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Contains the words to 800 of Cole Porter's songs -- more than 400 of them never before published.
From "Begin the Beguine" to "It's Delovely" to "My Heart Belongs to Daddy" and "I Get a Kick Out of You", here are the complete lyrics to the much-loved songs of Cole Porter--800 songs meant to be hummed, sung, danced to, and remembered. "A record of (Porter's) artistic development and of the time in which he flourished".--Rhoda Koenig, New York Magazine.
In his life and in his music, Cole Porter was the top—the pinnacle of wit and sophistication. From the 1910s through the ‘50s, from Yale pep rallies through the Broadway triumphs of Anything Goes and Kiss Me, Kate, he delighted audiences with a glittering torrent of song: “I Get a Kick Out of You.” “Night and Day,” “Love for Sale,” and “Just One of Those Things.” The bright surface of these gems—their catchy melodies and ingenious lyrics—made them instant pop hits. Their more subtle qualities and their musical and emotional depth have made them lasting standards, among the greatest glories of the American songbook. In Cole Porter, William McBrien has thoroughly captured the creator of these songs, whose life was one not only of wealth and privilege but also of tragedy, secrecy, and courage. A prodigal young man, Porter found his aesthetic and emotional anchor in a long, loving, if sexless marriage, while continuing to maintain many discreet affairs with men. In 1937, at the height of his success, he suffered a near-fatal riding accident; his last eighteen years were marked by pain, drugs, and repeated operations on his legs, years of physical agony but unstinting artistic achievement. Here is the book that Porter’s fans have long hoped for—a life that informs the great music and lyrics though illuminating glimpses of the hidden, complicated, private man.
The seventh volume in Knopf’s critically acclaimed Complete Lyrics series, published in Johnny Mercer’s centennial year, contains the texts to more than 1,200 of his lyrics, several hundred of them published here for the first time. Johnny Mercer’s early songs became staples of the big band era and were regularly featured in the musicals of early Hollywood. With his collaborators, who included Richard A. Whiting, Harry Warren, Hoagy Carmichael, Jerome Kern, and Harold Arlen, he wrote the lyrics to some of the most famous standards, among them, “Too Marvelous for Words,” “Jeepers Creepers,” “Skylark,” “I’m Old-Fashioned,” and “That Old Black Magic.” During a career of more than four decades, Mercer was nominated for the Academy Award for Best Song an astonishing eighteen times, and won four: for his lyrics to “On the Atchison, Topeka, and the Santa Fe” (music by Warren), “In the Cool, Cool, Cool of the Evening” (music by Carmichael), and “Moon River” and “Days of Wine and Roses” (music for both by Henry Mancini). You’ve probably fallen in love with more than a few of Mercer’s songs–his words have never gone out of fashion–and with this superb collection, it’s easy to see that his lyrics elevated popular song into art.
Balancing sophisticated melodies and irresistible rhythms with lyrics by turns cynical and passionate, Cole Porter sent American song soaring on gossamer wings. Timeless works like "I Get a Kick Out of You" and "At Long Last Love" made him an essential figure in the soundtrack of a century and earned him adoration from generations of music lovers. In A Cole Porter Companion, a parade of performers and scholars offers essays on little-known aspects of the master tunesmith's life and art. Here are Porter's days as a Yale wunderkind and his nights as the exemplar of louche living; the triumph of Kiss Me Kate and shocking failure of You Never Know; and his spinning rhythmic genius and a turkey dinner into "You're the Top" while cultural and economic forces take "Ev'ry Time We Say Goodbye" in unforeseen directions. Other entries explore notes on ongoing Porter scholarship and delve into his formative works, performing career, and long-overlooked contributions to media as varied as film and ballet. Prepared with the cooperation of the Porter archives, A Cole Porter Companion is an invaluable guide for the fans and scholars of this beloved American genius.
This romantic musical comedy is set in Paris in 1929. Filled with delightful, witty Cole Porter songs, the story takes place one summer evening in Baron Rommer's elegant penthouse suite at the Hotel Ritz. The baron and his butler switch identities so that the butler can pursue a woman he believes is a lady of a much higher class. It transpires that she is actually a maid in the service of Mme. Baltin, a high society figure who has captured the baron's heart. Her jealous husband and a Baker like actress headlining at the Follies Bergere round out the cast of this door slamming farce with wonderful songs and dancing.
The first comprehensive collection of the letters of one of the most successful American songwriters of the twentieth century From Anything Goes to Kiss Me, Kate, Cole Porter left a lasting legacy of iconic songs including "You're the Top," "Love For Sale," and "Night and Day." Yet, alongside his professional success, Porter led an eclectic personal life which featured exuberant parties, scandalous affairs, and chronic health problems. This extensive collection of letters (most of which are published here for the first time) dates from the first decade of the twentieth century to the early 1960s and features correspondence with stars such as Irving Berlin, Ethel Merman, and Orson Welles, as well as his friends and lovers. Cliff Eisen and Dominic McHugh complement these letters with lively commentaries that draw together the loose threads of Porter’s life and highlight the distinctions between Porter’s public and private existence. This book reveals surprising insights into his attitudes toward Hollywood and Broadway, and toward money, love, and dazzling success.
(Vocal Selections). 8 vocal selections from the 1953 Porter musical, including: Allez-Vous-En, Go Away * C'est Magnifique * Can Can * Come Along with Me * I Love Paris * It's All Right with Me * Live and Let Live * Montmartre.
"In 1959, shortly before his death and while reflecting over his roller-coaster career as a Hollywood film director, Preston Sturges (who I write about more fully later in this book) remarked, "the only amazing thing about my career...is that I ever had one at all." (1) The same might be said about my career as a physician and historian of medicine. As a young boy, some of my best companions were the characters I met on the pages of novels, stories, theatrical scripts, and screenplays. Fascinated by human stories, contradictions, both moral and physical, and worlds so vastly different from my middle-class, suburban Detroit upbringing, I was inspired to I try my hand at writing some of my own tales. In my teens, I was an active participant in my high school's theatre program (thankfully, in an era when taxpayers still supported the arts as a critical part of the public school curriculum) and wrote a series of incredibly bad plays. Soon enough, I was confronted by the decidedly difficult time I had in coming up with believable plots, a serious handicap for any budding fabulist."--
The debut of Oklahoma! in 1943 ushered in the modern era of Broadway musicals and was followed by a number of successes that have become beloved classics. Shows produced on Broadway during this decade include Annie Get Your Gun, Brigadoon, Carousel, Finian’s Rainbow, Pal Joey, On the Town, and South Pacific. Among the major performers of the decade were Alfred Drake, Gene Kelly, Mary Martin, and Ethel Merman, while other talents who contributed to shows include Irving Berlin, Gower Champion, Betty Comden, Adolph Green, Agnes de Mille, Lorenz Hart, Alan Jay Lerner, Frederick Loewe, Cole Porter, Jerome Robbins, Richard Rodgers, and Oscar Hammerstein II. In The Complete Book of 1940s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1940s. In addition to providing details on every hit and flop, this book includes revivals and one-man and one-woman shows. Each entry contains the following information: Opening and closing dates Plot summary Cast members Number of performances Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, such as a discography, film versions, published scripts, Gilbert and Sullivan operettas, and non-musical productions that utilized songs, dances, or background music. A treasure trove of information, The Complete Book of 1940s Broadway Musicals provides readers with a complete view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.