Hangul	단소
Hanja	短簫
Rr	danso
Mr	tanso }}

The ''danso'' (also spelled ''tanso'') is a Korean notched, end-blown vertical bamboo flute used in Korean folk music. It is traditionally made of bamboo, but in the 20th century it has also been made of plastic.

The instrument is derived from the Chinese ''xiao'' and is used as an educational tool in Korean primary schools, much like the recorder is used in western nations.

The flute has four finger holes and one thumb hole at the back. The playing range is two octaves, going from low G to high G.

The ''dan'' in the instrument's name means "short," and ''so'' refers to the notched, end-blown vertical bamboo flute. Another Korean end-blown vertical bamboo flute, the ''tungso'' (), is longer.

See also

Tungso

Xiao (flute)

Quena

Traditional Korean musical instruments

Music of Korea

External links

''Danso'' page

''Danso'' audio

Category:Korean musical instruments Category:End-blown flutes

es:Danso ko:단소 nl:So (fluit)

name	Cole Porter
birth date	June 09, 1891
birth place	Peru, Indiana, U.S.
death date	October 15, 1964
death place	Santa Monica, California, U.S.
spouse	(her death)
domesticpartner	}}

Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike most successful Broadway composers, Porter wrote both the lyrics and the music for his songs.

After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 30s, but in 1947 he made a triumphant comeback with his most successful musical, ''Kiss Me, Kate''.

Porter's other musicals include ''Fifty Million Frenchmen'', ''DuBarry Was a Lady'', ''Anything Goes'' and ''Can-Can'', and his numerous hit songs include "Night and Day", "I Get a Kick out of You", "Well, Did You Evah!" and "I've Got You Under My Skin". He also composed scores for films from the 1930s to the 1950s. He was noted for his sophisticated, suggestive lyrics, clever rhymes and complex forms.

Life and career

Early years

Porter was born in Peru, Indiana, the only child of a wealthy Baptist family. His father, Samuel Fenwick Porter, was a druggist by trade; his mother, Kate, was the indulged daughter of James Omar "J. O." Cole, "the richest man in Indiana", a coal and timber speculator who dominated the family. J.O. built the couple a home at his Peru-area property, known as Westleigh Farms. After high school, Porter returned to the property only for occasional visits. Kate started Porter in musical training at an early age. He learned the violin at age six, the piano at eight and wrote his first operetta (with help from his mother) at 10. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious. His father, who was a shy and unassertive man, played a lesser role in Porter’s upbringing, although as an amateur poet he may have influenced his son’s gifts for rhyme and meter.

J. O. Cole wanted his grandson to become a lawyer, and with that career in mind, he sent him to Worcester Academy in 1905. He became class valedictorian and was rewarded by his grandfather with a tour of France, Switzerland and Germany. After this he attended Yale University beginning in 1909, where he was a member of Scroll and Key and Delta Kappa Epsilon (Phi chapter) and sang both in the Yale Glee Club, of which he was elected president his senior year, and in the original line-up of the Whiffenpoofs. While at Yale, he wrote a number of student songs, including the football fight songs "Bulldog Bulldog" and "Bingo Eli Yale" (aka "Bingo, That's The Lingo!") that are still played at Yale today. Porter wrote 300 songs while at Yale. After graduating from Yale, Porter studied at Harvard Law School in 1913 (where he roomed with Dean Acheson). He soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, Porter switched to Harvard's music faculty, where he studied harmony and counterpoint with Pietro Yon. Kate Porter did not object to this move, but it was kept secret from J. O. Cole.

In 1915, Porter's first song on Broadway, "Esmeralda", appeared in the revue ''Hands Up''. The quick success was immediately followed by failure: his first Broadway production, in 1916, ''See America First'', a "patriotic comic opera" modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after two weeks.

Paris and marriage

In 1917, the year in which the U.S. entered World War I, Porter moved to Paris. He distributed relief supplies for three months, but the extent of his other war work is unclear. Some writers have been skeptical about Porter's claim to have served in the French Foreign Legion, although the Legion itself lists Porter as one of its soldiers and displays his portrait at its museum in Aubagne. By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers. An obituary notice in ''The New York Times'' said that, while in the Legion, "he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs." Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, but, according to his biographer Stephen Citron, there is no record of his joining this or any other branch of the forces.

Porter maintained a luxury apartment in Paris, where he entertained lavishly. His parties were extravagant and scandalous, with "much gay and bisexual activity, Italian nobility, cross-dressing, international musicians, and a large surplus of recreational drugs." In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorcée eight years his senior, whom he married the following year. She was in no doubt about Porter's homosexuality, but it was mutually advantageous for them to marry: for Linda it offered continued social status and a partner who was the antithesis of her abusive first husband; for Porter it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged. They were, moreover, genuinely devoted to each other and remained married from December 19, 1919 until Linda's death in 1954. Linda remained protective of her social position, and believing that classical music might be a more prestigious outlet than Broadway for her husband's talents, she tried to use her connections to find him suitable teachers, including Igor Stravinsky, but was unsuccessful. Finally, Porter enrolled at the Schola Cantorum in Paris where he studied orchestration and counterpoint with Vincent d'Indy. Meanwhile, Porter's first big hit was the song "Old-Fashioned Garden" from the revue ''Hitchy-Koo'' in 1919. In 1920, he contributed the music of several songs to the musical ''A Night Out''.

Marriage did not diminish Porter's taste for extravagant luxury. The Porter home on the rue Monsieur near Les Invalides was a palatial house with platinum wallpaper and chairs upholstered in zebra skin. In 1923, Porter came into an inheritance from his grandfather, and he began renting Venetian palaces. He once hired the entire Ballets Russes to entertain his house guests, and for a party at Ca' Rezzonico, which he rented for $4,000 a month ($}} in current value), he hired 50 gondoliers to act as footmen and had a troupe of tight-rope walkers perform in a blaze of lights.

Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers' revues in England and the U.S. For a C. B. Cochran show in 1921, he had two successes with the comedy numbers "The Blue Boy Blues" and "Olga, Come Back to the Volga". In 1923, in collaboration with Gerald Murphy, he composed a short ballet, originally titled ''Landed'' and then ''Within the Quota'', satirically depicting the adventures of an immigrant to America who becomes a film star. The work, written for the Swedish Ballet company, lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud's ''La création du monde''. Porter's work was one of the earliest symphonic jazz-based compositions, predating George Gershwin's ''Rhapsody in Blue'' by four months, and well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923. After a successful New York performance the following month, the Swedish Ballet company toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter's and Koechlin's manuscripts between 1966 and 1990, with help from Milhaud among others. Porter had less success with his work on ''Greenwich Village Follies'' (1924). He wrote most of the original score, but his songs were gradually dropped during the Broadway run, and by the time of the post-Broadway tour in 1925, all his numbers had been deleted.

