Michael Owen

And if you looked at some of the archival material that I used in writing this book and went through Ira's papers as I did, you can see the vast amount of changes and ideas that flowed through his head as his brother was elaborating on these melodies.

And if you looked at some of the archival material that I used in writing this book and went through Ira's papers as I did, you can see the vast amount of changes and ideas that flowed through his head as his brother was elaborating on these melodies.

And if you looked at some of the archival material that I used in writing this book and went through Ira's papers as I did, you can see the vast amount of changes and ideas that flowed through his head as his brother was elaborating on these melodies.

But eventually, over the years, it became more of a joint partnership that it wasn't always the music that came first, particularly as they got into the so-called political musicals of the 30s of the I Sing and things like that, where the lyrics came more to the forefront of the show rather than the music. Memorable music, though it is, but it's the lyrics, the satirical nature of those lyrics.

But eventually, over the years, it became more of a joint partnership that it wasn't always the music that came first, particularly as they got into the so-called political musicals of the 30s of the I Sing and things like that, where the lyrics came more to the forefront of the show rather than the music. Memorable music, though it is, but it's the lyrics, the satirical nature of those lyrics.

But eventually, over the years, it became more of a joint partnership that it wasn't always the music that came first, particularly as they got into the so-called political musicals of the 30s of the I Sing and things like that, where the lyrics came more to the forefront of the show rather than the music. Memorable music, though it is, but it's the lyrics, the satirical nature of those lyrics.

that brought Ira to a new level where people were starting to compare him to one of his idols, Gilbert, W.S. Gilbert, with Gilbert and Sullivan fame.

that brought Ira to a new level where people were starting to compare him to one of his idols, Gilbert, W.S. Gilbert, with Gilbert and Sullivan fame.

that brought Ira to a new level where people were starting to compare him to one of his idols, Gilbert, W.S. Gilbert, with Gilbert and Sullivan fame.

They did love writing for Fred. And there was something about Stare's voice. It wasn't necessarily the most powerful or the most evocative, but he had the rhythm. Exactly, yeah. He had the feel for what George and Ira had in mind. And so even in the years after George's death,

They did love writing for Fred. And there was something about Stare's voice. It wasn't necessarily the most powerful or the most evocative, but he had the rhythm. Exactly, yeah. He had the feel for what George and Ira had in mind. And so even in the years after George's death,

They did love writing for Fred. And there was something about Stare's voice. It wasn't necessarily the most powerful or the most evocative, but he had the rhythm. Exactly, yeah. He had the feel for what George and Ira had in mind. And so even in the years after George's death,

Ira wrote the songs for one of Fred's movie musicals, his reunion with Ginger Rogers in the 1940s, The Barclays at Broadway. Fred Astaire did the movie version of Funny Face in the 1950s with Audrey Hepburn. He did his own songbook, Gershwin Songbook Collection, or not a Gershwin Songbook Collection, but one that had a number of Gershwin songs on it.

Ira wrote the songs for one of Fred's movie musicals, his reunion with Ginger Rogers in the 1940s, The Barclays at Broadway. Fred Astaire did the movie version of Funny Face in the 1950s with Audrey Hepburn. He did his own songbook, Gershwin Songbook Collection, or not a Gershwin Songbook Collection, but one that had a number of Gershwin songs on it.

Ira wrote the songs for one of Fred's movie musicals, his reunion with Ginger Rogers in the 1940s, The Barclays at Broadway. Fred Astaire did the movie version of Funny Face in the 1950s with Audrey Hepburn. He did his own songbook, Gershwin Songbook Collection, or not a Gershwin Songbook Collection, but one that had a number of Gershwin songs on it.

So yeah, it was – they loved writing for him and Fred was just – and Adele, his sister who was actually more of a star in the early days than Fred was because they just had a certain rhythm. If you listen to the recordings that Fred and Adele did with George Gershwin in London in the 20s, you don't hear that sort of rhythm anymore from singers. It was something special.

So yeah, it was – they loved writing for him and Fred was just – and Adele, his sister who was actually more of a star in the early days than Fred was because they just had a certain rhythm. If you listen to the recordings that Fred and Adele did with George Gershwin in London in the 20s, you don't hear that sort of rhythm anymore from singers. It was something special.

So yeah, it was – they loved writing for him and Fred was just – and Adele, his sister who was actually more of a star in the early days than Fred was because they just had a certain rhythm. If you listen to the recordings that Fred and Adele did with George Gershwin in London in the 20s, you don't hear that sort of rhythm anymore from singers. It was something special.

very syncopated, and I think that people talk about how the interpretation, and this is going on to a different subject a little bit, but the interpretation of George Gershwin's music has become more flowing and romantic, lyrical in a way, whereas if you listen to George Gershwin playing the piano on the old recordings, it's very staccato, very syncopated, and you can really get a sense of what the 20s might have been like from listening to those songs.

very syncopated, and I think that people talk about how the interpretation, and this is going on to a different subject a little bit, but the interpretation of George Gershwin's music has become more flowing and romantic, lyrical in a way, whereas if you listen to George Gershwin playing the piano on the old recordings, it's very staccato, very syncopated, and you can really get a sense of what the 20s might have been like from listening to those songs.