Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
Alexander Dubin was an American lyricist. He is best known for his collaborations with the composer Harry Warren. Al Dubin came from a Russian Jewish family that emigrated to the United States from Switzerland when he was two years old, he grew up in Philadelphia. Between ages of thirteen and sixteen, Dubin played hookey from school in order to travel into New York City to see Broadway musical shows. At age 14 he began writing special material for a vaudeville entertainer on 28th Street between 5th and Broadway in New York City, otherwise known as Tin Pan Alley. Dubin was accepted and enrolled at Perkiomen Seminary in September 1909, but was expelled in 1911, after writing their Alma Mater. After leaving Perkiomen, Dubin got himself a job as a singing waiter at a Philadelphia restaurant, he tried selling them to area publishing firms. During this time, Dubin met composer Joe Burke. Together they wrote the song "Oh, Mister Moon", published by M. Witmark & Sons. In 1917, Dubin was drafted at Camp Upton in Yaphank, Long Island, served as a private in the 305th Field Artillery of the 77th Division, known as New York's own.
During his service, he wrote the song "They Didn’t Think We'd Do it, But We Did" with composer Fred Rath and published by the 77th Division. On his first weekend pass, Dubin went to see a show at the Majestic Theater in New York City. There he met Broadway singer Helen McClay, they were married on March 19, 1921, at the Church of St. Elizabeth in New York City, after Dubin converted to the Catholic faith and McClay was granted an annulment of her first marriage; the year they married, Dubin was accepted in ASCAP in 1921. Known for his larger-than-life persona, Dubin struggled with alcohol and drugs, fell on hard times in the 1940s. Estranged from his wife, Dubin struggled to find work both in New York; the last show Dubin was contracted to work on was Laffing Room Only, with composer Burton Lane. Dubin provided only a title for this production, "Feudin' and a Fightin'", for which he received 25 percent credit. Dubin spent the remainder of the last few years of his life at the Empire Hotel, alone and in ill-health.
On February 8, 1945, he collapsed on the street after having taken a large quantity of doctor-prescribed barbiturates. He was admitted to the Roosevelt Hospital for barbiturate poisoning and pneumonia, died on February 11, 1945. Famed newspaper personality Walter Winchell made the announcement of his death on the radio. On his passing, Dubin was interred in the Holy Cross Cemetery in California. Dubin sold his first set of lyrics for two songs "Prairie Rose" and "Sunray", in 1909 to the Whitmark Music Publishing Firm. In 1925, Dubin met the composer Harry Warren, to become his future collaborator at Warner Bros. studio in Hollywood. The first song they collaborated on was titled, "Too Many Kisses in the Summer Bring Too Many Tears in the Fall", but it was another song written with Joseph Meyer that same year that became Dubin's first big hit, "A Cup of Coffee, a Sandwich and You". Warner Bros. purchased the publishing firms of Witmark and Harms, since Dubin was under contract to Harms, Warner Bros. inherited his services.
In 1929 Dubin wrote "Tiptoe through the Tulips" with composer Joe Burke for the film Gold Diggers of Broadway. In 1932, Dubin teamed with composer Harry Warren on the movie musical 42nd Street, starring Ruby Keeler, Dick Powell, Warner Baxter and Bebe Daniels, with dance routines sequenced by legendary choreographer Busby Berkeley; the songwriting team of Warren and Dubin contributed four songs: "42nd Street", "You're Getting to Be a Habit with Me", "Young and Healthy" and "Shuffle Off to Buffalo". Between 1932 and 1939, Dubin and Warren wrote 60 hit songs for several Warner Bros. movie musicals, including Gold Diggers of 1933, Footlight Parade starring James Cagney, Roman Scandals starring Eddie Cantor, Dames, Go Into Your Dance and Wonder Bar, both starring Al Jolson. The song "Lullaby of Broadway", written by Warren and Dubin for the musical film, Gold Diggers of 1935, won the 1936 Academy Award for Best Original Song. In 1980, producer David Merrick and director Gower Champion adapted the 1933 film 42nd Street into a Broadway musical that won The Tony Award for Best Musical in 1981.
