Cole Porter

Source: Wikipedia, the free encyclopedia.

Porter in the 1930s

Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Many of his songs became standards noted for their witty, urbane lyrics, and many of his scores found success on Broadway and in Hollywood films.

Born to a wealthy family in Indiana, Porter defied his grandfather's wishes for him to practice law and took up music as a profession. Classically trained, he was drawn to 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 many successful Broadway composers, Porter wrote the lyrics as well as 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 1930s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical.

Porter's other musicals include

In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls
(1957).

Life and career

Early years

Farmhouse at Westleigh Farms

Porter was born in Peru, Indiana, the only surviving child of a wealthy family.[n 1][2] His father, Samuel Fenwick Porter, was a pharmacist by trade.[3][n 2] 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.[5][n 3] J. O. Cole built the couple a house on his Peru-area property, known as Westleigh Farms.[7] After high school, Porter returned to his childhood home only for occasional visits.[8]

Porter's strong-willed mother doted on him[9] and began his 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 ten. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious.[5] His father, 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.[3] Porter's father was also a talented singer and pianist, but the father-son relationship was not close.[9]

Porter as a Yale College student

J. O. Cole wanted his grandson to become a lawyer,

Whiffenpoofs a cappella singing group and participated in several other music clubs;[15] in his senior year, he was elected president of the Yale Glee Club and was its principal soloist.[13]

Porter wrote 300 songs while at Yale,[5] including student songs such as the football fight songs "Bulldog"[16] and "Bingo Eli Yale" (aka "Bingo, That's The Lingo!") that are still played at Yale.[17][18] During college, Porter became acquainted with New York City's vibrant nightlife, taking the train there for dinner, theater, and nights on the town with his classmates, before returning to New Haven, Connecticut, early in the morning.[15] He also wrote musical comedy scores for his fraternity, the Yale Dramatic Association, and as a student at Harvard – Cora (1911), And the Villain Still Pursued Her (1912), The Pot of Gold (1912), The Kaleidoscope (1913) and Paranoia (1914) – which helped prepare him for a career as a Broadway and Hollywood composer and lyricist.[13] After graduating from Yale, Porter enrolled in Harvard Law School in 1913, where he roomed with future Secretary of State Dean Acheson.[19] He soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, switched to Harvard's music department, where he studied harmony and counterpoint with Pietro Yon.[3] His mother did not object to this move, but it was kept secret from J. O. Cole.[5]

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.[20] Porter spent the next year in New York City before going overseas during World War I.[13]

WWI, Paris and marriage

Lady in Blue, 1906 portrait of Linda Lee Thomas by Emil Fuchs

In 1917, when the United States entered

French Officers School at Fontainebleau, teaching gunnery to American soldiers.[24] An obituary notice in The New York Times stated 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."[25] 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.[26]

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,

recreational drugs".[5] In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorcée eight years his senior.[2][n 5] She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter's confidante and companion.[28] The couple married the following year. She was in no doubt about Porter's homosexuality,[n 6] 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.[27] 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 her death in 1954.[5] 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, 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.[3] Meanwhile, Porter's first big hit was the song "Old-Fashioned Garden" from the revue Hitchy-Koo of 1919.[2] In 1920, he contributed the music of several songs to the musical A Night Out.[30]

Ca' Rezzonico in Venice, leased by Porter in the 1920s

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.[25] In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice. He once hired the entire Ballets Russes to entertain his guests, and for a party at Ca' Rezzonico, which he rented for $4,000 a month ($72,000 in current value), he hired 50 gondoliers to act as footmen and had a troupe of tightrope walkers perform in a blaze of lights.[25] In the midst of this extravagant lifestyle, Porter continued to write songs with his wife's encouragement.[31]

Cole Porter, Linda Lee Thomas, Bernard Berenson, and Howard Sturges in gondola, 1923

Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers' revues in Britain 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".[32] 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.[33] The work, written for the Ballets suédois, lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud's La création du monde.[34] Porter's work was one of the earliest symphonic jazz-based compositions, predating George Gershwin's Rhapsody in Blue by four months, and was well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923.[34][n 7]

After a successful New York performance the following month, the Ballets suédois 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 and others.

