Kay Swift

b. Kay Faulkner Swift, 19 Apr 1897, NEW YORK, NY, USA, d. 28 January 1993, Southington, Connecticut, USA. A composer, lyricist and article writer for Broadway, whose little but amazing catalogue of function is usually overshadowed by her close association using the composer George Gershwin. After their studies at Juilliard, Swift became an achieved pianist and frequently performed within the concert system, prior to making her discovery on Broadway in 1929 using the music ‘Can’t We Become Friends?’, that was introduced by Libby Holman within the strike revue THE TINY Show. The advanced sombre lyric from what is actually a spirited, jaunty tune, was compiled by Paul Wayne, a nom de plume for Swift’s 1st husband, banker Wayne P. Warburg. The duo repeated their achievement in the next year using the rating for the musical Good And Dandy, including ‘Allow’s Proceed Eat Worms WITHIN THE Backyard’, ‘Run Hop’, the interesting title quantity, and Swift’s best-remembered music, ‘Can This Become Like’. Her romantic relationship with George Gershwin, which ultimately resulted in the break-up of her relationship, was extreme and fruitful. Like a wealthy socialite, she produced his changeover from Tin Skillet Alley to concert hall all of the smoother, plus they spent many hours operating collectively in the piano. In June 1937, after spending nine weeks in Hollywood along with his sibling Ira, George informed Swift he was coming back in order that they could be collectively, but shortly later on he passed away before he will make the trip. Swift consequently collaborated with Ira Gershwin in turning the very best of George’s unpublished – and frequently only partly completed – manuscripts into full songs. A number of these comprised the rating for the 1947 film musical The Surprising Miss Pilgrim, starring Betty Grable and Dick Haymes, the very best known which are ‘For You, FOR ME PERSONALLY, For Evermore’ and ‘Aren’t You SORT OF Glad We Do?’. Swift’s very own credits included ‘Up ONE OF THE Chimney Pots’ for the 9:15 Revue (1930), ‘I’m All Cleaned Up With Appreciate’ (with Albert Silverman) for the left-wing musical Parade (1935), music and lyrics for Cornelia Otis Skinner’s one-woman revue Paris 90, the rating for celebrated choreographer George Balanchine’s ballet Alma Mater – a spoof over the Harvard-Yale soccer game (1935), as well as the melody cycle Achieving For The Brass Band. Among her various other music for revues and displays had been ‘A Moonlight Storage’, ‘One Small Gal’ (‘Campfire Young ladies’ 50th Wedding anniversary Melody’), the 1962 Seattle Globe’s Fair melody ‘Hundred years 21’, ‘Calliope’, ‘Sagebrush Lullaby’ and ‘Forever AS WELL AS A Time’. Swift’s second hubby was rodeo cowboy Faye Hubbard, and information on their life jointly were uncovered in her memoir Who Could REQUIRE Anything More?, released in 1943. It had been filmed in 1950 with Irene Dunne and Fred MacMurray. Swift’s third relationship, which finished in divorce, was to radio announcer Hunter Galloway.