really none of our business, but he seemed to have had his best life when married to Sue Shifrin. Sue is a songwriter who wrote (or cowrote) several successful chart hits for Cliff Richard, Musical Youth, Patti Austin, Peabo Bryson, and the Al Jarreau song, “So Good.” Shifrin is, truly, so good. [And yes, that’s Kiki Ebsen on the keyboards and vocals among Al’s on-stage galaxy of stars.]

Sue and David created a good life together, wrote songs together, and had their son, Beau, now age 25, who was their best creation in their marriage.

Their marriage lasted 23 years, through 2014, which is about when David’s public image began resurfacing as “troubled.” And yet, he still kept trying to work, pay bills, and keep on going.

That work ethic would lead him to Feb. 18th’s Canyon Club finale. He tried to tell a story; people kept up incessant chatter. He tried to perform and with a great band behind him, he made it through several songs.

In the end, though, my friend who’d adored David Cassidy and who was at The Canyon Club, couldn’t bear to keep her videos up on Facebook and took them down the next day, crushed because things were not as they used to be, not as she hoped for, not how she remembered them.

Perhaps it would be of some comfort to know that most of David’s happiest days were when he was with Sue Shifrin. Sue writes:

…in general, we’re just supposed to be together. We’re still standing after 20 years and I can’t believe it. It’s gone so fast. I just love his spirit. I love the fact that he’s a survivor. I love the fact that no matter how hard he gets kicked, he gets up. And he’s been kicked really hard. I’ve been around it, and I’ve seen it and my heart has bled for him. But he always managed to get back up. I tell him all the time, ‘You remind me of the Terminator. You’re like the steel skelton.’ He has miraculously survived a life that has been a huge rollercoaster.

Truer words can’t be found to sum up his impact in his life of 67 years, lived out loud and large on television. David’s words follow Sue’s in his book. And they are the only thing that bring tears to my eyes today as I understand them to a level that defies boundary:

The way that Sue and I evaluate someone is, Would you climb a mountain with them? And, if you were slipping, would they reach down and say, Come on, I got you? The more willing you are to care for your family and make sacrifices for the people you love, the better you become as a human being. You become a more well-rounded person and look at life from different perspectives. I had gotten myself out of debt. I had rebuilt my soul and spirit and physical and mental health. I started on a journey as a parent that’s been an unexpected gift and joy and I now find that my family is the most important element in my life. And that includes my brothers, my nephews, my nieces, my sisters-in-law, my cousins and my mother. My mother, sadly, is now suffering from a horrible disease that none of us is immune to—dementia. I support her, take care of her, see her as often as possible. I know how important she has been in my life. My heart breaks daily for her and for others who have endured this painful disease.

I had never visited David’s web site before, but today I went there and saw where his web team admin had posted news of his passing. I scrolled down to Aug. 9th’s post, and in his message to fans, it is written:

I am saddened by news of the death of an old friend, Glen Campbell. He will be missed. Glen, in the past decade, has been suffering from the disease that killed my mother and my grandfather, Alzheimer’s/dementia. Glen was a great musician, guitar player, singer and all-around great guy. May God rest his soul. David.

When Glen Campbell passed away, he was a social media trending topic. In fairness, today America remembers the assassination of President John F. Kennedy that happened 54 years ago and other items the algorithms are promoting. Missing in action, sadly though, is David Cassidy, among the trending topics. Somehow, though, that’s alright, too. David Cassidy never really wanted to be a trending topic. In fact, perhaps he would have disliked a fuss being made over his passing.

Instead, we choose to remember David Cassidy’s words: "Would you climb a mountain with them? And, if you were slipping, would they reach down and say, Come on, I got you?"

Rather than end with a 1970s version of David’s music, here’s “Tell Me It’s Not True” from the play “Blood Brothers,” a successful project that David convinced Shaun to take time away, as a busy screenwriter working on a film for Universal, and come perform with him. Fortunately, Shaun’s schedule permitted, and this beautiful song remains as an example of two siblings, climbing a mountain together.

Rest in peace, David Cassidy, and thanks for sharing your talents with us.

P.S. To the New York Times writers and editors, please take a moment to confirm the accuracy of your details in reporting. Seriously. You’re supposed to be a benchmark for journalism.

[Photo credits: Tiger beat; 16 Magazine; David and Sue; David, Sue, and Beau; David and Evelyn; David and Katie] ]

Conductor Larry Blank Leads Christina Saffran, Valerie Perri, and Kiki Ebsen: Delivers Great American Songbook Classics in Pasadena Symphony POPS Opener

Across America, where great symphony orchestras struggle to find and maintain adequate funding to support the sharing of classical music and music classics with the public, the stellar Pasadena Symphony Orchestra is a priority to the leadership of the City of Pasadena, California. Clearly, the PSO is now flourishing in both audience and patronage, thanks to a dedicated Board of Directors and staff executives, whose commitment of time and resources underscores its value.

Bringing vibrant entertainment and sharing important music from the Great American Songbook and favorite Broadway tunes is the overall emphasis of the general Pops programming. The City of Pasadena has enthusiastically committed time and resources for this annual free concert, their gift back to the community. Each year the attendance has grown even larger and represents highest and best use of public funding as evidenced by Saturday night’s crowd. Organizers were heard to call it a “new record-setting audience,” of at least 5,000 enthusiastic music lovers.

The Pasadena Symphony Orchestra -- Friday evening before the concert, a special opportunity to watch the dress rehearsal provided a unique perspective about the hearts and minds of the talented vocalists, above and beyond the music. They are each gracious and humble about their individual talents, and their ability to blend their magnificent voices on the duo and trio numbers was seamless. Conductor Larry Blank knows the Great American Songbook intimately, and chose perfect songs for each singer, individually and together.

