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Viewing: Blog Posts Tagged with: george gershwin, Most Recent at Top [Help]
Results 1 - 4 of 4
1. Gershwin and color: how blue is the Rhapsody?

Everyone knows George Gershwin as a composer, songwriter, pianist and icon of American music. But few know of his connections to the world of paintings and fine art. As a practicing artist himself, Gershwin produced over 100 paintings, drawings, and photographs.

The post Gershwin and color: how blue is the Rhapsody? appeared first on OUPblog.

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2. United Airlines and Rhapsody in Blue

As anyone who has flown United in the past quarter-century knows, the company has a long-standing history with George Gershwin’s Rhapsody in Blue. The piece appears in its television advertisements, its airport terminals, and even its pre-flight announcements. However, the history of United’s use of the piece is far from straight forward. This brand new safety video offers a compelling case in point:

Like recent videos by Air New Zealand and Delta Airlines, United’s safety briefing is designed to keep our attention as it reiterates the standard safety announcements that we know all too well. The video rewards paying close attention on multiple viewings. In fact, there are several airline-travel and United-specific “Easter Eggs.” A few of my favorites appear in the Las Vegas section. A tour bus traversing the Las Vegas Strip scrolls “lavatory occupied” and later “baggage on carousel 2.” Perhaps more subtle is a movie poster for a film titled “Elbow Room 2.” Look closely and you will see that it features a shot encountered later in the safety video as a James Bond-looking figure goes hand to hand against his nemesis a cable car—a clear reference to the 1979 film Moonraker for the alert viewer.

Under the banner “Safety is Global,” the familiar themes of the Rhapsody are musically arranged while diverse members of the United flight crew provide instructions from a series of specific and generic international locales. Certainly, the visuals play a key role in signaling our recognition of these surroundings: the Eiffel Tower and street corner cafe for Paris, a pagoda in front of Mt. Fuji for Japan, casinos and neon signs for Las Vegas, snow-covered peaks and a ski gondola for the Alps, kangaroos for Australia, a Vespa scooter and Mt. Edna for Italy, Chilean flamingos for the bird sanctuary, and palm trees and white-sands for the tropical beach.

But perhaps most important in drawing out the setting of each scene are the dramatic—if not clichéd—musical arrangements of Rhapsody in Blue. While in France a pair of accordions play the introductory bars of the piece while a pilot welcomes us aboard and reminds us to heed their instruction. A flight attendant hops a cab to Newark Airport (United’s East Coast hub) to the strains of a jazz combo setting of the love theme. A tenor saxophone improvises lightly around this most famous melody of the Rhapsody while she provides instruction on how to use the seatbelt from the bumpy backseat. A gong signals a move to Asia, where we encounter the ritornello theme of the Rhapsody on a plucked zither and bamboo flute. The bright-lights of the Las Vegas strip (where we learn about power outages) and a James Bond-inspired depiction of the Swiss Alps (where we learn about supplemental oxygen) are accompanied by the traditional symphonic arrangement of the Rhapsody created by Ferde Grofé. Curious kangaroos learn about life vests as the ritornello theme is heard on a harmonica punctuated by a didgeridoo and a rain stick. A mandolin plucks out the shuffle theme while a flight attendant extinguishes a volcano like a birthday candle—no smoking allowed! Finally, steel drums transport us to a Caribbean bird sanctuary and a tenor saxophone playing the stride theme to a laid-back, quasi-bossa nova groove relocates us to the beach.

Although each of these settings is somewhat stereotypical in its sonic and visual depiction of its respective locale, such treatment of the Rhapsody stands as less formulaic than past attempts at international representation by the airline. Both domestic and international advertisements have adapted the Rhapsody.

Although the video is a bit rough, by comparison to “Safety is Global,” the visuals and instrumentation choices are much more stereotypical. We clearly hear the “orientalist” signifiers at play: a taiko drum, a shakuhachi flute, a trio of pipas. But just as this commercial provides its American market with a glimpse at Asian cultures through the streamlined gaze of corporate advertising, a commercial aired in Japan in 1994 provides an equally reductive depiction of the United States.

The spot features a Japanese puppet of the traditional Bunraku style seated on an airplane as the voiceover announces a series of locales that travelers could visit at ever-increasing award levels. The puppet appears in a succession of wardrobes representative of each destination with arrangements of Rhapsody in Blue emphasizing each costume change: a shamisen accompanies the traditional Japanese kimono, an erhu for the silk Chinese robe, a Hawaiian slide guitar for a bright floral patterned shirt and yellow lei, a fiddle-driven two-step for a cowboy hat and bolo tie, and finally a calypso, steel drum for the white Italian sports coat and dark sunglasses—a clear reference to Don Johnson and Miami Vice. The commercial not only effectively promotes United’s frequent flyer program but also reinforces its corporate logos—both motto and music—to an international market. Through easily identifiable visual and sonic representations of destinations in the United States from Hawaii to Texas to Florida, it also promotes a positive—if not stereotypical—view of American culture using one of its most recognizable musical works.

