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George C. Cory Jr. (August 3, 1920 [1] – April 11, 1978 [2]) was an American pianist and composer whose most notable work was creating the music of the song "I Left My Heart in San Francisco".
I Left My Heart in San Francisco" is a popular song, best known as the signature song of Tony Bennett. It was written in late-1953 in Brooklyn, New York , with music by George Cory (1920–1978) and lyrics by Douglass Cross (1920–1975).
"Theme from San Francisco," also known as "San Francisco," is a song from the 1936 American film San Francisco. It was written by Bronislaw Kaper and Walter Jurmann , with lyrics by Gus Kahn . It is sung by Jeanette MacDonald six times in the film, and becomes an anthem for the survivors of the 1906 earthquake .
This is a list of songs about San Francisco Bay Area, California: either refer to, are set there, named after a location or feature of the city, named after a famous resident, or inspired by an event that occurred locally.
[14] [15] U2's Bono also led the audience in a sing-along during their PopMart performances in the San Francisco Bay Area on June 18 and 19, 1997. New Order covered it on July 11, 2014, at the Bill Graham Civic Auditorium in San Francisco. [16] A cover by Michael Marshall appears in the film The Last Black Man in San Francisco (2019). [17]
I Left My Heart in San Francisco is an album by American singer Tony Bennett, released in 1962 on Columbia Records. The album debuted on the Billboard Top LPs chart in the issue dated October 13, of that year, and remained on the album chart for 149 weeks, peaking at No. 5 [ 2 ] and has been certified platinum by the RIAA .
The Hot Club of San Francisco is an American gypsy jazz band. [1] [2] Led by guitarist, songwriter, and arranger Paul 'Pazzo' Mehling, the group uses the instrumentation of violin, bass, and guitars from Django Reinhardt and Stephane Grappelli’s Quintette du Hot Club de France and performs arrangements of gypsy jazz standards, pop songs, and original compositions by Mehling.
The San Francisco bands' music was everything that AM-radio pop music wasn't. Their performances contrasted with the "standard three-minute track" that had become a cliché of the pop-music industry, due to the requirements of AM radio, to the sound capacity of the 45 RPM record, and to the limited potentials of many pop songs and song treatments.