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Rhapsody in Blue
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Rhapsody in Blue
by George Gershwin
Cover of the original sheet music of the two-piano version of Rhapsody in Blue
Genre
Orchestral jazz, solo piano
Composed
1924
Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects.
Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofé several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano.
The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."[1]
Contents
[hide]
1 History
1.1 Commission
1.2 Composition
1.3 Premiere
1.4 Responses
2 Orchestration
3 Recordings
4 Analysis
5 In popular culture
6 Preservation status
7 Footnotes
8 References
9 External links
History[edit]
Commission[edit]
After the success of an experimental classical-jazz concert held with French-Canadian singer Eva Gauthier at Aeolian Hall (New York) on November 1, 1923, band leader Paul Whiteman decided to attempt something more ambitious.[2] He asked Gershwin to contribute a concerto-like piece for an all-jazz concert he would give in Aeolian Hall in February 1924. Whiteman became interested in featuring such an extended composition by Gershwin in the concert after he had collaborated with Gershwin in the Scandals of 1922, impressed by the original performance of the one-act opera Blue Monday, which was nevertheless a commercial failure. Gershwin declined on the grounds that, as there would certainly be need for revisions to the score, he would not have enough time to compose the new piece.[3]
Late on the evening of January 3, at the Ambassador Billiard Parlor at Broadway and 52nd Street in Manhattan, while George Gershwin and Buddy De Sylva were playing billiards, his brother Ira Gershwin was reading the January 4 edition of the New York Tribune.[3][4] An article entitled "What Is American Music?" about the Whiteman concert caught his attention, in which the final paragraph claimed that "George Gershwin is at work on a jazz concerto, Irving Berlin is writing a syncopated tone poem, and Victor Herbert is working on an American suite."
In a phone call to Whiteman next morning, Gershwin was told that Whiteman's rival Vincent Lopez was planning to steal the idea of his experimental concert and there was no time to lose.[5] Gershwin was finally persuaded to compose the piece.
Composition[edit]
Since there were only five weeks left, Gershwin hastily set about composing a piece, and on the train journey to Boston, the ideas of Rhapsody in Blue came to his mind. He told his first biographer Isaac Goldberg in 1931:
It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise.... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.[6][7]
Gershwin began his work on January 7 as dated on the original manuscript for two pianos.[2] The piece was titled "American Rhapsody" during composition. The title Rhapsody in Blue was suggested by Ira Gershwin after his visit to a gallery exhibition of James McNeill Whistler paintings, which bear titles such as Nocturne in Black and Gold: The Falling Rocket and Arrangement in Grey and Black (better known as Whistler's Mother).[8] After a few weeks, Gershwin finished his composition and passed the score to Whiteman's arranger Ferde Grofé, who orchestrated the piece, finishing it on February 4, only eight days before the premiere.[9]
Premiere[edit]
Rhapsody in Blue premiered in an afternoon concert on Tuesday, February 12, 1924, held by Paul Whiteman and his band Palais Royal Orchestra, entitled An Experiment in Modern Music, which took place in Aeolian Hall in New York City.[10] Many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody.
The purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was "to be purely educational". It would "at least provide a stepping stone which will make it very simple for the masses to understand, and therefore, enjoy symphony and opera". The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing titles such as "True form of jazz" and "Contrast: legitimate scoring vs. jazzing". Gershwin's latest composition was the second to last piece (before Elgar's Pomp and Circumstance March No. 1).[11] Many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard.[12]
The Rhapsody was performed by Whiteman's band, with an added section of string players, and George Gershwin on piano. Gershwin decided to keep his options open as to when Whiteman would bring in the orchestra and he did not write down one of the pages for solo piano, with only the words "Wait for nod" scrawled by Grofé on the band score. Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so it is unknown exactly how the original Rhapsody sounded.
The opening clarinet glissando came into being during rehearsal when; "... as a joke on Gershwin, [Ross] Gorman (Whiteman's virtuoso clarinettist) played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gorman's whimsy, Gershwin asked him to perform the opening measure that way at the concert and to add as much of a 'wail' as possible."[13]
Responses[edit]
By the end of 1927, Whiteman's band had played the Rhapsody eighty-four times, and its recording sold a million copies.[14] To get the whole piece onto two sides of a 12-inch record it had to be played at a faster speed than it would usually have in concert, which gave it a hurried feel and some rubato was lost. Whiteman later adopted the piece as his band's theme song, and opened his radio programs with the slogan "Everything new but the Rhapsody in Blue."
The piece received mixed reviews from mainstream critics. Olin Downes, reviewing the concert in The New York Times:
This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master.... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form.... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener. The second theme is more after the manner of some of Mr. Gershwin's colleagues. Tuttis are too long, cadenzas are too long, the peroration at the end loses a large measure of the wildness and magnificence it could easily have had if it were more broadly prepared, and, for all that, the audience was stirred and many a hardened concertgoer excited with the sensation of a new talent finding its voice.... There was tumultuous applause for Gershwin's composition.[10]
Another reviewer, Lawrence Gilman, a Richard Wagner specialist who later wrote a devastating review of Gershwin's Porgy and Bess, commenting on the Rhapsody in the New York Tribune on February 13, 1924, said:
How trite, feeble and conventional the tunes are; how sentimental and vapid the harmonic treatment, under its disguise of fussy and futile counterpoint! ... Weep over the lifelessness of the melody and harmony, so derivative, so stale, so inexpressive![15]
Some critics described the piece as formless, and claimed that Gershwin only glued his melodic segments together into one piece. Pitts Sanborn wrote that the music "runs off into empty passage-work and meaningless repetition".[16] In an article in Atlantic Monthly in 1955, Leonard Bernstein, who nevertheless admitted that he loved the piece, wrote:
The Rhapsody is not a composition at all. It's a string of separate paragraphs stuck together. The themes are terrific, inspired, God-given. I don't think there has been such an inspired melodist on this earth since Tchaikovsky. But if you want to speak of a composer, that's another matter. Your Rhapsody in Blue is not a real composition in the sense that whatever happens in it must seem inevitable. You can cut parts of it without affecting the whole. You can remove any of these stuck-together sections and the piece still goes on as bravely as before. It can be a five-minute piece or a twelve-minute piece. And in fact, all these things are being done to it every day. And it's still the Rhapsody in Blue.