Dress Rehearsal -- There's extensive planning that goes into operations (marketing and fund-raising) behind the scenes, the logistics of symphony operations and then the music programming is an entirely separate but massive operation. Most of us don't see any of that but we're all certainly happy to show up early, park our cars conveniently, and sling portable chair bags over our shoulders, knowing we’re going to have a great time and hear beautiful songs. It's easy to overlook the hours of preparation that go into making an unforgettable evening.

Suffice it to say that if this was the first time you heard each of these ladies in concert, you'd be hard-pressed to find three more affable singers whose personalities blended as beautifully as would their harmonies the following night. What a concert performance doesn’t reveal is the generosity and genuine spirit of harmony in the exchange of ideas in rehearsal, nor does it show the brilliance of the conductor in crafting the program set list and order. Rest assured all elements are there and the conductor is the air traffic controller to create the magic of Music Under the Stars.

Preshow, Saturday, June 3, 2017, at Pasadena City Hall (TCVMedia), Conductor Larry Blank (Photo: Larry Blank Music).

Pasadena Symphony Orchestra and Chorus Affiliations -- Approximately 26 members of The Pasasdena Symphony Orchestra not only played their instruments beautifully, they brought such a magnificent uplift to all the songs. Evening formal attire adorned them perfectly as they played million-dollar notes for the singers to sing. Although each musician was outstanding, principal percussionist Theresa Dimond was brilliant as was keyboardist Alan Steinberger, and the horn section was outstanding. The skilled PSO members who were gathered for this POPS concert were well rehearsed for their performance. The sound company stayed busy in their preparations for the big show to come.

Special kudos are due to the NASA Jet Propulsion Lab (JPL) Chorus and the Donald Brinegar singers, who combined to provide the tremendous background voices on selected numbers that so greatly enhanced the performances. Mr. Brinegar directs both vocal groups and combined their ranks to create the perfect accompaniment to many key songs.

Before the Concert -- Late Saturday afternoon, the audience built exponentially as early concertgoers were treated to plenty of interesting activities. A musical petting zoo was available to inspire children to want to know more about classical music, and a series of food vendors satisfied the ever-growing crowd. It was about sunset when the program began promptly. As the orchestra warmed up, some young 2-year-olds and 3-year-olds were spotted up front (with their parents) dancing when they heard musical snippets. At some point, you never know where the next harpsichordist, the next pianist, percussionist or virtuoso string player will emerge from the inspiration they see in the “grown-ups” at work. More than one youngster has wanted to become a conductor, by watching the masters at work.

Welcome to Music Under the Stars --

To open the evening, Lora Unger, CEO of the Pasadena Symphony Association thanked primary supporter, Bank of America, and the Los Angeles Arts Commission, through the Los Angeles Board of Supervisors, who provided funding for the evening’s free concert. In symphony circles, it’s well know that CEO Unger has skillfully steered the PSO through challenging financial times over the past decade. With the help of a truly engaged Board of Directors and a dynamic Gala coordinator, Rebecca Shukam, only great times ahead are due for the PSO. (Pictured: Lora Unger, CEO, Pasadena Symphony Orchestra and POPS)

Remarks from PSO Board Member Maryam Shah Hosseini, also of Bank of America, focused on the importance of supporting the arts and Bank of America’s history of commitment to this group.

In turn, Pasadena Vice-Mayor John J. Kennedy echoed the value of the PSO to the City of Pasadena and likened the direction of the city to a musical score as he brought greetings. He also announced funding from the Los Angeles County Arts Commission, made possible through the Los Angeles Board of Supervisors. Together they made possible a free concert for thousands, so their support is especially appreciated by the audience who benefited. If you live in a culture-rich, arts-laden community, be grateful every single day. Pasadena residents are truly lucky.

As Concertmaster Aimee Kreston was introduced, Director of Choruses, Don Brinegar, opened the program with “The Star Spangled Banner,” which featured the combined JPL Chorus and Donald Brinegar singers, with the audience following enthusiastically. The American flag blew lightly against the gentle night breeze that was forming as the evening began its natural temperature descent. Seasoned concertgoers were prepared with blankets and wraps, and the newbies made mental notes for next year but the excitement and pace of the music kept everyone warm.

A few introductions for those who were hearing these talented musicians and singers for the first time. Orchestrator and arranger Larry Blank always delivers a beautiful program for his annual “Music Under the Stars” concert for which he serves as resident conductor among other concerts in the Pasadena Symphony and POPS series.

Talented and gracious, Blank has conducted opera stars, Broadway and television favorites, and rock stars, including Jon Bon Jovi, Robert Goulet, Johnny Mathis, Beyonce, Josh Groban, Harry Connick, Jr., Antonio Banderas, Christine Baranski, Nathan Lane, Marvin Hamlisch, Lucie Arnaz, and Kelsey Grammer. Equally well known in England, on stage Blank shares delightful vignettes and back stories on the songs he’s chosen. Especially relevant is the fact that so many of the arrangements he prefers are those written by his mentors and friends, which adds lovely dimension to the music.

The Pasadena Symphony Orchestra benefits from having two outstanding conductors, Michael Feinstein and Larry Blank. Mr. Feinstein has a passion for and commitment to preserving and expanding the reach of the Great American Songbook throughout every concert he designs, one that stems from his early career experience with Ira Gershin and his lifetime fascination with the songs of “the Greatest Generation” and the one that preceded it.

Mr. Blank is renowned for programming the perfectly paced evening to delight audiences, and of course for conducting the orchestra when Mr. Feinstein in singing. As orchestrator and conductor, Mr. Blank has worked with singers who are concurrently stars of screen and stage and is entirely unflappable as he immerses himself into the music, bringing out the very best in every singer who is backed by ‘his’ orchestra. It’s truly a match made in paradise.

