Michael Owen

Well, Banant for me was one of the songs that was written for the 1930 musical Girl Crazy, which featured a very young Ginger Rogers. That was a song that Ginger Rogers sang in the show Ballad that she sang. And it was also the show that brought Ethel Merman to everybody's attention. So I got rhythm as in the same show.

And it was perhaps the height of the Gershwin's silly shows by 1930 before they went into some of the political shows of the few years after and then Porgy and Bess. But not for me is it's a very romantic ballad and you can take it that way. But if you listen to the lyrics closely, you can hear both Ivor's influences because, as you say, he read a lot and he had a huge library.

And it was perhaps the height of the Gershwin's silly shows by 1930 before they went into some of the political shows of the few years after and then Porgy and Bess. But not for me is it's a very romantic ballad and you can take it that way. But if you listen to the lyrics closely, you can hear both Ivor's influences because, as you say, he read a lot and he had a huge library.

And it was perhaps the height of the Gershwin's silly shows by 1930 before they went into some of the political shows of the few years after and then Porgy and Bess. But not for me is it's a very romantic ballad and you can take it that way. But if you listen to the lyrics closely, you can hear both Ivor's influences because, as you say, he read a lot and he had a huge library.

But also his tricky rhymes about wedding knots and being that that was not for me.

But also his tricky rhymes about wedding knots and being that that was not for me.

But also his tricky rhymes about wedding knots and being that that was not for me.

Part of the lyric, and it's the end of the lyric, goes, when every happy plot ends with a marriage knot, and there's no knot for me. So it's a clever play on words.

Part of the lyric, and it's the end of the lyric, goes, when every happy plot ends with a marriage knot, and there's no knot for me. So it's a clever play on words.

Part of the lyric, and it's the end of the lyric, goes, when every happy plot ends with a marriage knot, and there's no knot for me. So it's a clever play on words.

Absolutely correct. And I think that one of the things that Ira complained about sometimes was that in a theater, Most people were never going to get that sense of the song. They were going to hear the two words and the two sounds, not and not, and they'd think they were the same thing.

Absolutely correct. And I think that one of the things that Ira complained about sometimes was that in a theater, Most people were never going to get that sense of the song. They were going to hear the two words and the two sounds, not and not, and they'd think they were the same thing.

Absolutely correct. And I think that one of the things that Ira complained about sometimes was that in a theater, Most people were never going to get that sense of the song. They were going to hear the two words and the two sounds, not and not, and they'd think they were the same thing.

And it was only the people who actually studied the sheet music or who sang the song professionally who might pick it up. But he did this on purpose, right?

And it was only the people who actually studied the sheet music or who sang the song professionally who might pick it up. But he did this on purpose, right?

And it was only the people who actually studied the sheet music or who sang the song professionally who might pick it up. But he did this on purpose, right?

Why?

Why?

Why?

Because he always wanted to have some fun with the lyrics. I don't think he ever thought of lyric writing, particularly in his early years, as a job so much as it was his way of making his thoughts about love and art known to the world of musical theater and film music and popular songs and Whether people got that or not, that certainly wasn't up to him. But he was very protective of his lyrics.