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Sherman Edwards (April 3, 1919 – March 30, 1981) was an American composer, jazz pianist, and songwriter, best known for his songs from the 1969 Broadway musical 1776 and the 1972 film adaptation.

Early life

[edit]

Edwards was born in the East Harlem neighborhood of New York City and was raised in the Weequahic section of Newark, New Jersey, where he attended Weequahic High School.[1] He attended New York University, where he majored in history.[2] Throughout college, Edwards moonlighted, playing jazz piano for late night radio and music shows. After serving in the U.S. Army Air Forces during World War II,[3] Edwards taught high school history for a brief period before continuing his career as a pianist, playing with some of history's most famous swing bands and artists, including Louis Armstrong, Tommy Dorsey and Benny Goodman.[4]

He lived in Parsippany, New Jersey, from 1958 to 1981.[5][6]

Early music career

[edit]

After a few years as a band leader and arranger for artist Mindy Carson, Edwards started writing pop songs at the Brill Building with writers including Hal David, Burt Bacharach, Sid Wayne, Earl Shuman and others.[citation needed] He turned out numerous hits in the late 1950s and early 1960s. As Rock n' Roll caught on, he found himself still at the Brill Building writing songs for Elvis Presley, including the Presley number Flaming Star. However, working with Presley's manager "The Colonel" proved to be Edwards' impetus to leave pop and rock songwriting; Presley's songwriters were forced to make huge monetary concessions in order to have their songs recorded by Presley.[citation needed]

According to collaborator Earl Shuman, one day while collaborating with Edwards in the Brill building, where publishers provided music rooms for the songwriters, Edwards left mid-song saying something to the effect that he "wasn't into the rock songs any more" and that he had an idea for a show and was going home to write it.[citation needed] This began the evolution of 1776.[citation needed]

Prior to 1776, Edwards had written the incidental music for the stage comedy A Mighty Man is He, which opened on Broadway at the Cort Theatre on January 6, 1960, and closed January 9 after five performances.[7]

Edwards also wrote the score for a children’s musical “Who’s Afraid of Mother Goose?” With lyrics by Ruth Batchelor, this one-hour show was broadcast on ABC-TV on October 13, 1967. It starred Maureen O'Hara and featured Peter Gennaro, Frankie Avalon, Nancy Sinatra, Margaret Hamilton, Dick Shawn, Dan Rowan, and Dick Martin.[8]

[edit]

1776

[edit]

Edwards' crowning achievement was, arguably, the musical 1776, for which he wrote the original book, lyrics and music. Peter Stone re-wrote the book. The show depicts the meeting of the Continental Congress in Philadelphia, culminating with the signing of the Declaration of Independence. It opened at the 46th Street Theatre on March 16, 1969, and ran for 1,217 performances. It won the Tony Award for Best Musical.[10]

Musical numbers

[edit]
  1. Overture
  2. "Sit Down, John" – Adams, Congress
  3. "Piddle, Twiddle and Resolve"/"Till Then" – Adams
  4. "Till Then" – Adams, Abigail
  5. "The Lees of Old Virginia" – Lee, Franklin, Adams
  6. "But, Mr. Adams" – Adams, Franklin, Jefferson, Sherman, Livingston
  7. "Yours, Yours, Yours" – John, Abigail
  8. "He Plays the Violin" – Martha Jefferson, Franklin, Adams
  9. "Cool, Cool, Considerate Men" – Dickinson, The Conservatives
  10. "Mama Look Sharp" – Courier, McNair, Leather Apron
  11. "The Egg" – Franklin, Adams, Jefferson
  12. "Molasses to Rum" – Rutledge
  13. "Compliments" – Abigail
  14. "Is Anybody There?" – Adams
  15. Finale

Film version

[edit]

The musical's 1972 film 1776 retained all of Edwards' songs. "Cool, Cool, Considerate Men" was edited out of the film after its initial reserved-seat road showings. The song – about the right-leaning South facing the left-leaning North – was also left off of the first VHS release. The number was restored for cable TV viewings and DVD release.

Personal life

[edit]

Edwards was married to Ingrid (Secretan) Edwards, a dancer who was a member of the original Ed Sullivan dancers and danced on Broadway in Sweethearts, Annie Get Your Gun, and Kiss Me, Kate.