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.[37] Frustrated by the public response to most of his work, Porter nearly gave up songwriting as a career, although he continued to compose songs for friends and perform at private parties.[31]

Broadway and West End success

Irène Bordoni, star of Porter's Paris

At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical

Ziegfeld's shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The revue, Wake Up and Dream, ran for 263 performances in London, after which Cochran transferred it to New York in 1929. On Broadway, business was badly affected by the 1929 Wall Street crash,[n 8] and the production 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.[44] Porter's new fame brought him offers from Hollywood, but because his score for Paramount's The Battle of Paris was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success.[45] Citron expresses the view that Porter was not interested in cinema and "noticeably wrote down for the movies."[46]

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".[47] 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 admired and championed 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.[48]

1930s

Ray Goetz, producer of Paris and Fifty Million Frenchmen, the success of which 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:

streetwalker, "Love for Sale". Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elisabeth 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.[50] Porter often referred to it as his favorite of his songs.[51] The New Yorkers also included the hit "I Happen to Like New York".[52]

Elisabeth Welch starred in Porter's The New Yorkers and Nymph Errant.

Next came Fred Astaire's last stage show, Gay Divorce (1932).[53] It featured a hit that became Porter's best-known song, "Night and Day".[n 9] 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 rights to the film, retitled The Gay Divorcee, were sold to RKO Pictures.[n 10] 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 Elisabeth Welch.[55]

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.[56] The stars he wanted were Ethel Merman, William Gaxton and comedian Victor Moore. He planned a story about 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 telling each of these that he had already signed the others, Freedley gathered his ideal team together.[n 11] A drastic last-minute rewrite was necessitated by a major shipping accident that dominated the news and made Bolton and Wodehouse's book seem tasteless.[n 12] Nevertheless, the show, Anything Goes, was an immediate hit. Porter wrote what many consider his greatest score of this period. The New Yorker magazine's review said, "Mr. Porter is in a class by himself",[59] and Porter subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate.[59] 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.[60] The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London.[61] 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.[62][n 13] Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he made grand entrances and sat in front, apparently relishing the show as much as any audience member. Russel Crouse commented "Cole's opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding."[59]

Anything Goes was the first of five Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that displayed her strengths.

Down in the Depths (on the Ninetieth Floor)", and "Ridin' High".[65] 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."[66]

Porter also wrote for Hollywood in the mid-1930s. His scores include those for the

In the Still of the Night".[67] He wrote the score of the short film Paree, Paree, in 1935, using some of the songs from Fifty Million Frenchmen.[68] Porter also composed the cowboy song "Don't Fence Me In" for Adios, Argentina, an unproduced movie, in 1934, but it did not become a hit until Roy Rogers sang it in the 1944 film Hollywood Canteen.[69] Bing Crosby, The Andrews Sisters, and other artists also popularized it in the 1940s. The Porters moved to Hollywood in December 1935, but Porter's wife did not like the movie environment, and Porter's closeted homosexual acts, formerly very discreet, became less so; she retreated to their Paris house.[70][71] When his film assignment on Rosalie was finished in 1937, Porter hastened to Paris to make peace with Linda, but she remained cool. After a walking tour of Europe with his friends, Porter returned to New York in October 1937 without her.[72] They were soon reunited by an accident Porter suffered.[73]

On October 24, 1937, Porter was riding with Countess Edith di Zoppola and Duke Fulco di 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.[74] He remained in the hospital for seven months before being allowed to go home to his apartment at the Waldorf Towers.[75][76][n 14] He resumed work as soon as he could, finding it took his mind off his perpetual pain.[75]

Porter's first show after his accident was not a success.