Orchestration[edit]
Gershwin had agreed that Ferde Grofé, Whiteman's pianist and chief arranger, was the key figure in enabling the piece to be successful, and critics have praised the orchestral color. Grofé confirmed in 1938 that Gershwin did not have sufficient knowledge of orchestration in 1924.[17] After the premiere, Grofé took the score and made new orchestrations in 1926 and 1942, each time for larger orchestras.[18] Up until 1976, when Michael Tilson Thomas recorded the original jazz band version for the very first time, the 1942 version was the arrangement usually performed and recorded.
The 1924 orchestration was developed for solo piano and Whiteman's band, which consists of three woodwind players doubling one oboe, one clarinet, one sopranino saxophone in E♭, two soprano saxophones in B♭, two alto saxophones in E♭, one tenor saxophone in B♭, one baritone saxophone in E♭; two trumpets in B♭, two French horns in F, two trombones and one tuba (doubling on double bass); a percussion section that includes a drum set, timpani and a glockenspiel; one piano; one tenor banjo; and violins.[19]
Grofé's familiarity with the Whiteman band's strengths is a key factor in the scoring.[20] This original version, with its unique instrumental requirements, had lain dormant until its revival in reconstructions beginning in the mid-1980s, owing to the popularity and serviceability of the later scorings, described below.
An arrangement for theatre orchestra, also prepared by Grofé, was published in 1926.[21] It is an adaptation of the original for a more standard "pit" orchestra, which includes one flute, one oboe, two clarinets, one bassoon, three saxophones; two French horns, two trumpets and two trombones; as well as the same percussion and strings complement as the later 1942 version.[22]
The orchestration published in 1942 for full symphony orchestra is scored for solo piano and an orchestra consisting of two flutes, two oboes, two clarinets in B♭ and A, one bass clarinet, two bassoons, two alto saxophones in E♭, one tenor saxophone in B♭; three French horns in F, three trumpets in B♭, three trombones, one tuba; a percussion section that includes timpani, one suspended cymbal, one snare drum, one bass drum, one tam-tam, one triangle, Glockenspiel and cymbals; one banjo; and strings.
It was completed some years earlier, as it was conducted by Grofé at the 1937 Gershwin Memorial Concert in New York (Harry Kaufman, piano), and must have been the scoring used by Gershwin when soloing with symphony orchestras in the 1930s.[citation needed]
Grofe's other settings of the piece include those done for Whiteman's 1930 film, King of Jazz, and the concert band setting (playable without piano) completed by 1938 (pub. 1942).
The prominence of the saxophones in the later orchestrations is somewhat reduced, and the banjo part can be dispensed with, as its mainly rhythmic contribution is provided by the inner strings.
Gershwin also made versions of the piece for solo piano as well as two pianos.
Gershwin's intent to eventually do an orchestration of his own is documented in 1936–37 correspondence from publisher Harms ("reissuance of The Rhapsody in Blue re-scored by yourself for large symphony orchestra").[23]
Recordings[edit]
Late 1930s reissue of the 1927 "electrical" release of Rhapsody in Blue as Victor 35822A by Paul Whiteman and His Concert Orchestra with George Gershwin on piano. 1974 Grammy Hall of Fame inductee.
Two audio recordings exist of Gershwin performing an abridged version of the work with Whiteman's orchestra: an acoustic recording made for Victor on June 10, 1924, and running 8′59″ (this recording includes the original clarinetist, Ross Gorman, playing the glissando) and a Victor electrical recording made April 21, 1927, running 9′01″ (about half the length of the complete work). This 1927 version was also dubbed onto an RCA Victor 33 1⁄3 rpm Program Transcription in 1932. The latter version was actually conducted by Nathaniel Shilkret after an argument between Gershwin and Whiteman.[24] A 1925 piano roll captured Gershwin's performance in a two piano version.[25] Whiteman's orchestra also performed a shortened version of the piece in the 1930 film The King of Jazz featuring Roy Bargy on piano. Whiteman re-recorded the piece on both sides of a 12-inch Decca 78 rpm (29051) recorded on October 23, 1938. The first complete recording, with pianist Jesús María Sanromá and Arthur Fiedler conducting the Boston Pops Orchestra, was issued by RCA Victor in 1935.
Since the mid-20th century, the 1942 version has usually been performed by classical orchestras playing the expanded arrangement. In this form, it has become a staple of the concert repertoire. It has direct popular appeal while also being regarded respectfully by classical musicians.
On August 21, 1945, a recording by Oscar Levant with the Philadelphia Orchestra (conducted by Eugene Ormandy) entered at its peak position of number 23 on the Cash Box survey (Columbia Masterworks 251).
In 1973, the piece was recorded by jazz-rock artist Eumir Deodato on his album Deodato 2. The single reached Billboard peak positions number 41 Pop, number 10 Easy Listening. A disco arrangement was recorded by French pianist Richard Clayderman in 1978 and is one of his signature pieces.
In the late 1970s, interest in the original arrangement was revived. On February 14, 1973, it received its first performance since the 1920s: Kenneth Kiesler secured needed permissions and led with work with pianist Paul Verrette on his U. of New Hampshire campus.[26] Reconstructions of it have been recorded by Michael Tilson Thomas and the Columbia Jazz Band in 1976, and by Maurice Peress with Ivan Davis on piano as part of a 60th-anniversary reconstruction of the entire 1924 concert.[27] André Watts (1976), Marco Fumo (1974), and Sara Davis Buechner (2005) released recordings of the work for solo piano as did Eric Himy (2004) in a version that featured the uncut original short score. Meanwhile, such two-piano teams as José Iturbi and Amparo Iturbi, France Veri and Michael Jamanis and Katia and Marielle Labèque, also recorded the piece. Michel Camilo recorded the piece in 2006, winning a Latin Grammy award.
Analysis[edit]
George Gershwin playing his Rhapsody in Blue, February 24, 1924
Paul Whiteman asked Gershwin to write a "jazz concerto", which became the Rhapsody in Blue; like a concerto, the piece is written for solo piano with orchestra: a rhapsody differs from a concerto in that it features one extended movement instead of separate movements. Rhapsodies often incorporate passages of an improvisatory nature (although written out in a score), and are irregular in form, with heightened contrasts and emotional exuberance; Gershwin's Rhapsody in Blue is typical in that it certainly has large contrasts in musical texture, style, and color. The music ranges from intensely rhythmic piano solos to slow, broad, and richly orchestrated sections.
