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Granville, New South Wales

Granville is a suburb in Western Sydney, in the state of New South Wales, Australia. Granville is located 18 km west of the Sydney central business district, split between the local government areas of Cumberland City Council and the City of Parramatta.

South Granville is a separate suburb. Lisgar, Redfern, Heath and Mona Streets form the approximate border between Granville and South Granville. The Duck River provides a boundary with Auburn, to the east.

History
In 1855, the Granville area was known as Parramatta Junction, named after the final stop of the first railway line of New South Wales. The Sydney-Parramatta Line ran from Sydney terminus, just south from today's Central railway station to the Granville area which was originally known as 'Parramatta Junction'. This led to the development of this area, which attracted speculators and some local industries.

In the early days of European settlement, timber was harvested to fuel the steam engines in Sydney and Parramatta. By the 1860s, the supply of timber was exhausted. The remainder was used by scavengers who made a living by collecting firewood. Wattle bark found use with tanners and the bark from stringybark trees was used for roofing of huts. In 1862, a major estate, Drainville, became subject to a mortgagee sale and subdivided for villa homes, and small agricultures. At the end of the decade a Tweed Mill was established, which was steam powered using water from the Duck River. In 1878, the locality received its own post office, which was then part of the stationmasters house.

The name 'Parramatta Junction' remained until 1880, when two public meeting voted that the name be changed. Some very strange names were suggested including Drainwell, Vauxhall, Nobbsville, and Swagsville, but finally the name of Granville in honour of the British Foreign Secretary, the Granville Leveson-Gower, 2nd Earl Granville. Even then the voice of protest was raised declaring the name was "too French", but the dissenter was ignored.

At this time, the place had a population of 372, of which 176 were male and 196 female. In this era some German settlers, Joseph Klein and P W Merkell, tried to establish vineyards in the area, but eventually found the land was not suited for this type of agriculture. More farmers discovered the limitations of the local soils and fruit growers complained about the damage from flying foxes. Thus, the only practical use for the grasslands, which replaced the original bushland, was for dairy cattle.

The Granville Municipality was formed in 1885 and the council carried on the local government of the area until 1948, when it became part of an enlarged City of Parramatta.

On Anzac Day of 1974, Granville was partially severed by flooding of the Duck Creek stormwater channel due to torrential rain that fell over the area. 135 millimetres of rain fell between 11.30 pm and 12.30 pm at Guildford, with the ensuing flood doing major damage through Granville. The nearby RSL was damaged and many of the club's old photographs and honour boards were destroyed.

Granville is also the location of the Granville railway disaster, which occurred on 18 January 1977 when a commuter train derailed just before the Bold Street overpass and hit the stanchion, causing the bridge to collapse. 83 people perished, making it the worst rail disaster in Australian history.

Heritage listings
Granville has a number of heritage-listed sites, including:
 * 10 Carlton Street: Granville Town Hall
 * 157 Blaxcell Street: Crest Theatre

Buildings and places of interest

Granville has a mixture of residential, commercial and industrial developments. The commercial and residential developments are mostly around Granville railway station and Parramatta Road. Granville is primarily dominated by freestanding weatherboard, fibro and unrendered brick buildings. The area is no longer exactly "typical" quarter acre block territory, but 500 to 600 m2 blocks are reasonably common. Terraced houses are rare, but increasing in number. Apartment blocks, generally three to four storeys in height, are also becoming more common in the vicinity of the railway station.

Buildings that deserve some attention are:

 * Granville Town Hall, which was built in 1888
 * The Royal Hotel corresponds with the architecture of the Town Hall about 200 m away
 * The Former School of Arts building just north of the railway station on Good Street, built in 1883
 * St. Marks Anglican Church dates back to 1882
 * St. Aphanasius Church, a Ukrainian Autocephalic Orthodox with onion domes, adds some interest to William Street. It dates back to 1956.
 * The White Palace in South Street has an exterior with Art Deco features. The building was gutted and redeveloped in 2007.
 * The intersecting circles of Granville RSL Sub-Branch Building serves as an interesting example of modern architecture. It was designed by Frank Fox & Associates.

Crest Theatre

The Crest building on the corner of Blaxcell and Redfern Streets, was built by Hoyts in 1948 as a movie theatre and was used for screening films up until 1963. The structure of the building is of a Quonset hut design, while the facade and interior is of a post-Art Deco and post-Moderne eclectic style, influenced by the "Picture Palace" architecture popularly used for movie theatres. It is now used as a function hall.

The Crest Theatre is now listed in the NSW State Heritage Register as being of "State significance", being one of the few cinemas built in Australia in the 1940s. Externally and internally the building remains largely intact, though the signage on the external decorative pier now reads "B-L-O-U-Z-A", rather than the original "H-O-Y-T-S" (later it was "B-I-N-G-O").

Trains
Granville railway station is a major station on the T1 Northern and Western Lines and T2 Inner West & Leppington Line of the Sydney Trains network, served by services on those lines. The station is wheelchair accessible. Granville railway station is located on the Main Suburban line. Granville's bus interchange, as well as a car park, are located adjacent to its train station. Bike racks and lockers are located nearby. Taxi ranks can be found just south of the train station.

Bus
Granville is serviced by Transdev NSW and features a newly built bus interchange. Transdev NSW operates three bus routes via Granville railway station:
 * 906: Parramatta station to Fairfield station
 * M91: Parramatta station to Hurstville
 * S2: to Sefton

Granville station is served by one NightRide (Night Bus) route:
 * N60: Fairfield station to Town Hall station

Road
Parramatta Road has always been an important thoroughfare for Sydney from its earliest days. From Parramatta the major western road for the state is the Great Western Highway. The M4 Western Motorway, running parallel to the Great Western Highway has taken much of the traffic away from these roads, with entrance and exit ramps close to Parramatta.

Education
Granville has a major college of Technical and Further Education, which is part of the South Western Sydney Institute of TAFE. Schools include Granville Boys High School which was founded in 1926, Delany College, Granville Public School, Granville East Public School, Blaxcell Street Public School and Holy Family Catholic School. The suburb is also home to a Cumberland Council branch library.