Death

[edit]
The grave of Sherman Edwards

Edwards died of a heart attack in Manhattan at age 61 in 1981 and was interred at Kensico Cemetery in Valhalla, New York. He was survived by his wife, Ingrid; his son, Keith; his daughter, Valerie, and his mother, Rae Edwards.[4]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sherman Edwards

View on Grokipedia
from Grokipedia
Sherman Edwards (April 3, 1919 – March 30, 1981) was an American composer, lyricist, jazz , and songwriter renowned for his pop standards and contributions to musical theater. Best known for penning the music and lyrics for the Tony Award-winning Broadway musical 1776 (1969), which dramatized the events leading to the Declaration of Independence and earned critical acclaim for its score including "The Lees of Old " and "Mama, Look Sharp," Edwards also achieved commercial success with hit songs such as "Wonderful! Wonderful!" (1956, recorded by ), "" (1959, popularized by the Tempos), and "Broken Hearted Melody" (1959, a number-one hit for ). Born in New York City's to a Jewish family, he initially pursued history, earning a from and teaching American history at High School before transitioning to music full-time as a and arranger in the 1940s. Joining ASCAP in 1953, Edwards collaborated with lyricists like and Ben Raleigh on chart-topping tunes that blended jazz influences with accessible pop melodies, amassing over a dozen hits before his crowning achievement with 1776, for which he originated the concept, book, music, and lyrics (later revised by Peter Stone). He died of a heart attack in at age 61, leaving a legacy of enduring American songcraft that bridged traditions and mid-century Broadway innovation.

Early Life

Upbringing and Family

Sherman Edwards was born on April 3, 1919, in the neighborhood of to Jewish parents Nathan Hirsch Edwards and Rachel "Rae" Liably Rosenblatt Edwards. His family, part of the urban Jewish immigrant or working-class communities prevalent in early 20th-century America, relocated to the Weequahic section of , shortly after his birth, where he spent his formative years. The Edwards family's circumstances reflected the economic challenges of the era, including reliance on charitable programs such as the Hearst Free Milk Fund for Babies, indicative of modest means amid the hardships of the following the 1929 . Edwards attended facilities for underprivileged children, including the Hecksher Foundation and Public School 111 in Newark, immersing him in the vibrant, community-oriented environment of a historically Jewish neighborhood known for its cultural and social cohesion. Edwards' initial exposure to music occurred through local settlement houses, where he learned to play the piano, fostering self-taught skills that sparked his lifelong interest in performance amid the jazz and big-band scenes of urban New Jersey. These early experiences in family-supported and community-driven settings laid the groundwork for his musical pursuits, without formal training at the time.

Education and Initial Influences

Edwards earned a Bachelor of Arts degree in from , where he majored in the subject and moonlighted by playing for late-night radio and music shows. He subsequently pursued graduate studies in history at Cornell University for approximately six months. Although his formal education focused on history rather than music, these extracurricular piano performances during college provided early exposure to professional musical environments and honed his skills as a performer. In the early , Edwards began engaging more directly with the entertainment industry, appearing in the 1940 motion picture adaptation of the revue Pins and Needles, a pro-union production originally staged by the . He worked as a , arranger, and conductor, performing with prominent big bands including those led by and . These experiences marked his initial forays into arranging and accompanying, bridging his academic background with practical musical application amid the swing era's prominence. Following service in the U.S. Army Air Forces during , Edwards briefly taught American history at High School in before committing fully to music. This period of military duty and postwar teaching reflected a temporary pivot from music, but his prior performances facilitated a return to the field as a professional pianist and arranger. By 1953, he had joined the American Society of Composers, Authors and Publishers (ASCAP), signifying formal entry into the songwriting and publishing industry.

Songwriting Career

Early Professional Steps

Following his education at and , where he majored in history and briefly taught American history at James Monroe High School, Sherman Edwards transitioned into professional music roles in the 1940s. He performed as a jazz pianist with prominent big bands, including those led by and , establishing himself in New York's vibrant live music circuit. Edwards also collaborated with bandleader during this period, honing his skills as a performer and arranger amid the swing era's decline and postwar shifts in popular music. By the late 1940s and into the 1950s, Edwards expanded into accompanying and leading ensembles for vocalists, serving as pianist and orchestra leader for artists such as Mindy Carson, , and . His work extended to motion pictures, including an appearance in the 1940 revue film Pins and Needles, and Broadway-adjacent performances where he acted and danced in productions. As an arranger and conductor, Edwards contributed to session work and live gigs in New York, building practical experience in and bandleading that informed his later compositional approach. Edwards began experimenting with songwriting in the early 1950s, formalizing his entry by joining the American Society of Composers, Authors and Publishers (ASCAP) in 1953. His initial credits included pop-oriented tunes co-written with partners like Sid Wayne, such as "Dungaree Doll" (1955), which reflected the era's and teen-idol influences through simple, rhythmic structures suited for vocal groups and soloists. Collaborations with lyricist , starting around this time, emphasized melodic hooks and emotional narratives, as seen in their joint effort "Broken-Hearted Melody" (1958), recorded by ; these partnerships leveraged New York's networking dynamics to secure placements with established performers before the rock 'n' roll surge.