46th Street Theatre.[83] 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".[84] At the end of 1939, Porter contributed six songs to the film Broadway Melody of 1940 for Fred Astaire, George Murphy and Eleanor Powell.[85]

Meanwhile, as political unrest increased in Europe, Porter's wife closed their Paris house in 1939, and the next year bought a country home in the Berkshire mountains, near Williamstown, Massachusetts, which she decorated with elegant furnishings from their Paris home. Porter spent time in Hollywood, New York and Williamstown.[86]

1940s and postwar

Fred Astaire in You'll Never Get Rich

Bobby Clark, with June Havoc, ran for 481 performances.[90] These shows, too, are short of Porter standards. The critics did not pull their punches, complaining about the lack of hit tunes and the generally low standard of the scores.[91] 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.[92]

Between Broadway musicals, Porter continued to write 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.[93] 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.[94] The biopic's success contrasted starkly with the failure of Vincente Minnelli's film The Pirate (1948), with Judy Garland and Gene Kelly,[95] in which five new Porter songs received little attention.[96]

Porter and Jean Howard in early 1954

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.

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".[98]

Porter began the 1950s with

Aladdin (1958).[102]

Last years

Porter's mother died in 1952, and his wife died of emphysema in 1954.[103] 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.[104] His friend Noël Coward visited him in the 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."[105] In fact, Porter never wrote another song after the amputation and spent the remaining six years of his life in relative seclusion, seeing only intimate friends.[104] He continued to live in the Waldorf Towers in New York in his memorabilia-filled apartment. On weekends, he often visited an estate in the Berkshires, and he stayed in California during the summers.[25]

Porter died of

kidney failure at age 73 on October 15, 1964, in Santa Monica, California.[106] He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father.[107]

Tributes and legacy

Picture of the Porter family gravesite.
Porter family gravesite in Peru, Indiana

Many artists have recorded Porter songs, and dozens have released entire albums of his songs.

Ella Fitzgerald Sings the Cole Porter Songbook. In 1972, she released another 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); Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter (1989)[108] and Love for Sale (Tony Bennett and Lady Gaga, 2021).[109] In 1990 Dionne Warwick released Dionne Sings Cole Porter.[110] In that same year, Red Hot + Blue was released as a benefit CD for AIDS research and featured 20 Cole Porter songs recorded by artists such as U2 and Annie Lennox.[111]

Additional recording collections include Frank Sinatra Sings the Select Cole Porter (1996)[112] and John Barrowman Swings Cole Porter (2004); Barrowman played "Jack" in the 2004 film De-Lovely.[113] Other singers who have paid tribute to Porter include the Swedish pop music group Gyllene Tider, which recorded a song called "Flickan i en Cole Porter-sång" ("That Girl from the Cole Porter Song") in 1982. He is referenced in the merengue song "The Call of the Wild" by David Byrne on his 1989 album Rei Momo. He also is mentioned in the song "Tonite It Shows" by Mercury Rev on their 1998 album Deserter's Songs. After Can-Can was adapted as a film, the soundtrack won the 1960 Grammy Award for Best Sound Track Album.[114]

In 1965, Judy Garland performed a medley of Porter's songs at the 37th Academy Awards shortly after Porter's death.[115] In 1980, Porter's music was used for the score of Happy New Year, based on the Philip Barry play Holiday.[citation needed] The cast of The Carol Burnett Show paid a tribute to Porter in a humorous sketch in their CBS television series.[116] You're the Top: The Cole Porter Story, a video of archival material and interviews, and Red, Hot and Blue, a video of artists performing Porter's music, were released in 1990 to celebrate the one hundredth anniversary of Porter's birth.[117] In contrast to the highly embellished 1946 screen biography Night and Day,[118] Porter's life was chronicled more realistically in De-Lovely, a 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda.[119] The soundtrack to De-Lovely includes Porter songs sung by Alanis Morissette, Sheryl Crow, Elvis Costello, Diana Krall and Natalie Cole, among others.[120] Porter also appears as a character in Woody Allen's 2011 film Midnight in Paris.[121]

Many events commemorated the centenary of Porter's birth, including the halftime show of the 1991

