Saturday, January 9, 2016

From a REAL dating site: me n' George, together at last?

Margaret Gunning and George Gershwin
Numerological Compatibility

Compatibility level: 25% - A relationship that presents frequent challenges and requires much compromise.

This match combination is particularly interesting. The different natures of Margaret Gunning's Life Path number 3 and George's 7 make for a relationship that either lasts for about two weeks before going up in flames, or remains exciting and powerful for a lifetime. If their relationship has existed for quite some time and can be considered stable, Margaret Gunning and George Gershwin may well be soul mates for life. If the relationship started recently and has already experienced considerable ups and downs, they should be prepared to let go. It is also quite common for this combination to turn from romance into deep friendship immediately after a romantic fall-out.

Margaret Gunning has a restless, energetic, unconventional mind that happily explores the boundaries of creativity and originality. Like a kaleidoscope, Margaret Gunning's mind changes colors and shapes and enchants those around it. George has a much more serious, but no less unconventional way of looking at life. George is an untiring seeker of truth and understanding. George gets great satisfaction out of quiet moments of contemplation and soul searching. In fact, George thrives on the clarity and realizations that come from such moments and from moments of spiritual enlightenment.

Margaret Gunning and George have very different approaches in the way they think. But, on the other hand, they have in common the fact that they both are unconventional and not afraid to wander off the beaten path. Although they have different needs and they find their happiness in very different ways, such ways are not incompatible. It is precisely their uniquely different intellects that make this relationship lively and interesting. Margaret Gunning and George complement each other. They give each other something they would not be able to give themselves. Margaret Gunning brings sunshine and an intuitive faith to George, while George offers margaret gunning a taste of the beauty found in exploring the depths of life itself. Like the sun and the moon, they supply light and comfort. Although on opposite ends of the spectrum in some ways, Margaret Gunning and George bring light and comfort to each other’s life and, as long as they do not compete for each other’s space, they can live in great harmony.


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Numerology Compatibility | Margaret Gunning and George Gershwin

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(This-all came from a dating site that matches plain old people like me with "celebrities", including dead ones. Why, I don't know - fantasy material, I guess, because these are people you can't hope to meet, especially the dead ones. The thing that interests me is that they seem to have it backwards: all the traits assigned to me are George's, and vice-versa. Poetic as he was, George wasn't terribly introspective , though he was famous for his spells of melancholy. He was a mover and a shaker and may have known on some level that he was changing musical history. While doing so, I guess he found time to date me. I won't say much more about that. Hate to kiss and tell.)

  Visit Margaret's Amazon Author Page!

George walked in

This is one of those nice GG videos that features photos and even snippets of film from his life. Rare enough, but what happened last night? What happened when I was so unprepared for the second song (Love Walked In) on this video?

What happened is, I felt astonishment, and I cried. Cried because, stripped of all the schmaltz, we have a version so close to what George would play that it's almost scary. He was not a sentimental pianist and played with tremendous energy and verve. The love songs shone and gleamed, shot through with sunlight. He was solar rather than lunar, though that sunnyness  was sometimes sadly, darkly eclipsed.

I heard Debussy in those newly-revealed, stripped-down chords, but I heard something absolutely original too. I don't know of any other composer who can knock me back with a single chord. It's remarkable.

So we have the two sides of George here, almost aggressive honky-tonk (and believe me, in the few recordings we have of him, he played fast and he played hard) and sheer, naked poetry. Jack Gibbons has tried to peel back all the layers of sentimentality and get back to essential Gershwin, and it's like restoring a gorgeous Renaissance painting that has been dulled by a thousand layers of varnish and time. What is revealed is startling, so fresh the paint is still wet.

The song begins at 3:01. It's one of those songs that is so simple, it's hardly there. As Salieri says in Amadeus, remove even one element, one note and the whole structure would fall down. And yet it is something that will last forever.

Nothing seemed to matter any more,
Didn't care what I was headed for
Time was standing still,
No one counted till
There came a knocking at the door.

Love walked right in and drove the shadows away ;
Love walked right in and brought my sunniest day.
One magic moment, and my heart seemed to know
That love said Hello ! ,
Though not a word was spoken.

One look and I forgot the gloom of the past ;
One look and I had found my future at last.
One look and I had found a world completely new,
When love walked in... with you.

And now, the inevitable P. S. :

And here is the best vocal version I've heard, sung sweetly and sincerely with a simple, clean, unsentimental orchestration and a fantastic segue into "swing" near the end (the last dreamy note reminding me of an Astaire and Rogers film). I DON'T KNOW WHO THIS IS! But I think that Gershwin, who always referred to himself as a Russian, would have appreciated this.

  Visit Margaret's Amazon Author Page!

Amazon Author Page gifs

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!
  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

  Visit Margaret's Amazon Author Page!

Letters home

Can I say something about George's hand? How can you stop me? It's my blog, and I'll go on about it if I want to. I have no special skills in analyzing handwriting, but I do pick up vibes from it, some of them distressingly negative. But I love this guy's handwriting, it's the writing of someone I'd like to meet. There is an optimism and freshness and energy about it, but at the same time, a diligence, even a neatness and precision interspersed with a few artistic flourishes in the capitols. It seems to surge forward bravely and even eagerly, and chimes in a way that's quite palpable even after all these years. It's friendly stuff. Does it reflect any of his complicated, paradoxical nature? No. It doesn't. Maybe biographers have pushed that pedal a little too hard over the years. A genius doesn't have to strain and labour to be a genius. In my long and tumultuous exploration of Gershwiniana (too many syllables, there), I've compared him again and again to Mozart, so lavishly, naturally gifted that it seemed almost supernatural. GG did not come from a music family - at all. They were tradesmen and furriers and even bookies and borderline crooks. He was, as they used to say, "a hop out of kin". But his hand is refreshingly normal, eager, with a kind of upward sweep and a let's-get-going that does seem to be reflective of his biographical self. Which makes his death that much more horrible. Come right in, George, I want to talk to you.