Michael Owen

Those were generally – people have generally said the songs that were written for Sport and Life, it ain't necessarily so and there's a book that's even for New York. Whereas some of the more –

Those were generally – people have generally said the songs that were written for Sport and Life, it ain't necessarily so and there's a book that's even for New York. Whereas some of the more –

Those were generally – people have generally said the songs that were written for Sport and Life, it ain't necessarily so and there's a book that's even for New York. Whereas some of the more –

operatic songs, particularly in the first act, were largely the work of DuBose Hayward, and some actually were joint numbers, whether it was because Hayward happened to be in New York at that time and the three of them could work together, or Ira had taken a phrase or two from the libretto or from the novel or the play and turned it into the lyric, and so therefore he felt that this was a song that could

operatic songs, particularly in the first act, were largely the work of DuBose Hayward, and some actually were joint numbers, whether it was because Hayward happened to be in New York at that time and the three of them could work together, or Ira had taken a phrase or two from the libretto or from the novel or the play and turned it into the lyric, and so therefore he felt that this was a song that could

operatic songs, particularly in the first act, were largely the work of DuBose Hayward, and some actually were joint numbers, whether it was because Hayward happened to be in New York at that time and the three of them could work together, or Ira had taken a phrase or two from the libretto or from the novel or the play and turned it into the lyric, and so therefore he felt that this was a song that could

be jointly credited to them. And the lyrics for the opera are credited to, in the original credits, to DuBose Hayward and Ira Gershwin jointly without any indication of who wrote what in that sense.

be jointly credited to them. And the lyrics for the opera are credited to, in the original credits, to DuBose Hayward and Ira Gershwin jointly without any indication of who wrote what in that sense.

be jointly credited to them. And the lyrics for the opera are credited to, in the original credits, to DuBose Hayward and Ira Gershwin jointly without any indication of who wrote what in that sense.

Correct. George arranged and orchestrated the entire opera.

Correct. George arranged and orchestrated the entire opera.

Correct. George arranged and orchestrated the entire opera.

This is a song from late in the opera where Sport and Life... Who's a pimp. The pimp, yes, the drug-dealing pimp in Catfish Row, tries to bring Bess back to his side by persuading her that he can bring her to New York, she can have a happy life as a prostitute. And wear the finest fashions.

This is a song from late in the opera where Sport and Life... Who's a pimp. The pimp, yes, the drug-dealing pimp in Catfish Row, tries to bring Bess back to his side by persuading her that he can bring her to New York, she can have a happy life as a prostitute. And wear the finest fashions.

This is a song from late in the opera where Sport and Life... Who's a pimp. The pimp, yes, the drug-dealing pimp in Catfish Row, tries to bring Bess back to his side by persuading her that he can bring her to New York, she can have a happy life as a prostitute. And wear the finest fashions.

And wear the finest fashions and take some happy dust and move away from these country folk who, you know, you're more like me, Bess. You're not one of these people. So that's basically the idea behind the song.

And wear the finest fashions and take some happy dust and move away from these country folk who, you know, you're more like me, Bess. You're not one of these people. So that's basically the idea behind the song.

And wear the finest fashions and take some happy dust and move away from these country folk who, you know, you're more like me, Bess. You're not one of these people. So that's basically the idea behind the song.

More the former, I think, than the latter. By 1954, when Ira wrote what turned out to be his last two significant works, the songs for Stars Born and for the drama The Country Girl with Bing Crosby and Grace Kelly, which was also written with Harold Arlen, he wrote a few songs for that. At times, it changed. Musical theater had changed.

More the former, I think, than the latter. By 1954, when Ira wrote what turned out to be his last two significant works, the songs for Stars Born and for the drama The Country Girl with Bing Crosby and Grace Kelly, which was also written with Harold Arlen, he wrote a few songs for that. At times, it changed. Musical theater had changed.