The book for the show was written by Michael Stewart and Mark Bramble and featured a score that incorporated Warren and Dubin songs from various movie musicals including 42nd Street, Dames, Go Into Your Dance, Gold Diggers of 1933 and Gold Diggers of 1935. Dubin was inducted into the Songwriters Hall of Fame in 1970. Charlot Revue – revue – featured co-lyricist for "A Cup of Coffee, a Sandwich and You" White Lights – musical – co-lyricist Streets of Paris – revue – lyricist Keep Off the Grass – revue – co-lyricist Star and Garter – revue – featured lyricist for "Robert the Roue" Sugar Babies – revue – co-lyricist 42nd Street – musical – lyricist The Show of Shows Gold Diggers of Broadway Sally Oh Sailor Beware Hold Everything She Couldn't Say No 42nd Street Footlight Parade Roman Scandals Gold Diggers of 1933 Moulin Rouge Wonder Bar Dames Twenty Million Sweethearts Go Into Your Dance Gold Diggers of 1935 Broadway Gondolier Stars Over Broadway Shipmates Forever Gold Diggers of 1937 Mr. Dodd Takes the Air Gold Diggers in Paris Garden of the Moon Streets of Paris Stage Door Canteen "A Cup of Coffee, a Sandwich, You" – lyrics by Al Dubin and Billy Rose, music by Joseph Meyer.
"Tiptoe through the Tulips" – Joe Burke. "Forty-Second Street" – 42nd Stre
Jerome David Kern was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "The Song Is You", "All the Things You Are", "The Way You Look Tonight", "Long Ago" and "Who?". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr. Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg. A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades, his musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for musicals.
Although dozens of Kern's musicals and musical films were hits, only Show Boat is now revived. Songs from his other shows, are still performed and adapted. Many of Kern's songs have been adapted by jazz musicians to become standard tunes. Kern was born in New York City, on Sutton Place, in what was the city's brewery district, his parents were Henry Kern, a Jewish German immigrant, Fannie Kern née Kakeles, an American Jew of Bohemian parentage. At the time of Kern's birth, his father ran a stable. Kern grew up on East 56th Street in Manhattan, he showed an early aptitude for music and was taught to play the piano and organ by his mother, an accomplished player and teacher. In 1897, the family moved to New Jersey, where Kern attended Newark High School, he wrote songs for the school's first musical, a minstrel show, in 1901, for an amateur musical adaptation of Uncle Tom's Cabin put on at the Newark Yacht Club in January 1902. Kern left high school before graduation in the spring of his senior year in 1902.
In response, Kern's father insisted that his son work with him instead of composing. Kern, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200, his father relented, in 1902, Kern became a student at the New York College of Music, studying the piano under Alexander Lambert and Paolo Gallico, harmony under Dr. Austin Pierce, his first published composition, a piano piece, At the Casino, appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in Heidelberg, returning to New York via London. For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows, he began to provide these additions in 1904 to British scores for An English Daisy, by Seymour Hicks and Walter Slaughter, Mr. Wix of Wickham, for which he wrote most of the songs.
In 1905, Kern contributed the song "How'd you like to spoon with me?" to Ivan Caryll's hit musical The Earl and the Girl when the show transferred to Chicago and New York in 1905. He contributed to the New York production of The Catch of the Season, The Little Cherub and The Orchid, among other shows. From 1905 on, he spent long periods of time in London, contributing songs to West End shows like The Beauty of Bath and making valuable contacts, including George Grossmith Jr. and Seymour Hicks, who were the first to introduce Kern's songs to the London stage. In 1909 during one of his stays in England, Kern took a boat trip on the River Thames with some friends, when the boat stopped at Walton-on-Thames, they went to an inn called the Swan for a drink. Kern was much taken with the proprietor's daughter, Eva Leale, working behind the bar, he wooed her, they were married at the Anglican church of St. Mary's in Walton on October 25, 1910; the couple lived at the Swan when Kern was in England. Kern is believed to have composed music for silent films as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, Gloria's Romance in 1916.