(L to R: Larry Blank, Kiki Ebsen, Valerie Perri, and Christina Saffran, Photos courtesy of Pasadena Symphony Orchestra)

Larry Blank--One by one, Conductor Blank introduced his vocalists for the evening—Christina Saffran, Valerie Perri, and Kiki Ebsen. Christina and Valerie are Pasadena POPS audience favorites in recent years and the 2017 concert marked Kiki’s debut with this symphony. The music, he said, “would focus primarily on George Gershwin,” with some Ella Fitzgerald classics and a few surprises to boot.

Kiki Ebsen--In her Music Under the Stars debut this evening, the stunning redhead, Kiki Ebsen, returned to her original roots of classical voice and vocal performance, from college days. The independent beauty won a national collegiate competition for original songwriting, so Kiki left opera waiting in the wings, choosing adventure as offstage keyboard player and MIDI tech for iconic band Chicago. The next 20 years, she spent internationally, on keyboards, backing and lead vocals, and songwriting. So, it’s possible you forgot that theater, jazz, the Great American Songbook, and symphonies are “home” for Kiki.

Valerie Perri--A dynamic, beautiful brunette with a smile to match the light in her eyes, Valerie Perri is equally at home on a Broadway stage or any other stage as Eva Peron in “Evita,” but she’s also been known to become Dolly Levi with panache. Equally at home on a TV soundstage, Valerie’s screen credits are impressive. Her indefatigable optimism is contagious, and she is equally introspective when focused on her music, allowing the conductor to guide the music effortlessly with her.

Christina Saffran--The lovely Christina Saffran with the long blonde tresses made her fourth “Music Under the Stars” concert appearance this evening. The Broadway star is a diverse talent who has performed in numerous national symphony orchestras as well as in her own show in Las Vegas. Plus, she’s a frequent vocal talent in Disney animation projects. Christina has a special countenance, onstage and off, which allows her to immerse herself fully in the music and bring audiences great joy as she sings delivers the music of the Great American Songbook.

The Music Begins "Fascinating Rhythm"––Valerie Perri

Opening the program was Valerie Perri, skillfully singing “Fascinating Rhythm,” by George and Ira Gershwin. Who doesn’t remember the amazing Fred and Adele Astaire in Broadway’s “Lady Be Good”? That song prepared the crowd beautifully for the evening ahead, which would be filled with great music, grand memories of the first time you’d heard the songs, and reflections on why Gershwin songs truly make up such an important part of the “Great American Songbook.”

"Where or When"––Kiki Ebsen

Rodgers and Hart (1937) created this song for the musical “Babes in Arms” and the first performance was noted as 1937 by Ray Heatherton & Mitzi Green. This song has endured for eight decades and takes on new life, with Kiki Ebsen's soulful delivery.

"Someone To Watch Over Me"––Christina Saffran

From the musical “Oh, Kay!” in 1926, with British star Gertrude Lawrence, this has been called “one of the great love songs in American musical theatre history.” Christina’s version was nothing short of magnificent, even in this abbreviated video snippet.

"A Tisket a Tasket"––Kiki Ebsen

Van Alexander, a good friend of Mr. Blank's who passed away just a few years ago, gave the world a marvelous arrangement of a song that he co-wrote with Ella Fitzgerald. Her breakout recording, when she was only 19 years old, was with the Chick Webb Orchestra in 1938, but on Saturday night, 79 years later, it returned. Kiki’s version swings with joy, as she much fun singing it as Ella did delivering it. The horn section answer, following the conductor’s lead, reminds you of the grandest days of supper clubs, black tie and great entertainment nightly.

"How Long Has This Been Going On"––Valerie Perri In 1928, George and Ira Gershwin introduced this song, and it’s been recorded by Ella Fitzgerald, Sarah Vaughn, Julie London, Judy Garland, Lonette McKee, and Cher, among the myriad of singers who’ve offered their talents. Valerie Perri easily shows why it's one of her best songs.

"Ridin’ High"––Christina Saffran The ebullient talent Ethel Merman brought this Cole Porter tune to life in 1936, and Ella Fitzgerald recorded it in 1956, Peggy Lee in 1959, Doris Day in 1961, and Cleo Laine in 1971. Yet, Christina should think about recording it, as she owns the stage with the orchestra and chorus undergirding her lovely powerful vocals.

"Summertime"––Kiki Ebsen

From “Porgy and Bess,” this instantly recognizable melody from George Gershwin has two credited lyricists: DuBose Heyward (the man who wrote the novel, “Porgy”) and Ira Gershwin as well. In 1960, Leontyne Price sang it, with legendary Herbert von Karajan conducting. Naturally, Ella Fitzgerald and Louis Armstrong recorded it on the Verve label. The first time I heard any non-Broadway version of this song was in 1967 when The Buckinghams (Chicago pop rock group) recorded it for their inaugural Columbia album, “Time & Charges,” in 1967. Kiki brought her own beautiful interpretation to this treasured song.

"Conductor’s Surprise"––Morton Stevens (composer)

The theme song to this TV show was written by Mort Stevens, a “prolific, Emmy-award winning film and television score composer,” and a good friend of Larry Blank. Hint: It was for a show that ran on CBS from 1968 to 1980, starring Jack Lord and James MacArthur. The show was revived by CBS in 2010 and has remained a strong part of CBS’ Friday night primetime lineup, starring Alex O’Loughlin and Scott Caan. Pretty sure you know what it is? In introducing the song to the audience, all Mr. Blank would say as a hint was in sharing a story about his friend “Mort,” and asked the audience if they could guess the name of the song the orchestra was about to play, noting, “As Mort’s BMW license plate read, “EEGBAE.”

Mr. Blank was delighted that most of the audience was stumped as the percussion and trumpets moved right into the powerful rhythm of the opening of Morton Stevens’ fantastic song, ultimately recorded by The Ventures. Ready? Set? Book ‘em, Danno! By the way, Mr. Stevens also composed themes for other police procedurals including “Matt Helm,” and “Police Woman,” as well as being music arranger for 12 episodes of “The Man from U.N.C.L.E.” Mr. Stevens knew exactly what made great law enforcement themes!

