In 1933 Irving Berlin wrote to composer-lyricist Cole Porter, ”I am mad about Night and Day.” Millions of others throughout the world have been ”mad about” that Porter gem, as well as dozens of others, including, to name just a few, Begin the Beguine, From This Moment On, It’s De-Lovely, Just One of Those Things, Love for Sale, and My Heart Belongs to Daddy. Cole Porter (1891-1964) set new standards for popular song-writing, and his lyrics and melodies are as bright and sophisticated today as when they first dazzled audiences decades ago. Porter’s own life matched that of his songs for urbanity, wit, and elegance, and in New York, Hollywood, and on the Continent he was an arbiter of taste and fashion and part of the glamorous international set of the Twenties and Thirties. He numbered among his friends Cary Grant, Noel Coward, Fred Astaire, Ethel Merman, Elsa Maxwell, Fanny Brice, and Monty Woolley, as well as many other stars of stage, screen, or society. Cole Porter: A Biography is a delightfully written and meticulously researched book that takes us from the composer’s Indiana childhood to his celebrity days, discussing with exceptional honesty his family and friends, his wife and his many lovers, and above all, his music. Charles Schwartz’s account of Cole Porter is the most revealing, comprehensive, and objective biography to date of an extraordinarily talented and fascinating man.
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About the Author
Charles Schwartz is the composer of the widely acclaimed Jazz Symphony, Professor Jive (released on Inner City records, featuring trumpeter Clark Terry); a professor of music; an impresario, and the author of the outstanding Gershwin: His Life and Music.
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Most Helpful Customer Reviews
30 of 33 people found the following review helpful:
2.0 out of 5 stars
This book is a disappointment,
By Peter Dann (Melbourne, Australia) - See all my reviews
This review is from: Cole Porter: A Biography (Da Capo Paperback) (Paperback)
Considering this book is by a musician and professor of music, it contains surprisingly few insights into what was unique about Cole Porter's lyrics and music, and does little to set his work within a musical context. From time to time the author embarks on embarrassing little journeys into pop psychology of the 'Was Porter's homosexuality an attempt to find a significant father figure in his life? We may never know.' variety. The quality of the writing is disappointing. At one point Schwartz describes a meeting between Cole Porter and Louis Mayer, the movie mogul. Schwartz describes Mayer as 'literally oozing with charm', or some such. Unfortunately, this is typical of the standard of writing throughout the book.
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