Entertainment
The suburb boasts four pubs. The Royal Hotel and the Granville Hotel are located south and north of the railway line respectively. The Rosehill Hotel is located on the northern side of Parramatta Road and the Vauxhall Inn is on the same street on the western edge of Granville on the corner of Woodville Road. Granville is also home to a sub-branch club of the RSL, known as Granville Diggers. Attractions include live music, bingo, karaoke etc.

Sport
Granville has an Olympic size pool and a football facility. Historic Garside Park is home to State Super League and Super Youth League club, Granville Rage.

Sydney Speedway is a 460 m dirt track speedway which opened in 1977 at the old Granville Showground as the Parramatta Speedway. The clay surface caters mainly to Sprintcars and has been home to some of Australia's greatest drivers including ten times Australian Sprintcar Champion Garry Rush, and multiple title holders George Tatnell, his son Brooke Tatnell, and Max Dumesny. The speedway is also the only venue not in North or Central America to host a round of the famous World of Outlaws sprintcar series.

Granville Magpies Soccer Club entered the Sydney competition in the early 1880s and has continued to compete with distinction until the early 2000s. The club originally played matches at a paddock behind Hudson Brothers' Works in Clyde before relocating to Macarthur Park, known nowadays as F.S. Garside Park.

2011 Census
At the 2011 census, there were 13,989 residents in Granville. More than half of people were born outside of Australia, with the top countries of birth being India, China and Lebanon. Three-quarters of people spoke a language other than English at home. The most common other languages spoken at home were Arabic 18.1%, Cantonese 5.5%, Mandarin 4.8%, Turkish 2.3% and Tongan 2.0%. The housing in Granville was evenly spread between detached houses and higher density units or apartments. 46.3% of residents were renting their home and this was higher than the national average of 29.6%.

2016 Census
Data from the 2016 census shows that the population of Granville was 15,332. Of this population:
 * 52.6% are male, with 47.4% being female.
 * 66.3% of people were born outside Australia, with the top countries of birth being India (10.4%), China (7.6%), Nepal (5.9%), Lebanon (5.1%) and the Philippines (3.4%).
 * 21.9% of people spoke only English at home. Other languages spoken at home included Arabic 14.9%, Nepali 6.6%, Mandarin 6.1%, Cantonese 5.1% and Hindi 3.9%.
 * For religious affiliation, the top responses were Catholic (21.1%), Islam (19.7%), Hinduism (15.6) and No Religion (14.1%).

Notable residents

 * John Devitt (1937-2023), Olympic gold medallist and manager of the Australian Commonwealth Games team grew up in Granville
 * Jack Ferguson (1924–2002), Former deputy premier of New South Wales
 * Mark Geyer (born 1967), rugby league player, born in Granville
 * Paul Hogan (born 1940), actor, grew up in Granville
 * Hillal Kara-Ali (born 1990), winner of the sixth season of the Australian version of The Mole
 * Bernie McGann (1937–2013), Saxophonist who was born in Granville
 * Judy Stone (born 1942), Australian pop singer, was born and raised in Granville
 * Roland Stuart Andrews (1897–1961), Industrial Chemist and Administrator

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Granville, New South Wales


text:
Talk:Gemstone

Rarity listing?
Is it possible to create a list depicting the relative rarity of each mentioned gemstone? I'm no expert on the subject, but that was one thing that seemed missing from my view as a reader. Krushia 20:17, 11 August 2007 (UTC)

This could be problematic because new gemstone finds occur regularly and old mines close down and the relative rarity shifts so the list would have to be updated all the time. LukenessSA 20:57, 28 August 2010

Number of stones
"There is a large number of semi-precious stones".

How "large" as of late twentieth century? If precise number is not known, how about an order? In the 20s? 50s? 200s? 800s? --Menchi 23:36, Aug 13, 2003 (UTC)

I'd say one would be looking in the hundreds. Many stones have a semi-precious form that has, at one time or another, been used as a gemstone. For instance, ribbon chert has been used as a semi-precious gem; coral is occasionally used; and taaffeite is a quite rare stone that is prized particularly by collectors. Obsidian, some forms of flint, zoisite, et cetera, et cetera. I don't think there is a definitive list. thefamouseccles 04:37 10 Nov 2003 (UTC)

Oh boy. This question isn't one which lends itself to a convenient answer. To even begin, we'd have to define a few terms. I'd like to point out that the term "semi-precious" is discouraged and no longer used, as the current attitude is, "all gems are precious!" (I'll edit the main article at some point.) thefamouseccles is otherwise on the right track, in that there is no definitive figure.

By traditional defintion, a gem material possess the following qualities: beauty, durability, rarity, and acceptability. You couldn't get very far by using this as a guide, however, because there are so many idiosyncratic contradictions. For example, tanzanite (blue/purple zoisite) is certainly beautiful, rare, and acceptable. However, it's not very durable, being no more resistant to abrasion than typical window glass. Needless to say, "beauty" and "acceptability" cannot be defined either, so.. so much for that.

I can say that there are 50 gem species (including organics and not including intraspecies varieties) commonly used as gems, and these are what a gemmologist focuses upon. However, if you include the obscure collector's species, such as the aforementioned taaffeite and even stranger stones like manganotantalite, you'd have well over 200 species. This does not include the myriad artificial products used as gems, which are considered gem materials. An exact total can't be stated, the list continuing to grow annually as new "gemmy" deposits of previously unacceptable material are discovered.

Well, I've rambled enough. I'm unsure how I should tackle the current article, but I do know that I'll be doing something with it, soon. I do hope I've helped. Hadal 15:53, 8 Dec 2003 (UTC)

 * Great info. You don't have to tackle the article once for all and somehow polish it instantly to perfection. Incorporate/better 3 or 4 facts/factoids at a time. If you feel like it, start a new article, however stubby it may be! Have fun! --Menchi (Talk)ü| â 16:36, 8 Dec 2003 (UTC)

Precious stones?

