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Terms Of Service
Martin Luther King, Jr.
Ralph Waldo Emerson
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I was lucky enough to have the songs in my first show written by George and Ira Gershwin. Then Cole Porter wrote five shows for me.
You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.
As far as songwriters, I've always been a fan of Irving Berlin, Cole Porter, and George Gershwin; those guys mean a lot to me.
I love Gershwin. I love musicals.
Not to dismiss Gershwin, but Gershwin is the chip; Ellington was the block.
Ira Gershwin, shame on him. I mean, some of the writing.
For many years, I've always been attached to what they call the Great American Songbook, and Kern was a great leader of that because he had the classical training of Europe. He impressed all the greatest composers, like Cole Porter and Gershwin. They couldn't believe he was writing the songs he was writing.
Mercer was very clever. He knew the way Southerners spoke and put that into his lyrics. But in that whole era, you had the best. Harold Arlen was just fantastic. Cole Porter was better than anybody, and Gershwin was Gershwin, y'know. Johnny Mercer started Capitol Records, and he brought in Sinatra, Dean Martin, and Nat King Cole.
As a New Yorker you can't help but be proud of the fact that so much music and culture started here. Punk rock, jazz, hip-hop and house music started here, George Gershwin debuted 'Rhapsody in Blue' here; the Velvet Underground are from New York.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff.
Gershwin inspired me very much. The concept of 'That Lucky Old Sun' was inspired by 'Rhapsody in Blue' - not influenced, but inspired.
I think my knowledge of music theory is rooted in jazz theory, and a lot of the writers of standards - Rodgers and Hart, and Gershwin.
Leonard Bernstein was probably the most significant formative influence on me - he was such an encompassing musician. I spent my teenage years absorbing him, and my other interests stemmed off of that. Bernstein led me to Sondheim and to Gershwin, and Sondheim led me to listening to Joni Mitchell.
Jason Robert Brown
As a composer, Dylan now fits comfortably alongside George Gershwin or Irving Berlin, though he grumpily refuses to wear any man's collar.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.
My grandma was a church organist for 40 years, and she got me into jazz music and great songwriters, Harold Arlen, George Gershwin, all those folks. I can't do it, but I have a profound respect for it.
I don't care if it's a Cole Porter song, or George Gershwin, or Lennon/McCartney, or Elton John, or you know, whoever, Bob Dylan. Great songs are great songs, and they stand the test of time, and they can be interpreted and recorded with many points of view, but yet still retain the essence of what makes them good songs.
In his musicals with Garland, Rooney was the sparkplug for prodigious entrepreneurship - that era's predecessor of the garage band, but with Gershwin tunes and an all-star cast.
My first role was in the George Gershwin musical 'Crazy for You' at the Orlando Repertory Theatre when I was 11 - I grew up in Florida - and I wasn't old enough to be in it, but they let me anyway. I was just this little shrimp in a leotard.
I was in Paris for nine years, starting in '98. One of the great things when I was first there were these wonderful CD collections, selling for almost nothing. For ten euros, you'd get three CDs of all the Gershwin songs.
The Gershwin legacy is extraordinary because George Gershwin died in 1937, but his music is as fresh and vital today as when he originally created it.
He's a world-famous name to people who care about his music, but there are many people who have never heard of George Gershwin and those numbers increase.
I've had a couple of times where things were so extraordinary wonderful that it changed my world. One of them was when I met Ira Gershwin and started working with him. That was a game-changer for me. It changed the entire course and direction of my life.
I totally related to Cole Porter's magnetic pull to any piano that was in the room, which he was famous for doing, as was Gershwin. You couldn't drag them away from a piano.
My father's Alfred Newman - born in 1900, child prodigy at the piano, ended up in pit orchestras in the teens. I think he's one of the youngest conductors to conduct Broadway and worked with George Gershwin and Jerome Kern and Cole Porter - went out with Irvin Berlin in 1930 to Hollywood and never left.
I grew up with singers. My father's mother sang opera. My dad was a big band singer. I can't remember a time there wasn't music in the house, so I grew up listening to great songwriters - George Gershwin, Cole Porter - and my grandma was playing opera for me before I was 3.
J. D. Souther
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