The opening of Rhapsody in Blue is written as a clarinet trill followed by a legato, 17 notes in a diatonic scale. During a rehearsal, Whiteman's virtuoso clarinetist, Ross Gorman, rendered the upper portion of the scale as a captivating (and fully trombone-like) glissando: Gershwin heard it and insisted that it be repeated in the performance.[28] An American Heritage columnist called it the "famous opening clarinet glissando ... that has become as familiar as the start of Beethoven's Fifth".[14] The effect is produced primarily using the tongue and throat muscles to change the resonance of the oral cavity, thus controlling the continuously rising pitch.[29] Many players also gradually open the left-hand tone-holes on the clarinet during the passage from the last concert F (or earlier if possible, thus employing the right hand as well) to the top concert B♭ as well. This effect has now become standard performance practice for the work.
Rhapsody in Blue displays both rhythmic invention and melodic inspiration, and demonstrates Gershwin's ability to write a piece with large-scale harmonic and melodic structure. The piece is characterized by strong motivic interrelatedness. Much of the motivic material is introduced in the first 14 measures. David Schiff identifies five major themes plus a sixth "tag".[30] Of these, two appear in the first 14 measures, and the tag shows up in measure 19. Two of the remaining three themes are rhythmically related to the very first theme in measure 2, which is sometimes called the Glissando theme (after the opening glissando in the clarinet solo) or the Ritornello theme. The remaining theme is the Train theme, which is the first to appear (at rehearsal 9) after the opening material. All of the themes rely on the blues scale, which includes lowered sevenths and a mixture of major and minor thirds. Each theme appears both in orchestrated form and as a piano solo. There are considerable differences in the style of presentation of each theme.
The harmonic structure of Rhapsody is more difficult to analyse. The piece begins and ends in B♭ major, but it modulates towards the sub-dominant direction very early on, returning to B♭ major at the end, rather abruptly. The opening modulates "downward", as it were, through the keys B♭, E♭, A♭, D♭, G♭, B, E, and finally to A major. Modulation through the circle of fifths in the reverse direction inverts classical tonal relationships, but does not abandon them. The entire middle section resides primarily in C major, with forays into G major (the dominant relation). Modulations occur freely and easily, though not always with harmonic direction. Gershwin frequently uses a recursive harmonic progression of minor thirds to give the illusion of motion when in fact a passage does not change key from beginning to end. Modulation by thirds was a common element of Tin Pan Alley music.
The influences of jazz and other contemporary styles are certainly present in Rhapsody in Blue. Ragtime rhythms are abundant, as is the Cuban "clave" rhythm, which doubles as a dance rhythm in the Charleston jazz dance.[31]
Gershwin's own intentions were to correct the belief that jazz had to be played strictly in time so that one could dance to it.[30] The Rhapsody's tempos vary widely, and there is an almost extreme use of rubato in many places throughout. The clearest influence of jazz is the use of blue notes, and the exploration of their half-step relationship plays a key role in the Rhapsody.[31] The use of so-called "vernacular" instruments, such as accordion, banjo, and saxophones in the orchestra, contribute to its jazz or popular style, and the latter two of these instruments have remained part of Grofé's "standard" orchestra scoring. Gershwin incorporated several different piano styles into the work. He utilized the techniques of stride piano, novelty piano, comic piano, and the song-plugger piano style. Stride piano's rhythmic and improvisational style is evident in the "agitato e misterioso" section, which begins four bars after rehearsal 33, as well as in other sections, many of which include the orchestra. Novelty piano can be heard at rehearsal 9 with the revelation of the Train theme. The hesitations and light-hearted style of comic piano, a vaudeville approach to piano made well known by Chico Marx and Jimmy Durante, are evident at rehearsal 22.[30]
In popular culture[edit]
As early as 1955, Rhapsody in Blue served as the inspiration for a composition by the noted accordionist/composer John Serry Sr. which was subsequently published in 1957 (see American Rhapsody).[32]
Rhapsody in Blue inspired a collaboration between blind savant British pianist Derek Paravicini and composer Matthew King on a new concerto, called Blue premiered at the South Bank Centre in London in 2011.[33]
Rhapsody in Blue has been interpreted as a musical portrait of New York City; it is used in this context in a segment from the film Fantasia 2000, in which the piece is used as the lyrical framing for a stylized animation set drawn in the style of famed illustrator Al Hirschfeld.[34] It was also used in the opening sequence of Woody Allen's 1979 film Manhattan.
Brian Wilson, leader of The Beach Boys, has said on multiple occasions that Rhapsody in Blue is one of his favorite pieces. He first heard it when he was two years old, and recalls that he "loved" it. It was also a heavy influence on his Smile album. He also came to think of "Good Vibrations" as "a smaller, psychedelic version of Rhapsody in Blue".[35]
Rhapsody in Blue was played simultaneously by eighty-four pianists at the opening ceremony of the 1984 Summer Olympics in Los Angeles.[36][37]
The piece was performed by Herbie Hancock and Lang Lang at the 50th Grammy Awards on February 10, 2008.[38]
The piece is used by United Airlines in their advertisements, in pre-flight safety videos, and in the Terminal 1 underground walkway at O'Hare International Airport.[39][40]
Rhapsody in Blue was used to dramatically introduce the first appearance of Jay Gatsby in the 2013 film The Great Gatsby.[41]
Rhapsody Blue was applied as a theme for 2017 Lincoln Continental referring to Rhapsody in Blue.[42]
Preservation status[edit]
On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make these scores available to the public.[43][44] Though the entire Gershwin project may take 30 to 40 years to complete, the Rhapsody in Blue edition will be an early volume.[45][46]
Footnotes[edit]
Jump up ^ David Schiff (1997). Gershwin: Rhapsody in Blue. Cambridge University Press. ISBN 978-0-521-55953-9. , quotation is from jacket copy
^ Jump up to: a b Schiff p. 53
^ Jump up to: a b Wood p. 81
Jump up ^ [1] Archived January 17, 2006, at the Wayback Machine.
Jump up ^ Greenberg pp. 64–65
Jump up ^ Cowen, Ron (1998). "George Gershwin: He Got Rhythm". The Washington Post. Retrieved 2015-08-30. Quotation re inspiration on the train
Jump up ^ [2] Archived February 23, 2005, at the Wayback Machine.
Jump up ^ Schiff p. 13
Jump up ^ Greenberg p. 69
^ Jump up to: a b Downes
Jump up ^ Schiff pp. 55–61
Jump up ^ Greenberg pp. 72–73
Jump up ^ Schwartz, Charles, (1979). Gershwin: His Life and Music. New York City: Da Capo Press. pp. 81–83. ISBN 978-0-306-80096-2.
^ Jump up to: a b Schwarz, Frederick D. (1999). Time Machine: 1924 Seventy-five Years Ago: Gershwin's Rhapsody. American Heritage 50(1), February/March 1999 Archived May 7, 2006, at the Wayback Machine.. Retrieved February 17, 2007.
