A Quote by Ethel Merman

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. — © Ethel Merman
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.
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
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.
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.
For me, when you are talking about perfect songs, you're talking about Gershwin, 'Someone To Watch Over Me.' Or Larry Hart and Richard Rodgers. Or some of the great Cole Porter songs, whether it's 'Night and Day' or some of the comedy songs. Or Irving Berlin, of course.
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.
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.
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.
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.
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.
I wanted to grow up to be George and Ira Gershwin from the age of about six.
Cole Porter wrote Anything Goes and four more hits for me
Cole Porter wrote Anything Goes and four more hits for me.
The music changed. We had Irving Berlin and Gershwin and Lerner and Loewe and Cole Porter. Great music. Now we have 'Rent.'
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.
I fell in love with the idea of writing songs when I was a child. I thought I was going to be a journalist at first, but I gradually fell in love with all these great writers like Irving Berlin and Cole Porter, who were at the peak of their powers then.
I do all the classics, like Dylan, Kristofferson, Jimmy Reed, Mexican mariachi songs, some jazz songs from the '30s. Cole Porter's 'Begin the Beguine,' that's one of my favorites.
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