"But Not For Me"––Christina Saffran

George and Ira Gershwin introduced this gem in 1930 in “Girl Crazy” and it was performed by Ginger Rogers in the musical. The beloved tune has been recorded by Judy Garland and Frank Sinatra but it was also a favorite of Ella Fitzgerald’s, as she won a Grammy for this song in 1960 for Best Female Vocal Performance on her “Ella Fitzgerald Sings the George and Ira Gershwin Songbook” album. Actually, Ella won 14 Grammy Awards, including “one for Lifetime Achievement” in 1967, in large part due to her interpretation of Gershwin songs among others she made her own.

"Let’s Call the Whole Thing Off"––Valerie Perri and Kiki Ebsen

First known as a song strongly identified with Fred Astaire and Ginger Rogers (on roller skates) in the 1937 movie, “Shall We Dance,” this George and Ira Gershwin song was another favorite among Ella Fitzgerald recordings, as she lent her own inimitable style to create her own hit song. Valerie and Kiki have much fun with this tune and agree to “call the calling-off off”—there’s something special about the beauty of musical treasures--they're simply timeless.

"Somewhere over The Rainbow"––Kiki Ebsen

Kiki Ebsen’s magnificent rendition of the Harold Arlen classic from “The Wizard Oz” (1939). It’s been a favorite for 78 years, but most relevant is that it was chosen by the RIAA (Recording Industry Association of America) as the “#1 Song of the 20th Century and by the American Film Institute (AFI) as “the Greatest Movie Song Ever.” Beyond this accolade, it’s a poignant song for Kiki and holds very special meaning.

"The Man I Love"––Christina Saffran This song has a fun history thanks to Ira Gershwin’s “Lyrics on Several Occasions,” which noted that the song ‘almost’ made it into several shows it was planned for. The original version, “The Girl I Love,” has been recorded by Michael Feinstein, and the best-known ‘next’ version, “The Man I Love,” (from web site, www.greatamericansongbook.net):

“…the refrain of "The Man I Love" began as the introduction or verse to another, never completed song, a song that he can't even recall, a song written, according to George's notebooks, between April 4, and April 24, 1924. The music for this verse had, as the brothers both recognized, such an "insistent" quality about it that they agreed it should be used for something more than just an introduction. In other words, it was too good to be just a verse, so it was converted into a refrain, the main portion, for a completely new song that turned out to be "The Man I Love." (That this happened was proved when Michael Feinstein, working as an archivist for Ira Gershwin in 1982, found George's manuscripts for the song in a storage facility in Secaucus, NJ.)”

Not only did Ella Fitzgerald, Sophie Tucker, Billie Holiday, and Sarah Vaughn record this song, in 1999 Herbie Hancock and Joni Mitchell also recorded it! Christina’s version is show-stopping of its own accord.

"Time Heals Everything"––Valerie Perri

This is a Jerry Herman song from the musical “Mack and Mabel,” that Valerie has sung before and it’s clear why it’s “her song,” as her delivery and interpretation are powerful and convincing. Not only has Michael Feinstein recorded the song, Bernadette Peters, Liza Minnelli, and the iconic Eydie Gorme (whose version was previously my favorite, until hearing Ms. Perri sing it) have made it their own. That’s one of the exciting things about Broadway musicals; each performer brings their own style to create an entirely new song.

"Boy What Love Has Done To Me"––Christina Saffran, Valerie Perri, and Kiki Ebsen

This George and Ira Gershwin song has resonated throughout the decades as the different combinations of hearts and minds seek and find one another to come together as a couple, no matter how unlikely the pairings. The trio was charming in their trading verses and blending on the chorus. These dynamic singers can deliver upbeat fun verses with equal panache. Although it was the final song, clearly no one wanted to go home, so Mr. Blank and the orchestra delivered the perfect encore song to cap off the evening’s selections.

"I Got Rhythm–-Encore"––Christina Saffran, Valerie Perri, and Kiki Ebsen

The finale to this resplendent program was this final George and Ira Gershwin song, from “Girl Crazy,” launched in 1930. “When George Gershwin conducted the music at the premiere…the orchestra, the Red Nichols Band, among others included Benny Goodman, Glenn Miller, Jack Teagarden, Jimmy Dorsey, and Gene Krupa.” The Pasadena Symphony POPS did the masters proud under Larry Blank’s baton. That’s the true measure of music excellence when a song can endure for decades and be a solid rock hit as well (remember the group The Happenings (1967) recording? It sold over 1,000,000 copies, and is still one of their most popular songs in concert today as they continue to tour. Check out this evening's rendition and hear how the chorus brought added charm to the performances. Especially in the rhythm section did the orchestra shine brightly. The three vocalists clearly enjoyed this song as they combined their exceptional voices on the final notes, bringing the crowd to another standing ovation as another great Music Under the Stars program was "one for the books."

(L to R: Valerie Perri, Larry Blank, Kiki Ebsen, and Christina Saffran, photo from on Kiki Ebsen's Facebook page.)

More Music from These Artists

If this was your first introduction to these beautiful, talented singers, you can hear more from them. Check out Christina Saffran’s “Temporary Insanity” on Amazon, and enjoy “Someone to Watch Over Me,” “Baby It’s Cold Outside,” and the title track, among many others. Valerie’s CD, “Sweet Conversation” is available on iTunes and includes “Don’t Rain on My Parade,” “Don’t Cry for Me Argentina,” and “Almost Like Being in Love,” among some of her signature songs. Another personal favorite is her version of “Secret o’ Life.” Kiki’s CDs, including her most recent release “Scarecrow Sessions,” are all available on her web site. On “Scarecrow Sessions her version of “Somewhere Over the Rainbow” is magnificent, as is her take on Cole Porter’s “Easy to Love.” Larry Blank’s recordings can be found here, and his conducting calendar can be found here.