Jump up ^ Slonimsky, Nicolas (2000). Lexicon of Musical Invective. W. W. Norton & Company. ISBN 0-393-32009-X. Gilman's unfavorable review, "weep over the lifelessness".
Jump up ^ Greenberg pp. 74–75
Jump up ^ Greenberg p. 66
Jump up ^ Greenberg p. 76
Jump up ^ "George Gershwin Rhapsody in Blue Commemorative Facsimile Edition," 1987. (Gershwin 50th Anniversary Edition, Warner Brothers Music FS0004, notes by Jeff Sultanof; this reproduces Grofé's holograph manuscript from the Gershwin Collection, Music Division, Library of Congress)
Jump up ^ Bañagale p. 4
Jump up ^ Bañagale p. 43
Jump up ^ Bañagale p. 44
Jump up ^ Ferencz, George J. "Porgy and Bess on the Concert Stage: Gershwin's 1936 Suite (Catfish Row) and the 1942 Gershwin-Bennett Symphonic Picture". Musical Quarterly 94:1–2 (Spring–Summer 2011)
Jump up ^ Greenberg pp. 75–76
Jump up ^ Schiff p. 64
Jump up ^ Smith, Wayne A. “Around the Clock: Rhapsody Revived.” Greenfield (NH) Recorder, 27 Jan 1973, 10
Jump up ^ Schiff pp. 67–68
Jump up ^ Greenberg p. 70
Jump up ^ Chen, Jer Ming. "How to pay the first bar of Rhapsody in Blue". Music Acoustics, School of Physics, UNSW. Archived from the original on April 25, 2013. Retrieved April 28, 2013.
^ Jump up to: a b c Schiff, David (1997). Gershwin: Rhapsody in Blue. Cambridge University Press.
^ Jump up to: a b Schneider, Wayne, ed. (1999). The Gershwin Style. Oxford University Press. ISBN 0-19-509020-9
Jump up ^ The Library of Congress Copyright Office, American Rhapsody, Copyright: Alpha Music Co., New York, New York, Composer: John Serry, 1957
Jump up ^ http://www.bbc.co.uk/news/av/entertainment-arts-15086761/blind-autistic-man-stuns-the-music-world
Jump up ^ Charles Solomon (December 1999). "Rhapsody in Blue: Fantasia 2000's Jewel in the Crown". Animation World Magazine. Archived from the original on October 13, 2007.
Jump up ^ Carlin, Peter Ames (2006), "Catch A Wave: The Rise, Fall & Redemption of the Beach Boys' Brian Wilson": Rodale. p. 25, 118
Jump up ^ Bañagale p. 6–7
Jump up ^ Schiff p. 1
Jump up ^ Swed, Mark (August 8, 2009). "Music review: Lang Lang and Herbie Hancock at the Hollywood Bowl". The Los Angeles Times.
Jump up ^ Bañagale p. 158-173
Jump up ^ Eldred v. Ashcroft , 01 U.S. 618, p. 67 (Supreme Court January 15, 2003) (“Even the $500,000 that United Airlines has had to pay for the right to play George Gershwin's 1924 classic Rhapsody in Blue represents a cost of doing business, potentially reflected in the ticket prices of those who fly.”).
Jump up ^ Bañagale, p. 156–157
Jump up ^ ""Rhapsody"".
Jump up ^ "Gershwin". Music.umich.edu. Retrieved 2015-08-30.
Jump up ^ "The University of Michigan was selected for the 'Gershwin Initiative'". Michigan Radio. October 21, 2013. Retrieved 2015-08-30.
Jump up ^ "The Editions " Gershwin". Music.umich.edu. Retrieved 2015-08-30.
Jump up ^ Clague, Mark (September 20, 2013). "Musicology Now: George and Ira Gershwin Critical Edition". Musicologynow.ams-net.org. Retrieved 2015-08-30.
References[edit]
Bañagale, Ryan Raul (2014). Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon. Oxford University Press. ISBN 978-0-19-997837-3.
Downes, Olin (1924). "A Concert of Jazz". The New York Times. February 13, 1924. p. 16.
Greenberg, Rodney (1998). George Gershwin. Phaidon Press. ISBN 0-7148-3504-8.
Reef, Catherine (2000). George Gershwin: American Composer. Morgan Reynolds Publishing. ISBN 1-883846-58-7.
Schiff, David (1997). Gershwin: Rhapsody in Blue. Cambridge University Press. ISBN 0-521-55077-7.
Wood, Ean (1996). George Gershwin: His Life and Music. Sanctuary Publishing. ISBN 1-86074-174-6.
External links[edit]
Part 1 of the original acoustic recording of Rhapsody in Blue performed by George Gershwin and Paul Whiteman in 1924 on Internet Archive
Part 2 of the original acoustic recording of Rhapsody in Blue performed by George Gershwin and Paul Whiteman in 1924 on Internet Archive
Grammy Hall of Fame version of Rhapsody in Blue performed by George Gershwin and Nathaniel Shilkret in 1927 on Internet Archive
[show]
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Fantasia
Toccata and Fugue in D minor
The Nutcracker Suite
The Sorcerer's Apprentice
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Pines of Rome
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Pomp and Circumstance Marches
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Characters
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Video games
Fantasia (1991)
Disney Magical World (2013)
Disney Infinity (2013)
Fantasia: Music Evolved (2014)
Related
A Corny Concerto (1943 film)
Gumbasia (1955 film)
Allegro Non Troppo (1977 film)
Destino (2003)
Lorenzo (2004)
Fantasia Gardens
Fantasmic!
Fantasound
The Sorcerer's Apprentice (2010)
Sorcerer's Hat
Disney Fantasia: Live in Concert
Kingdom Hearts
Epic Mickey
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Deems Taylor
See also: Category
[show]
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George Gershwin
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An American in Paris (1928)
Second Rhapsody (1931)
Cuban Overture (1932)
Strike Up the Band (1934)
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"He Loves and She Loves"
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Owen Hunt
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Owen Hunt, Major, USA (ret)
Grey's Anatomy character
The season nine promotional photograph of Kevin McKidd as Dr. Owen Hunt
First appearance
"Dream a Little Dream of Me" (5.01)
September 25, 2008
(as recurring cast)
"Beat Your Heart Out" (5.14)
February 5, 2009
(as series regular)
Created by
Shonda Rhimes
Portrayed by
Kevin McKidd
Information
Occupation
Attending Trauma Surgeon
Chief of Surgery (former)
Title
Chief of Trauma Surgery
M.D.
