Musically Bob [Dylan] is a primitive. He's not a Gershwin, or somebody that uses eloquent music terms.
I was proud to work with the great Gershwin, and I would have done it for nothing, which I did.
I just love all the music. 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.
You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.
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.
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.
I did my New York debut at 21. It was “On the Town” at the George Gershwin Theatre. New York is my artistic home.
To George Gershwin, on refusinghim as a pupil: You would only lose the spontaneous quality of your melody, and end by writing bad Ravel.
America, the Idea of: We yearned for its beer and jazz, its smoke-filled nightclubs, its Edward Hopper bars, the melancholy of rainy Manhattan Gershwin nights... the America we yearned for has gone. Did it ever exist?
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.
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.
Ira Gershwin, shame on him. I mean, some of the writing.
I'm a fan of Jerome Kern and Gershwin. That's my kind of music.
Why become a second-rate Ravel when you're already a first-rate Gershwin?
I wanted to honor [George Gershwin]. He's a great American songwriter.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff. He was really a hugely encouraging force to me when I was little.
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 do miss the stage. There's nothing like it, nothing. When I did my one-woman show and played the Palace and played the Gershwin and all that, I did - what? - eight shows or maybe more a week. Of course you can't do anything else, and you can't run quickly for a cab in the rain, and you can't have a drunken love affair. You can't do any of that. Because you've got to be perfectly healthy. And I guess I value enjoying my life a little bit more than the discipline these days.
For me, Woody Allen's 'Manhattan' defines New York. Both New York and Manhattan Island should be in black in white! I always hear the soundtrack of Gershwin in my head every time I go over the Queensboro Bridge, or come in from JFK because of it!
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
Gershwin's tragedy was not that he failed to cross the tracks, but rather that he did, and once there in his new habitat, was deprived of the chance to plunge his roots firmly into the new soil.
It's very difficult to photograph an opera. And they messed up on it. It just wasn't there. And I don't blame the Gershwins for taking it away. Of course, if they had gotten the original company to have done it, it would have been very good
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