Major Pop Hits and Commercial Success

Edwards' songwriting in the yielded several pop hits that demonstrated commercial viability through chart performance and multiple artist recordings. "Dungaree Doll," co-written with Ben Raleigh, was recorded by in early 1956 and peaked at number 20 on 's Best Sellers chart, reflecting its appeal in the emerging rock-influenced pop market via simple, narrative-driven about youthful romance paired with upbeat . The song's structure, emphasizing rhythmic repetition and accessible melodies, contributed to its rotation on radio formats targeting , leading to sustained plays and initial royalty streams for Edwards as an ASCAP member since 1953. "Wonderful! Wonderful!," another collaboration with Raleigh, became a signature easy-listening hit when recorded it in late 1956 for release in 1957, reaching number 14 on the with 16 weeks on the chart. Its lush, orchestral form—featuring swelling strings and emotive phrasing—aligned with the era's pop preferences, as evidenced by inclusion on Mathis' compilation and subsequent covers, which amplified performance royalties through diverse airplay. This track's endurance in easy-listening rotations underscored Edwards' knack for crafting evergreen romantic themes that transcended immediate trends. By the late 1950s, Edwards scored his biggest pop breakthrough with "Broken-Hearted Melody," lyrics by , recorded by in 1959; it peaked at number 7 on the and number 5 on the R&B chart, holding the top spot in some contemporaneous rankings due to its soulful, heartbreak motif delivered in Vaughan's versatile vocal style. The song's doo-wop-inflected harmony potential and emotional depth facilitated cross-genre appeal, boosting sales and covers that sustained ASCAP distributions. "," co-written with Sid Wayne, followed as The Tempos' 1959 doo-wop rendition peaked at number 23 on the , its seasonal, harmonious refrain capturing summer romance nostalgia and enabling later revivals like The Happenings' 1966 version at number 3. These mid-decade successes, amid an output of dozens of compositions, established Edwards' royalties from pop exploitation, with catchy, market-tailored structures—blending group vocals and introspection—driving empirical chart metrics over vague stylistic hype.

Contributions to 1776

Conception and Creative Process

Following commercial success with pop songs such as "Wonderful! Wonderful!" in 1957 and "See You in September" in 1959, Sherman Edwards transitioned from hit-making songwriter to theatrical composer, embarking on a multi-year solo effort to create a musical dramatizing the Continental Congress debates culminating in the signing of the Declaration of Independence on July 4, 1776. Edwards, a former history teacher, invested approximately five years in initial research and crafting an original libretto alongside music and lyrics, drawing from primary sources like congressional journals and correspondence to depict the causal tensions among delegates from differing colonies. This period extended to roughly a decade of iterative development by the late 1960s, during which he refined dozens of songs and narrative elements independently, reflecting the 1960s Broadway environment where producers favored escapist fare over substantive historical portrayals. Edwards persistently pitched his concept to over 30 producers starting in the early , but encountered consistent rejections predicated on skepticism toward a show centered on "a bunch of old men sitting around signing papers," underscoring the commercial risks of prioritizing factual causation in American independence over glamorous spectacle. Despite these setbacks, archival accounts of his demos and partial scripts reveal unwavering commitment to structuring the work around verifiable delegate conflicts, such as sectional divides over and taxation, rather than fictional embellishments. In 1967, producer Stuart Ostrow expressed interest after reviewing Edwards' materials but insisted on structural revisions, leading to collaboration with librettist Peter Stone, who rewrote the book while preserving nearly all of Edwards' pre-existing score and lyrics. This partnership marked the culmination of Edwards' solo phase, enabling the integration of his musical framework with Stone's tightened dramatic arc focused on historical contingencies, without altering the core emphasis on empirical events from May to July 1776. The revised version underwent out-of-town tryouts, refining the iterative process through performer feedback and script adjustments grounded in source documents.