F.A.C.S.
Family
Megan Hunt (sister)
Evelyn Hunt (mother)
Leo (foster son)
Spouse(s)
Cristina Yang (divorced)
Amelia Shepherd (divorced)
Significant other(s)
Emma Marling
Beth Whitman (ex-fiancée)
Carina Deluca
Teddy Altman
Relatives
Derek Shepherd (ex brother-in-law) (deceased)
Nathan Riggs (brother-in-law)
Farouk Shami (nephew)
Owen Hunt, M.D. is a fictional character from the medical drama television series Grey's Anatomy, which airs on the American Broadcasting Company (ABC) in the United States. The character was created by series' producer Shonda Rhimes, and is portrayed by actor Kevin McKidd. He was introduced in season five as a U.S. Army trauma surgeon who served in war-torn Iraq, and subsequently joins the fictional Seattle Grace Hospital to teach medicine as a surgical attending, head of trauma surgery, and eventual chief of surgery, sometimes with unorthodox methods. Originally contracted to appear for a multi-episode story arc, he was upgraded to a series' regular at the conclusion of his first appearance.
The fictional character served as a love interest for surgical fellow Cristina Yang, and had an unstable personality when first introduced, suffering from PTSD. McKidd's connection with fellow actress Sandra Oh (Cristina Yang) has been acclaimed amongst critics, with Matt Roush of TV Guide calling the "instant sparks" between McKidd and Oh "electrifying." McKidd was nominated for two awards for his work on the show, winning one of them. Chris Monfette of IGN has praised the addition of "fresh, new characters" such as Owen Hunt.
Contents
[hide]
1 Storylines
2 Development
2.1 Casting and creation
2.2 Characterization
3 Reception
4 References
5 External links
Storylines[edit]
Before his regular appearances on the show, Owen Hunt was a United States Army surgeon, specializing in trauma surgery. The character makes a dramatic first appearance when he performs a tracheotomy on a man with a pen, winning the admiration of resident Cristina Yang (Sandra Oh). He is offered a job by former chief of surgery Richard Webber (James Pickens, Jr.), but declines, explaining that he has not completed his tour in Iraq.[1] His appointment as the new head of trauma surgery at Seattle Grace Hospital was not well-received initially. By his first week he manages to irk both Derek Shepherd (Patrick Dempsey) and Mark Sloan (Eric Dane), head of neurosurgery and plastic surgery, respectively, who view his treatment of some of the patients as crude, and also rebuffed by resident Izzie Stevens (Katherine Heigl) when he stabs a set of pigs and then orders the residents and interns to save their lives, in order to teach them medicine on "live tissue."[2] Hunt eventually embarks on a relationship with Yang, but it comes to a sudden close when his PTSD gets the best of him, and he unconsciously strangles her.[3] Soon after the breakup, he begins therapy with the hospital psychiatrist, Dr. Wyatt. Some time later, a soldier visits the hospital for treatment, and his presence influences Owen to contemplate returning to the US Army. When he shares this with Cristina, she disagrees with his decision, stating that she doesn't want him to die, and the two eventually rekindle their relationship.[4] Owen brings in Teddy Altman (Kim Raver), his best friend and colleague from when he was in the army, as the new head of cardiothoracic surgery.[5] When it is revealed that Hunt and Altman may be potential lovers, Hunt and Yang's relationship is challenged, and eventually concluded by Yang.[6]
During a hospital shooting, Owen is shot and injured, attracting the sympathy of Cristina, who subsequently restores their relationship.[7] Due to the emotional reverberations of the shooting crisis, Owen and Cristina decide to wed one another shortly after their reconciliation, not wanting to risk separation.[8] When Cristina discovers she is pregnant, Owen is displeased with her desire to abort the baby, and the two separate from each other.[9] In the fallout of resident Meredith Grey (Ellen Pompeo)'s tampering with Derek Shepherd's Alzheimer's trial, Owen is promoted to Chief of Surgery after Webber steps down.[10] After substantial thought, Owen reluctantly decides to accompany Cristina to the abortion, uniting the two.[11] Owen's friendship with Teddy ends when Owen lies to Teddy about her husband's sudden death, due to Owen wanting her to finish a surgery she was currently performing and Teddy blaming Owen for her husband's death.[12][13] Feeling abandoned and disconcerted after an altercation with Cristina, Owen has a one-night stand with a patient's friend.[14] Cristina consequently finds out, terminates their relationship, and their marriage is tested. After Cristina passed her medical boards, she reconciles with Owen, but reveals to him that she is leaving Seattle to go to Mayo Clinic.[15] Teddy and Owen eventually became friends again. She had been offered a position at the United States Army Medical Command but chose to stay at Seattle Grace Mercy West out of loyalty. After Teddy's husband Henry dies she wallows in her grief and it affects her colleagues and residents, causing Owen to "fire" her so that she can have a fresh start elsewhere.[16] He also fires April Kepner (Sarah Drew) because the hospital cannot afford to keep her due to her not being a Board certified.[16] Months later, Hunt visits Kepner and rehires her as he realized he made a mistake.
In season 9 Cristina and Owen's marriage is again very strained. Cristina is working at Mayo Clinic and Owen in Seattle but she returns. Owen asks for a divorce. He later shows that he is still in love with her and only asked for a divorce so Cristina and the others involved in the plane crash get the money. Cristina and Owen reconcile in episode 9 before Bailey's wedding.
In season 10, Cristina decides to accept a job to run a state of the art clinic in Switzerland. Owen supports her decision as he realizes no good could come from him asking her to stay, but requests her not to leave him until she has to leave him for good, following which, they both spend two weeks leading to her permanent departure together. While saying her farewell to her colleagues of the last seven years, there is a possible act of terrorism in Seattle, which later turns out to be just a gas main explosion. Cristina has a quick but emotional goodbye hug with Derek, Bailey, and Webber, leaves her shares of the hospital to Alex, and dances it out with Meredith one last time to an old favorite song. Owen, however, is busy saving a patient in the O.R., so they share a silent goodbye through the gallery's glass.
In Season 11, Owen develops a relationship with Amelia Shepherd. This is off and on throughout Season 11 and 12 until the end of Season 12 where he and Amelia get married. In Season 14, after going through a series of martial issues, Owen and Amelia decide to get divorced. Despite this, they continue sleeping together until she points out that he's always been in love with Teddy. As a result, he flies to Germany to be with Teddy, but, after they spend the night together, she breaks it off with him because she doesn't believe he really wants her. Owen returns to Grey Sloan and begins fostering Leo, a baby who was given up by his teenage mother. When Amelia finds Leo's mother, Betty, homeless and addicted to drugs, Amelia takes Betty in, and, together, Owen and Amelia take care of Leo and Betty at Owen's home.