 * Nowadays, all gems are considered "precious,"

I really question this statement. From all the books and articles that I read on this topic, only 4 kinds of stones are considered precious by the professionals. If you based your statement on how amateur people called their merchandises on eBay, then please say so in the article. Kowloonese 01:40, 22 Jul 2004 (UTC)

 * Then take it from a professional who wouldn't dream of writing content based on eBay auctions. The term "semi-precious" is outmoded and is now discouraged and frowned upon by us professional types. Oh, and you're wrong; the four cardinal gems arose through ecclesiastical use rather than the whims of the buying public. Back then, you'd pretty much have to be part of the church or with good connections to one in order to possess fine jewels.

 * These days, even a paste (glass) brooch can command a higher price than a diamond ring, if it's an antique with a proven provenance. I was at an auction preview a few weeks ago and one of the most expensive items at offer was an old bloodstone (that's a kind of cryptocrystalline quartz) box. There are simply too many variables to be drawing lines between what's precious and what's not. -- Hadal 01:50, 22 Jul 2004 (UTC)

 * I thought "precious stone" is a special jargon used by the fine jewelry industry as a classification terminology. You were only equating "precious" to "expensive".  By the same logic, an ancient one-of-a-kind bronze coin can be called "precious metal" too.  But any scientist will object to such change of definition.  I hope the people in the GIA agree with you.  Not that I don't believe you, but would you mind giving more details about this change of definition.  When was it redefined?  Who was the authority of such change?  Is it supported by any publication from world recognized gemological organization?  Kowloonese 07:36, 22 Jul 2004 (UTC)

 * Not that you don't believe me? Such a careful qualifier, after you insulted me earlier. Ebay indeed.

 * As for what "precious" equates to, what exactly were you equating it to? Seems you thought it meant expensive (or worth cherishing) too; most people do. I don't know what branch of science you specialize in, but definitions change all the time; your implication that me and my contemporaries are not true scientists is quite egregious. (Pointless rebuttal: many people still use the term micron when they should be using micrometre, but that doesn't make the former usage correct nor does the change to the latter make the scientists somehow subpar.) Your note about the coin bolsters my position rather than dismantles it, if you hadn't noticed; if a coin can be thought more precious than a diamond, surely you see how the distinction between semi-precious and precious is a false dichotomy.

 * The terms were in use long before there was this monolithic industry you seem to have in mind. As for the GIA, yes, they do; I've graduated from both the Canadian Gemmological Association and the Gemmological Association of Great Britain. While the former is not as prestigious as the GIA, the latter is considered the best of the best; it was also the first gemmological institution in the world. If you want a cite, check out the Preliminary course notes from the Gemmological Association of Great Britain, section one, page six.

 * As stated on that page: "It is better simply to consider all such gem materials under the the general terms 'gem' or 'gemstone'. The term 'semi-precious' lacks useful meaning and is misleading." It is, as I said before, an outmoded term. You still see it used occasionally— oddly enough on *cough* eBay auctions and in questionable "consumer guides". I could assume these are the sources you're working from, but that would be insulting, wouldn't it? -- Hadal 14:57, 22 Jul 2004 (UTC)

 * Hadal, please don't be so quick to assume bad faith in editors; bear in mind that Kowloonese didn't know what your qualifications were or what the basis of your edits were when he asked questions about them here; that was the point of asking in the first place. I don't see anything particularly insulting in what was said, just honest skepticism, so IMO "firing back" is only going to escalate tempers needlessly.

 * In any event, if there's differences in terminology usage between different large groups of people then the article should simply mention both usages and what contexts they're found in. Bryan 15:45, 22 Jul 2004 (UTC)

 * I don't see where I've assumed bad faith, though I do see where it's been seriously suggested that I used eBay as a source or that, after stating that I was a professional, I did not hold a view common to a "world recognized gemological organization". My qualifications are on my userpage; no, they're not from the GIA, but to say they are the final authority would be American-centric (not that anyone has said so exactly, but "I hope the GIA agrees with you"? Hmm..).

 * Anyway, you're right. While what I read was offensive to me, I hereby apologise to Kowloonese for my harshness. This is why I don't often edit subjects within my field; I can get overly protective of "the truth". ;)

 * As for the terminology, I'll try to find time to write up a section defining a few sticky terms such as the one at question, if people feel it would be helpful. I've not seen "semi-precious" used much within the last few years, aside from the aforementioned eBay auctions and questionable guides, online jewellery stores, and the world of QVC and other shopping channels. I know that Birks (sort of the Canadian answer to Tiffany's) does not use the term; I'd be surprised if Tiffany does. Like any recently (~10 years) discouraged term, you'll still find its adherents. -- Hadal 17:34, 22 Jul 2004 (UTC)

 * You are a professional gemologist, I am just a layman. I believed what you said.  I just wanted to clarify if this term is just arbituary opinions among the professionals or it is an official definition.  Even your later quote only outmoded the term "semi-precious" and reassured that everything can be considered gemstones.  But it does not explicitly outmoded the term "precious stone".  My layman understanding is that "precious stone", "precious gemstones" and "gemstones" are not the same terminology.  Since the old definition of "precious stone" is the same as "cardinal gemstones", so when you said all gemstones are precious, it sounded like all gemstones are cardinal, hence all my questions.  It was not meant to be an insult when I asked those questions.  I just wanted to know the history of the terminology change.  Kowloonese 19:54, 22 Jul 2004 (UTC)

 * I believe I've figured out where the major disconnect is in this exchange. When you read "precious stones", precious = gem, stones = stones.  When I read "precious stones", precious = cardinal, stones is abbreviation of gemstones.  When I read "semi-precious stones", semi-precious = non-cardinal, stones = gemstones.  When you read "semi-precious stones", semi-precious = semi-gem, stones = stones.  If these terms are jargons, they must have definition.  If these terms are just English, they are up for interpretation because English language is always ambiguous.  Kowloonese 20:31, 22 Jul 2004 (UTC)

hmm...
I fiddled and juggled a bit :-) - now has a TOC. Surely if all gems are considered precious there must be some subclassification - that is a real wide spectrum. Diamond and a tumbled agate are both equally precious? Seems there should be a dividing line somewhere. Also, the article is in need of a good reference section. I can add a couple, but won't cover it all. Maybe also add an image of faceted gems to go with (and balance) the good image of tumbled stones. -Vsmith 19:31, 19 Dec 2004 (UTC)
 * The traditional D,S,R,E is the line between precious/semi-precious. As has been boted the gem has moved against this dilineation see 'What is the difference between precious and semi-precious gemstones ? ' for instance. I know from working in an AGS store, that the AGS also will not make this dilineation, and the GIA certainly would not. This all makes great fodder for article content that is meaningful to the reader. We need quality references for this. The AGTA ref above is great as they are leading authority on colored gemstones. Other refs would be good also. SauliH 20:21, 7 December 2006 (UTC)