And this is ultimately what the “Safety is Global” video accomplishes as well. By treating Rhapsody in Blue to a variety of musical arrangements, United Airlines has re-staked its claim on the Rhapsody not as its corporate theme music, but also as an international anthem. Its visualization of the Rhapsody over the course of time repositions the piece from a uniquely American (or specifically New Yorker) theme to one that aims to unite us all through the friendly skies.

Headline Image: Airplane Flying. Photo by Michael Stirling. CC0 1.0 Universal via Public Domain Pictures

The post United Airlines and Rhapsody in Blue appeared first on OUPblog.

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3. Ten things you didn’t know about Ira Gershwin

By Philip Furia


Today marks the 116th anniversary of the birth of Ira Gershwin, lyricist and brother to composer George Gershwin. There are many fascinating details about Ira, ten of which are collected here.

1. When Ira was growing up, he held a lot of odd jobs, one of which was shipping clerk at the B. Altman department store housed in the same building where today Oxford University Press has its offices.

2. Ira loved to play Scrabble. In one game he triumphed by using all seven of his letters to spell out CHOPSUEY. I don’t know which letter was already on the board that he built upon.

3. One of Ira’s neighbors on Maple Drive in Beverly Hills was Angie Dickinson, then at the height of her success with television’s “Police Woman.” Angie was a good poker player and frequently joined the poker games at Ira’s house with the likes of Harold Arlen (“Over the Rainbow”), Arthur Freed (“Singin’ in the Rain”), and other prominent songwriters. At the time, she said, she didn’t realize what august company she was in — still, she frequently cleaned the old boys out. She also learned what a stickler Ira was for grammar. After he had lost a lot of money to her, she said, “Ira, I feel badly that you lost so much.” Ira snapped, “Would you feel ‘goodly’ if I had won?”

4. Ira was also a stickler for proper pronunciation. It annoyed him if someone said “Ca-RIB-be-an” instead of “CA-rib-BE-an.”

5. So it annoyed him when singers took upon themselves to “correct” his deliberate grammatical and pronunciation errors — singing “I’ve Got Rhythm” instead of “I Got Rhythm,” “It’s Wonderful” instead of “‘S Wonderful,” “The Man Who Got Away” instead of “The Man That Got Away.”

6. Ira admired Dorothy Fields as a lyricist, the one woman among that tight-knit group of male songwriters, but he thought it was unforgivable that she playfully distorted the proper accent of “RO-mance” in “A Fine Ro-mance (my friend this is, a fine Ro-mance with no kisses…)”

7. Ira loved all sorts of verbal play. He once built an entire lyric out of “spoonerisms,” named after a British clergyman who loved the reversal of syllables that produces “The Lord is a shoving leopard” instead of “The Lord is a loving shepherd.” Technically such reversals are termed “metathesis” (which can be “spoonered” into “methasetis”). In The Firebrand of Florence Ira concocted such hilarious spoonerisms as “I know where there’s a nosy cook (instead of “cozy nook”)… where we can kill and boo (instead of “bill and coo”)… I love your sturgeon vile (instead of “I love your virgin style”).

8. Three of Ira Gershin’s lyrics were nominated for the Academy Award for Best Song: “They Can’t Take That Away from Me,” “Long Ago and Far Away,” and “The Man That Got Away.” All three lost. Ira decided it was because he had used the word “away” in the title and vowed “Away with ‘Away’!”

9. In London, he attended a rehearsal for a revue of Gershwin songs. Backstage, one of the English singers said she simply did not understand his lyric for “Let’s Call the Whole Thing Off.” When Ira asked what the problem was, she sang, “You say eye-ther and I say eye-ther, you say nye-ther and I say nye-ther…” then said “I just don’t get it, Mr. Gershwin.”

10. He had friends over for cocktails one afternoon and someone suggested they all go for dinner at a prominent restaurant in Beverly Hills. Ira offered to call and see if he could get a table for all of them. He came back to say he could not get a reservation because the restaurant was booked. One of his friends asked to use his phone and came to say he had gotten a table for the entire group that would be ready in a few minutes. When Ira asked how he was able to do that, the friend said, “I used your name.”

Philip Furia is a professor in the Department of Creative Writing at the University of North Carolina Wilmington. He is the author of The Songs of Hollywood (with Laurie Patterson), Ira Gershwin: The Art of the Lyricist, and The Poets of Tin Pan Alley.

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The post Ten things you didn’t know about Ira Gershwin appeared first on OUPblog.

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4. Chapter One: Getting Past the First Paragraph (in 5 Years or Less)

Anyone out there who suffers from the "Write it! Hate It! Erase it! Try Again! Hate it! I Can't Do This Anymore! Leave Me Alone!" Anal Writer's Block Syndrome will surely recognize and identify with the voice in the gorgeous, iconic opening scene of Woody Allen's MANHATTAN. (In other words, see if you can guess what I am doing right now.)
What did Allen Ginsberg say? "I saw the best minds of my generation destroyed by madness, starving hysterical naked" or did he mean destroyed by the BACKSPACE and DELETE buttons?!

Maestro, please:





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