Special Thanks Are Due

The outstanding pre-concert publicity (thank you to the tremendous marketing and PR by General Manager, Drew Flaherty and Marisa McCarthy, Director of Marketing & Public Relations) was responsible for the record crowd, as far as the eyes could see. They proved a fantastic audience, attentive during the music and expressive only in their rousing applause for the selections during the evening. That is not always the case when thousands are gathered as I’ve experienced, more times than I care to recount, at the Cynthia Woods Mitchell Pavilion in The Woodlands, Texas.

The Los Angeles Times and other area publications were filled with beautiful reminders, from the very earliest times, so people had this date circled on their calendar for over a month. No maximum capacity crowd generates on its own accord—it’s dedicated professionals working behind the scenes to make the magic happen.

Coming Up Next — Tickets & Gifts of Love

The Pasadena Symphony and the Pasadena POPS are the inaugural part of the full POPS subscription season, with concerts taking place typically at the L.A. County Arboretum. This summer, music lovers can expect nothing but great music all summer long. The 2017 Sierra Summer Concert Series runs from June 17 – September 9, starting with “Broadway: The Golden Age” with honoree Liza Minnelli and soloist Storm Large, conducted by Michael Feinstein, Principal Pops Conductor and holder of the Tom and Erika Girardi Chair. “Live at the Arboretum” with Leann Rimes on July 8 The Midtown Men (Music from Jersey Boys and Beyond) July 15, conducted by Larry Blank, and Michael Feinstein Sings & Swings” on July 29th, conducted by Larry Blank.

If you’re anywhere near Pasadena, California this summer and year-round, get your tickets early. Visit http://pasadenasymphony-pops.org/ for information, and please consider a donation to their Annual Fund in honor or memory of someone you love, because there’s nothing quite like the gift of music, particularly for the person who has everything.

In all, it was a very special evening for the audience from the vocalists, the choralists, the Pasadena Symphony POPS Orchestra, conductor Larry Blank, the City of Pasadena, the Bank of America and the Los Angeles County Arts Commission through the L.A. Board of Supervisors.

Rob Meurer: Overlooked by The Recording Academy but Remembered by Music Lovers

When the 59th Annual GRAMMY Awards broadcast reached their “In Memoriam” part of the show Sunday night, I had hoped to see one name in particular, that of songwriter Rob Meurer, an immensely talented, gifted musician and lyricist from San Antonio, Texas. Sadly, his photo and name were not included on the broadcast. If you know the music of five-time GRAMMY winner Christopher Cross, chances are good that you know the name Rob Meurer. Anyone from “back in the day” in San Antonio and Austin certainly know the talented lyricist and musician.

Rob was the ‘other’ side of the ampersand in the frequent songwriting duo—Christopher Cross & Rob Meurer—on the credits of some of the best songs Cross ever released. On Rob’s official web site, it is noted:

“In terms of pop songwriting, though, my closest and most frequent collaborator by far has been my old friend Christopher Cross, with whom I’ve written nearly 50 songs that are in release throughout the world. When we began writing together I often joined in on the music, but in recent years my concentration with Chris has been as lyricist.”

You likely know “Back Of My Mind,” “Alibi,” “Deputy Dan,” “In The Blink of An Eye,” “Open Up My Window,” “Love is Calling,” “Walking in Avalon,” “Rendezvous”—most of which were early in Cross’ performance years following the multi-Grammy winning album “Sailing” that skyrocketed Cross and his touring career. Although the highly respected GRAMMY winner Michael Omartian played most of the songs he co-arranged and produced, Rob Meurer contributed synthesizer and keyboards to “Sailing,” the album that went 5x Platinum status. Then, too, Rob was Cross’ most prolific coauthor of songs on his subsequent albums.

So, as I watched the 55 photos go by on the late-in-the-show “In Memoriam” segment, seeing Keith Emerson and Greg Lake jammed into one slide for economy’s sake, I kept searching for Rob. Not there. Ones I did see showcased included many I knew had not been part of music careers of over 30 years. In fact, the omission of many far more relevant names patently clear. Those not qualifying for a 3-second TV photo image/name include Gary Loizzo (American Breed founder, and early Styx Producer), Maurice White (Earth Wind & Fire), Jerry Corbetta (Sugarloaf), Tommy Allsup (Buddy Holly & The Crickets), Paul Kantner (Jefferson Airplane), Al Caiola (guitarist on film/TV themes and scores), and Julius La Rosa (singer, mainstay on Arthur Godfrey’s show) just to name a few. Although their names were on the official Grammy list, but they belonged on TV as well, in my opinion.

Not seeing Rob’s name on the “In Memoriam” segment, I quickly abandoned watching the GRAMMY program (a better use of time) and went online to learn how a recording artist, record executive or member of the NARAS foundation gets on the consideration list. Turns out that Laura Bradley of Vanity Fair had asked Ken Ehrlich, the executive producer of The GRAMMYs, that exact question early. Quoting Ehrlich’s response to Bradley’s question in her story:

"…the research stage takes far longer than actually putting together the video itself. Out of the hundreds of artists and industry professionals who may have passed away, only about 50 can make it into the montage itself—and each can only be displayed onscreen for a few seconds. Who makes it in is decided by a committee of about 12 or 13 people from the recording academy, just one more way that the ceremony tries to make the system democratic and objective—and driven primarily by musical influence. “There are people that I would put in there, but it’s not about me,” Ehrlich told the A.P.. “It’s about the music industry as a whole and all of its parts: classical and rock and pop and Latin and jazz. So it’s a difficult process.”

Clearly, it’s a difficult process, and only the top 50 make the slates on the broadcast. I hoped that at least the head office would have Rob’s name listed on the official complete list of the “hundreds of artists and industry professionals” who’d died this past year.