Isn't precious defined by what a person believes? What I mean to say is, you are the one who defines the so called preciousness of an object, for example a widow might consider a picture of her husband more precious than a diamond ring. So going back onto the term of gems, preciousness kind of comes with the time of the definition, so to say that if you were trying to define a precious stone in ancient rome bloodstone (thought to help during battle, and heal wounds) would most likely be more precious than say diamonds. So really what would be needed would be research into what is bought, or priced higher at the moment seeing as monetary value is really the only thing that can be factually defined.

Gemstones as Colored Stones
As a Graduate Gemologist of the GIA I was instructed to refer to gemstones in general as "Colored Stones." Indeed, the academic certificate from the Institute refers to proficiency in "Colored Stones and Gem Identification." Another certificate refers to the successful completion of the course in "Colored Stone Grading." I hope that this clarifies the accepted gemological designation of Gemstones being Colored Stones doing away with the old convention of "Precious and Semi-Precious." As an example, a fine Paraiba Tourmaline is vastly more expensive than a dead-looking green Sapphire. What was historically thought of being "Precious and Semi-Precious," carries little weight today in the valuation of gemstones. I hope that this information is useful for all concerned.````

I have to point out that in the preceding paragraph, the phrase "As an example, a fine Paraiba Tourmaline is vastly more expensive than a dead-looking green Sapphire" is something of a sophistry, and begs the question. One should compare like with like, so the real question (which may still shed some light on the "precious/semi-precious" controversy) is the following: Would the finest tourmaline command as high a price as the finest sapphire? I think not. (Added by Brian Allgar on September 13th 2006)

Courses on Gemstones
I recently picked up Gemstone as a hobby and hopefully turn this into a business later on. Is there any courses that teaches Gemstones?

Regards Sharon

 * This page is to discuss the article.Mapetite526 17:29, 13 September 2006 (UTC)
 * Schools accredited by the Gemological Institute of America (GIA) —Dogears 19:04, 25 October 2006 (UTC)

Semi-precious
The term "semi-precious" exists in old reference books, so a sentence to address the topic in the article can help to disambiguate - such as including the text from above into the article - the term "semi-precious" is discouraged and no longer used, as the current attitude is, "all gems are precious. "Clear"ly there's a difference in stones that are hard enough to be facetted and opaque stones that are formed into cabochons.
 * Yes, I think there should be a little bit more about this. Stores still refer to them as precious and semi-precious here in the states. How about a little section called "Precious vs. Semi-Precious"? -- Mapetite526 20:14, 25 October 2006 (UTC)

P.S. - Recommend adding a section in the article describing the many varieties of heat treatment to stones to alter their appearance and value (refer to the recent article printed in The New Yorker sometime in October 2006 about African gemstones). —Dogears (talk • contribs) 19:04, 25 October 2006 (UTC)
 * I agree and have added a section describing the many different treatments commonly applied to gemstones. I may add more about reconstituted and assembled gems such as with turquiose and amber, which are commonly reassembled. -- Mapetite526 20:14, 25 October 2006 (UTC)

Wikiproject Gemstones and Jewellery???
Would anyone else be interested in a WP for this subject. I see a lot of holes that could use expansion. Anyone? —The preceding unsigned comment was added by SauliH (talk • contribs) 17:17, 7 December 2006 (UTC).

I wish I had the time to tackle a project like this. For any one who is interested and has the time, please be sure to use these great (trustworthy) resources. International Colored Gemstone Association - http://www.gemstone.org/gem-tips/ask_03_00-semi.html Gemological Institute of America - http://www.gia.edu/ Jewelry Infromation Center - http://www.jic.org/ Jewelers Vigilance Committee - http://www.jvclegal.org/ Gemological Association of Great Britain - http://www.gem-a.info/education/educationIndex.htm --Gemtrainer 16:31, 9 April 2007 (UTC)

Rhodochrosite
This page mentions that Rhodochrosite is too fragile to be used in jewelry, etc., but then the Rhodochrosite page says it is used in jewelry. Anyone knowledgeable (I'm not) about the subject want to clear the issue up please? Thanks! -Yupik 09:44, 15 February 2007 (UTC)

Rhodochrosite is in fact used for jewelry (I am wearing some, in the form of a beaded necklace at the moment). While it is quite soft (meaning easily scratched) and not very tough (meaning it will chip) many gemstones, which are not at all durable are frequently used for jewelry purposes. The key is to know how to properly handle and care for delicate pieces. --Gemtrainer 15:48, 9 April 2007 (UTC)gemtrainer

WHAT HAPPENED?!!
Where did everything go? The entire page is gone! —The preceding unsigned comment was added by 209.74.35.9 (talk) 01:35, 21 February 2007 (UTC).
 * Just sad vandalism, the page is easy to restore from the History log - Adrian Pingstone 15:05, 21 February 2007 (UTC)

Why So Many Capitals?
Should All The Words Like Sapphire, Ruby And Emerald Be Capitalized Throughout As They Are? Is That The Norm? PseudoEdit 21:25, 20 May 2007 (UTC)

Metaphysics?
Perhaps there should be a section on the metaphysical properties of gems, even if it's just for the sake of helping this article to be 'well-rounded'. If not here, then for the individual stone pages. Anon. —Preceding unsigned comment added by 24.119.101.28 (talk) 22:27, 3 October 2007 (UTC)
 * The information you're talking about does exist at Charmstone. -FisherQueen (talk · contribs) 22:30, 3 October 2007 (UTC)