Development[edit]
Casting and creation[edit]
McKidd had to postpone his appointment with series' creator Shonda Rhimes due to it being his son's birthday.[17]
Shonda Rhimes, series' creator, says that the character was envisioned "an old-fashioned tortured hero" and likens him to Heathcliff.[17] Originally set to appear in a multi-episode story arc, Kevin McKidd's contract was extended, securing him a slot as a series' regular of Grey's Anatomy.[18] In July 2008, Entertainment Weekly announced the possibility of McKidd becoming a series' regular,[19] with this possibility eventually being confirmed by People.[20] When asked of how he got involved with the show, McKidd offered the insight:
“ I was doing a movie off and on for three months, and it was my son's birthday, so I managed to land back in LA. around 2 p.m. Then I got a call from my agent, saying, "You have to turn back around because Shonda wants to meet you for this role on Grey’s." I was like, "I'd love to meet her, but I can't. Can we do tomorrow?" And they're family-friendly, so they were really understanding. As soon as I heard the pitch for the character, I was sold on it. It's a different energy and a different viewpoint. I thought it was an important story to tell, especially on a prime-time TV show. To get in there and get your hands dirty and explore what trauma surgery is like in war zones and what it's like to rehabilitate yourself to civilian life. It's not just a new doctor showing up. It's exploring how hard it is to reintegrate yourself back into the real world after being in the war zone for three tours.[17] ”
McKidd told BuddyTV, "It's been really great. I was nervous when I started because every job I've ever done before this, I have been in the job right from day one when everybody's new and getting to know each other. So I was nervous because I had never done this before. And I feel really grateful to the Grey's cast and crew and everyone there, really, because they've been so nice to me and gracious and accepting of me joining the show. The transition was much easier than I thought it might be, which I'm very grateful for."[21] McKidd has told People that he thinks Grey's Anatomy is a great show and he feels lucky to be on it.[20] Shonda Rhimes, the series' creator, said of his addition, "I am excited to have Kevin McKidd joining us for the season, he's been a delight to collaborate with and brings incredible passion, talent and creativity to his work. Plus, he’s already got the ‘Mc’ built into his name so we had to keep him."[18]
Characterization[edit]
McKidd and Oh's characters' relationship and connection has been a major aspect of Owen's characterization
The American Broadcasting Company (ABC) characterized Hunt as "confident", "innovative", "intelligent", while he also can be "aggressive", "brazen", "presumptuous", "hasty and rash".[22] McKidd said of his character: "[...] He's not an easy character to connect to, I think. There's some darkness to him and there's some danger to him that I think is really interesting and exciting to play. [...]"[21] Additionally, McKidd describes Hunt as "very instinctive, and follows his gut, and he's very impulsive, and very immediate. He immediately assesses a situation. And he's very honest, sometimes painfully honest, with himself and with others. He wants to make himself better. He wants to improve himself as a person. He's a decent guy, a sort of a guy I'd like to go out and have a beer with."[23] Hunt's unorthodox teaching methods have been the subject of controversy. McKidd said of this:
"You know, I think, at the end of the day, [Owen]'s basically a good man who has some pretty extreme teaching techniques that he learned in the army. And all these things that are in the show are actually the way trauma surgeons are taught. But I think probably beyond that, he very much just calls a spade a spade and looks at each scenario. He's not trying to be difficult. He just looks at each scenario and each case and each patient and knows what is needed and when to cut to the chase, and doesn't want to mess about with the periphery of it. And sometimes that gets him into trouble, and sometimes that is for the best. So, it'd be interesting and kind of exciting to see where he goes."
—  Kevin McKidd, BuddyTV[21]
The look of Owen has been described as hardcore and the antithesis of the other males on the show. McKidd says it's not just the look of Owen, but the fact that in his profession, he is dealing with life and death everyday. The one distinction he finds between his character and the others is that Owen does not care what other people think of him.[17] When McKidd returned from his first appearance, his character appeared to have been changed. McKidd told TV Guide: "Yes, that was who he really is in the premiere, but now we're seeing what can happen to a good man, a good soldier and good surgeon [because of war]."[24]
There's a great debate there for what the dynamic is, with what Cristina has done to this marriage and her choice and what Owen's choice is and his behavior. There's a really interesting conversation to be had because of those choices: How do you move on? How does that change the dynamic of the relationship? If you can really dive into that -- there's two betrayals, very big ones. I don't know how they sustain that relationship. I don't know how you come back from that kind of betrayal. Certainly if you're married, the notion of the next step would be to have children and if that's been taken away, I would find it very hard for Owen to stay in that relationship.