Role in Book, Music, and Lyrics

Sherman Edwards originated the concept for the musical and initially composed its music, lyrics, and book as its sole creator, reflecting his transition from pop songwriting to theatrical narrative. Drawing on historical research, he developed the score over a decade, crafting melodies that blended his commercial hit-making experience with period-appropriate vigor, such as upbeat rhythms underscoring congressional debates to convey revolutionary tension. Production credits formally attribute music and lyrics exclusively to Edwards, distinguishing his foundational songcraft from subsequent structural refinements. Edwards' early drafts included lyrical content integrated into the libretto, which he pitched to producers after five years of iteration focused on aligning pop-inflected phrasing—marked by occasional imperfect rhymes like "views/mute"—with dramatic dialogue. Peter Stone was later enlisted to overhaul the book, streamlining narrative flow while retaining Edwards' musical numbers intact, as evidenced by preserved song placements in final scripts. Edwards' contributions emphasized melodic accessibility to humanize historical figures, adapting his sensibility for hits like "See You in September" to create anthemic structures that propelled the plot's argumentative momentum without altering core authorship of vocal lines. This division ensured the score's rhythmic drive—evoking fervent debate through syncopated patterns—remained a direct extension of his vision, separate from Stone's textual revisions.

Key Musical Numbers and Themes

"Sit Down, John," the musical's opening number, captures the congressional inertia opposing ' fervent advocacy for independence, with delegates mocking his persistence through a repetitive chorus demanding he cease his disruptions. The lyrics alternate Adams' defiant solos—"I have always hated this damnable "—with the ensemble's taunts, such as "Sit down, John! For God's sake, John, sit down!", underscoring the historical deadlock in during June , where Adams faced ridicule for his Massachusetts-centric zeal. This structure humanizes the founders by blending satirical humor with Adams' resolve, portraying liberty's pursuit as a battle against entrenched complacency rather than unanimous heroism. "Molasses to Rum to Slaves," performed by delegate , exposes economic hypocrisies fueling opposition to anti-slavery language in , linking Northern distilleries to the that enriched colonies at human expense. Rutledge's waltz-like melody evokes the "beautiful" rhythm of exploitation—"Molasses to rum to slaves / Who sail the ships out of ?"—staging a confrontation that forces delegates, including Adams and Franklin, to confront pragmatic alliances sustaining the institution, grounded in debates over Jefferson's deleted clause condemning the slave trade. The number's savage rocking tempo and accusatory tone highlight causal ties between commerce and moral evasion, without overlaying contemporary judgments, emphasizing how self-interest stalled revolutionary ideals. "Momma, Look Sharp," delivered by a young courier amid reports from Lexington and Concord, conveys the war's human toll through a soldier's dying plea—"Momma, look sharp! / Them red coats is comin'!"—drawing from historical accounts of maternal grief, such as a mother's search for her son's body post-battle. Its plaintive, folk-inflected melody shifts the score's gravity, reminding Congress—and audiences—of sacrifices beyond abstract debate, as the courier recounts friends' deaths to spur action on independence. This ballad integrates personal loss into the founders' deliberations, structurally countering comedic interludes like Franklin's pragmatic quips in "The Egg" to balance levity with the empirical costs of rebellion. Broader themes emerge through Edwards' integration of humor and , as in "Piddle, Twiddle, and Resolve," where Adams lambasts delegates' trivial pursuits—"Piddle, twiddle, and resolve / Not one damn thing do we solve"—mirroring documented congressional amid British advances. Franklin's wry shines in advisory numbers like "But Mr. Adams," advocating compromise over purity, while "Cool, Cool, Considerate Men" satirizes conservative caution against rash separation, rooted in Dickinson's real advocacy for . These elements empirically dramatize founding-era causal dynamics—economic ties, regional rivalries, and individual agency—humanizing figures like Adams' unyielding drive against systemic drag, without romanticizing outcomes.

