Ira Gershwin Quotes

The way you wear your hat, The way you sip your tea, The mem'ry of all that -- No, no! They can't take that away from me!

S wonderful! 'S marvelous! That you should care for me!

There's a somebody I'm longing to see, I hope that he, turns out to be, someone to watch over me.

Holding hands at midnight 'Neath a starry sky... Nice work if you can get it And you can get it -- if you try.

I'd like to add her initial to my monogram...

Damn it all! What rhymes with rhythm?

The future of this nation, with the present generation, You must admit is nothing but a joke

If you'll promise not to cry, Baby, I will kiss you by-and-by—Maybe! Though you're six feet three, You will always be Nothing but a Baby, dear, to me.

On Ira Gershwin: I remember when he was given the manuscript of a novel written by a woman friend who had hopes of having it published. To his astonishment it turned out to be the dirtiest, most pornographic book he had ever read. When the lady mentioned that she intended to use a nom de plume, Ira suggested she call herself Henrietta Miller.

But, tell me, is it worth the while To decorate this earth the while The men are so unworthy of our zeal? No more the days of heroes now—The men are only zeros now—A sex without the slightest sex appeal.

If you've ever wondered where the good songs go After they've had their day, You'll be glad to meet a man I know, Wrinkled old and gray. He collects the tunes that time has thrown aside— Puts them under lock and key; For a penny he is glad to set them free.

If I'm a guy who doesn't seem so merry, It's just because I'm so misunderstood. When I was young I ate a dictionary, And that did not do me a bit of good. For I've absorbed so many words and phrases— They drive me dizzy when I want to speak. I start explaining but each person gazes As if I spoke in Latin or in Greek.

Crazy for You opens backstage at the Zangler Theatre, New York, where Bobby, desperate to break into showbusiness, performs an impromptu audition for the great impresario Bella Zangler. This is not a ‘book number’ – that’s to say, the music is not an expression of character or plot point arising from the dialogue, the defining convention of musical theatre. Instead, more prosaically, it’s a real number, a ‘prop number’: Bobby is backstage and doing the song for Zangler. So it’s sparely orchestrated – little more than a rehearsal piano and some support; it’s one chorus; and its tap-break ends with Bobby stamping on Zangler’s foot. This is grim reality: Bobby is expelled from the theatre. Outside, he makes a decision, and sings ‘I Can’t Be Bothered Now’ – the second song, but the real opening number: the first ‘book number’ in the show. There is an automobile onstage (it’s the 1930s) and, as Bobby opens the door, one showgirl, pretty in pink, steps out, then another, and another, and more and more, far more than could fit in any motor car; finally, Bobby raises the hood of the vehicle and the last chorine emerges. The audience leans back, reassured and content: Susan Stroman’s fizzy, inventive choreography has told them that what’s about to follow is romantic fantasy. More to the point, it’s true to the character of the song, and the choice of song is true to Bobby’s character and the engine of the drama: My bonds and shares May fall downstairs Who cares? Who cares? I’m dancing and I Can’t Be Bothered Now … This lyric captures the philosophy of Ira Gershwin’s entire oeuvre – which is important: the show is a celebration of Gershwin. But it’s also an exact expression of Bobby’s feelings and the reason why he heads to Dead Rock, Arkansas. So the number does everything it should: it defines the principal’s motivation; it kick-starts the plot; and it communicates the spirit of the score and the staging. Audiences don’t reason it out like that; we just eat it up. But that’s why.

The very first hit factory was T.B. Harms, a Tin Pan Alley publishing company overseen by Max Dreyfus. With staff writers like Jerome Kern, George and Ira Gershwin, Cole Porter, and Richard Rodgers, T.B. Harms was the dominant publisher of popular music in the early twentieth century. Dreyfus called his writers “the boys” and installed pianos for them to compose on around the office on West Twenty-Eighth, the street that gave Tin Pan Alley its name, allegedly for the tinny-sounding pianos passersby heard from the upper-story windows of the row houses. The sheet-music sellers also employed piano players in their street-level stores, who would perform the Top 40 of the 1920s for browsing customers.