In line with what has been suggested above, it would be useful if the metaphyscal aspect of gemstones also called "Ratnagarbhas", well documented in Hindu scriputres and astrological treatises, is also  made a part of this artcle or could invite pepole to wrtite on this aspect. Insertd by User: Nvvchar, 22nd Decemebr 2007. —Preceding unsigned comment added by 59.178.100.252 (talk) 09:14, 22 December 2007 (UTC)

semiprecious
there is no difference now between precious and semiprecious stones?

there is not a broad consensus for that. it is one user's OR.

while yes sometimes semiprecious stones in jewelry outsell precious ones IF the former have significant known historical value, that does not end the overall distinction. an amber ring owned by marie antionette of course will outsell a modern low-grade diamond solitaire --but only because of the provenance-value. remove the historical context and the settings and sell the stones alone and we'll see which stone is worth more.

i could just as well point to silver outselling gold (as might happen if an authenticated ancient greek silver coin with provenance is compared to the sale price of a generic modern piece of bullion gold) but it does not lead to a sweeping assertion like silver is worth as much as gold.

a 10kt moonstone is going to outsell a 10kt diamond? really? not unless that moonstone is on a roman or maybe renaissance era mounting where the history adds to the value. there a few high-value modern pieces made of base material, but generally only because of high collector interest in the designer or in the era (certain art deco and art nouveau specimens).

also

the 'sources' listed in the lede's first sentence are weak: one link to a dictionary generally (not a specific entry therein) and one link to a bead-necklace maker's guidebook. this article needs work of many fronts, but especially on sourcing and on getting rid of that precious=semiprecious OR theme. Cramyourspam (talk) 16:17, 2 July 2012 (UTC)

Crystal?
There seems to be no discussion of to what extent gemstones are single-crystals or polycrystals. Xxanthippe (talk) 04:07, 10 November 2013 (UTC).

Who, where, and how are gemstones found?
Some important sections to this article are missing that should answer the following questions: Where are gemstones found? And how are they found? And by whom? Currently this article dose talk about the commercial aspects of refining gemstones into jewelry, but no mention of the processes leading up to that. If someone with more knowledge on the topic could add a section or two on the history of humans acquiring gemstones (including the present), that would help to round out this page. Also there is no talk about the political and economic role that gemstones have played and continue to play in world affairs.(eg. the California Gold Rush, European imperial expansion, etc). A section on this topic would make this article a more comprehensive source of information.

Oh wow really (talk) 13:52, 13 December 2018 (UTC)
 * They are mined at countless locations around the world. Gold is not a gemstone, though South Africa diamonds are. Johnbod (talk) 14:18, 13 December 2018 (UTC)

"Fake minerals" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Fake minerals. Please participate in the redirect discussion if you wish to do so. Steel1943 (talk) 21:37, 30 January 2020 (UTC)

New pic in section "colors" in need of description
I have just added an image with seven semiprecious stones. It would be nice if someone who has the knowledge could add the types of the gemstones to the image caption. Pittigrilli (talk) 09:59, 1 October 2021 (UTC)

Wiki Education assignment: ERTH 4303 Resources of the Earth
— Assignment last updated by ChloejWard (talk) 03:40, 15 April 2023 (UTC)
 * Here is a good site for an addition of environmental issues and child labor from mining.    If the student doesn't add a section to the article I will.  Sectionworker (talk) 02:43, 21 February 2023 (UTC)

Wiki Education assignment: ERTH 4303 Resources of the Earth
— Assignment last updated by Spencerladner (talk) 20:18, 1 March 2024 (UTC)

title: Talk:Gemstone


text:
Georg Philipp Telemann

Georg Philipp Telemann (24 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. He is one of the most prolific composers in history, at least in terms of surviving oeuvre. Telemann was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favourably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.

Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonisations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.

Early life (1681–1712)

Telemann was born in Magdeburg, then the capital of the semi-autonomous Duchy of Magdeburg within the Electorate of Brandenburg, in the Holy Roman Empire. His father Heinrich, deacon at the, died when Telemann was four. The future composer received his first music lessons at 10, from a local organist, and became immensely interested in music in general, and composition in particular. Despite opposition from his mother and relatives, who forbade any musical activities, Telemann found it possible to study and composed in secret, even creating an opera at the age of 12.

In 1697, after studies at the Domschule in Magdeburg and at a school in Zellerfeld, Telemann was sent to the famous Gymnasium Andreanum at Hildesheim, where his musical talent flourished, supported by school authorities, including the rector himself. Telemann was becoming equally adept both at composing and performing, teaching himself flute, oboe, violin, viola da gamba, recorder, double bass, and other instruments. In 1701 he graduated from the Gymnasium and went to Leipzig to become a student at the Leipzig University, where he intended to study law. He ended up becoming a professional musician, regularly composing works for the Nikolaikirche and even St. Thomas (Thomaskirche). In 1702 he became director of the municipal opera house Opernhaus auf dem Brühl, and later music director at the Neukirche. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus. However, he became engaged in a conflict with the cantor of the Thomaskirche, Johann Kuhnau. The conflict intensified when Telemann started employing numerous students for his projects, including those who were Kuhnau's, from the Thomasschule.

Telemann left Leipzig in 1705 at the age of 24, after receiving an invitation to become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, Poland). His career there was cut short in early 1706 by the hostilities of the Great Northern War, and after a short period of travels he entered the service of Duke Johann Wilhelm, in Eisenach where Johann Sebastian Bach was born. He became Konzertmeister on 24 December 1708 and Secretary and Kapellmeister in August 1709. During his tenure at Eisenach, Telemann wrote a great deal of music: at least four annual cycles of church cantatas, dozens of sonatas and concertos, and other works. In 1709, he married Amalie Louise Juliane Eberlin, lady-in-waiting to the Countess of Promnitz and daughter of the musician Daniel Eberlin. Their daughter was born in January 1711. The mother died soon afterwards, leaving Telemann depressed and distraught.