Broadway success

At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical ''Paris''. It was commissioned at the instigation of its star, Irène Bordoni. She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter's agent persuaded Bordoni's impresario husband to hire Porter instead. His work on the show was interrupted by the death of his father at the age of 69 in August 1928; Porter hurried back to Indiana to comfort his mother, before returning to work on the songs for the show. These included "Let's Misbehave" and one of his best-known list songs, "Let's Do It", which was introduced by Bordoni and Arthur Margetson. The show opened on Broadway on October 8, 1928. The Porters did not attend the first night because Porter was in Paris supervising another show for which he had been commissioned, ''La Revue'' at the Ambassadeurs nightclub. Both shows were successes, and, in Citron's phrase, Porter was finally "accepted into the upper echelon of Broadway songwriters". After this, Cochran wanted more from Porter than isolated extra songs; he planned a West End extravaganza similar to Ziegfeld's shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The show, ''Wake Up and Dream'' ran for 263 performances in London, after which Cochran transferred it to New York. There, business was badly affected by the 1929 Wall Street crash, and the show ran for only 136 performances. From Porter's point of view it was nonetheless a success, as his song "What is This Thing Called Love?" became immensely popular independently of the show.

Porter's new fame brought him offers from Hollywood, but as his score for Paramount's ''The Battle of Paris'' was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success. Citron expresses the view that Porter was not interested in cinema and "noticeably wrote down for the movies." Still on a Gallic theme, Porter's last Broadway show of the 1920s was ''Fifty Million Frenchmen'' (1929), for which he wrote 28 numbers, including "You Do Something to Me", "You've Got That Thing" and "The Tale of the Oyster". The show received mixed notices. One critic wrote, "the lyrics alone are enough to drive anyone but P.G. Wodehouse into retirement", but others dismissed the songs as "pleasant" and "not an outstanding hit song in the show". As it was a lavish and expensive production, nothing less than full houses would suffice, and after only three weeks the producers announced that they would close it. Irving Berlin, who was an admirer and champion of Porter, took out a paid press advertisement calling the show "The best musical comedy I've heard in years. ... One of the best collections of song numbers I have ever listened to". This saved the show, which ran for 254 performances, considered a successful run at the time.

1930s

Ray Goetz, producer of ''Paris'' and ''Fifty Million Frenchmen'', whose success had kept him solvent when other producers were bankrupted by the post-crash slump in Broadway business, invited Porter to write a musical show about the other city that he knew and loved: New York. Goetz offered the team with whom Porter had last worked, Herbert Fields writing the book and Porter's old friend Monty Woolley directing. ''The New Yorkers'' (1930) acquired instant notoriety for including a song about a streetwalker, "Love for Sale". Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elizabeth Welch in a nightclub scene. The lyric was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard. Porter often referred to it as his favorite of his songs. ''The New Yorkers'' also included the hit "I Happen to Like New York".

Next came Fred Astaire's last stage show, ''Gay Divorce'' (1932). It featured a hit that became Porter's best-known song, "Night and Day". Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele), the show ran for a profitable 248 performances, and the film rights were sold to RKO Pictures. Porter followed this with a West End show for Gertrude Lawrence, ''Nymph Errant'' (1933), presented by Cochran at the Adelphi Theatre, where it ran for 154 performances. Among the hit songs Porter composed for the show were "Experiment" and "The Physician" for Lawrence, and "Solomon" for Elizabeth Welch.

In 1934, producer Vinton Freedley came up with a new approach to producing musicals. Instead of commissioning book, music and lyrics and then casting the show, Freedley sought to create an ideal musical with stars and writers all engaged from the outset. The stars he wanted were Ethel Merman, William Gaxton and comedian Victor Moore. He planned a story around a shipwreck and a desert island, and for the book he turned to P. G. Wodehouse and Guy Bolton. For the songs, he decided on Porter. By dint of telling each of these that he had already signed the others, Freedley gathered his ideal team together. A drastic last-minute rewrite was necessitated by a major shipping accident, which dominated the news and made Bolton and Wodehouse's book seem tasteless. Nevertheless, the show, ''Anything Goes'', was an immediate hit. Porter wrote what is thought by many to be his greatest score of this period. ''The New Yorker'' magazine said, "Mr. Porter is in class by himself", and Porter himself subsequently called it one of his two perfect shows, along with the later ''Kiss Me, Kate''. Its songs include "I Get a Kick out of You", "All Through the Night", "You're the Top" (one of his best-known list songs), and "Blow, Gabriel, Blow", as well as the title number. The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London. Porter, despite his lessons in orchestration from d'Indy, did not orchestrate his musicals. ''Anything Goes'' was orchestrated by Robert Russell Bennett and Hans Spialek. Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he would make a grand entrance and sit in front, apparently relishing the show as much as any audience member. Russell Crouse commented, "Cole's opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding."

''Anything Goes'' was the first of five Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that featured her strengths. ''Jubilee'' (1935), written with Moss Hart while on a cruise around the world, was not a major hit, running for only 169 performances, but it featured two songs that have since become standards, "Begin the Beguine" and "Just One of Those Things". ''Red Hot And Blue'' (1936), featuring Merman, Jimmy Durante and Bob Hope, ran for 183 performances and introduced "It's De-Lovely", "Down in the Depths (on the Ninetieth Floor)", and "Ridin' High". The relative failure of these shows convinced Porter that his songs did not appeal to a broad enough audience. In an interview he said, "Sophisticated allusions are good for about six weeks ... more fun, but only for myself and about eighteen other people, all of whom are first-nighters anyway. Polished, urbane and adult playwriting in the musical field is strictly a creative luxury."

Porter also wrote for Hollywood in the mid-1930s. His scores include those for ''Born to Dance'' (1936), featuring "You'd Be So Easy to Love" and "I've Got You Under My Skin", and ''Rosalie'' (1937), featuring "In the Still of the Night". In addition, he composed the cowboy song "Don't Fence Me In" for an unproduced movie in the 1930s, but it did not become a hit until Roy Rogers and Bing Crosby and The Andrews Sisters, as well as other artists, introduced it to the public in the 1940s. The Porters took up residence in Hollywood in December 1935, but Linda did not like the movie environment, and Porter's homosexual peccadillos, hitherto very discreet, became less so, and she retreated to their Paris house. When his film assignment was finished, Porter hastened to Paris to make his peace with Linda, but she remained cool. They were shortly brought back together by a terrible accident suffered by Porter.

On October 24, 1937, Porter was riding with Countess Edith di Zoppola and Duke de Verdura at Piping Rock Club in Locust Valley, New York, when his horse rolled on him and crushed his legs, leaving him substantially crippled and in constant pain for the rest of his life. Though doctors told Porter's wife and mother that his right leg would have to be amputated, and possibly the left one as well, he refused to have the procedure. Linda rushed from Paris to be with him, and supported him in his refusal of amputation. He remained in the hospital for seven months and was then allowed to go home to his apartment at the Waldorf Towers. He resumed work as soon as he could, finding it took his mind off his perpetual pain.

Porter's first show after his accident was not a success. ''You Never Know'' (1938), starring Clifton Webb, Lupe Vélez and Libby Holman, ran for only 78 performances. The score included the songs, "From Alpha to Omega" and "At Long Last Love". He returned to success with ''Leave It to Me!'' (1938); the show introduced Mary Martin, singing "My Heart Belongs to Daddy", and other numbers included "Most Gentlemen Don't Like Love" and "From Now On". Porter's last show of the 1930s was ''DuBarry Was a Lady'' (1939), a particularly risqué show, starring Merman and Bert Lahr. After a pre-Broadway tour, during which it ran into trouble with the Boston censors, it ran for 408 performances, beginning at the 46th Street Theatre. The score included "But in the Morning, No" (which was banned from the airwaves), "Do I Love You?", "Well, Did You Evah!", "Katie Went to Haiti" and another of Porter's up-tempo list songs, "Friendship". At the end of 1939, Porter contributed six songs to the film ''Broadway Melody of 1940'' for Fred Astaire, George Murphy and Eleanor Powell.