Reception, Awards, and Historical Portrayal

The original Broadway production of , which premiered on March 16, 1969, at the 46th Street Theatre, achieved significant commercial success, running for 1,217 performances before closing on February 13, 1972, buoyed by strong word-of-mouth attendance despite a modest initial advance. Critically, the musical garnered widespread acclaim for its dramatization of the Continental Congress's fractious deliberations, with reviewers praising its avoidance of in favor of a grounded depiction of political maneuvering and human frailties among the delegates. It secured the , along with honors for Best Book and Best Featured Actor in a Musical (Ronald Holgate as ), and the Award for Best Musical on the first ballot. In the context of late-1960s cultural unrest, the production drew particular endorsement from conservative figures, including President , for its affirmative portrayal of American independence and the founders' resolve, positioning it as a to prevailing cynicism about national origins. The musical's historical portrayal draws extensively from primary records of the Second , including diaries, letters, and official proceedings, to reconstruct key debates over , such as John Adams's advocacy against delegate apathy and the push for a declaration committee. This approach yields a realistic rendering of the founders' virtues—like Franklin's pragmatic wit and Jefferson's eloquence—alongside flaws, including Adams's abrasiveness and regional self-interests, eschewing hagiographic idealization in favor of evidence-based interpersonal tensions documented in congressional journals. While some dramatic compressions occur, such as surmised private exchanges or the sequence of certain votes for narrative flow, these are grounded in verifiable events from May to July 1776, prioritizing fidelity to the empirical record over speculative revisionism. Critiques of the portrayal often highlight selective emphases, such as the tangential treatment of —where Jefferson's original anti-slavery clause is excised amid delegate opposition, mirroring historical compromise but underplaying its moral weight in primary sources—or stylized depictions of Tories and conservatives as obstructionist, which some interpret as anachronistic projections of politics onto 18th-century figures. Nonetheless, the work's foundation in congressional minutiae, including verbatim phrasing from debates on versus separation, substantiates its causal depiction of how incremental and coalition-building led to , rather than relying on mythic unanimity unsupported by the records. This evidentiary anchoring distinguishes 1776 from less rigorous interpretations, affirming the delegates' agency in a process marked by genuine contention rather than predetermined heroism.

Film Adaptation and Subsequent Productions

The 1972 film adaptation of 1776, directed by Peter H. Hunt—the same director as the original Broadway production—retained Sherman Edwards' complete score (with one notable exception) and much of the stage cast, including William Daniels as John Adams, Howard da Silva as Benjamin Franklin, and Ken Howard as Thomas Jefferson. The screenplay by Peter Stone adhered closely to the stage book's structure, dramatizing the Continental Congress debates through Edwards' music and lyrics to emphasize the pragmatic tensions and ideological clashes leading to independence. Released on November 9, 1972, the film received Academy Award nominations for Best Cinematography (Harry Stradling Jr.), Best Film Editing (Norman Gay), Best Sound (Robert L. Hoyt), and Best Scoring: Adaptation and Original Song Score (Edwards' adaptation), though it won none; it also earned a Golden Globe nomination for Best Motion Picture – Musical or Comedy. A key deviation from the stage version was the pre-release deletion of Edwards' song "Cool, Cool, Considerate Men," which satirizes conservative delegates' reluctance to break from British rule in favor of preserving economic and political stability; the excision, totaling about six minutes, was reportedly influenced by a screening request during the Nixon administration, which viewed the number's portrayal of self-interested Tories as analogous to contemporary Republican opposition to . This alteration softened the film's depiction of factional resistance, potentially understating the causal role of entrenched interests in delaying revolutionary action, as evidenced by historical records of delegates like prioritizing colonial loyalty over rupture. The cut was not restored until a 2002 DVD edition, which reinstated it alongside 11 minutes of additional footage to better reflect the stage's balanced portrayal of deliberative conflict. Later revivals reinstated the song, underscoring its place in Edwards' score as a to pro-independence fervor. The 1997 Broadway revival, running from August 14, 1997, to June 14, 1998, for 281 performances at the Criterion Center Stage Right (later ), featured as Adams and as Franklin, earning Tony nominations for Best Revival of a Musical and preserving the original's focus on evidentiary debates over abstract ideals. A 2001 production at Seattle's reignited discussion over the number's inclusion, with critics arguing its critique of conservative maneuvering risked alienating audiences amid post-9/11 unity sentiments, yet audience attendance metrics—drawing strong regional houses—indicated sustained appeal for the unvarnished historical dynamics Edwards composed. These adaptations and stagings have perpetuated Edwards' musical framework, which causally links founding discord to enduring principles of , without concessions to later interpretive biases.

Personal Life

Family and Relationships

Edwards married Ingrid Secretan in 1950, and the couple remained together until his death in 1981. Ingrid Edwards was a professional dancer who performed with the original dancers and appeared on Broadway. The marriage produced two children: a son named Keith and a daughter named Valerie.

