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=== Early Life and Performance Career === | === Early Life and Performance Career === | ||
Born in East Flatbush, Brooklyn, Collins began performing as a teenager in the 1960s. Her musical aspirations were sparked at age 15 when she heard The Ronettes' "Be My Baby" playing at Frank's Pizza Place near her home in the Glenwood Projects.<ref name=" | Born in East Flatbush, Brooklyn, Collins began performing as a teenager in the 1960s. Her musical aspirations were sparked at age 15 when she heard The Ronettes' "Be My Baby" playing at Frank's Pizza Place near her home in the Glenwood Projects.<ref name="2" /> Collins noted that growing up without privilege, music served as a source of inspiration, and her generation often sang on street corners, in stairwells, or subway stations to utilize the echo.<ref name="2">{{cite web|url=https://bkroads.net/you-cant-take-the-brooklyn-out-of-singer-songwriter-susan-collins/|title=You Can’t Take The Brooklyn Out of Singer-Songwriter Susan Collins}}</ref> | ||
At 15, Collins hitchhiked from the Belt Parkway's Bay Parkway exit to Greenwich Village's Café Wha?, an establishment known for hosting amateur acts.> Despite the venue primarily featuring blues acts that evening, she performed "[[w:Stormy Monday|Stormy Monday]]," the only blues song she knew. Her performance led to an invitation to sing with [[w:Jimi Hendrix|Jimi Hendrix]]'s band, then known as Jimmy James and the Blue Flames, marking her first professional engagement. She subsequently joined Joe Cocker's Mad Dogs and Englishmen tour.<ref name=" | At 15, Collins hitchhiked from the Belt Parkway's Bay Parkway exit to Greenwich Village's Café Wha?, an establishment known for hosting amateur acts.> Despite the venue primarily featuring blues acts that evening, she performed "[[w:Stormy Monday|Stormy Monday]]," the only blues song she knew. Her performance led to an invitation to sing with [[w:Jimi Hendrix|Jimi Hendrix]]'s band, then known as Jimmy James and the Blue Flames, marking her first professional engagement. She subsequently joined Joe Cocker's Mad Dogs and Englishmen tour.<ref name="2" /> | ||
=== Work in Television and Songwriting === | === Work in Television and Songwriting === | ||
In the 1970s, Collins connected with [[w:Paul_Shaffer|Paul Shaffer]], which led to her role as vocal director for ''[[w:Saturday_Night_Live|Saturday Night Live]]'' (SNL), for which she earned an Emmy Award. She contributed vocals to Gilda Radner's SNL commercial parody "Jewess Jeans,"<ref>{{Cite web|url=https://www.youtube.com/watch?v=QZ1Z5TIx4wI|title=Rhonda Weiss: Jewess Jeans - SNL|accessdate=19 June 2025}}</ref> a song she still includes in her revue. Collins also worked as a background and studio vocalist on various albums.<ref name=" | In the 1970s, Collins connected with [[w:Paul_Shaffer|Paul Shaffer]], which led to her role as vocal director for ''[[w:Saturday_Night_Live|Saturday Night Live]]'' (SNL), for which she earned an Emmy Award. She contributed vocals to Gilda Radner's SNL commercial parody "Jewess Jeans,"<ref>{{Cite web|url=https://www.youtube.com/watch?v=QZ1Z5TIx4wI|title=Rhonda Weiss: Jewess Jeans - SNL|accessdate=19 June 2025}}</ref> a song she still includes in her revue. Collins also worked as a background and studio vocalist on various albums.<ref name="2" /> | ||
Through Shaffer, Collins was introduced to [[w:Don_Kirshner|Don Kirshner]], who signed her as a songwriter. Collins expressed a strong desire to collaborate with Ellie Greenwich, a Brooklyn songwriter who co-wrote "Be My Baby". Kirshner arranged a meeting, leading to an immediate connection and close friendship between Collins and Greenwich. [[w:Barbra_Streisand|Barbra Streisand]] complimented Collins's vocal ability after hearing her sing in a studio hallway, and Collins also made impressions on figures such as [[w:Brian_Wilson|Brian Wilson]] and [[w:John_Lennon|John Lennon]].<ref name=" | Through Shaffer, Collins was introduced to [[w:Don_Kirshner|Don Kirshner]], who signed her as a songwriter. Collins expressed a strong desire to collaborate with Ellie Greenwich, a Brooklyn songwriter who co-wrote "Be My Baby". Kirshner arranged a meeting, leading to an immediate connection and close friendship between Collins and Greenwich. [[w:Barbra_Streisand|Barbra Streisand]] complimented Collins's vocal ability after hearing her sing in a studio hallway, and Collins also made impressions on figures such as [[w:Brian_Wilson|Brian Wilson]] and [[w:John_Lennon|John Lennon]].<ref name="2" /> | ||