Circle Theatre in Indianapolis, which also featured clips of Porter's Hollywood films.[123] "A Gala Birthday Concert" was held at New York City's Carnegie Hall, with more than 40 entertainers and friends paying tribute to Porter's long career in theater and film.[117] In addition, the U.S. Postal Service issued a commemorative postage stamp honoring Porter's birth.[126] The Indiana University Opera performed Porter's musical, Jubilee, in Bloomington, Indiana.[127]

In May 2007, a star on the

New York Historical Society, his 1908 Steinway grand piano, which he had used when composing since the mid-1930s, has been displayed and often played in the lobby of the Waldorf-Astoria Hotel.[138] Porter is a member of the American Theater Hall of Fame[139] and Great American Songbook Hall of Fame, which recognized his "musically complex [songs] with witty, urbane lyrics".[140] In 2014, Porter was honored with a plaque on the Legacy Walk in Chicago, which celebrates LGBT achievers.[141][142]

Notable songs

See also: Category:Compositions by Cole Porter

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).[n 17]

Notes, references, sources and further reading

Notes

  1. ^ Porter's parents had two children who died in infancy before his birth – Louis Omar (b. and d. 1885) and Rachel (1888–90).[1]
  2. ^ Porter's father came to Peru, Indiana, from Vevay, Indiana. He eventually owned three drugstores in Peru.[4]
  3. Gold Rush of 1849. He made his fortune in California and invested it in Indiana farmland and West Virginia timber, coal, and oil.[6]
  4. ^ He subsequently enlisted in the First Foreign Regiment, before moving to other regiments prior to his April 1919 discharge.[22]
  5. ^ She divorced newspaper mogul Edward R. Thomas in 1912, receiving more than a million dollars in the divorce settlement.[27]
  6. ^ Porter had "frequent homosexual encounters"[29]
  7. ^ The British classical music journal The Musical Times commented, "There was plenty of excitement of a certain kind – at least for the more excitable spectators".[35]
  8. ^ The Porters were not greatly affected by the crash, having their assets in safe investments and held in a number of foreign banks, which remained solvent.[43]
  9. ^ In 1999, Matthew Shaftel wrote, "Less than two months after the show's opening ... the song was featured on two best-selling recordings and was at the top of sheet music sales. Since then, 83 artists have registered with the [ASCAP] ... to legally perform and record "Night and Day." [Even] today, more than 65 years after its composition, the song earns a stunning six figures, making it Warner Brothers' "crown jewel", and placing it on ASCAP's list of top money-earners of all time.[3]
  10. ^ The film version, starring Astaire and Ginger Rogers dropped all of Porter's score except "Night and Day"[54]
  11. ^ Freedley told Bolton and Wodehouse that he had secured Merman, then contacted Gaxton, Moore, and finally Merman.[57]
  12. ^ In 1934, the S.S. Morro Castle caught fire off the New Jersey shore, killing more than 100 people.[58] Bolton and Wodehouse were by then engaged in other work, and Howard Lindsay and Russel Crouse rewrote the book almost completely.[59]
  13. ^ Other Porter shows were orchestrated by Maurice B. DePackh, Walter Paul, Don Walker and Philip J. Lang: see Kimball (1991) pp. 2–3. Porter checked the orchestral parts and amended them as he felt necessary.[3]
  14. ^ Linda, appraising the deteriorating political outlook in Europe, closed the Paris house in April 1939.[77]
  15. ^ In 2012, the Boston Pops presented another tribute to Porter.[134]
  16. ^ The setting is designed to evoke the Waldorf Astoria New York, where Porter lived.[137]
  17. ^ All the songs below (except for "Come to the Supermarket", which is listed in this compilation), are included in one or more of the compilations of Porter songs listed at "A Cole Porter Bibliography" on Soundheimguide.com, accessed March 10, 2011