Later Years and Health

Following the premiere of 1776 in 1969, Edwards' songwriting output declined markedly, with no major commercial hits or new theatrical works attributed to him through the 1970s. Archival records of his professional materials from this period primarily document correspondence, contracts, and revisions tied to prior compositions rather than fresh creative endeavors. Edwards resided in Boonton Manor, New Jersey, during his later years, maintaining a low public profile amid this reduced productivity. Health challenges emerged in the years preceding 1981, as Edwards had been ill for several years, culminating in his admission to a nursing home in . These ailments contributed to his withdrawal from active composition, though specific diagnoses beyond general debility were not publicly detailed in contemporary accounts.

Death and Legacy

Circumstances of Death

![Sherman Edwards headstone at Kensico Cemetery][float-right] Sherman Edwards died on March 30, 1981, at the age of 61, from a heart attack at a friend's home in , New York. He was survived by his wife, Ingrid Edwards, son Keith, daughter Valerie, and mother Rae Edwards. Edwards was interred at in .

Posthumous Recognition and Archival Impact

Following Edwards's death in 1981, his contributions to musical theater received limited formal posthumous honors, with recognition primarily manifesting through the sustained revivals and scholarly analysis of 1776. The musical, for which he composed the score and lyrics, has been restaged numerous times, including a 1997 Broadway revival and a 2022 production at the supported by his estate, underscoring the enduring appeal of his historical dramatization of the Declaration of Independence. These productions highlight Edwards's original conception of blending patriotic themes with character-driven songs, though no individual awards were conferred upon him after his lifetime. Edwards's archival legacy is preserved in the Sherman Edwards Papers at the American Heritage Center, , comprising 8.97 cubic feet across 12 boxes and spanning 1940–1986 (bulk 1960–1973). The collection, acquired incrementally from his widow Ingrid Edwards between 1986 and 2022, includes correspondence, scripts, musical scores, contracts, audio recordings (such as 48 phonograph records and four interview tapes from 1969–1973), photographs, newspaper clippings, and scrapbooks detailing his career, with significant focus on the development of and other projects like Dynamite Red and . Open for public research without restrictions, these materials facilitate examinations of Edwards's creative process, including revisions for songs like "Molasses to Rum," which critiques the slave trade's in colonial . The collection's impact extends to academic and public scholarship, cited in studies comparing to works like Hamilton for their portrayals of American founding history, and featured in broadcasts such as Wyoming Public Media's exploration of the musical's improbable origins on December 5, 2024. This archival resource ensures Edwards's influence on Broadway and film scoring remains accessible, supporting analyses of his transition from jazz pianist and history to composer of politically nuanced theater.

References

  1. https://www.allmusic.com/artist/sherman-edwards-mn0000026459
  2. https://www.imdb.com/name/nm0250360/
  3. https://www.penguinrandomhouse.com/authors/244683/sherman-edwards/
  4. https://www.nytimes.com/1981/04/01/obituaries/sherman-edwards-61-composer-and-lyricist-for-1776-is-dead.html
  5. https://www.imdb.com/name/nm0250360/bio/
  6. https://www.musicvf.com/songs.php?page=artist&artist=Sherman%2BEdwards&tab=songaswriterchartstab
  7. https://www.findagrave.com/memorial/7085473/sherman-edwards
  8. https://www.uwyo.edu/ahc/_files/pdffa/09242.pdf
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  11. https://americanrepertorytheater.org/bio/sherman-edwards/
  12. https://archiveswest.orbiscascade.org/ark:80444/xv863205
  13. https://www.scribd.com/document/669543465/Billboard-Pop-Annual-1955-1999-Joel-Whitburn
  14. https://www.youtube.com/watch?v=N7wr2FBxcyI
  15. https://www.musicvf.com/song.php?title=Wonderful%21%2BWonderful%21%2Bby%2BJohnny%2BMathis
  16. https://en.namu.wiki/w/Broken-Hearted%2520Melody
  17. https://www.billboard.com/charts/hot-100/1959-09-19/
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  19. https://secondhandsongs.com/artist/7905
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  23. https://www.mtishows.com/show-history/925
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  25. https://ahcwyo.org/2021/11/08/the-aroma-of-hypocrisy-the-development-of-molasses-to-rum-in-1776/
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  44. https://boards.straightdope.com/t/fun-fact-re-restored-scene-in-1776-the-movie-musical/186685
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  49. https://www.wyomingpublicmedia.org/show/archives-on-the-air/2024-12-05/1776-the-improbable-musical-446-sherman-edwards-papers
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