“
”
— Patrick Dempsey (Derek Shepherd) on Owen and Cristina's relationship, involving Cristina's no desire to bear children.[25]
The character of Owen Hunt had an almost instant attraction to Cristina Yang since his first appearance at Seattle Grace, illustrated by the passionate kiss they share soon after they meet. Owen's story and connection with fellow character Cristina has been a topic of discussion. McKidd said: "Between him [Owen] and her [Cristina], it’s going to get really complex and kind of tense and explosive."[17] Owen and Cristina have experienced roadblocks in their fictional relationship, and continue to. McKidd offered this insight on his character's relationship with Cristina:
“ It's not going to be easy for them. What I read when I read the season premiere, and this is just my take on it, is that it was very much two very analytical people, Owen and Cristina. They're very similar in a way, I think, as people. Two analytical people see each other over a crowded ER room and their eyes meet. It's almost more complicated, but on a really simplistic level, it's almost a love at first sight scenario that happened on the season premiere. And then, what we're seeing is the road to connect that back, because obviously the season premiere was before he went back to Iraq and this event has happened to him that's changed him. And so, they're trying to get that feeling back because there's obviously something really true and meant to be between these two people. But it's complicated right now because she's damaged because of what's happened to her, and he is certainly struggling with himself and the people around him and the world in general, and trying to keep himself together after what's happened to him. So, I think, it's exciting to see what happens with these two guys because, in a way, they're the two people you'd least expect to have a love affair, but it's happening to them and they can't stop it.[21] ”
McKidd has referred to his character and the character of Cristina Yang as "soulmates."[26] Speaking of Owen's PTSD storyline, McKidd stated: "What's exciting about telling this story with this character is that it's quite brave of ABC and Shonda [Rhimes], on a prime-time network TV show, to address a tough subject, and one that people don't necessarily want to hear about. But so far the writing room is handling it beautifully. They're not banging people over the head with it but exploring it in a sensitive and interesting way."[24] Owen and Cristina have struggled with their fictional relationship in season eight, leading to Owen having a sexual affair. Directly before the episode involving the affair aired, McKidd said to Entertainment Weekly: "The thing about Owen is that he tries to do things perfectly, and obviously, he messes up as the chief because you have to make these odd black-and-white decisions and sometimes you make the wrong decision. There’s a lot of stress in his life at the moment, so he’s trying not to let that affect his efficiency as chief."[27] Although the characters' marriage is tested, McKidd reported to The Hollywood Reporter: "I think they're meant for each other. I hold out faith in Cristina and Owen, even though they go to the darkest places out of all the couples on the show. It's going to get worse but it's going to get better soon."[25]
Reception[edit]
The character has received generally positive feedback from television critics. Weeks after Hunt's first appearance on the show, Matt Roush of TV Guide commented that "Hunt/McKidd is the most encouraging thing to happen to Grey's Anatomy in quite a while." He also added: "The instant sparks between him [Hunt] and Yang were electrifying."[23] On the other hand, Robert Rorke of the New York Post states that McKidd was brought in as Hunt to "boost the sagging fortunes" of the show's ratings.[26] Kelley L. Carter of USA Today, describes Hunt as "hardcore" and "the antithesis of the other males on the show."[28] Chris Monfette of IGN said that the fifth season of Grey's Anatomy was an improvement on the previous two seasons, attributing this in part to the introduction of "fresh, new characters", Owen and Arizona Robbins (Jessica Capshaw).[29] He also referred to McKidd as "the season [five]'s best, most effective addition", adding:
“ Not only is McKidd an immediately likeable and engaging actor, his struggle with PTSD throughout the season – and especially how it impacted his burgeoning relationship with Cristina – proved both relevant and dramatically gripping. His interactions with Cristina were perfectly balanced for optimum drama, never together and never apart for so long that the back-and-forth became frustrating. Viewers could clearly see a softening of the typically hard-edged Cristina, a pleasant change for what had become something of a one-note character, as well as relate to Owen's internal struggles, shared by many a real-life war vet.[29] ”
Margaret Lyons of New York Magazine judged Hunt "too sad" for the first part of the ninth season.[30] In 2010, Kevin McKidd was nominated for the Prism Award for Best Performance in a Drama Series' Multi-Episode Storyline, and won the award.[31] In 2011, McKidd was nominated for the Prism Award for Best Performance in a Drama Series, for his work on Grey's Anatomy.[32] McKidd was nominated, along with the rest of the Grey's Anatomy cast, for Best Drama Series at the 21st GLAAD Media Awards, in 2010.[33] Also in 2010, McKidd, and the rest of the cast, were nominated for Outstanding Drama Series, at the NAACP Image Awards.[34] The same nomination was received at the 2011 NAACP Image Awards, with the cast winning the award.[35] At the 43rd NAACP Image Awards, in 2012, McKidd and the cast were nominated yet again for Outstanding Drama Series.[36]
References[edit]
Specific
Jump up ^ "Dream a Little Dream of Me". Grey's Anatomy. Season 5. September 25, 2008. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Life During Wartime". Grey's Anatomy. Season 5. October 30, 2008. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "An Honest Mistake". Grey's Anatomy. Season 5. February 19, 2009. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Now or Never". Grey's Anatomy. Season 5. May 14, 2009. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "New History". Grey's Anatomy. Season 6. November 12, 2009. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Sanctuary". Grey's Anatomy. Season 6. May 20, 2012. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Death and All His Friends". Grey's Anatomy. Season 6. May 20, 2010. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "With You I'm Born Again". Grey's Anatomy. Season 7. September 23, 2012. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Unaccompanied Minor". Grey's Anatomy. Season 7. May 19, 2011. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Free Falling". Grey's Anatomy. Season 8. September 22, 2011. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "She's Gone". Grey's Anatomy. Season 8. September 22, 2011. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Dark Was the Night". Grey's Anatomy. Season 8. November 10, 2011. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Suddenly". Grey's Anatomy. Season 8. January 5, 2012. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "One Step Too Far". Grey's Anatomy. Season 8. March 15, 2012. American Broadcasting Company. |access-date= requires |url= (help)
Jump up ^ "Support System". Grey's Anatomy. Season 8. April 12, 2012. American Broadcasting Company. |access-date= requires |url= (help)
^ Jump up to: a b "Flight". Grey's Anatomy. Season 8. May 17, 2012. American Broadcasting Company. |access-date= requires |url= (help)
^ Jump up to: a b c d e Carter, Kelley. "Kevin McKidd plays military doctor on 'Grey's Anatomy'". MarineTimes. Retrieved May 15, 2012.
^ Jump up to: a b "Kevin McKidd Joins 'Grey's Anatomy' Cast As Series Regular". Access Hollywood. Retrieved May 15, 2012.
Jump up ^ Rice, Lynette. "'Grey's Anatomy': Kevin McKidd in talks to join the show". Entertainment Weekly. Retrieved May 15, 2012.
^ Jump up to: a b "Kevin McKidd Joins the Cast of Grey's Anatomy". People. Retrieved May 15, 2012.
^ Jump up to: a b c d "Exclusive Interview: Kevin McKidd of 'Grey's Anatomy". BuddyTV. Retrieved May 15, 2012. |first1= missing |last1= in Authors list (help)
Jump up ^ "Owen Hunt (Kevin McKidd) Bio". Grey's Anatomy. American Broadcasting Company. Archived from the original on June 20, 2013. Retrieved June 13, 2013.
^ Jump up to: a b Kevin McKidd. Ask Grey's Anatomy, Part 3 (Adobe Flash Player). ABC.com. Retrieved May 20, 2009.
^ Jump up to: a b Mitovich, Matt. "Grey's Anatomy's Kevin McKidd: Love and War Haunt Hunt". TV Guide. Retrieved May 15, 2012.
^ Jump up to: a b Goldberg, Lesley. "'Grey's Anatomy' Postmortem: Kevin McKidd Warns of Tougher Times Ahead for Cristina". The Hollywood Reporter. Retrieved May 15, 2012.
^ Jump up to: a b Rorke, Robert (October 26, 2008). "No Kidding". New York Post.
Jump up ^ Gonzalez, Sandra. "'Grey's Anatomy' star Kevin McKidd previews Owen's struggles". Entertainment Weekly. Retrieved May 15, 2012.