References

  1. ^ McBrien (1998), p. 11
  2. ^
    National Review Online
    , July 28, 2004, accessed May 27, 2010
  3. ^ a b c d e f Shaftel, Matthew. "From Inspiration to Archive: Cole Porter's 'Night and Day'", Journal of Music Theory, Duke University Press, Volume 43, No. 2 (Autumn, 1999), pp. 315–47, accessed March 7, 2011 (subscription required)
  4. ^ McBrien (1998), p. 8
  5. ^ a b c d e f g h i Bell, J. X. "Cole Porter Biography" Archived September 23, 2010, at the Wayback Machine, The Cole Porter Resource Site, accessed March 7, 2011
  6. ^ McBrien (1998), pp. 4–5.
  7. ^ Schwartz (1977), p. 11
  8. ^ Schwartz (1977), p. 18
  9. ^ a b McBrien (1998), p. 10.
  10. ^ a b McBrien (1998), p. 21
  11. ^ McBrien (1998), p. 26
  12. ^ "The Theater: The Professional Amateur", Time magazine, January 31, 1949
  13. ^ a b c d Kimball (1999), p. 1.
  14. ^ Seuss (2012), p. 10
  15. ^ a b McBrien (1998), p. 32.
  16. ^ "Yale Fight Songs", Yale Bands, Yale University, accessed February 21, 2020
  17. ^ Schiff, David. "One Swell Party", The Atlantic, July/August 2004, accessed April 2, 2020
  18. ^ Ewen, David. "Cole Porter: The Great Sophisticate", from The Story of America's Musical Theater, New York, Chilton Company, 1961, pp. 134–39
  19. ^ Algeo, p. 144
  20. ^ a b Root, Deane L. and Gerald Bordman. "Porter, Cole (Albert)", Grove Music Online, accessed May 21, 2010 (requires subscription)
  21. ^ Kimball (1992), p. 1.
  22. ^ McBrien (1998), p. 59
  23. ^ "French Foreign Legion Official web site". Legion-etrangere.com. July 13, 2016. Retrieved September 10, 2016.
  24. ^ Salazar, Jaime. Legion of the Lost Archived December 23, 2008, at the Wayback Machine, Legionofthelost.com, 2005, accessed September 16, 2016
  25. ^ a b c d "Obituary: Cole Porter is Dead; Songwriter Was 72", The New York Times, October 16, 1964
  26. ^ Citron (2005), p. 48
  27. ^ a b McBrien (1998), p. 65
  28. ^ McBrien (1998), p. 70
  29. ^ Citron (2005), p. 142; and Schwartz (1977), p.114
  30. ^ "Cole Porter – The Twenties", The Stephen Sondheim Reference Guide, accessed February 28, 2011
  31. ^ a b Kimball (1992), p. 2
  32. ^ Citron (2005), p. 58
  33. ^ Kimball (1991), pp. 4–5
  34. ^ a b Kimball (1991), p. 5
  35. ^ "Paris", The Musical Times, December 1923, p. 874
  36. ^ Kimball (1991), p. 6
  37. ^ Kimball (1984), p. 85
  38. ^ a b Kimball (1999), p. 5
  39. ^ Citron (2005), p. 73
  40. ^ Kimball (1984), pp. 101 and 104
  41. ^ Citron (2005), pp. 74 and 79
  42. ^ Citron (2005), p. 78
  43. ^ Citron (2005), p. 85
  44. ^ Citron (2005), pp 80–82
  45. ^ Citron (2005), pp. 82–83
  46. ^ Citron (2005), p. 83
  47. ^ Kimball (1984), pp. 117–29
  48. ^ Citron (2005), p. 84
  49. ^ Citron (2005), p. 100
  50. ^ Citron (2005), p. 101
  51. ^ Kimball (1984), p. 145
  52. ^ Kimball (1984), p. 147
  53. ^ "Gay Divorce – Original Broadway Production", Sondheimguide.com, accessed April 16, 2016
  54. ^ Citron (2005), p. 105
  55. ^ Kimball (1984), pp. 158–62
  56. ^ Citron (2005), p. 108
  57. ^ Citron (2005), p. 109
  58. ^ Kimball (1992), p. 70, and McBrien (1998), p. 164