Frankfurt (1712–1721)
After around a year he sought another position, and moved to Frankfurt on 18 March 1712 at the age of 31 to become city music director and Kapellmeister at the Barfüßerkirche and St. Catherine's Church. In Frankfurt, he fully gained his mature personal style. Here, as in Leipzig, he was a powerful force in the city's musical life, creating music for two major churches, civic ceremonies, and various ensembles and musicians. By 1720 he had adopted the use of the da capo aria, which had been adopted by composers such as Alessandro Scarlatti. Operas such as Narciso, which was brought to Frankfurt in 1719, written in the Italian idiom of composition, made a mark on Telemann's output.

On 28 August 1714, three years after his first wife had died, Telemann married again, Maria Catharina Textor, daughter of a Frankfurt council clerk. They eventually had nine children. This was a source of much personal happiness, and helped him produce compositions. Telemann continued to be extraordinarily productive and successful, even augmenting his income by working for Eisenach employers as a Kapellmeister von Haus aus, that is, regularly sending new music while not actually living in Eisenach. Telemann's first published works also appeared during the Frankfurt period. His output increased rapidly, for he fervently composed overture-suites and chamber music, most of which is unappreciated. These works included his 6 Sonatas for solo violin, known as the Frankfurt Sonatas, published in 1715. In the latter half of the Frankfurt period, he composed an innovative work, his Viola Concerto in G major, which is twice the length of his violin concertos. Also, here he composed his first choral masterpiece, his Brockes Passion, in 1716.

Hamburg (1721–1767)
Telemann accepted the invitation to work in Hamburg as Kantor of the Johanneum Lateinschule, and music director of the five largest churches in 1721. Soon after arrival, Telemann encountered some opposition from church officials who found his secular music and activities to be too much of a distraction for both Telemann himself and the townsfolk. The next year, when Johann Kuhnau died and the city of Leipzig was looking for a new Thomaskantor, Telemann applied for the job and was approved, yet declined after Hamburg authorities agreed to give him a suitable raise. After another candidate, Christoph Graupner, declined, the post went to Johann Sebastian Bach.

Telemann took a few small trips outside of Germany at this time. However, later in the Hamburg period he travelled to Paris and stayed for eight months, 1737 into 1738. He heard and was impressed by Castor et Pollux, an opera by French composer Jean-Philippe Rameau. From then on, he incorporated the French operatic style into his vocal works. Before then, his influence was primarily Italian and German. Apart from that, Telemann remained in Hamburg for the rest of his life. A vocal masterpiece of this period is his St Luke Passion from 1728, which is a prime example of his fully matured vocal style.

His first years there were plagued by marital troubles: his wife's infidelity, and her gambling debts, which amounted to a sum larger than Telemann's annual income. The composer was saved from bankruptcy by the efforts of his friends, and by the numerous successful music and poetry publications Telemann made during the years 1725 to 1740. By 1736 husband and wife were no longer living together because of their financial disagreements. Although still active and fulfilling the many duties of his job, Telemann became less productive in the 1740s, when he was in his 60s. He took up theoretical studies, as well as hobbies such as gardening and cultivating exotic plants, something of a fad in Hamburg at that time, and a hobby shared by Handel. Most of the music of the 1750s appears to have been parodied from earlier works. Telemann's eldest son Andreas died in 1755, and Andreas' son Georg Michael Telemann was raised by the aging composer. Troubled by health problems and failing eyesight in his last years, Telemann was still composing into the 1760s. He died on the evening of 25 June 1767 from what was recorded at the time as a "chest ailment." He was succeeded at his Hamburg post by his godson, Johann Sebastian Bach's second son Carl Philipp Emmanuel Bach.

Legacy and influence
Telemann was one of the most prolific major composers of all time: his all-encompassing oeuvre comprises more than 3,000 compositions, half of which have been lost, and most of which have not been performed since the 18th century. From 1708 to 1750, Telemann composed 1,043 sacred cantatas and 600 overture-suites, and types of concertos for combinations of instruments that no other composer of the time employed. The first accurate estimate of the number of his works was provided by musicologists only during the 1980s and 1990s, when extensive thematic catalogues were published. During his lifetime and the latter half of the 18th century, Telemann was very highly regarded by colleagues and critics alike. Numerous theorists (Marpurg, Mattheson, Quantz, and Scheibe, among others) cited his works as models, and major composers such as J.S. Bach and Handel bought and studied his published works. He was immensely popular not only in Germany but also in the rest of Europe: orders for editions of Telemann's music came from France, Italy, the Netherlands, Belgium, Scandinavian countries, Switzerland, and Spain. It was only in the early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a "polygraph" who composed too many works, a Vielschreiber for whom quantity came before quality. Such views were influenced by an account of Telemann's music by Christoph Daniel Ebeling, a late-18th-century critic who in fact praised Telemann's music and made only passing critical remarks of his productivity. After the Bach revival, Telemann's works were judged as inferior to Bach's and lacking in deep religious feeling. For example, by 1911, the Encyclopædia Britannica lacked an article about Telemann, and in one of its few mentions of him referred to "the vastly inferior work of lesser composers such as Telemann" in comparison to Handel and Bach.

Particularly striking examples of such judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach, but which were composed by Telemann. The last performance of a substantial work by Telemann (Der Tod Jesu) occurred in 1832, and it was not until the 20th century that his music started being performed again. The revival of interest in Telemann began in the first decades of the 20th century and culminated in the Bärenreiter critical edition of the 1950s. Today each of Telemann's works is usually given a TWV number, which stands for Telemann-Werke-Verzeichnis (Telemann Works Catalogue).

Telemann's music was one of the driving forces behind the late Baroque and the early Classical styles. Starting in the 1710s he became one of the creators and foremost exponents of the so-called German mixed style, an amalgam of German, French, Italian and Polish styles. Over the years, his music gradually changed and started incorporating more and more elements of the galant style, but he never completely adopted the ideals of the nascent Classical era: Telemann's style remained contrapuntally and harmonically complex, and already in 1751 he dismissed much contemporary music as too simplistic. Composers he influenced musically included pupils of J.S. Bach in Leipzig, such as Wilhelm Friedemann Bach, Carl Philipp Emmanuel Bach and Johann Friedrich Agricola, as well as those composers who performed under his direction in Leipzig (Christoph Graupner, Johann David Heinichen and Johann Georg Pisendel), composers of the Berlin lieder school, and finally, his numerous pupils, none of whom, however, became major composers.

