Cole Albert Porter (June 9, 1891 October 15, 1964) was a writer of popular songs from the 1920s to the 1950s. He wrote for several musicals, mostly in the 1930s, that had very slim, loose plots. Those musicals were an excuse for beautiful women, comic gags, one-liners and, most of all, musical numbers. His most famous play is Kiss Me Kate from 1948, which is about putting on a production of, believe it or not, The Taming of the Shrew, but his real claim to fame is his urbane, witty songs, like "I Get A Kick Out of You" and "Night and Day".
Porter is especially well known for list songs, like "Let's Do It (Let's Fall in Love)", "You're the Top" and "Brush Up Your Shakespeare". His songs have been recorded from the 1930s to the 1960s by such big stars of the time Fred Astaire, Ella Fitzgerald, Ethel Merman, Frank Sinatra, and Louis Armstrong. On a side note, Porter was gay, which shows in some of his songs that deal with things like forbidden, impossible or unrequited love.
List of notable film/theatre scores
- Fifty Million Frenchmen (1929)
- The Gay Divorce (filmed as The Gay Divorcee) (1932)
- Anything Goes (1934)
- DuBarry Was a Lady (1939)
- The Pirate (1947)
- Kiss Me Kate (1948)
- Can-Can (1953)
- Silk Stockings (1954)
- High Society (1956)
Cole Porter's songs are examples of these tropes:
- Bowdlerise: The lyrics to "Let's Do It (Let's Fall In Love)" (written in The Roaring '20s) were changed because it contained racial slurs which were later deemed inappropriate.
- Break-Up Song: "Just One Of Those Things".
- Double Entendre: "Let's Do It (Let's Fall In Love)" among others. Of course, sometimes, Cole was not so subtle, and skipped straight to "Let's Misbehave."
- Executive Meddling: The lyrics to the song "I Get a Kick Out of You" from the musical Anything Goes originally contained a reference to cocaine. When the musical was turned into a movie, Porter was forced to censor the lyrics.
- Getting Crap Past the Radar: Cole Porter had this practically down to a science.
- Getting Eaten Is Harmless: "The Tale of the Oyster" tells of an oyster who gets to experience high society after being harvested and served at a posh restaurant. The oyster gets eaten, but that's not the end of the tale: as the woman who ate him travels home in her yacht, she gets seasick and empties her stomach over the side, and the oyster ends up back on the sea floor where he started, none the worse for the experience.
- List Song: "Let's Do It (Let's Fall in Love)", "You're the Top", "Brush Up Your Shakespeare", "Anything Goes", etc...
- Patter Song: "Let's Not Talk About Love," among others.
- Queer Flowers: His 1929 song "I'm a Gigolo" in which he says he has a dash of lavender and that he can be found next to a passionless dowager.
- Repurposed Pop Song:
- "I've Got You Under My Skin", repurposed as "I've Got You Under My Rim" for a toilet bowl cleanser commercial. If it's any comfort, Porter's executor admitted he'd botched the request.
- The same for "It's De-Lovely", being used by the DeSoto Motor Company in its 1950s advertisement.It's de-lovely, it's dynamic, it's DeSoto!
- Russian Reversal: "Anything Goes" — [if the pilgrims could see what had become of American society], "Instead of landing on Plymouth Rock, Plymouth Rock would land on them!"
- Shout-Out: To anyone and everyone. From politicians, to actors, to characters from literature, no reference was too obscure or too popular. Basically, if he could rhyme it, he would use it. And he could ALWAYS rhyme it. One such example is to Alfred Kinsey, of all people, in "Too Darn Hot".
Cole Porter's work outside of his songs is an example of these tropes:
- Biopic: Night and Day (1946, starring Cary Grant) and De-Lovely (2004, portrayed by Kevin Kline), both of which were named after songs of his. The former was highly fictionalized, while the latter was closer to Porter's life and addressed his homosexuality. As Kline was a better singer than Porter, he had to tone down his ability a bit.
- Creator Breakdown: Porter's legs were crushed in a polo accident in 1937, leaving him permanently disabled and in constant severe pain for the rest of his life. It took him ten years to get back to his previous level of productivity. Later in life, he had to have a leg amputated (due to the previous injuries), and never wrote again.