1940s and postwar

''Panama Hattie'' (1940) was Porter's longest-running hit so far, running in New York for 501 performances, despite the absence of any enduring Porter songs. It starred Merman, with Arthur Treacher and Betty Hutton. ''Let's Face It!'' (1941), starring Danny Kaye, had an even better run, with 547 performances in New York. This, too, lacked any numbers that became standards, and Porter always counted it among his lesser efforts. ''Something for the Boys'' (1943), starring Merman, ran for 422 performances, and ''Mexican Hayride'' (1944), starring Bobby Clark, with June Havoc, ran for 481 performances. These shows, too, are short of Porter standards. The critics did not pull their punches; they complained about the lack of hit tunes and the generally low standard of Porter's scores. After two flops, ''Seven Lively Arts'' (1944) (which featured the standard "Ev'ry Time We Say Goodbye") and ''Around the World'' (1946), many thought that Porter's best period was over.

In between his Broadway shows of the 1940s, Porter again wrote for Hollywood. His film scores of this period were ''You'll Never Get Rich'' (1941) with Astaire and Rita Hayworth, ''Something to Shout About'' (1943) with Don Ameche, Janet Blair and William Gaxton, and ''Mississippi Belle'' (1943–44), which was abandoned before filming began. He also cooperated in the making of the film ''Night and Day'' (1946), a largely fictional biography of Porter, with Cary Grant implausibly cast in the lead. The critics scoffed, but the film was a huge success, chiefly because of the wealth of vintage Porter numbers in it. The success of the biopic contrasted severely with the failure of Vincente Minnelli's film ''The Pirate'', in 1948, in which five new Porter songs received little attention.

From this low spot, Porter made a conspicuous comeback, in 1948, with ''Kiss Me, Kate''. It was by far his most successful show, running for 1,077 performances in New York and 400 in London. The production won the Tony Award for best musical (the first Tony awarded in that category), and Porter won for best composer and lyricist. The score includes "Another Op'nin', Another Show", "Wunderbar", "So In Love", "We Open in Venice", "Tom, Dick or Harry", "I've Come to Wive It Wealthily in Padua", "Too Darn Hot", "Always True to You (in My Fashion)", and "Brush Up Your Shakespeare".

Porter began the 1950s with ''Out Of This World'' (1950), which had some good numbers but too much camp and vulgarity, and was not greatly successful. His next show, ''Can-Can'' (1952), featuring "C'est Magnifique" and "It's All Right with Me", was another hit, running for 892 performances. Porter's last original Broadway production, ''Silk Stockings'' (1955), featuring "All of You", was also successful, with a run of 477 performances. The film ''High Society'' (1956), starring Bing Crosby, Frank Sinatra and Grace Kelly, had Porter's last major hit song, "True Love". The film was later adapted as a stage musical of the same name. Porter wrote numbers for the film ''Les Girls'' (1957) with Gene Kelly. His final score was for a CBS television color special, ''Aladdin'' (1958).

Last years

Porter's mother died in 1952, and his wife died from emphysema in 1954. By 1958, Porter's injuries caused a series of ulcers on his right leg. After 34 operations, it had to be amputated and replaced with an artificial limb. His friend Noël Coward visited him in hospital and wrote in his diary, "The lines of ceaseless pain have been wiped from his face. ... I am convinced that his whole life will cheer up and that his work will profit accordingly." In fact, Porter never wrote another song after the amputation and spent the remaining six years of his life in relative seclusion.

Tributes and legacy

Many artists have recorded Porter songs, and dozens have released entire albums of his songs. In 1956, the album ''Ella Fitzgerald Sings the Cole Porter Songbook'' was released by the American jazz singer Ella Fitzgerald. She followed this in 1972 with another Porter collection, ''Ella Loves Cole''. Among the many album collections of Porter songs are the following: ''Oscar Peterson Plays the Cole Porter Songbook'' (1959); ''Anita O'Day Swings Cole Porter with Billy May'' (1959); ''All Through the Night: Julie London Sings the Choicest of Cole Porter'' (1965); ''Rosemary Clooney Sings the Music of Cole Porter'' (1982); and ''Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter'' (1989). In 1990 Dionne Warwick released an album called ''Dionne Sings Cole Porter''. In that same year ''Red Hot + Blue'' was released featuring 20 Cole Porter songs recorded by artists such as U2, Annie Lennox and Shane MacGowan as a benefit CD for AIDS research. Another collection is ''Frank Sinatra Sings the Select Cole Porter'' (1996). John Barrowman, who played "Jack" in the 2004 film ''De-Lovely'' released a collection of Cole Porter songs, "John Barrowman Swings Cole Porter," in October 2004.

Judy Garland performed a medley of Porter's songs at the 37th Academy Awards, the first Oscars ceremony held following Porter's death. In contrast with the highly embroidered and sanitized screen biography in ''Night and Day,'' his life was chronicled more realistically in ''De-Lovely'', a 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda. In 1980, Porter's music was used for the score of ''Happy New Year'', based on the Philip Barry play ''Holiday''. The Cole Porter Festival is held every year during the second weekend of June in his hometown of Peru, Indiana. The festival fosters music and art appreciation by celebrating Porter's life and music. In December 2010, his portrait was added to the Hoosier Heritage Gallery in the office of the Governor of Indiana. Porter appears as a character in Woody Allen's 2011 film ''Midnight in Paris''.

Singers who have paid tribute to Porter in their work include the Swedish pop group Gyllene Tider, which recorded a song called Flickan i en Cole Porter-sång ''(That girl from the Cole Porter song)'' in 1982. In country singer Jo Dee Messina's song "These Are the Days", the protagonist reveals that she sings old Cole Porter songs. He is referenced in the song "The Call of the Wild" (Merengue) by David Byrne on his 1989 album ''Rei Momo''. He is also mentioned in the song "Tonite It Shows" by Mercury Rev on their 1998 album ''Deserter's Songs''. At halftime of the 1991 Orange Bowl between Colorado and Notre Dame, Joel Grey led a large cast of singers and dancers in a tribute to Porter marking the one hundredth anniversary of his birth. The program was called, "You'll Get a Kick Out of Cole".

Porter was a Steinway artist, performing exclusively on Steinway pianos. His own Steinway piano is currently in the lobby of the Waldorf-Astoria Hotel in New York City.

Notable songs

Shows listed are stage musicals unless otherwise noted. Where the show was later made into a film, the year refers to the stage version. A complete list of Porter's works is in the Library of Congress (see also the Cole Porter Collection).

(1916) ''See America First''

(1919) ''Hitchy-Koo of 1919''—"Old-Fashioned Garden"

(1928) ''Paris''—"Let's Do It, Let's Fall in Love"

(1929) ''Wake Up and Dream''—"What Is This Thing Called Love?"

