Jews From The United States

"If jazz should threaten to become a hampering stereotype, a "tradition" in its turn, George would go forward to the next fresh impulse that arose in him. You may call him the King of jazz and associate his name with the lifting of jazz into musical artistry. Very well, and his best thanks. But not on that account is he to be thrust into a pigeonhole. George Gershwin did not begin as a jazzer; he will not end as one."

"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."

"The Rhapsody is not a composition at all. It's a string of separate paragraphs stuck together – with a thin paste of flour and water… I don’t think there has been such an inspired melodist on this earth since Tchaikovsky…but if you want to speak of a composer, that's another matter."

"Well, if I were thus rationed in this article and could have but one adjective for George Gershwin, that adjective would be "ingenuous." Ingenuous at and about his piano. Once an occasional composer named Oscar Levant stood beside that piano while those sure, sinewy, catlike Gershwin fingers beat their brilliant drum-fire—the tumultuous cascade of the "Rhapsody In Blue," the amorous languor of "The Man I Love," the impish glee of "Fascinating Rhythm," the fine, jaunty, dust-spurning scorn of "Strike Up the Band." If the performer was familiar with the work of any other composer, he gave no evidence of it. Levant (who, by the way, makes a fleeting appearance in the new Dashlell Hammett book, under the guise of Levi Oscant) could be heard mutterIng under his breath, "An evening with Gershwin Is a Gershwln evening." "I wonder," said our young composer dreamily, "if my music will be played a hundred years from now." "It certainly will be," said the bitter Levant,"if you are still around.""

"He never raised his voice. When he asked for something, it was usually in an apologetic tone. I know he had this reputation for being brash, but that was just the way his music was. His death was a tragedy. When we were on tour, many times he would complain that he smelled garbage. Today, physicians will tell you that's a clue that you might have a brain tumor, but back then nobody knew. He often would be fighting depression, and when he went out on tour, it wasn't to make money. The whole point was to go out and get some quick adulation to boost himself up."

"When Sam Harris was preparing a Chicago company of Of Thee I Sing after it won the Pulitzer Prize, George, Ira, Harris and I were on the train to attend the opening. I thought it would be fun to ask Harris, with George sitting there, who his favorite composer was. Without hesitation Harris answered, "George Cohan," and began to sing Cohan songs and tell Cohan stories. George wasn't irritated at all, as anyone else might have been; he was just amused."

"It would have been better if you had died and Gershwin had written the elegy."

"Tell me, George, if you had it to do all over, would you fall in love with yourself again?"

"It certainly will be if you are still around."

"There is no better way to spend an evening than listening to George Gershwin at the piano. Fortunately for his audience, he seldom was away from it. He played his own tunes to Ira's special lyrics and though his voice was pure gravel it was special entertainment."

"While the doctors were sawing away at Ira's midriff, I submitted a variety of ideas to George. One of the most successful was the title of the best song in the show, "Someone to Watch Over Me." I wrote and was credited with two songs: "Oh, Kay" and "Heaven On Earth." I wrote the verse for the spiritual number "Clap Yo' Hands" and a lyric called "That Certain Something You've Got," but Ira changed the lyrics and called it "Oh, Kay, You're O.K. with Me." It was the title song of the show and the least distinguished. Ira made me a present of the credit for it. It was the opposite of plagiarism; we call it donorism. George, realizing that any sum he paid me would have to come out of Ira's royalties, paid me next to nothing. It was decided that I was to get 1¢ for every copy of sheet music that was sold. When Ira sent me my first paycheck it was for 96¢. Some time shortly thereafter, Ira wrote asking if I minded canceling the arrangement which involved a lot of bookkeeping for such small sums. I said no, I didn't mind. I was proud to work with the great Gershwin. I would've done it for nothing, which I did."

"I like to think of music as an emotional science."

"An entire composition written in jazz could not live."

"When jazz is played in another nation, it is called American. When it is played in another country, it sounds false. Jazz is the result of the energy stored up in America."

"A skyscraper is at the same time a triumph of the machine and a tremendous emotional experience, almost breath-taking. Not merely its height but its mass and proportions are the result of an emotion, as well as of calculation."

"Not many composers have ideas. Far more of them know how to use strange instruments which do not require ideas."

"Modern European composers ... have very largely received their stimulus, their rhythms and impulses from Machine Age America. They have a much older tradition of musical technique which has helped them put into musical terms a little more clearly the thoughts that originated here. They can express themselves more glibly."

"Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music."

"The composer does not sit around and wait for an inspiration to walk up and introduce itself…Making music is actually little else than a matter of invention aided and abetted by emotion. In composing we combine what we know of music with what we feel."

"My people are American, my time is today…music must repeat the thought and aspirations of the times."

"The European boys have small ideas but they sure know how to dress 'em up."

"I frequently hear music in the heart of noise."