Sadly, Rob Meurer’s name is also currently missing from that official list (click here). Their introductory remarks explain:

“The 59th GRAMMY Awards telecast on CBS will feature an In Memoriam segment highlighting some of these individuals via a video tribute, and all of these individuals who died prior to Jan. 11 are included in the official 59th GRAMMY Awards program book. The Recording Academy salutes each individual for their respective talents and contributions to our culture and community.”

To be fair, given the vast nature of the music industry, and those who pass away during the course of a calendar year, it’s invariable that some names will escape notice. But then, it’s on the shoulders of their friends and colleagues in the music business to submit their names to The Recording Academy just to make certain they’re not omitted, one would think.

Another favorite Cross & Meurer co-write is "Alibi":

Rob had been a vital part of new music for well over 30 years. It’s not like anyone is asking for something undeserved; his work deserved remembrance, if not recognition. After a 12-year hiatus from making a studio album, Cross would return with “Doctor Faith.” As a May, 2011, promotional YouTube video notes Cross reflected:

“This album has 13 new songs that were written by myself and my good friend and collaborator, my long-time collaborator, Rob Meurer. Rob and I met each other when we were about 16 and we were in San Antonio playing in bands and he was the keyboardist in the early band, the early records, and then he and I started collaborating as songwriters first in 1988 with “Back of My Mind.” It’s a relationship and a friendship that I feel very blessed to have and I just look forward to continuing the work that Rob and I do.”

Arguably one of Cross’s most successful tours was for the “Dr. Faith” album, and a DVD/CD recording of “A Night in Paris” was released. Rob remained at home in California, and singer-songwriter Kiki Ebsen handled keyboards and vocals on that Dr. Faith tour, as she’d toured frequently with Cross over the years.

Cross’ stock rose from that tour and it wasn’t long before he was destined for revisiting classic rock favorite-type Yacht Rock tours and enjoys continued popularity on the road today. Good music lives forever and audiences want to hear it.

Although Rob was not on the road for “Doctor Faith,” he was busy with one of his most important passions, writing musical theatre and working with promising young musicians in the Rising Star group that his wife, Beth, founded. Of the Los Angeles-based Rising Star, Rob described on his web site “…kids age 8 to 18 learn the art of Musical Theatre and have a whole lot of fun in the process. I also participate, and have found it to be more rewarding than I ever could have imagined.”

Rob remained steadfastly creative, as he also worked with individual promising young musicians, some the progeny of his former Texas colleagues and friends. For one musical theatre project, Rob was again lyricist on a production called ‘Helldrivers of Daytona,” and it was well received. He was a frequent contributor of time and talents to their church home, and his work Rising Star proved to be among the most fulfilling of all his achievements.

Even though he was living in Studio City, Rob and Christopher continued to work together on Cross’ 12th album, “Secret Ladder.” Yet, this time it was working across the Internet, rather than in person, as the duo would send files back and forth over the Internet as they worked on the songs.

Eleven of the 13 tracks on this album were billed as “Music & Lyrics by Christopher Cross & Rob Meurer.” Cross released this album in September, 2014, on his own label. A modest offering, still it was given a great launch with a national broadcast of the CBS “Sunday Morning” program prior to release.

One or more songs should have naturally found their way to radio play, but the state of terrestrial radio is almost as sad as some of last evening’s GRAMMYs segments. Even if they have a string of GRAMMY awards on their mantle, a solid artist can’t seem to catch a break. It’s up to the artist to tour, play every venue they can book, and provide the PR for their own music, but Cross didn’t tour with “Secret Ladder.”

At Rob’s memorial service in Studio City, Christopher Cross delivered an emotional eulogy that included humor, honesty, and truth:

“Rob was so many things but most of all a devoted friend, he forgave all my trespasses….we were brothers. We were also very dedicated to our work. It’s a rare gift to meet somebody so young in life to be able to sustain that kind of kinship for 40 years. We shared the mystical journey of songwriting. It was like God let us in on a secret no one else knew about. I got a much-needed chuckle out of Beth and Anne the other night at the house when I told her about a conversation I’d had with Rob after our “Secret Ladder” had come out, and had sold 12 copies. I said to Rob, ‘Why do we keep doing this?’ And he answered in a very reverent tone, ‘It’s because it’s what we do.’ And I was humbled to think that he could feel like that. And then he followed that immediately with ‘You didn’t think that we were doing this for the money, did you’?”

Scrolling back on Rob’s Facebook page back last summer and early fall, 2016, whenever visitors would comment, even if not his personal Facebook friends, frequently they’d post a thank-you to Rob for writing lyrics for several of their favorite Christopher Cross songs that they had just heard in concert the night before.

Some even remarked ahead of attending a Cross concert: “Hope they play some of your songs, Rob,” even though that was a likely given. To all posts, though, Rob replied personally, with thanks, and the most humble and gracious remarks you’d ever hope to read. In fact, some of them bordered on slightly self-deprecating as they might include, “Thank you for even remembering these songs!” It was overwhelming to think that the collective genius he possessed was something he was entirely unaware of. He just wrote because “it’s what we do.” They were his songs, too.

At the time of Rob’s passing, Christopher Cross posted this message on his own web site:

“To try and explain how I feel, or to try to imagine how his wife Beth and daughter Anne feel at this moment is impossible, but I felt I wanted to share with you the tremendous love and respect I had for this man,” Cross said. “He was quite simply the smartest guy I ever knew, funny, kind, devoted to his family and friends, and talented beyond measure. Not just with the work he and I did, but his own solo work, and his musical theater projects. His love of the craft was as deep as anyone I’ve ever known.”

One of the best examples of Christopher and Rob in sync is their duet on “Minstrel Gigolo,” on the stage of the Galaxy Theatre. Christopher is playing guitar and Rob is playing dulcimer. Two great friends making beautiful music. That’s the way I want to remember them, like the 66,000 other people who watched this particular video, of hundreds online.