  59. ^ a b c d Citron (2005), p. 110
  60. ^ Kimball (1984), pp. 167–76
  61. ^ Citron (2005), p. 111
  62. ^ McGlinn, John (1989), "The Original Anything Goes: A Classic Restored", Notes to EMI CD CDC 7 49848 2
  63. ^ Citron (2005), p. 141
  64. ^ Kimball (1984), pp. 183–96
  65. ^ Kimball (1984), pp. 205–16
  66. ^ Kimball (1984), p. 205.
  67. ^ Kimball (1992), p. 9
  68. ^ Paree, Paree, SoundheimGuide, accessed February 13, 2013
  69. ^ Kimball (1992), p. 7
  70. ^ Citron (2005), p. 143
  71. ^ McBrien (1998), pp. 189, 193, 206 and 209
  72. ^ McBrien (1998), p. 209.
  73. ^ Citron (2005), p. 144
  74. ^ Citron (2005), p. 145
  75. ^ a b Citron (2005), p. 162
  76. ^ Harriman, Margaret Case. "Words and Music", The New Yorker, November 23, 1940, accessed June 17, 2018
  77. ^ Citron (2005), p. 168
  78. ^ Kimball (1984), p. 225
  79. ^ Kimball (1984), pp. 227 and 229
  80. ^ Kimball (1984), pp. 241 and 243
  81. ^ Citron (2005), p. 184
  82. ^ Kimball (1984), p. 260
  83. ^ Kimball (1984), p. 256
  84. ^ Kimball (1984), pp. 259–67
  85. ^ Kimball (1984), pp. 252–54
  86. ^ McBrien (1998), p. 225
  87. ^ Citron (2005), p. 185
  88. ^ Kimball (1984), p. 299
  89. ^ Citron (2005), p. 189
  90. ^ Kimball (1984), pp. 320 and 343
  91. ^ Citron (2005), p. 190
  92. ^ Citron (2005), p. 193
  93. ^ Kimball (1984), pp. 295, 313 and 335
  94. ^ Citron (2005), pp. 211–14
  95. ^ Kimball (1992), p. 13–15
  96. ^ Citron (2005), p. 215
  97. ^ Citron (2005), p. 419
  98. ^ Kimball (1984), pp. 387–99
  99. ^ Citron (2005), p. 220
  100. ^ Kimball (1984), p. 422
  101. ^ Kimball (1984), p. 438
  102. ^ Kimball (1984), p. 468
  103. ^ Citron (2005), pp. 239 and 242
  104. ^ a b Citron (2005), p. 249
  105. ^ Coward (1982), p. 379
  106. ^ Davis, Charles Jr. "Songwriter Cole Porter Dies", Los Angeles Times, October 16, 1964, accessed November 24, 2021
  107. ^ Schwartz (1977), p. 269
  108. ^ a b List of Cole Porter collections at Sondheimguide.com, accessed June 9, 2011
  109. ^ Wilman, Chris (August 3, 2021). "Tony Bennett and Lady Gaga Reveal Love for Sale, Cole Porter Tribute Album Said to Be Bennett's Last". Variety. Archived from the original on August 3, 2021. Retrieved August 3, 2021.
  110. ^ Discogs.com, accessed February 22, 2012.
  111. ^ Discogs.com, accessed February 22, 2012.
  112. ^ Sondheim Guide, accessed February 22, 2012.
  113. ^ Sondheim Guide, accessed February 22, 2012.
  114. ^ "Cole Porter", Grammy.com, accessed December 30, 2021
  115. ^ "The 37th Academy Awards Memorable Moments", Oscars.org, accessed December 13, 2019
  116. YouTube
    , accessed September 20, 2012.
  117. ^ a b Howard Reich, "Porter Tributes: A Few Highlights", Chicago Tribune", May 5, 1991, accessed September 20, 2012.
  118. ^ Classicfilmguide.com, accessed February 27, 2012.
  119. ^ Johnston, Sheila. "How Cole Porter got his kicks?" Archived May 10, 2007, at the Wayback Machine All About Jewish Theatre (2004), accessed May 27, 2010
  120. ^ Phares, Heather. "Original Soundtrack" De-Lovely", Allmusic, accessed April 30, 2014