(1929) ''Fifty Million Frenchmen''—"You Do Something to Me"

(1930) ''The New Yorkers''—"Love for Sale", "I Happen to Like New York"

(1932) ''Gay Divorce''—"After You, Who?", "Night and Day" (adapted as ''The Gay Divorcee'', 1934)

(1933) ''Nymph Errant''—"Experiment", "The Physician", "It's Bad for Me"

(1934) ''Anything Goes''—"All Through the Night", "Anything Goes", "Blow Gabriel, Blow", "I Get a Kick Out of You", "You're the Top"

(1934) ''Adios Argentina'' (un-produced film)—"Don't Fence Me In"

(1935) ''Jubilee''—"Begin the Beguine", "Just One of Those Things"

(1936) ''Red, Hot and Blue''—"Down in the Depths (on the Ninetieth Floor)", "It's De-Lovely"

(1936) ''Born to Dance'' (film)—"You'd Be So Easy to Love", "I've Got You Under My Skin"

(1937) ''Rosalie'' (film);"In the Still of the Night"

(1937) ''You Never Know''—"At Long Last Love", "From Alpha to Omega", "Let's Misbehave"

(1938) ''Leave It to Me!''—"From Now On", "My Heart Belongs to Daddy"

(1939) ''Broadway Melody of 1940''—"Between You and Me", "I Concentrate on You", "I've Got My Eyes on You", "I Happen to Be in Love", "Begin the Beguine"

(1939) ''Dubarry Was A Lady''—"Do I Love You?", "Well, Did You Evah!", "Friendship"

(1940) ''Panama Hattie''—"Let's Be Buddies"

(1941) ''You'll Never Get Rich'' (film)—"Dream Dancing", "So Near and Yet So Far"

(1941) ''Let's Face It!''—"I Hate You, Darling"

(1942) ''Something for the Boys''—"Could It Be You"

(1942) ''Something to Shout About''—"You'd Be So Nice to Come Home To"

(1943) ''Mexican Hayride''—"I Love You"

(1944) ''Seven Lively Arts''—"Ev'ry Time We Say Goodbye"

(1946) ''Around the World''—"Look What I Found"

(1947) ''The Pirate'' (film)—"Be a Clown"

(1948) ''Kiss Me, Kate''—"Another Op'nin', Another Show", "Brush Up Your Shakespeare", "I Hate Men", "So in Love", "Tom, Dick or Harry", "Too Darn Hot"

(1950) ''Out of This World''—"From This Moment On", "I Am Loved"

(1950) ''Stage Fright'' (film)—"The Laziest Gal in Town"

(1953) ''Can-Can''—"I Am in Love", "I Love Paris", "C'est Magnifique"

(1954) ''Silk Stockings''—"All of You", "Paris Loves Lovers"

(1955) ''High Society'' (film)—"Mind if I Make Love to You?", "True Love", "Who Wants to Be a Millionaire?", "You're Sensational"

(1956) ''Les Girls''—"Ça, C'est L'amour", "You're Just Too, Too"

(1958) ''Aladdin'' (television)—"Come to the Supermarket (In Old Peking)"

A far more comprehensive list of Cole Porter songs, along with their date of composition and original show, is available online at the "Cole Porter Songlist Page".

Notes

References

External links

Cole Porter

Cole Porter discography at Discogs

Cole Porter Birthplace & Museum

Cole Porter Online Archive

Gay Greats—Cole Porter

Cole Porter Festival

The Cole Porter Collection at Irving S. Gilmore Music Library, Yale University

Category:1891 births Category:1964 deaths Category:Songwriters from Indiana Category:American film score composers Category:American musical theatre composers Category:American musical theatre lyricists Category:Musicians from Indiana Category:Deaths from renal failure Category:Grammy Award winners Category:LGBT composers Category:LGBT musicians from the United States Category:People from Peru, Indiana Category:People from Santa Monica, California Category:American amputees Category:Schola Cantorum de Paris alumni Category:Scroll and Key Category:Songwriters Hall of Fame inductees Category:Worcester Academy alumni Category:Yale University alumni Category:Harvard University alumni Category:Soldiers of the French Foreign Legion

ar:كول بورتر ca:Cole Porter cs:Cole Porter da:Cole Porter de:Cole Porter es:Cole Porter fa:کول پورتر fr:Cole Porter hr:Cole Porter io:Cole Porter id:Cole Porter it:Cole Porter he:קול פורטר la:Cole Albertus Porter lv:Kouls Porters nl:Cole Porter ja:コール・ポーター no:Cole Porter oc:Cole Porter pl:Cole Porter pt:Cole Porter ru:Коул Портер simple:Cole Porter fi:Cole Porter sv:Cole Porter tt:Коул Портер uk:Коул Портер vec:Cole Porter

Egberto Gismonti Amin (born December 5, 1947 in Carmo, Rio de Janeiro, Brazil) is a Brazilian composer, guitarist and pianist.

Gismonti began his formal music studies at the age of six on piano. After studying classical music for 15 years, he went to Paris to study orchestration and analysis with Nadia Boulanger and the composer Jean Barraqué, a disciple of Schoenberg and Webern. After his return to Brazil, Gismonti began to explore other musical genres. He was attracted by Ravel's approach to orchestration and chord voicings, as well as by "choro", a Brazilian instrumental popular music featuring various types of guitars. In order to play this music he learned to play guitar, beginning on the 6-string classical instrument and switching to a ten-stringed guitar in 1973. He spent two years experimenting with different tunings and searching for new sounds. This exploration of timbre is further reflected in his use of kalimbas, Shō, voice, bells, etc. By the early '70s, he had laid the groundwork for his current style which incorporated elements drawn from musicians as wide-ranging as Django Reinhardt and Jimi Hendrix. In the 1970s and 1980s he collaborated several times with Nana Vasconcelos recording for ECM. Some best-selling albums such as the Brazilian released eponymous ''Egberto Gismonti'' were never officially released in the US.

Discography

Albums:

Egberto Gismonti - 1969 - Brazil--(Monaural original copies are valued @ $75 in fine condition)

Sonho 70 - 1970 - Brazil

Janela De Ouro - 1970 - France

Computador - 1970 - France

Orfeo Novo - 1971 - Germany

Água & Vinho - 1972 - Brazil

Egberto Gismonti - 1973 - Brazil a.k.a. Arvore

Academia De Danças - 1974 - Brazil

Coraçoes Futuristas - 1976 - Brazil

Dança Das Cabeças - 1977 - Germany (ECM) with Nana Vasconcelos

Carmo - 1977 - Brazil

Sol Do Meio Dia - 1978 - Germany (ECM)

No Caipira - 1978 - Brazil

Solo - 1979 - Germany (ECM)

E. Gismonti & N. Vasconcelos & M. Smetak - 1979 - Brazil

Magico - with Charlie Haden and Jan Garbarek - 1979 - Germany (ECM)

Circense - 1980 - Brazil

Folk Songs - with Charlie Haden and Jan Garbarek - 1981 - Germany (ECM)

Em Familia - 1981 - Brazil

Sanfona - 1980 - Germany (ECM) solo and with Academia de Dancas

[Frevo] - 1980 - Brazil (EMI Odeon)