Jump up ^ Carter, Kelley L. (November 6, 2008). "Meet McKidd, new dreamboat doc on 'Grey's Anatomy'". USA Today. Retrieved May 20, 2010.
^ Jump up to: a b Monfette, Chris (May 29, 2009). "Grey's Anatomy: Season 5 Review". IGN. Retrieved August 19, 2009.
Jump up ^ Lyons, Margaret (January 23, 2013). "Now That Private Practice Is Over, Addison Should Go Back to Grey's Anatomy". New York. Retrieved June 13, 2013.
Jump up ^ T, Buddy (April 27, 2010). "2010 PRISM Awards Winners Announced". About.com. The New York Times Company. Retrieved June 27, 2012.
Jump up ^ Tomasi, Rollo (February 19, 2011). "Prism Awards 2011: Nominations". FilmBook. Retrieved June 27, 2012.
Jump up ^ "21st Annual GLAAD Media Awards – English Language Nominees". Gay & Lesbian Alliance Against Defamation. 2010. Archived from the original on January 30, 2010. Retrieved February 21, 2010.
Jump up ^ "The 41st NAACP Image Awards". NAACP. Archived from the original on July 18, 2011. Retrieved May 16, 2012.
Jump up ^ "The 42nd NAACP Image Awards". NAACP. Archived from the original on June 25, 2012. Retrieved May 16, 2012.
Jump up ^ "The 43rd NAACP Image Awards". NAACP. Archived from the original on June 7, 2012. Retrieved May 16, 2012.
General
"Grey's Anatomy: Episode Recap Guide". ABC. Retrieved June 19, 2012.
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Johnny & June (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Johnny & June"
Single by Heidi Newfield
from the album What Am I Waiting For
Released
March 31, 2008
Format
CD single, music download
Genre
Country rock, country pop
Length
3:38
Label
Curb
Songwriter(s)
Heidi Newfield
Deanna Bryant
Stephony Smith
Producer(s)
Tony Brown
Heidi Newfield singles chronology
"Johnny & June"
(2008) "Cry Cry ('Til the Sun Shines)"
(2008)
"Johnny & June"
(2008) "Cry Cry ('Til the Sun Shines)"
(2008)
"Johnny & June" is the solo debut song co-written and recorded by American country music singer Heidi Newfield, the former lead singer of the group Trick Pony. It was released in March 2008 as the first single from her debut album What Am I Waiting For, which was released in August 2008 on Curb Records.[1] The song reached a peak of #11 on the Hot Country Songs charts in late September 2008.
Contents
[hide]
1 Content
2 Reception
3 Music video
4 Personnel
5 Chart performance
5.1 Year-end charts
6 References
Content[edit]
"Johnny & June" is a mid-tempo song that was written by Heidi Newfield alongside Deanna Bryant and Stephony Smith. The song features a female narrator who describes the kind of relationship that she wishes to have with her lover — specifically, one comparable to the relationship between singer Johnny Cash and his wife, June Carter Cash.
Reception[edit]
In his review of the album, Matt C. of Engine 145, noted that the song "sounds good against the rest of the album" but also said that it "is diminished by its association with the recent explosion of lesser name-checking songs."[2]
Music video[edit]
A music video, directed by Eric Welch, was released in August 2008. The video begins with Newfield wearing a white dress, as she performs on stage inside an empty auditorium. She is then shown sitting on the hood of a black Cadillac. During the chorus, she is surrounded by flames while dressed in black, a reference to Cash's "Ring of Fire".[3]
Personnel[edit]
The following musicians perform on this track.[4]
Dan Dugmore – steel guitar
Kenny Greenberg – electric guitar
Wes Hightower – background vocals
Greg Morrow – drums
Steve Nathan – piano
Stephony Smith – background vocals
Ilya Toshinsky – acoustic guitar
Glenn Worf – bass guitar
Reese Wynans – Hammond B-3 organ
Jonathan Yudkin – cello
Chart performance[edit]
"Johnny & June" debuted at number 46 on the Billboard Hot Country Songs chart for the chart week of April 19, 2008.[5] The song spent 27 weeks on the country charts, eventually peaking at number 11 on September 27, 2008.[6] The song also crossed over to pop charts, peaking at number 58 on the Hot 100 chart. The song has sold 862,000 copies in the US as of May 2016.[7]
Chart (2008)
Peak
position
US Hot Country Songs (Billboard)[8] 11
US Billboard Hot 100[9] 58
Year-end charts[edit]
Chart (2008)
Position
US Country Songs (Billboard)[10] 54
References[edit]
Jump up ^ "Heidi Newfield readies solo debut". Country Standard Time. 2008-05-30. Retrieved 2008-07-16.
Jump up ^ Engine 145: Album Review: Heidi Newfield – What Am I Waiting For?
Jump up ^ "It's One of Those Songs: Making the video for "Johnny & June" was a labor of love for Heidi Newfield". Country Weekly. 15 (17): 29. 2008-08-25. ISSN 1074-3235.
Jump up ^ What Am I Waiting For (CD liner notes). Heidi Newfield. Curb Records. 2008. 79087.
Jump up ^ "Johnny & June" chart debut
Jump up ^ "Johnny & June" charts: September 27, 2008
Jump up ^ Bjorke, Matt (May 5, 2016). "Top 30 Digital Singles Report: May 5, 2016". Roughstock.
Jump up ^ "Heidi Newfield – Chart history" Billboard Hot Country Songs for Heidi Newfield.
Jump up ^ "Heidi Newfield – Chart history" Billboard Hot 100 for Heidi Newfield.
Jump up ^ "Best of 2008: Country Songs". Billboard. Prometheus Global Media. 2008. Retrieved December 13, 2008.
[hide]
v
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Trick Pony
Trick Pony
Albums
Trick Pony
On a Mission
R.I.D.E.
Singles
"Pour Me"
"On a Night Like This"
"Just What I Do"
"On a Mission"
"The Bride"
"It's a Heartache"
Heidi Newfield
Albums
What Am I Waiting For
Singles
"Gitarzan" (w/ Cledus T. Judd)
"Johnny & June"
"Cry Cry ('Til the Sun Shines)"
Related articles
Burns & Poe
Retrieved from "https://en.wikipedia.org/w/index.php?title=Johnny_%26_June_(song)&oldid=718998803"
Categories:
2008 singles
Debut singles
2008 songs
Heidi Newfield songs
Song recordings produced by Tony Brown (record producer)
Songs written by Heidi Newfield
Curb Records singles
Songs written by Stephony Smith
Songs written by Deanna Bryant
Hidden categories:
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This page was last edited on 6 May 2016, at 23:02.
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