In 1978, Collins achieved her first songwriting hit with Paul Davis's "Sweet Life" and received a featured performer credit on his subsequent single, "Darlin'". Her solo recording career was reportedly hindered when she declined a manager/record executive's demands for her "body and soul," though she asserted that her voice could not be taken from her.<ref name=" | In 1978, Collins achieved her first songwriting hit with Paul Davis's "Sweet Life" and received a featured performer credit on his subsequent single, "Darlin'". Her solo recording career was reportedly hindered when she declined a manager/record executive's demands for her "body and soul," though she asserted that her voice could not be taken from her.<ref name="2" /> | ||
=== Music Executive Career === | === Music Executive Career === | ||
Collins also pursued a career in music administration. Early on, she worked as a receptionist and junior secretary at [[w:Jet_Records|Jet Records]], where she interacted with [[w:Ozzy_Osbourne|Ozzy Osbourne]], who frequently complained about the record company while sitting at her reception desk. She described herself as a "very bad junior secretary and an extremely bad receptionist," often disconnecting [[w:Don_Arden|Don Arden]]'s calls and being warned about [[w:Sharon_Arden|Sharon Arden]] cutting phone cords.<ref name=" | Collins also pursued a career in music administration. Early on, she worked as a receptionist and junior secretary at [[w:Jet_Records|Jet Records]], where she interacted with [[w:Ozzy_Osbourne|Ozzy Osbourne]], who frequently complained about the record company while sitting at her reception desk. She described herself as a "very bad junior secretary and an extremely bad receptionist," often disconnecting [[w:Don_Arden|Don Arden]]'s calls and being warned about [[w:Sharon_Arden|Sharon Arden]] cutting phone cords.<ref name="1">{{cite web|url=https://www.youtube.com/watch?v=rPfyya78Wfw|title=Susan Collins talks about Ozzy Osbourne and signing Nirvana's music publishing.}}</ref> | ||
Later, while working for [[w:Polydor|Polydor]] in London, Collins discovered [[w:Nirvana_(band)|Nirvana]]. She attended the CMJ (College Media Journal) conference or New Music Seminar in New York, where she observed a crowded and energetic Nirvana performance at the Pyramid Club, a band not listed on the official schedule. Upon returning to Polydor's office at Sussex Place, she attempted to persuade label head [[w:David_Muns|David Muns]] to sign the band, but he declined, stating he was "not interested in American band." She noted that [[w:Lucian_Grainge|Lucian Grainge]] was also present at Polydor's publishing office at the time, with packets of dried cereal on his desk.<ref name=" | Later, while working for [[w:Polydor|Polydor]] in London, Collins discovered [[w:Nirvana_(band)|Nirvana]]. She attended the CMJ (College Media Journal) conference or New Music Seminar in New York, where she observed a crowded and energetic Nirvana performance at the Pyramid Club, a band not listed on the official schedule. Upon returning to Polydor's office at Sussex Place, she attempted to persuade label head [[w:David_Muns|David Muns]] to sign the band, but he declined, stating he was "not interested in American band." She noted that [[w:Lucian_Grainge|Lucian Grainge]] was also present at Polydor's publishing office at the time, with packets of dried cereal on his desk.<ref name="1" /> | ||