Fantasia - 1982 - Brazil

Guitar From ECM - 1982 - France

Sonhos De Castro Alves - 1982 - Brazil

Cidade Coraçao - 1983 - Brazil

Egberto Gismondi & Hermeto Pascoal - 1983 - Brazil

Works - 1984 - Germany (ECM)

Egberto Gismonti - 1984 - Brazil

Duas Vozes - 1985 - Germany (ECM) with Nana Vasconcelos

Trem Caipira - 1985 - Brazil

Alma - 1986 - Brazil

Feixe De Luz - 1988 - Brazil

Pagador De Promessas - 1988 - Brazil

Dança Dos Escravos - 1989 - Germany (ECM)

Kuarup - 1989 - film music score - Brazil

Duo Gismonti/Vasconcelos Jazzbuhne Berlin - 1989 - live recording - East Germany

Infância - 1990 - Germany (ECM)

Poetic Anthology of Joao Cabral De Mello E Neto - 1979 - Brazil

Poetic Anthology of Ferreira Gullar - 1979 - Brazil

Poetic Anthology of Jorge Amado - 1980 - Brazil

Children's Music - A Viagem Do Vaporzinho Tereré- with Dulce Bressante - 1980 - Brazil

Children's Music - O Pais Das Aguas Luminosas - 1980 - Brazil

Children's Music - O Girigivel Tereré- with Francis Hime - 1980 - Brazil

Amazônia - 1991 - film music score - Brazil

El Viaje - 1992 - film music score - France

Casa Das Andorinhas - 1992 - Brazil

Musica De Sobrevivéncia - 1993 - Germany (ECM)

Egberto Gismonti - 1993 - Live at the 87 Festival in Freiburg Proscenium - CDV - Germany

Egberto Gismonti - 1993 - Live at 93 São Paulo -Tom Brazil - Brazil

Zigzag - 1996 (ECM)

Meeting Point - 1997 (ECM)

In Montreal - 2001 (ECM) with Charlie Haden

Saudacoes - 2009 (ECM) with Alexandre Gismonti

Albums as producer and/or arranger:

Dulce - O Samba Do Escritor - 1968 - Brazil

Maysa - 1969 - Brazil

Agostinho Dos Santos - 1969 - Brazil

Marie Laforet - 1970 - France

Johnny Alf - Nos - 1973 - Brazil

Airto Moreira - Identity - 1975 - USA

A Barca Do Sol - 1975 - Brazil

Flora Purim - Open Your Eyes, You Can Fly - 1975 - Brazil

Paul Horn - Altura Do Sol (High Sun) - 1976 - USA

Wanderléa - Vamos Que Eu Ja Vou - 1977 - Brazil

Marlui Miranda - Olho D’Agua - 1979 - Brazil

Nana Vasconcelos - Saudades - 1979 - Germany

A Cor Do Som - Intuição - 1984 - Brazil

Bernard Wystraete - Intromission - 1985 - France

Production and/or Performances as musician in Carmo/LPs released in Brazil:

Andre Geraissati - Entre Duas Palavras - 1983

Nando Carneiro - Violão - 1983

Luiz Eça - Luiz Eça - 1984

Robertinho Silva - Bateria - 1984

Piry Reis - Caminho Do Interior - 1984

Aleuda - Oferenda - 1984

Antonio José - Un Mito Uma Coruja Branca - 1984

Carioca - Sete Dias, Sete Instrumentos, Musica - 1984

Grupo Papavento - Aurora Dorica Para O Embaixador De Jupiter - 1984

Artistas Carmenses - Carmo Ano 1 - 1985

Luigi Irlandini - Azul E Areira - 1985

Mú Carvalho - Meu Continente Encontrado - 1985

William Senna - O Homen Do Madeiro - 1985

Nando Carneiro - Mantra Brasil - 1986

Luiz Eça, Robertinho Silva and Luiz Alves - Triângulo - 1986

Marco Bosco - Fragmentos Da Casa - 1986 Piry Reis - Rio Zero Grau - 1986 Fernando Falçao - Barracas Barrocas - 1987

Production and/or Performance in Carmo/ECM CD’s released outside of Brazil:

Arvore - Egberto Gismonti, group and Orchestra - 1991

Circense - Egberto Gismonti , group and Orchestra - 1991

Violão - Nando Carneiro - 1991

Kuarup - Egberto Gismonti, group and Orchestra - 1991

Academia De Danças - Egberto Gismonti, group and Orchestra -1992

Trem Caipira - Egberto Gismonti group - 1992

Nó Caipira - Egberto Gismonti, group and Orchestra - 1992

Amazonia - Egberto Gismonti group - 1992

7 Dias, 7 instrumentos, musica - Carioca - 1992

Music for Ballet:

Maracatu / Choreography of Décio Otero with Ballet Stagium - 1974 - Brazil

Coraçoes Futuristas / Choreography of Vitor Navarro with Corpo De Baile Do Teatro Municipal De São Paulo - 1976 - Brazil

Conforme A Altura Do Sol, Conforme A Altura Da Lua / Choreography of Décio Otero with Ballett Stagium - 1978 - Brazil

Dança Das Cabeças / Choreography of Décio Otero with Ballet Stagium - 1978 - Brazil

Construçao / Choreography of Klaus e Angel Vianna - 1978 - Brazil

Sonhos De Castro Alves / Choreography of Antonio Carlos Cardoso with the Corpo De Baile Do Teatro Castro Alves - Salvador - 1982 - Brazil

Variaçoes / Choreography of Graziela Figuerca with Grupo Coringa - 1984 - Brazil

Agua y Vinho / Choreography of Philip S. Rosemond at University of Cincinnati - 1986 - Ohio, USA

Pantanal / Choreography of Décio Otero with the Ballet Stagium - 1986 - Brazil

Variações Sobre Villa Lobos / Choreography of Décio Otero with the Ballet Stagium - 1987 - Brazil

Maracatu / Choreography and performance of Ballet Babinka - 1986 - Uruguay

Jogo De Buzios / Choreography of Antonio Carlos Cardoso with the Corpo De Baile Do Teatro Castro Alves - 1988 - Brazil

Natura / Choreography of Laura Dean Dancers and Musicians - 1988 - Live music performance in USA

Sonhos De Castro Alves 2 / Choreography of Victor Navarro with the Corpo De Baile Do Teatro Castro Alves - 1988 - Brazil

Inconfidentes / Choreography of various choreographs with the Corpo De Baile De Teatro Palacio Das Artes - 1988 - Brazil

Iemanja / Choreography of Joe Alegado with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - live music performance at Philharmonic of Köln - Germany

Danças Solitarias / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - performance at Philharmonic of Köln - Germany

7 Anéis / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - performance at Philharmonic of Köln - Germany

Arrivals and Deparatures / Choreography of Philip S. Rosemond - 1991 - Space for Dance - Boulder, Colorado, USA

Carmen / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1993 - performance at Köln, Ludwigsburg and Ludwigshafen - Germany

Movie Scores:

