Kretzmer wrote the lyrics for Anthony Newley ’ s cult musical film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness, whose score included “ When You Gotta Go ”, often used as a closing song by singers including Barbra Streisand.

Kretzmer wrote the book and lyrics of the West End musical, Our Man Crichton, composed by David Lee and based on J M Barrie ’ s satirical play The Admirable Crichton.

In 1985, Kretzmer ’ s songs for Aznavour came to the attention of producer Cameron Mackintosh, who invited him to write an English version of a French musical Les Misérables ( by Alain Boublil and Claude-Michel Schonberg ).

Kretzmer ’ s most recent musical project is Kristina, based on Vilhelm Moberg ’ s epic suite of novels about Swedish emigrants to Minnesota in the 19th century.

In 1988, Kretzmer was elected a Chevalier of L ’ Ordre Des Arts Et Des Lettres.

For the edition broadcast on Saturday 23 November 1963, the day after the assassination of United States President John F. Kennedy, TW3 produced a shortened 20-minute programme with no satire, reflecting on the loss, including a contribution from Dame Sybil Thorndike and the tribute song " In the Summer of His Years " sung by Martin with lyrics by Herbert Kretzmer.

The music was composed by Claude-Michel Schönberg, and the lyrics were written by Alain Boublil and Jean-Marc Natel, with an English-language libretto by Herbert Kretzmer.

* 1987: Les Misérables – Book by Claude-Michel Schönberg and Alain Boublil, music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer.

The new musical Marguerite is by Alain Boublil and Claude-Michel Schönberg, and includes music by Michel Legrand and lyrics by Herbert Kretzmer.

Schönberg's next project with Boublil, Marguerite, includes music by Michel Legrand and lyrics by Herbert Kretzmer.

Kretzmer wrote lyrics for the BBC's satire That Was The Week That Was, including the racial satire " Song of Nostalgia For an American State " and the much-recorded tribute to John F. Kennedy, " In the Summer of His Years ", written and performed by Millicent Martin within hours of his assassination.

Other award-winning Kretzmer lyrics include “ Yesterday When I Was Young ” and the chart-topping “ She ”, both written with and for the French singer Charles Aznavour ..

Kretzmer later wrote ( with composer Laurie Johnson ) the lyrics for a large-scale comedy spoof, The Four Musketeers, which ran for more than a year at the Theatre Royal, Drury Lane, starring Harry Secombe as the swordsman d ' Artagnan.

For his work on the Les Misérables lyrics, Kretzmer received Tony and Grammy awards.

In 2008 Kretzmer wrote the lyrics for Marguerite from an original text by Alain Boublil, a musical set in Nazi-occupied Paris, to music by Michel Legrand.

* 1987: Les Misérables – Claude-Michel Schönberg ( music ) and Herbert Kretzmer ( lyrics )

# Les Misérables, 1980 Paris, 1985 London, 1987 Broadway, m Claude-Michel Schönberg, lb Alain Boublil ( English lyrics by Herbert Kretzmer ) (> 10, 800 in London ( the longest-running musical in history ); 6, 680 on Broadway ) ( 1987 Tony Award winner ; nominated for 12 Tony Awards and won eight )

" The inspiration for both score and lyrics feels more like a retread of the worst excesses of Les Misérables ( a fact amplified here by sharing the English lyricist of that show, Herbert Kretzmer ) and Frank Wildhorn, with the occasional Lloyd Webber rock riff thrown in for good measure ", wrote The Stage, while The Times concluded that " the piece displayed moments of musical power.

** Claude-Michel Schonberg ( composer ), Herbert Kretzmer ( lyricist ), Alain Boublil, Claude-Michel Schonberg ( producers ), & the original Broadway cast for Les Misérables

By mid-2000s, the show has been translated into English by Björn Ulvaeus and the famed Les Misérables English lyricist Herbert Kretzmer.

Herbert Kretzmer OBE ( born 5 October 1925 ) is a South African-born English journalist and lyric writer.