To watch this video (pictured right) click here.

Rob’s time on Earth passed far too quickly. And it would be beyond poignant that, on the other side of the ampersand, the Cross & Meurer compositions would include “Blink of an Eye”:

…'Cause it could be gone in the blink of an eye

It could be dawn in the blink of an eye

Isn't it time that you reached for the sky

And let yourself go

There's a fire deep inside

I said baby baby

Let's steal the moon and let love have its way

Burning like a falling star until we are

A million miles away"

Journal archive Music Dish noted

“Rob Meurer first came to prominence as a keyboardist and arranger on the Grammy-sweeping debut album by Christopher Cross, with whom he has since written and produced several albums. He served as Music Director for Shelley Duvall's Faerie Tale Theatre and Billy Crystal's A Comic's Line and has also worked with Carole King, J.D. Souther, and Van Dyke Parks, and written with Paul Williams & Jennifer Warnes as well as Nashville hitmakers Rory Feek and Sandy Knox…Rob has written books and lyrics for four musicals…and he taught a songwriting course, Lyric Lab for the Music Talks Educational Center.”

“And” Rob Meurer, indeed.

Three separate memorial services were held for Rob: a life celebration service was held in San Antonio, Texas, hosted by Rob’s sister Margaret Ann Hill and her family in October, 2016, for family and longtime friends from the area to remember him.

A private service for family and close friends was held in November in Studio City, California, and the children of the Rising Star Musical Theatre outshined themselves and the other musicians and speakers present with their amazing gifts of music. A video of the service is also posted online.

In December 2016, in Austin, Rob’s wife, Beth, and their daughter, Anne, hosted a celebration of life which allowed so many of their Austin friends to pay their respects.

One exceptional tribute well worth the time to read is by Gregg Barrios (click name to read), a journalist and longtime friend of Rob’s from their high school days in San Antonio (Rob went to Antonian College Preparatory High School and Cross went to Alamo Heights High School as teenagers).

Anyone who wishes can make a tax-deductible contribution to the Rob Meurer Scholarship Fund. His widow, Beth, wrote a beautiful tribute to his work (click here).

Rob may well be “a million miles away” now, and he may not have made it onto the GRAMMY broadcast or even onto the official list of The Recording Academy (yet), but he is forever remembered. It’s not always easy living on “the other side of the ampersand” in any talented duo, but perhaps in the future, lyricists and musicians who are integral to the music we all love and buy will be heralded and championed during their lifetimes more prominently, so we don’t have to worry about them being forgotten upon their passing. Rest in peace, Rob…and…thank you for all the music.

Robert Alvah Meurer

September 28, 1950 - September 24, 2016

Special ‘Our Name is Barbra’ Los Angeles Event Set to Benefit Project Angel Food

The opportunity to meet Los Angeles cabaret and special event producer Clifford Bell arrived two weeks ago. He was, as usual, in the thick middle of things up to all kinds of good and he was surrounded by eleven people whom he had gathered to donate their time and talents in behalf of Project Angel Food in Los Angeles, California. The occasion was the 17th Annual Gathering of Angels on April 9, a brunch celebrating all the volunteers for Project Angel Food, held at The American Legion Hollywood Post 43 in downtown Los Angeles.

So many people are aware of this exceptional organization and its mission, but for those who are new to its purpose, back in 1989, at the height of the HIV/AIDS crisis, so many people wanted to help, but didn’t know what to do. Before fear was replaced with education, and prior to medicines, money for research, and various optimistic and progressive medical treatments were being developed, there was a sense of chaos and crisis among those affected by the disease and all who knew and loved them.

Marianne Williamson, a petite and powerful woman of action who possesses supreme motivational gifts and the ability to think clearly in any crisis, had “the” answer to the question on everyone’s minds: “What can we do to help?” Her answer: “Food. Everyone needs food. That’s what we can do,” as Clifford Bell explained that day.

Starting from the name Los Angeles Center for Living, Marianne, together with spiritual publisher and beacon for positivity, Louise Hay, and David Kessler held the initial fundraiser and generated $11,000 instantly, sufficient to launch lunch programs for drop-ins, and to begin the process of taking the food to the homebound. The following year they began their kitchen operating out of Crescent Heights Methodist Church.

Now, some 25 years later, Project Angel Food can be proud of having served its 10,000,000th meal to anyone who has a terminal illness, in addition to AIDS. Through the years, as the nonprofit’s name officially changed to Project Angel Food, virtually every Hollywood luminary (from Elizabeth Taylor to Barbra Streisand to David Geffen to Barry Diller, who gave lead gifts for a new kitchen in 1994), has been a part of philanthropic giving to this effort.

As just one example, actress Pauley Perrette of CBS’ number one prime time drama, “NCIS,” has been a prolific and supportive Board of Directors member, as she regularly posts on her Twitter account about the group and has encouraged donations to the organization on many talk shows where she is a guest.

The organization’s Board of Trustees includes founder, Marianne Williamson, Chantal Westerman, David Geffen, David Kessley, Edward L. Rada, Elizabeth Taylor (in memoriam), Judith Light, Loreen Arbus, Paris Barclay, Ron de Salvo, Ronald W. Burkle, Sandy Gallin, Sheryl Lee Ralph, and Vicki Iovine.

Now, forget the celebrities. Forget the who’s who of philanthropy, and focus on the people who are the clients of this dynamic organization. That’s what everyone’s goal is who serves this organization in any capacity, whether volunteer or stellar performer at musical fundraisers that Clifford Bell directs. Sit for a moment and reflect about what it means for this group to have served 10,000,000 meals to those in need. Twenty-five years, 10,000,00 meals, or 400,000 meals per year, roughly 1,095 meals each day.