This was one of the first starring vehicles for Billie Burke, for whom Kern had earlier written the song "Mind the Paint", with lyrics by A. W. Pinero; the film is now considered lost. Another score for the silent movies, followed in 1919. Kern was one of the founding members of ASCAP. Kern's first complete score was Broadway's The Red Petticoat, one of the first musical-comedy Westerns; the libretto was by Rida Johnson Young. By World War I, more than a hundred of Kern's songs had been used in about thirty productions Broadway adaptations of West End and European shows. Kern contributed two songs to To-Night's another Rubens musical, it went on to become a hit in London. The best known of Kern's songs from this period is "They Didn't Believe Me", a hit in the New York version of the Paul Rubens and Sidney Jones musical, The Girl from Utah, for which Kern wrote five songs. Kern's song, with four beats to a bar, departed from the customary waltz-rhythms of E
Broadway theatre known as Broadway, refers to the theatrical performances presented in the 41 professional theatres, each with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City. Along with London's West End theatre, Broadway theatre is considered to represent the highest level of commercial theatre in the English-speaking world; the Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2017–2018 season total attendance was 13,792,614 and Broadway shows had US$1,697,458,795 in grosses, with attendance up 3.9%, grosses up 17.1%, playing weeks up 2.8%. The majority of Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York City the cultural capital of the Western Hemisphere.
New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare ballad operas such as The Beggar's Opera. In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager, they established a theatre in Williamsburg and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida; the Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street. The Bowery Theatre opened followed by others. By the 1840s, P. T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo's Garden opened and soon became one of New York's premiere nightspots.
The 3,000-seat theatre presented all sorts of non-musical entertainments. In 1844, Palmo's Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton's Theatre; the Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: "After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class."The plays of William Shakespeare were performed on the Broadway stage during the period, most notably by American actor Edwin Booth, internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865, would revive the role at his own Booth's Theatre.
Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, Charles Fechter. Theatre in New York moved from downtown to midtown beginning around 1850, seeking less expensive real estate. In the beginning of the 19th century, the area that now comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "enjoy the pure clean air." Close to 60 years theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on West 42nd Street. Broadway's first "long-run" musical was a 50-performance hit called The Elves in 1857. In 1870, the heart of Broadway was in Union Square, by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s.
New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" The Seven Sisters shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D. C. that Abraham Lincoln was shot. The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866; the production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy". Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham.
These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers, instead of the women of questionable repute who had starred in earlier m
The Fat Spy
The Fat Spy is a 1966 Z movie that attempts to parody teenage beach party films. It was filmed at Florida, it is featured in the 2004 documentary The 50 Worst Movies Ever Made. Released to theaters in 1966, it was seen until the 1990s, when it was released to the public domain. Since it has been released on DVD and VHS in various editions sold at dollar stores; the film was shot on location in Cape Coral, according to the book "Images of America: Cape Coral" written by members of the Cape Coral Historical Society. Featured in the film is Cape Coral Gardens, a popular public rose garden during the early 1960s, known for a series of quaint, interconnected foot bridges; the tourist attraction no longer exists. A mostly-deserted island, believed to be the home to the fountain of youth, is off the coast of Florida; the island gets some visitors in the form of a teenage boy band, "the Wild Ones" led by Jordan Christopher, their gang of swimsuit-clad young people, who head there in a crowded powerboat ostensibly for a scavenger hunt.
However, they spend about half their screen time dancing on the beach. The island's wealthy owner, Wellington recruits his blonde bombshell daughter, Junior, to remove the teenagers from the island. Junior is eager to see her love interest, rotund toupee-wearing botanist Irving. However, Irving is more interested in his bicycle than in the amorous Junior. Wellington asks Irving to spy on the teenagers, which he does by donning a sweatshirt that reads "Fink University", "getting their trust" by joining them in dancing the Turtle. Meanwhile, Irving's twin brother Herman, Wellington's trusted employee, plots with his love interest, the scheming harridan Camille Salamander to find the fountain of youth first. List of American films of 1966 The Fat Spy on IMDb The Fat Spy is available for free download at the Internet Archive The Fat Spy at AllMovie 2009 Review at Film Threat
Harry Owens was an American composer and songwriter best known for his song "Sweet Leilani." Harry Robert Owens was born April 1902, in O'Neill, Nebraska. He learned to play the cornet in a small band on an Indian reservation in Montana. Owens was working the vaudeville circuit by age 14, he studied for a career in law, but started a band in 1926, when he was booked into the Lafayette Cafe in Los Angeles and auditioned a young Bing Crosby. The big turning point in his career came in 1934 with his arrival in Hawaii and his appointment as music director of The Royal Hawaiian Hotel in Waikiki, he tried to learn all he could about the local culture by working with native Hawaiians. He learned many traditional and more modern Hawaiian songs and tunes which he wrote down and orchestrated using Western notation for the first time. Many had never been written down before, much less orchestrated, he reorganized the Royal Hawaiians by splitting the band into Hawaiian and haole instrumental sections. His band featured the steel guitar, which had a trademark sound, producing tuneful and rhythmic dance music with a strong Hawaiian flavour.