  121. ^ "The Better Life", The New Yorker, May 23, 2011
  122. ^ Kimball, Robert. "Cole Porter, College Man" Archived November 14, 2012, at the Wayback Machine, Yale Alumni Magazine, November 1992, accessed May 17, 2012
  123. ^ a b Holland, Bernard. "A Hoosier Hurrah on Cole Porter's Centennial", The New York Times, June 9, 1991, accessed May 17, 2012
  124. ^ TCM Turner Classic Movies, "1990 King Orange Jamboree Parade", Turner Entertainment Networks, December 31, 1990, accessed September 20, 2012.
  125. ^ Luisa Yanez, "500,000 At Parade Ooh, Aah King Orange Reigns Under Miami Moon" Archived January 16, 2013, at the Wayback Machine, Sun-Sentinel, January 1, 1991, retrieved September 20, 2012.
  126. ^ Randolph E. Schmid, "Basketball, Early Warren and Cole Porter Set for 1991 Stamps", Associated Press, Essential New Archives, accessed September 20, 2012.
  127. ^ Clair McPhail, "Year-long celebration to honor Cole Porter"[permanent dead link], The News Courier/The Evening Post, Charleston, South Carolina, August 12, 1990, retrieved September 20, 2012.
  128. ^ "Hollywood star for Cole Porter", USA Today, May 21, 2007, via Associated Press. Retrieved September 20, 2012.
  129. YouTube
    , accessed February 21, 2012.
  130. ^ "NSO at Wolf Trap: 'A Cole Porter Celebration' ", The John F. Kennedy Center for the Performing Arts, retrieved September 20, 2012.
  131. ^ "Faith Middleton Show: A Tribute to Cole Porter and Glen Miller" Archived June 22, 2012, at the Wayback Machine, "The Faith Middleton Show", Connecticut Public Broadcasting, November 22, 2010, accessed September 20, 2012.
  132. ^ "A Tribute to Cole Porter" Archived January 16, 2013, at the Wayback Machine, Seattle Symphony Orchestra, accessed September 20, 2012
  133. ^ Meland, Manny. "Boston Pops in A Tribute to Cole Porter with Conductor Keith Lockhart" Archived January 16, 2013, at the Wayback Machine, Miamiartzine, March 7, 2011, retrieved September 20, 2012.
  134. ^ "Boston Pops Presents Tribute to Cole Porter on June 5–6", MassJazz blog, accessed September 20, 2012.
  135. ^ "DSO Pops Series: Cole Porter Tribute with Michael Feinstein and Marvin Hamlisch", Last.fm, accessed September 20, 2012.
  136. ^ Cole Porter Festival, accessed September 20, 2012.
  137. ^ Granger, Elizabeth. "Hoosier History", Home & Away, January 2015, p. 37
  138. ^ "Cole Porter's Piano", Atlas Obscura, accessed August 15, 2021; and Martinez, Jose. "Cole Porter's apartment at the Waldorf-Astoria can be yours for $140K a month", New York Daily News, July 20, 2010, accessed May 16, 2014
  139. ^ "Members", Theater Hall of Fame, accessed October 14, 2014
  140. ^ "Cole Porter: 2012 legend Award", Great American Songbook Foundation, accessed June 16, 2019; and Miller, p. 182
  141. ^ "Legacy Walk honors LGBT 'guardian angels'", Chicago Tribune, October 12, 2014.
  142. ^ Reynolds, Daniel. "7 LGBT Heroes Honored with Plaques in Chicago's Legacy Walk", Advocate.com, October 11, 2014

Sources

Further reading

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Cole_Porter&oldid=1217477277"