"Someday, he thought, I would like to meet a monster who looked like a monster."

"[Levin] is the Swiss watchmaker of the suspense novel; in terms of plot, he makes what the rest of us do look like those five-dollar watches you can buy in the discount drugstores."

"Anyone who needs more than one suitcase is a tourist, not a traveller."

"Rosemary and Guy Woodhouse had signed a lease on a five-room apartment in a geometric white house on First Avenue when they received word, from a woman named Mrs. Cortez, that a four-room apartment in the Bramford had become available."

"I feel guilty that Rosemary's Baby led to The Exorcist, The Omen [...] A whole generation has been exposed, has more belief in Satan. I don't believe in Satan. And I feel that the strong fundamentalism we have would not be as strong if there hadn't been so many of these books. Of course, [...] I didn't send back any of the royalty checks."

"He touched me... Control myself and try to act As if I remember my name But he touched me...he touched me... And suddenly nothing is the same!"

"I thought that the poets in the anthologies were the only real poets, that their being in the anthologies was proof of this, though some were classified as "great" and others as "minor." I owed much to those anthologies: Silver Pennies; the constant outflow of volumes edited by Louis Untermeyer; The Cambridge Book of Poetry for Children; Palgrave's Golden Treasury; the Oxford Book of English Verse. But I had no idea that they reflected the taste of a particular time or of particular kinds of people."

"It takes a heap o’ children to make a home that’s true, And home can be a palace grand, or just a plain, old shoe; But if it has a mother dear, and a good old dad or two, Why, that’s the sort of good old home for good old me and you."

"To reveal man in relation to the universe the poet must show himself not only concerned with the immensities but with the trivialities of daily life, with a sense of the past continually interrupting the present."

"The poet's dilemma..to create order in the midst of disorder"

"All poetry is the reproduction of the tones of speech"

"Louis Untermeyer was contributing poems which dealt with the realities of the class struggle, but which sounded a note of hope."

"Laughter shall drown the raucous shout; And, though these shelt’ring walls are thin, May they be strong to keep hate out And hold love in."

"There's a kind of silliness in the theater about what one contributes to a show. The producer obviously contributes the money... but must the actor contribute nothing at all? I’m not a modest fellow about those things. I contribute a great deal. And they always manage to hang you for having an interpretation. Isn’t [the theater] where your imagination should flower? Why must it always be dull as shit?"

"Mostel: If I appeared there, what if I did an imitation of a butterfly at rest? There is no crime in making anybody laugh. I don't care if you laugh at me. Congressman Jackson: If your interpretation of a butterfly at rest brought any money into the coffers of the Communist Party, you contributed directly to the propaganda effort of the Communist Party. Mostel: Suppose I had the urge to do the butterfly at rest somewhere? Congressman Doyle: Yes, but please, when you have the urge, don't have such an urge to put the butterfly at rest by putting some money in the Communist Party coffers as a result of that urge to put a butterfly at rest."

"Lives of great men all remind us greatness takes no easy way. All the heroes of tomorrow are the heretics of today. Socrates and Galileo, John Brown, Thoreau, Christ, and Debs Heard the night cry down with traitors, and the dawn shout "Up the reds!""

"WHERE and WHEN Are lost in space. THERE and THEN Do not embrace. So before we disappear Come sweet NOW and kiss the HERE."

"No matter how high or great the throne, What sits on it is the same as your own."

"As the writer of the lyric of the song ‘God’s Country’, I am outraged by the suggestion that somehow I am connected with, believe in, or am sympathetic with Communist or totalitarian philosophy."

"When the idle poor Become the idle rich You'll never know just who is who or who is which."

"When I'm not near the girl I love, I love the girl I'm near."

"The Lord made Adam, the Lord made Eve, he made ‘em both a little bit naive."

"So I ask each weepin' willow And each brook along the way, And each lad that comes a-whistlin' Tooralay How are things in Glocca Morra This fine day?"

"You’re out of the woods You’re out of the dark You’re out of the night Step into the sun, step into the light, Keep straight ahead For the most glorious place On the Face of the Earth Or the sky. Hold onto your breath Hold onto your heart Hold onto your hope, March up to the gate And bid it open."

"How are things in Glocca Morra? Is that little brook still leaping there? Does it still run down to Donny cove? Through Killybegs, Kilkerry and Kildare?"

"On the day I was born, Said my father, said he I've an elegant legacy waiting for ye. Tis a rhyme for your lips And a song for your heart To sing it whenever the world falls apart. Look, look, look to the rainbow Follow it over the hill and stream Look, look, look to the rainbow Follow the fellow who follows a dream."

"To let a fool kiss you is stupid, To let a kiss fool you is worse."

"Life is short, short, brother! Ain't it the truth? And there is no other Ain't it the truth? You gotta rock that rainbow while you still got your youth! Oh! Ain't it the solid truth?"