A Penultima Donzela / Directed by Fernando Amaral - 1969 - Brazil

Em Famiglia / Directed by Paulo Porto - 1971 - Brazil

Confissões do Frei Abóbora / Directed by Braz Chediak -1972 - Brazil

Janaina / Directed by Olivier Perroy - 1973 - Brazil

Terra do Guaraná / documentary - 1974 - Brazil

Quem tem Medo do Lobisomem / Directed by Reginaldo Farias - 1973 - Brazil

Nem os Bruxos Escapam / Directed by Valdir Ercolani - 1974 - Brazil

Polichinelo / Directed by Jean Pierre Albicoco - 1975 - Brazil

Raoni / Directed by Jean Pierre Dutilleux - 1976 - France

Parada 88 / Directed by José by Anchieta - 1977 - Brazil

Cruising / Directed by William Frietkin - 1979 - USA

Ato by Violência / Directed by Eduardo Escorel - 1980 - Brazil

Pra Frente Brasil / Directed by Roberto Farias - 1981 - Brazil

Euridyce / Dir. by Mauro Alice / Documentary - 1983 - Brazil

Avaeté / Directed by Zelito Vienna - 1985 - Brazil

La Bela Palomera / Directed by Rui Guerra - 1987 - Brazil

Kuarup / Directed by Rui Guerra - 1988 - Brazil

Amazonia / Directed by Monti Aguirre - 1990 - USA

El Viaje / Directed by Fernando Solanas - 1991 - Argentina

Tempo De Paz / Directed by Daniel Filho - 2009 - Brazil

Chico Xavier / Directed by Daniel Filho - 2010 - Brazil

Music for Special TV series:

As Nadadoras / (Art Video) Tv Manchete of Mariza Alvares Lima - 1986 - Brazil

? - Diadorim / (Art Video) of José de Anchieta - 1987 - Brazil

Pantanal / (Documentary) TV Manchete of Washington Novaes - 1986 - Brazil

O Pagador De Promessas / (Mini-serie of 15 episodes) TV Globo of Dias Gomes, dir. Tizuca Yamasaki - 1988 - Brazil

Um Grito Pela Vida / Conservation International Production - Haroldo e Flavia Castro - 1991 - USA

Amazonia Parte II / (serie of 120 episodes) TV Manchete of T. Yamsaki and Regina Braga , dir. Tizuca Yamasaki - 1992 - Brazil

Kuarup / (Mini-serie of 5 episodes) TV Manchete of Rui Guerra - 1992 - Brazil

Music for Theater (Brazil):

Maria Minhoca / by Maria Clara Machado - 1969

Encontro No Bar / by Braulio Pedroso / dir. by Celso Nunes with Camila Amado and Zanoni Perrite - 1973

Seria Comico Se Nao Fosse Serio / by Dürrenmatt / dir. by Celso Nunes with Fernanda Montenegro, Mauro Mendoça and Fernando Torres - 1974

Festa de Sabado / by Braulio Pedroso & Geraldo Carneiro, dir. de Daniel Filbo and Antonio Pedro with Camila Amado and Antonio Pedro - 1976

O Pequeno Principe / by Saint Exupery with Carlos Vereza and Susane Carvalho - 1978

Dor De Amor / by Braulio Pedroso dir. by Paulo Cesar Pereio with Paulo Cesar Pereio and Scarlet Moon - 1976

Bandeira Dos Cinco Milreis / by Geraldo Carneiro, dir. by Aderbal Jr. with Maria Padiha and Marco Nanini - 1985

Passageiro Da Estrela / Dir. by Sergio Fonta, with Lidia Brondi - 1984

O Homen Sobre o Parapeito Da Ponte / by Guy Poissy with Carlos Vereza and Clemente Vizcaino - 1987

Sonhos De Uma Noite De Verão / by William Shakespeare, dir. by Werner Herzog - 1992 for Exp

Music for expositions of Painters & Sculptors (all in Brazil):

Os Muito Universos / by Miralda Pedroso (installation) - 1985

Ita-Parica / (Fragmentos de uma exposiçao) by Miralda Pedroso (installation) - 1985

Figueira Branca / by Akiko Fujita (Sculpture & Installation) - 1986

Os Sete Aneis / by Antonio Peticov (Sculpture) - 1986

Written Music for different ensembles:

Music for 48 Strings - dedicated to Igor Strawinsky

Ritmos & Danças - guitar and Orchestra - dedicated to Léo Brower

Dança das Sombras - Chamber Orchestra - 1983

10 Guitar Studies - 1979/1990

10 Strings Quartet - 1987/1990

Songbook - released by Editions Gismonti - 1989/1990

10 Piano Studies - 1989/1990

Musica de Sobrevivência - Symphonic Music commissioned by Sec. Cultura de São Paulo - 1990

Realejo - Chamber Orchestra - 1991

Strawa no Sertão - Chamber Orchestra - 1991

Cabinda, a cantiga dos Espiritos - (5 movements) Symphonic Music commissioned by Zürich Symphonic Orchestra - 1992

Imagem & Variações - Symphonic Music commissioned by São Paulo Symphonic Orchestra - 1992

Strawa no Sertão , Maxixe - Symphonic Music commissioned by Copenhagen Symphonic Orchestra - 1993

Lundú - Symphonic Music commissioned by Copenhagen Symphonic Orchestra - 1993

Forró - Symphonic Music commissioned by Orchestra Symphonic of Bahia - OSBA - 1993

Frevo - Symphonic Music commissioned by Cordoba Symphonic Orchestra 1993

Dança dos Escravos - Symphonic Music commissioned by Cordoba Symphonic Orchestra - 1993

Previous ‘94 Releases & Works:

Gismonti & Vasconcelos - Live at ‘87 Montreux Jazz Festival - Warner Bros. CD

Gismonti & C. Haden - Live at ‘89 Montreal Jazz Festival - Polygram Classics CD

Gismonti & Ars Nova - Gismonti Vocal Music - ECM Records CD

Livro das Ignorânças - Music based in Manoel de Barros Poems - ECM Records CD

Casa das Andorinhas - Music for ‘92 Brazilian TV Series - Carmo/ECM CD

Bandeira do Brasil - Compilation of E. Gismonti works - Carmo/ECM CD

Song Book number 2 - Mundiamusic & Ed. Gismonti - Switzerland - songbook

Music for Strings Quartet - Mundiamusic & Ed. Gismonti - Swintzerland - music book

References

External links

Oldies.com

Biography at European Jazz Network

Interview at Brazil-Brasil.com

Egberto Gismonti on ECM Records

Category:1947 births Category:Living people Category:Brazilian people of Italian descent Category:Brazilian jazz pianists Category:Jazz composers Category:Brazilian multi-instrumentalists Category:20th-century classical composers Category:21st-century classical composers Category:Brazilian composers Category:Postmodern composers Category:Brazilian classical pianists Category:Brazilian classical guitarists Category:Brazilian jazz guitarists Category:ECM artists

da:Egberto Gismonti de:Egberto Gismonti es:Egberto Gismonti fr:Egberto Gismonti it:Egberto Gismonti nl:Egberto Gismonti ja:エグベルト・ジスモンチ pt:Egberto Gismonti

name	Harold Arlen
birth name	Hyman Arluck
birth date	February 15, 1905
birth place	Buffalo, New York
death date	April 23, 1986
death place	New York City, New York
spouse	Anya Taranda (1937-1970)
academyawards	Best Original Song1939 ''The Wizard of Oz''for ''Over the Rainbow'' }}

Harold Arlen (February 15, 1905 – April 23, 1986) was an American composer of popular music, having written over 500 songs, a number of which have become known the world over. In addition to composing the songs for ''The Wizard of Oz'', including the classic 1938 song, "Over the Rainbow,” Arlen is a highly regarded contributor to the Great American Songbook. "Over the Rainbow," in fact, was voted the twentieth century's No. 1 song by the Recording Industry Association of America (RIAA) and the National Endowment for the Arts (NEA).