Approximately a year later, Collins relocated to Los Angeles to work for Virgin Music Publishing. She received a cassette from lawyer Alan Niven, inquiring if she was familiar with Nirvana. Recognizing the band immediately from her previous encounter, Collins traveled to Seattle to finalize their publishing deal. She noted the difficulty of finding information about bands like Nirvana before the advent of Google, often relying on finding their 12-inch singles in independent shops, such as "Slither". During a gig in Tacoma, Collins identified elements of [[w:The Beatles (band)|The Beatles]] in Nirvana's choruses. Collins is also credited with managing the band [[w:The Noisettes|The Noisettes]].<ref name=" | Approximately a year later, Collins relocated to Los Angeles to work for Virgin Music Publishing. She received a cassette from lawyer Alan Niven, inquiring if she was familiar with Nirvana. Recognizing the band immediately from her previous encounter, Collins traveled to Seattle to finalize their publishing deal. She noted the difficulty of finding information about bands like Nirvana before the advent of Google, often relying on finding their 12-inch singles in independent shops, such as "Slither". During a gig in Tacoma, Collins identified elements of [[w:The Beatles (band)|The Beatles]] in Nirvana's choruses. Collins is also credited with managing the band [[w:The Noisettes|The Noisettes]].<ref name="1" /> | ||
=== ''You Can Take the Girl Outta Brooklyn (But You Can’t Take Brooklyn Outta The Girl)'' === | === ''You Can Take the Girl Outta Brooklyn (But You Can’t Take Brooklyn Outta The Girl)'' === | ||
In 2009, Broadway producer Wendy Federman encouraged Collins to present her life story, leading to the creation of her autobiographical show, ''You Can Take the Girl Outta Brooklyn (But You Can’t Take Brooklyn Outta The Girl)''. The production, featuring Collins with backup vocalists Ula Hedwig and Angela Cappelli, premiered at Bergen PAC and ran for two years to sold-out audiences. Bette Sussman later joined the show as musical director, pianist, and fourth vocalist.<ref name=" | In 2009, Broadway producer Wendy Federman encouraged Collins to present her life story, leading to the creation of her autobiographical show, ''You Can Take the Girl Outta Brooklyn (But You Can’t Take Brooklyn Outta The Girl)''. The production, featuring Collins with backup vocalists Ula Hedwig and Angela Cappelli, premiered at Bergen PAC and ran for two years to sold-out audiences. Bette Sussman later joined the show as musical director, pianist, and fourth vocalist.<ref name="2" /> | ||
The show was subsequently brought to The Cutting Room in Murray Hill, co-owned by Steve Walter and Chris Noth. The performance includes "Be My Baby," a doo-wop medley, a rendition of Dusty Springfield's "You Don’t Have to Say You Love Me," and a [[w:Beach_Boys_(band)|Beach Boys]] medley in tribute to Brian Wilson. Original songs include "Living Example," about her grandmother, and "We’ll Never Be the Same," about 9/11. Collins integrates anecdotes from her music career and features her son, Tucker Caploe, performing one of his original songs. The show concludes with a girl-group medley and its theme song, which Collins noted was the last song she collaborated on with Ellie Greenwich before Greenwich's passing. Through this production, Collins aims to preserve both her own legacy and that of Ellie Greenwich.<ref name=" | The show was subsequently brought to The Cutting Room in Murray Hill, co-owned by Steve Walter and Chris Noth. The performance includes "Be My Baby," a doo-wop medley, a rendition of Dusty Springfield's "You Don’t Have to Say You Love Me," and a [[w:Beach_Boys_(band)|Beach Boys]] medley in tribute to Brian Wilson. Original songs include "Living Example," about her grandmother, and "We’ll Never Be the Same," about 9/11. Collins integrates anecdotes from her music career and features her son, Tucker Caploe, performing one of his original songs. The show concludes with a girl-group medley and its theme song, which Collins noted was the last song she collaborated on with Ellie Greenwich before Greenwich's passing. Through this production, Collins aims to preserve both her own legacy and that of Ellie Greenwich.<ref name="2" /> | ||
== References == | == References == | ||