Hilo Hattie was a featured performer with The Royal Hawaiian Hotel Orchestra. Beginning in 1935, Owens and his orchestra were featured on the popular Saturday night radio show, Hawaii Calls. Bing Crosby and Owens began their friendship when both played the Lafayette Cafe in Los Angeles in 1926. In 1934, Owens wrote "Sweet Leilani" to celebrate the birth of his daughter, made it the signature song of his Royal Hawaiian Hotel Orchestra. While vacationing in Honolulu with his wife Dixie Lee, Crosby heard the song and wanted to include it in his upcoming movie Waikiki Wedding. Harry was hesitant. Producer Arthur Hornblow, Jr. was a hard sell. Hornblow dug in his heels. Crosby retreated to the golf course and refused to return until Hornblow agreed to include the song in the film. "Sweet Leilani" won Best Song category at the 1938 10th Academy Awards, became Crosby's first gold record. Harry Owens and his Royal Hawaiians played "Sweet Leilani" in the 1938 Fred MacMurray film Cocoanut Grove; the soundtrack featured the Owens-penned songs'"Cocoanut Grove" and "Dreamy Hawaiian Moon."
They appeared in the 1942 Betty Grable film Song of the Islands. In 1949, Owens started to appear on television, he made regular appearances both in person and on television. He established the hapa haole style of Hawaii music, developed by Sonny Cunha and Johnny Noble, he enjoyed significant commercial success with this style of music-making. Owens is credited with about 300 hapa haole songs, many of which remain popular with musicians playing in this style. Owens was a great advocate of things Hawaiian, he founded a tourism music publishing business. He died in Oregon; the Hawai'i Academy of Recording Arts awarded Owens the 1987 Na Hoku Hanohano Lifetime Achievement Award for his substantial contributions to the entertainment industry in Hawaii. Hawaii, 1945, Capitol A-4, BD-4, H-166, H-238 Songs of Hawaii, 1945, Capitol A-6, BD-6, H-268 Hawaiian Melodies, 1948, Columbia CL-6030 Voice Of The Trade Winds, 1952, Capitol H-333 Polynesian Holiday, 1957, Capitol T 804 Great Songs of Hawaii, 1965, Hamilton HLP-141, HLP-12141 Owens, Harry.
Sweet Leilani: The Story Behind the Song: An Autobiography. Hula House, 1970. Harry Owens on IMDb Allmusic Aloha Harry Owens with music samples Harry Owens and His Royal Hawaiians discography - Rate Your Music Discogs Harry Owens & His Royal Hawaiian Orchestra Discography
Over the Rainbow
"Over the Rainbow" is a ballad composed by Harold Arlen with lyrics by Yip Harburg. It was written for the movie The Wizard of Oz and was sung by actress Judy Garland in her starring role as Dorothy Gale, it became Garland's signature song. About five minutes into the film, Dorothy sings the song after failing to get Aunt Em, Uncle Henry, the farm hands to listen to her story of an unpleasant incident involving her dog and the town spinster, Miss Gulch. Aunt Em tells her to "find yourself a place where you won't get into any trouble"; this prompts musing to Toto, "Some place where there isn't any trouble. Do you suppose there is such a place, Toto? There must be. It's not a place you can get to by a train. It's far away. Behind the moon, beyond the rain...", at which point she begins singing. The "Over the Rainbow" and Kansas scenes were directed by the uncredited King Vidor; the song was deleted from the film after a preview in San Luis Obispo because MGM chief executive Louis B. Mayer and producer Mervyn LeRoy thought it "slowed down the picture" and sounded "like something for Jeanette MacDonald, not for a little girl singing in a barnyard".