Equally significant for the history of music were Telemann's publishing activities. By pursuing exclusive publication rights for his works, he set one of the most important early precedents for regarding music as the intellectual property of the composer. The same attitude informed his public concerts, where Telemann frequently performed music originally composed for ceremonies attended only by a select few members of the upper class.

Passions

 * Georg Philipp Telemann's Passions

Cantatas

 * Cantata Cycle 1716–1717
 * Harmonischer Gottes-Dienst
 * Die Donner-Ode ("The Ode of Thunder") TWV 6:3a-b
 * Du bleibest dennoch unser Gott (Erstausgabe 1730)
 * Ihr Völker, hört
 * Ino (1765)
 * Sei tausendmal willkommen (Erstausgabe 1730)
 * Die Tageszeiten ("The Times of the Day") (1757)
 * Gott, man lobet dich in der Stille, Cantata for the Peace of Paris, 1763, for 5-part chorus, flute, 2 oboes, bassoon, 3 trumpets, 2 horns, strings & continuo, TWV 14:12
 * not by Telemann: Der Schulmeister ("The Schoolmaster" 1751), by Christoph Ludwig Fehre.

Oratorios

 * Hamburger Admiralitätsmusik several years including TWV 24:1
 * Der Tag des Gerichts (The Day of Judgement) (1761–62)
 * Hamburgische Kapitänsmusik (various years)
 * Der Tod Jesu (The Death of Jesus) TWV 5:6 (1755)
 * Die Auferstehung und Himmelfahrt Jesu" (The Resurrection and Ascension of Jesus) TWV 6:6, (1760)
 * Trauermusik for Emperor Karl VII (1745) Ich hoffete aufs Licht, TWV 4:13
 * Trauermusik for Hamburg mayor Garlieb Sillem Schwanengesang TWV 4:6
 * Der aus der Löwengrube errettete Daniel ("Daniel Delivered from the Lion's Den") (1731) [This has been incorrectly attributed to Handel]
 * Reformations-Oratorium 1755 Holder Friede, Heilger Glaube TWV 13:18

Orchestral suites

 * Grillen-symphonie TWV 50:1
 * Ouverture (Wassermusik: Hamburger Ebb und Fluth) TWV 55:C3
 * Ouverture des nations anciens et modernes in G TWV 55:G4
 * Ouverture in G minor TWV 55:g4
 * Suite in A minor for recorder, strings, and continuo TWV 55:a2
 * Overture: Alster Echo in F, for 4 horns, 2 oboes, bassoon, strings and continuo, TWV55:F11

Chamber music

 * Sinfonia Spirituosa in D major (2 violins, viola & continuo, trumpet ad libitum) TWV 44:1
 * Tafelmusik (1733) ('Tafelmusik' refers to music meant to accompany a meal)
 * Der getreue Musikmeister (1728), a musical journal containing 70 small vocal and instrumental compositions
 * Twelve Paris quartets in two sets of six (Quadri a violino, flauto traversiere, viola da gamba o violoncello, e fondamento, 1730, reprinted as Six quatuors, 1736; Nouveaux quatuors en six suites, 1738) for flute, violin, viola da gamba or cello, continuo, TWV 43:G1, D1, A1, g1, e1, h1 (first set), TWV 43:D3, a2, G4, h2, A3, e4 (second set)
 * Twelve Fantasias for Transverse Flute without Bass TWV 40:2–13
 * Twelve Fantasias for Violin without Bass TWV 40:14–25
 * Twelve Fantasias for Viola da Gamba solo TWV 40:26–37
 * Sonates sans basse (Telemann) TWV 40:101–106
 * Six Canonical Sonatas TWV 40: 118–123
 * Six Concertos for Flute and Harpsichord TWV 42.

Keyboard

 * 36 Fantasias for Keyboard TWV 33:1–36
 * 6 Overtures for Keyboard TWV 32:5–10
 * 6 Light Fugues with Small Fresh Additions TWV 30:21–26

Organ and theoretical

 * 48 Chorale Preludes for Organ TWV 31:1–48
 * 20 Easy Fugues in 4 parts TWV 30:1–20
 * 500 chorale harmonizations

Violin

 * Violin Concerto in A major "Die Relinge" TWV 51:A4
 * Concerto for Three Violins in F major, TWV 53:F1 (from Tafelmusik, part II)
 * Four Concertos for Four Violins TWV 40:201–204

Viola

 * Concerto in G major for Viola and String Orchestra, TWV 51:G9; the first known concerto for viola, still regularly performed today
 * Concerto in G major for Two Violas and String Orchestra, TWV 52:G3

Horn

 * Concerto for Two Horns in D major TWV 52:D1
 * Concerto for Two Horns in D major TWV 52:D2
 * Concerto for Horn and Orchestra in D major TWV 51:D8
 * Concerto for Two Horns in F Major TWV 52:F3
 * Concerto for Two Horns in F Major TWV 52:F4
 * Concerto for Two Horns in Eb Major TWV 52:Es1
 * Concerto for Two Horns in E-flat and 2 Violins, TWV 54:Es1
 * Concerto for Three Horns in D and Violin, TWV 54:D2

Trumpet

 * Trumpet Concerto in D major, TWV 51:D7
 * Concerto in D for Trumpet and 2 Oboes, TWV 53:D2
 * Concerto in D for Trumpet, Violin and Violoncello, TWV 53:D5
 * Concerto in D for 3 Trumpets, Timpani, 2 Oboes, TWV 54:D3
 * Concerto in D for 3 Trumpets, Timpani, TWV 54:D4

Chalumeau

 * Concerto in C major for 2 Chalumeaux, 2 Bassoons and Orchestra, TWV 52:C1
 * Concerto in D minor for Two Chalumeaux and Orchestra, TWV 52:d1

Oboe

 * Concerto in A major
 * Concerto in C minor, TWV 51:c1
 * Concerto in D minor
 * Concerto in E minor
 * Concerto in F minor
 * Concerto in G major