Biography

Arlen was born Chaim Arluck, in Buffalo, New York, the child of a Jewish cantor. His twin brother died the next day. He learned the piano as a youth and formed a band as a young man. He achieved some local success as a pianist and singer and moved to New York City in his early 20s. He worked as an accompanist in vaudeville. At this point, he changed his name to Harold Arlen. Between 1926 and about 1934, Arlen appeared occasionally as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman and Eddie Duchin, usually singing his own compositions.

In 1929, Arlen composed his first well-known song: "Get Happy" (with lyrics by Ted Koehler). Throughout the early and mid-1930s, Arlen and Koehler wrote shows for the Cotton Club, a popular Harlem night club, as well as for Broadway musicals and Hollywood films. Arlen and Koehler's partnership resulted in a number of hit songs, including the familiar standards "Let's Fall in Love" and "Stormy Weather." Arlen continued to perform as a pianist and vocalist with some success, most notably on records with Leo Reisman's society dance orchestra.

Arlen's compositions have always been popular with jazz musicians because of his facility at incorporating a blues feeling into the idiom of the conventional American popular song.

In the mid-1930s, Arlen married, and spent increasing time in California, writing for movie musicals. It was at this time that he began working with lyricist E.Y. "Yip" Harburg. In 1938, the team was hired by Metro-Goldwyn-Mayer to compose songs for ''The Wizard of Oz''. The most famous of these is the song "Over the Rainbow" for which they won the Academy Award for Best Music, Original Song. They also wrote "Down with Love" (featured in the 1937 Broadway show, Hooray for What!), a song later featured in the 2003 movie ''Down with Love''.

Arlen was a longtime friend and former roommate of actor Ray Bolger who would star in ''The Wizard of Oz'', the film for which "Over the Rainbow" was written.

In the 1940s, he teamed up with lyricist Johnny Mercer, and continued to write hit songs like "Blues in the Night", "That Old Black Magic," "Ac-Cent-Tchu-Ate the Positive," "Any Place I Hang My Hat Is Home" and "One for My Baby (and One More for the Road)" .

Arlen composed two defining tunes which bookend Judy Garland's musical persona: as a yearning, innocent girl in "Over the Rainbow" and a world-weary, "chic chanteuse" with "The Man that Got Away".

Harold Arlen timeline

1905 Arlen born in Buffalo, New York

1920 (age 15) He formed his first professional band, Hyman Arluck's Snappy Trio.

1921 (16) Against his parent's wishes he left home.

1923 (18) With his new band - The Southbound Shufflers, performed on the Crystal Beach lake boat "Canadiana" during the summer of 1923.

1924 (19) Performed at Lake Shore Manor during the summer of 1924.

1924 (19) Wrote his first song, collaborating with friend Hyman Cheiffetz to write "My Gal, My Pal". Copyrighting the song as "My Gal, Won't You Please Come Back to Me?" and listed lyrics by Cheiffetz and music by Harold Arluck.

1925 (20) Makes his way to New York City with the group, The Buffalodians, with Arlen playing piano.

1926 (21) Had first published song, collaborating with Dick George to compose "Minor Gaff (Blues Fantasy)" under the name Harold Arluck.

1928 (23) Chaim (Life) (or Hyman) Arluck renames himself Harold Arlen, a name that combined his parents' surnames (his mother's maiden name was Orlin).

1929 (24) Landed a singing and acting role as Cokey Joe in the musical "The Great Day"

1929 (24) Composed his first well known song - (Get Happy) under the name Harold Arlen.

1929 (24) Signed a yearlong song writing contract with the George and Arthur Piantadosi firm.

1930–1934 (25-29) Wrote music for the Cotton Club.

1933 (28) At a party, along with partner Ted Koehler, wrote the major hit song "Stormy Weather"

1933 (28) Billboard heralded Shakespeare as the most prolific playwright in history, and Arlen as the most prolific composer.

1935 (30) Went back to California after being signed by Samuel Goldwyn to write songs for the film "Strike Me Pink"

1937 (32) Married 22-year-old Anya Taranda, a celebrated Powers Agency model and former Earl Carroll and Busby Berkeley showgirl, actress, and one of the Original "Breck Girls."

1938 (33) Hired by Metro-Goldwyn-Mayer to compose songs for ''The Wizard of Oz''.

1938 (33) While driving along Sunset Boulevard in Hollywood and stopping in front of Schwab's Drug Store came up with the song "Over the Rainbow"

1941 (36) Wrote "Blues in the Night"

1942 (37) Along with Johnny Mercer, he wrote one of his most famous songs, "That Old Black Magic"

1943 (38) Wrote "My Shining Hour"

1944 (39) While driving with songwriter partner Johnny Mercer came up with the song "Accentuate the Positive".

1945 (40) In a single evening's work in October with Johnny Mercer came up with the song "Come Rain or Come Shine"

1949 (44) Collaborated with Ralph Blane to write the score for "My Blue Heaven".

1950 (45) Worked with old pal Johnny Mercer on the film "The Petty Girl", out of which came the song "Fancy Free".

1951 (46) His wife Anya was institutionalized in a sanitarium for 7 years after repeatedly threatening her husband and others with physical harm.

1952 (47) Teamed up with Dorothy Fields on the film "The Farmer Takes a Wife"

1953 (48) Harold's father, Cantor Samuel Arluck, died.

1954 (49) The Musical "A Star is Born" starring Judy Garland singing the now classic, Harold Arlen and Ira Gershwin collaboration, "The Man That Got Away"

1954 (49) Becomes dangerously ill with a bleeding ulcer and is hospitalized but recovers to work with Truman Capote on the musical ''House of Flowers''.

1956 (51) His mother Celia Arluck dies and Harold doesn't touch music for over a year, mourning her loss.

1962 (56) Wrote the score for the animated musical Gay Purr-ee, lyrics by E.Y. Harburg.

1961–1976 (55-71) Wrote over 50 songs and continued a successful career.

1970 (65) Arlen's wife Anya Taranda dies from a brain tumor. Arlen begins to lose interest in life, withdrawing from friends and family and becoming more reclusive.

1974 (69) Composes theme song for the ABC sitcom ''Paper Moon'', based on a 1973 Peter Bogdanovich film of the same name. [Paper Moon was a hit song in *1933* and gave its name to the movie, not the other way around.]

1986 (81) Harold Arlen dies in New York City and is interred next to his wife at Ferncliff Cemetery in Hartsdale, New York.