That’s why 17 years ago, the organization began honoring their volunteers as the true stars of the organization and its amazing achievements. The organization’s permanent administrative home is located at 922 Vine Street, thanks to lead gifts from Wallis Annenberg, Wells Fargo Foundation, Keck Foundation, MAC AIDS Fund, and the Ahmanson Foundation.

None of the major donors seek nor need attribution, but still it’s most important to know that as many people who are out in front of an organization being the workforce can only operate when funding is in place from supportive, visionary leaders, not all of whom may understand what it’s like to be sick or hungry but who do understand how to give from their hearts, generously.

This, then, brings us back to the heart of Clifford Bell, who was born a do-gooder from the very start but who prefers being the kingmaker behind the scenes. From San Diego to Los Angeles to parts in between Bell has a rich history as an entertainer, manager, and show producer. His own creation, “Cabarabia” is a relatively new moniker to some, but to those deeply seated in the LA Jazz world, it’s the intersection of cabaret and jazz, which Clifford contends is the perfect home to showcase established celebrity singers as well as introduce fresh new faces to audiences before anyone else does. And he does.

Take for example the “Gathering of Angels” thank-you to volunteers event for Project Angel Food held two weeks ago at the American Legion. Clifford made a few phone calls requesting some of his friends to join him downtown on a Saturday afternoon, and starting with Musical Director Steve Rawlins, he featured Kiki Ebsen, Keith Borden, Tiffany Bailey, Jane Kinsey, Steve Masterson, Alex Boling, Emma Weisbach, and Alex Mohajer, plus Tim Butterworth brought all the backline for the artists as his gift.

On hand from Project Angel Food were Robert Boller, Richard Ayoub, Interim Executive Director, and Joe Mannix, Board Member. The focus was on the volunteers who made the difference “six days a week, whether cooking or delivering meals, making bracelets, filling cookie containers, or helping with administrative work.” Master of Ceremonies was Mark Cirillo, who told a very moving story about performer Keith Borden.

Borden is host of his own show, “Soulful Sundays with Keith Borden & Friends,” but he is also a longtime volunteer driver and meal deliverer for Project Angel Food. It was not much before the volunteer recognition event that Borden had been called into the home, by family members, of one of his regular clients, who just wanted to spend a little extra time with Keith that day. The client was, when Keith entered, lying on the floor, all stretched out, rather than sitting upright in a chair. The man said, “Join me down here, please, Keith.” Borden did, and as they both lay there, side by side for thirty minutes, they exchanged some conversation about the usual things, but there was stillness and silence in between.

In those quiet moments, Keith saw what was missing from the client was the usual scarf he had around his neck each time he’d been there before. With the scarf removed, for the first time Borden saw a massive tumor growth on the side of the client’s neck, and knew instantly what that meant.

A servant’s heart and a loving spirit was what Keith Borden delivered to the client’s home that day. Meeting people where they live, looking them in the eyes, rather than at the tumor, seeing them as people of dignity, deserving respect, delivering hope, friendship, and brotherly love without condition or looking at a watch. The client just wanted thirty minutes. He got that time, with love, from Keith.

Later that week, Borden learned that his client had died, and of course he was moved in many ways. So on Saturday, April 9th, as he sang, “God Bless the Child,” it was amazing that Keith Borden could even get through the song but not only did he “get through the song” as you see in the video here, he gave it his all. That’s what volunteers for Project Angel Food do. Each meal costs $5 to make, including fresh ingredients, cooking, and delivery, per the organization’s web site. But Keith Borden’s gift was worth, clearly, priceless that day, when he showed up, as usual, a man who could be counted on to be there for his client.

After the performance, Borden was modest in accepting all the accolades being proffered that day. He said, “My family in our early years had benefited from some assistance and as a child it was my goal to work to help us get out of that and to help others who were in need and set an example that we could be those who help each other.” Borden succeeded on both fronts, and he sings like the angel he is, to the people he serves in entertainment and in Project Angel Food. You have a chance to hear him on Sunday night.

Those who live near Los Angeles have an opportunity to capture the joy and celebrate the endeavor by attending “Our Name is Barbra 2016,” an evening to benefit Project Angel Food, co-hosted by Scott Evan Davis and Clifford Bell. Last week on The Sheena Metal Experience, on LA Talk Radio, Sheena’s guests were Bell, joined by Jason Graae and Tiffany Bailey to discuss the evening and the reason for the event. Jason was Ms. Bailey’s earliest role model and mentor as a performer, and Bell has, at some level, guided both in his career as a producer and early spotter of talent. The entire evening will be songs by Barbra Streisand, performed by Scott Evan Davis, Catte Adams, Tiffany Bailey, Keith Borden, Joshua Lance Dixon, Julie Garnye, Jason Graae, Jane Kinsey, Steve Masterson, Dana Meller, Mark Arthur Miller, Alex Mohajer, MaryJo Mundy, Kyra Selman, Patricia Whiteman, David Zimmerson and more.

Special featured guest is the supremely talented Mary Wilson of the beloved group, The Supremes. Clifford Bell is directing the show, and he might even sing one number himself; he can and he should. Musical co-directors include Michael Colum, Marc Hugenberger on piano, with dynamic Tom Bowe on drums, and Al Garcia on bass for this superb musical backing.

“Our Name is Barbra” takes place at Rockwell’s on April 24 at 7 pm. And for the record, Wayne Elias, of Rockwell Table & Stage, is also on the Board of Directors of Project Angel Food. It all comes around full circle. For tickets, call the box office at (323) 669-1550 or visit www.rockwell-LA.com. Rockwell’s is located at 1714 N. Vermont Avenue, Los Angeles, CA 90027.

It’s Barbra’s birthday, so you should go. She’s personally been a sponsor of this marvelous endeavor. Now you have at least 20 reasons to go. Most of all, it’s for a grand cause, a benefit for Project Angel Food. Make a difference, just like Keith Borden does. Give generously.

Originally published April 23, 2016 on the former news site, www.examiner.com