But the song was returned to the film due to the persistence of associate producer Arthur Freed and Roger Edens, Judy Garland's vocal coach and mentor. At the start of the film, part of the song is played by the MGM orchestra over the opening credits. A reprise of it was deleted after being filmed. An additional chorus was to be sung by Dorothy while she was locked in the Witch's castle, helplessly awaiting death as the hourglass ran out. However, although the visual portion of that reprise is lost, the soundtrack of it survives and was included in the 2-CD Deluxe Edition of the film's soundtrack released by Rhino Entertainment in 1995. In that intense rendition, Dorothy cries her way through it, unable to finish, concluding with, "I'm frightened, Auntie Em, I'm frightened!" This phrase was retained in the film and is followed by Aunt Em's brief appearance in the crystal ball, where she is soon replaced by the visage of the witch and taunting Dorothy before turning toward the camera to cackle.
Another instrumental version is played in the underscore in the final scene and over the closing credits. On October 7, 1938, Judy Garland recorded the song on the MGM soundstage with an arrangement by Murray Cutter. In September 1939, a studio recording of the song, not from the film soundtrack, was recorded and released as a single for Decca. In March 1940, that same recording was included on a Decca 78 four-record studio cast album entitled The Wizard of Oz. Although this isn't the version that appeared in the film, Decca continued to release the "cast album" into the 1960s after it was reissued on disc, a 331⁄3-rpm album; the film version of "Over the Rainbow" was unavailable to the public until the soundtrack was released by MGM in 1956 to coincide with the television premiere of The Wizard of Oz. The soundtrack version has been re-released several times over the years, including a deluxe edition by Rhino in 1995. After The Wizard of Oz appeared in 1939, "Over the Rainbow" became Garland's signature song.
She performed it for thirty years. She said she wanted to remain true to the character of Dorothy and to the message of being somewhere over the rainbow. An introductory verse, omitted from the film is sometimes used in theatrical productions of The Wizard of Oz and is included in the piano sheet music from the film, it was used in versions by Tony Bennett, Al Bowlly, Doris Day, Ella Fitzgerald, Frank Sinatra, Sarah Vaughan, Trisha Yearwood, Norma Waterson. Judy Garland sang the introductory verse only once, on a 1948 radio broadcast of The Louella Parsons Show. Lyrics for a second verse appeared in the British edition of the sheet music. In March 2017, "Over the Rainbow" sung by Judy Garland was entered in the National Recording Registry by the Library of Congress as music, "culturally or artistically significant"; the Recording Industry Association of America and the National Endowment for the Arts ranked it number one on their Songs of the Century list. The American Film Institute named it best movie song on the AFI's 100 Years...100 Songs list.
"Over the Rainbow" was given the Towering Song Award by the Songwriters Hall of Fame and was sung at its dinner on June 12, 2014, by Jackie Evancho. In April 2005, the United States Postal Service issued a commemorative stamp honoring Yip Harburg that includes a lyric, it was sent as an audio wakeup call to astronauts about the STS-88 space shuttle mission on Flight Day 4, dedicated to astronaut Robert D. Cabana by his daughter Sara. "Over the Rainbow" reached number 12 on the Billboard Hot Digital Tracks chart during the week of January 31, 2004. In the U. S. it was certified Platinum for 1,000,000 downloads sold. As of October 2014 it had sold over 4.2 million digital copies. In the UK, "Over the Rainbow" was released as a single under the title "Somewhere Over the Rainbow", it entered the UK Official Singles Chart in April 2007 at number 68. In Germany, the single returned to the German Singles Chart in September 2010. After two weeks on that chart, it received gold status for selling 150,000 copies.
In October 2010, it reached number one on the German charts. In 2011 was certified 5x gold for selling over 750,000 copies, it stayed 12 non-consecutive weeks at the top spot and was the most successful single in Germany in 2010. In March 2010 it was the second best-selling download in Germany with digital sales betw