Works for Broadway

''Earl Carroll's Vanities of 1930'' (1930) – revue – contributing composer

''You Said It'' (1931) – musical – composer

''Earl Carroll's Vanities of 1932'' (1932) – revue – co-composer and co-lyricist with Ted Koehler

''Americana'' (1932) – revue – contributing composer

''George White's Music Hall Varieties (1933) – revue – co-composer

''Life Begins at 8:40'' (1934) – revue – composer

''The Show is On'' (1936) – revue – contributing composer

''Hooray for What!'' (1937) – musical – composer

''Bloomer Girl'' (1944) – musical – composer

''St. Louis Woman'' (1946) – musical – composer

''House of Flowers'' (1954) – musical – composer and co-lyricist

''Mr. Imperium'' (1951) – movie musical – featured composer

''Jamaica'' (1957) – musical – composer – Tony nomination for Best Musical

''Saratoga'' (1959) – musical – composer

Major songs

"A Sleepin' Bee" – lyrics by Harold Arlen and Truman Capote

"Ac-cent-tchu-ate the Positive" – lyrics by Johnny Mercer

"Any Place I Hang My Hat Is Home" – lyrics by Johnny Mercer

"As Long as I Live" – lyrics by Ted Koehler

"Between the Devil and the Deep Blue Sea" – lyrics by Ted Koehler

"Blues in the Night" – lyrics by Johnny Mercer

"Come Rain or Come Shine" – lyrics by Johnny Mercer

"Ding-Dong! The Witch Is Dead" – lyrics by E.Y. Harburg

"For Every Man There's a Woman" – lyrics by Leo Robin

"Get Happy" – lyrics by Ted Koehler

"Down with Love" – lyrics by E.Y. Harburg

"Happiness is a Thing Called Joe" – lyrics by E.Y. Harburg

"Hit the Road to Dreamland" – lyrics by Johnny Mercer

"Hooray for Love" – lyrics by Leo Robin

"I Could Go On Singing" – lyrics by E.Y. Harburg

"If I Only Had a Brain" – lyrics by E.Y. Harburg

"If I Only Had a Heart" – lyrics by E.Y. Harburg

"I Had Myself A True Love" – lyrics by Johnny Mercer

"I Gotta Right to Sing the Blues" – lyrics by Ted Koehler

"Ill Wind" – lyrics by Ted Koehler

"It Was Written in the Stars" – lyrics by Leo Robin

"I've Got the World on a String" – lyrics by Ted Koehler

"It's Only a Paper Moon" – lyrics by E.Y. Harburg, Billy Rose

"Last Night When We Were Young" – lyrics by E.Y. Harburg

"Let's Fall in Love" – lyrics by Ted Koehler

"Let's Take a Walk Around the Block" – lyrics by Ira Gershwin and E.Y. Harburg

"Like A Straw In The Wind"

"Lydia the Tattooed Lady" – lyrics by E.Y. Harburg

"My Shining Hour" – lyrics by Johnny Mercer

"One for My Baby (and One More for the Road)" – lyrics by Johnny Mercer; theme song of NBC detective series ''Meet McGraw'' starring Frank Lovejoy

"Out of This World" – lyrics by Johnny Mercer

"Over the Rainbow" – lyrics by E.Y. Harburg

"Right As The Rain" – lyrics by E.Y. Harburg

"Sing My Heart" – lyrics by Ted Koehler

"So Long, Big Time!" – lyrics by Dory Langdon (recorded in Finland by Carola)

"Stormy Weather" – lyrics by Ted Koehler

"That Old Black Magic" – lyrics by Johnny Mercer

"The Man That Got Away" – lyrics by Ira Gershwin

"This Time the Dream's on Me" – lyrics by Johnny Mercer

"When the Sun Comes Out" – lyrics by Ted Koehler

References

Films

2003 – ''Stormy Weather: The Music of Harold Arlen''. Directed by Larry Weinstein.

External links

Official web site for Harold Arlen

Barbra Streisand on two.">"Harold Sings Arlen (with a Friend)", 1966 Columbia Records album featuring Arlen singing 10 of his songs, and dueting with Barbra Streisand on two.

Category:1905 births Category:1986 deaths Category:American musical theatre composers Category:Best Song Academy Award winning songwriters Category:Burials at Ferncliff Cemetery Category:Jewish American composers and songwriters Category:People from Buffalo, New York Category:Songwriters Hall of Fame inductees Category:Vaudeville performers

ca:Harold Arlen de:Harold Arlen es:Harold Arlen fr:Harold Arlen id:Harold Arlen it:Harold Arlen he:הרולד ארלן pl:Harold Arlen pt:Harold Arlen ru:Арлен, Гарольд fi:Harold Arlen sv:Harold Arlen

playername	Jack Jewsbury
fullname	Jack Jewsbury
dateofbirth	April 13, 1981
cityofbirth	Joplin, Missouri
countryofbirth	United States
height
position	Midfielder
currentclub	Portland Timbers
clubnumber	13
youthyears1	1999–2002
youthclubs1	St. Louis Billikens
years1	2002
clubs1	Kansas City Brass
years2	2003–2010
clubs2	Kansas City Wizards
caps2	195
goals2	14
years3	2003
clubs3	→ Syracuse Salty Dogs (loan)
caps3	7
goals3	2
years4	2011–
clubs4	Portland Timbers
caps4	24
goals4	7
pcupdate	August 25, 2011
ntupdate	}}

Jack Jewsbury (born April 13, 1981 in Joplin, Missouri) is an American soccer player who currently plays for Portland Timbers in Major League Soccer.

Career

Youth and College

Jewsbury attended Kickapoo High School in Springfield, Missouri, where he scored a state record 59 goals in his senior season and 124 goals in his four-year high school career. He was named First-team All-Midwest Region, All-State, All-District, All-Ozark Conference and conference Player of the Year as a senior, and was a three-time All-District and All-State selection, before having his #21 jersey retired.

Jewsbury played four years of college soccer at Saint Louis University, finishing his career tied for tenth on the school's all-time scoring list with 101 points. Jewsbury was twice named first team All-Conference USA, winning the Conference Player of the Year award as a sophomore. During his college years, he also played with Kansas City Brass in the USL Premier Development League.

Professional

Jewsbury was drafted 43rd overall in the 2003 MLS SuperDraft by the Kansas City Wizards, and signed to a developmental contract. As a rookie, Jewsbury struggled for playing time, appearing for only 61 minutes all season. In his second year, however, Jewsbury played much more, becoming a significant utility player for the Wizards. That year he helped the club capture the 2004 Lamar Hunt U.S. Open Cup and the Western Conference title. He continued to progress with the club and soon became a very influential player for Kansas City. In eight years with the club, the central midfielder would appear in 195 league matches and score 14 goals. In July and August 2003, the Wizards sent Jewsbury on loan to the Syracuse Salty Dogs of the USL A-League.

Jewsbury was traded to Portland Timbers for allocation money on March 1, 2011. Just days after arriving in Portland, Jewsbury was given the captain's armband for the club's inaugural MLS season.

Honors

Kansas City Wizards

Lamar Hunt U.S. Open Cup (1): 2004

Major League Soccer Western Conference Championship (1): 2004

See also

List of current MLS players

References

External links

MLS player profile

Category:1981 births Category:Living people Category:American soccer players Category:Kansas City Brass players Category:Kansas City Wizards players Category:Portland Timbers (MLS) players Category:Saint Louis University alumni Category:People from Joplin, Missouri Category:Saint Louis Billikens men's soccer players Category:USL Premier Development League players Category:Soccer players from Missouri Category:Syracuse Salty Dogs players Category:USL A-League players