Kretzmer began his professional career writing documentary films and the commentary for a weekly cinema newsreel.

After several years as a feature writer on the Daily Sketch, Kretzmer became a profile writer on the Sunday Dispatch and the Daily Express, interviewing John Steinbeck, Truman Capote, Tennessee Williams, Sugar Ray Robinson, Louis Armstrong, Henry Miller, Cary Grant and Duke Ellington.

Kretzmer won an Ivor Novello Award for the Peter Sellers and Sophia Loren comedy hit “ Goodness Gracious Me ”, composed by David Lee.

Kretzmer was born in South Africa in 1925.

He is one of four brothers born to Lithuanian-born William and Tilly Kretzmer, who fled the racist pogroms of Czarist Russia to settle in small-town South Africa early in the 20th century.

Kretzmer married Elisabeth Margaret Wilson, and they had one son and one daughter.

On 8 April 2011, Kretzmer received an Honorary Doctorate from Rhodes University in South Africa.

She was also cast in the title role in Marguerite, a new musical from the pens of Michel Legrand, Herbert Kretzmer, Alain Boublil and Claude-Michel Schönberg.

The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industry ’ s image and help mediate labor disputes.

The International Encyclopedia of the Social Sciences defines psychological altruism as " a motivational state with the goal of increasing another ’ s welfare ".

Psychological altruism is contrasted with psychological egoism, which refers to the motivation to increase one ’ s own welfare.

One way is a sincere expression of Christian love, " motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one ’ s own life and existence ".

Another way is merely " one of the many modern substitutes for love, ... nothing but the urge to turn away from oneself and to lose oneself in other people ’ s business.

* David Firestone-When Romney ’ s Reach Exceeds His Grasp-Mitt Romney quotes the song

" Swift extends the metaphor to get in a few jibes at England ’ s mistreatment of Ireland, noting that " For this kind of commodity will not bear exportation, and flesh being of too tender a consistence, to admit a long continuance in salt, although perhaps I could name a country, which would be glad to eat up our whole nation without it.

George Wittkowsky argued that Swift ’ s main target in A Modest Proposal was not the conditions in Ireland, but rather the can-do spirit of the times that led people to devise a number of illogical schemes that would purportedly solve social and economic ills.

In response, Swift ’ s Modest Proposal was " a burlesque of projects concerning the poor ", that were in vogue during the early 18th century.

Critics differ about Swift ’ s intentions in using this faux-mathematical philosophy.

Charles K. Smith argues that Swift ’ s rhetorical style persuades the reader to detest the speaker and pity the Irish.

Swift ’ s specific strategy is twofold, using a " trap " to create sympathy for the Irish and a dislike of the narrator who, in the span of one sentence, " details vividly and with rhetorical emphasis the grinding poverty " but feels emotion solely for members of his own class.

Swift ’ s use of gripping details of poverty and his narrator ’ s cool approach towards them create " two opposing points of view " that " alienate the reader, perhaps unconsciously, from a narrator who can view with ' melancholy ' detachment a subject that Swift has directed us, rhetorically, to see in a much less detached way.

Once the children have been commodified, Swift ’ s rhetoric can easily turn " people into animals, then meat, and from meat, logically, into tonnage worth a price per pound ".

Swift uses the proposer ’ s serious tone to highlight the absurdity of his proposal.

In making his argument, the speaker uses the conventional, text book approved order of argument from Swift ’ s time ( which was derived from the Latin rhetorician Quintilian ).

James Johnson argued that A Modest Proposal was largely influenced and inspired by Tertullian ’ s Apology: a satirical attack against early Roman persecution of Christianity.

Johnson notes Swift ’ s obvious affinity for Tertullian and the bold stylistic and structural similarities between the works A Modest Proposal and Apology.

He reminds readers that " there is a gap between the narrator ’ s meaning and the text ’ s, and that a moral-political argument is being carried out by means of parody ".