Bassoon

 * Concerto for Recorder and Bassoon in F major, TWV 52:F1

Recorder

 * Concerto in C major, TWV 51:C1
 * Concerto in F major, TWV 51:F1
 * Concerto for Recorder and Viola da gamba in A minor, TWV 52:a1
 * Concerto for 2 Recorders in A minor, TWV 52:a2
 * Concerto for 2 Recorders in B-flat major, TWV 52:B1

Flute

 * Concerto in D major, TWV 51:D2
 * Concerto in E minor for Recorder and Flute, TWV 52:e1
 * Concerto in B minor, TWV 41:h3
 * Concerto in C minor, TWV 41:c3

Sonatas
Sonata da chiesa, TWV 41:g5 (for Melodic instrument – Violin, Flute or Oboe, from Der getreue Musikmeister)

Oboe

 * Sonata in A minor TWV 41:a3 (from Der getreue Musikmeister)
 * Sonata in B-flat TWV 41:B6
 * Sonata in E minor TWV 44:e6
 * Sonata in G minor TWV 41:g6
 * Sonata in G minor TWV 41:g10

Bassoon

 * Sonata in F minor TWV 41:f1 (part of the collection Der getreue Musikmeister, 1728)
 * Sonata in E-flat major TWV 41:EsA1

title: Georg Philipp Telemann


text:
Talk:Granville, New South Wales

Untitled
I am moving this page to Granville railway disaster. I daresay there are other interesting things to say about Granville, and there are other Granvilles, one each in France, Canada, North Dakota, Ohio and probably others, according to a quick google search.

Firstly, please, sign your name if you wish to comment. Secondly, Granville deserves its own page as much as any other town on Wikipedia. While the page may not have been fleshed out to its full extent, it certainly should not be moved. JackWaffles 08:02, 13 April 2007 (UTC)

(Actually the first comment was mine. It may be one of the oldest surviving things on the whole of Wikipedia. It was written in 2001 or maybe 2000, long before signing comments became normal. Needless to say, it is now not very relevant.) 198.142.19.240 (talk) 12:25, 23 October 2009 (UTC)

External links modified
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Comeng Granville
I think there should be something about Comeng Granville here, because this was the main facility of Comeng from the 1930s to the 1980s. Does anyone else agree? 56KPK (talk) 05:42, 13 September 2020 (UTC)

title: Talk:Granville, New South Wales


text:
Granville rail disaster

The Granville rail disaster occurred on Tuesday 18 January 1977 at Granville, a western suburb of Sydney, New South Wales, Australia, when a crowded commuter train derailed, running into the supports of a road bridge that collapsed onto two of the train's passenger carriages. The official inquiry found the primary cause of the crash to be poor fastening of the track.

It remains the worst rail disaster in Australian history; 83 people died and 213 were injured. An 84th victim, an unborn child, was added to the fatality list in 2017.

Disaster
The train involved in the disaster consisted of eight passenger carriages hauled by 46 class electric locomotive 4620, and had commenced its journey towards Sydney from Mount Victoria in the Blue Mountains at 6:09 a.m. At approximately 8:10 a.m. it was approaching Granville railway station when the locomotive derailed and struck one of the steel-and-concrete pillars supporting the bridge carrying Bold Street over the railway cutting.

The derailed engine and first two carriages passed the bridge. The first carriage, which broke free from the other carriages, was torn open when it collided with a severed mast beside the track, killing eight passengers. The remaining carriages came to a halt with the second carriage clear of the bridge. The rear half of the third carriage, and forward half of the fourth carriage, came to rest under the weakened bridge, whose weight was estimated at 570 t. Within seconds, with all its supports demolished, the bridge and several motor cars on top of it collapsed on top of the carriages, crushing them and the passengers inside.

Of the total number of passengers travelling in the third and fourth carriages, half were killed instantly when the bridge fell on them, crushing them in their seats. Several injured passengers were trapped in the train for hours after the accident, with part of the bridge crushing a limb or torso. Some had been conscious and lucid, talking to rescuers, but died of crush syndrome soon after the weight was removed from their bodies. This resulted in changes to rescue procedures for these kinds of accidents. Rescuers also faced greater difficulties as the weight of the bridge was still crushing the affected carriages, reducing the space in which they had to work to get survivors out, until it was declared that no one was allowed to attempt further entry until the bridge had been lifted. Soon after, the bridge settled a further 2 in onto the train, trapping two rescuers and crushing a portable generator "like butter".

Another danger came from gas; LPG cylinders were kept year-round on board the train to be used in winter for heating. Several people were overcome by gas leaking from ruptured cylinders. The leaking gas also prevented the immediate use of powered rescue tools. The NSW Fire Brigade provided ventilation equipment to dispel the gas and a constant film of water was sprayed over the accident site to prevent the possibility of the gas igniting.

The train driver, the assistant crewman, the "second man", and the motorists including one motorcyclist driving on the fallen bridge all survived. The operation lasted from 8:12 a.m. Tuesday until 6:00 a.m. Thursday. Ultimately, 84 people were killed in the accident, including an unborn child.

Aftermath
The bridge was rebuilt as a single span without any intermediate support piers. Other bridges similar to the destroyed bridge had their piers reinforced.

The original inquiry into the accident found that the primary cause of the crash was "the very unsatisfactory condition of the permanent way", being the poor fastening of the track, causing the track to spread and allowing the left front wheel of the locomotive to come off the rail. Other contributing factors included the structure of the bridge itself. When built, the base of its deck was found to be one metre lower than the road. Concrete was added on top to build the surface up level with the road. This additional weight significantly added to the destruction of the wooden train carriages. The disaster prompted substantial increases in rail-maintenance expenditure. The train driver, Edward Olencewicz, was exonerated by the inquiry.

On 4 May 2017, New South Wales Premier Gladys Berejiklian apologised to the victims of the disaster, in Parliament House.

Memorial
Families and friends of the victims and survivors gather with surviving members of the rescue crews annually. The ceremony ends with the throwing of 84 roses on to the tracks to mark the number of passengers killed. In 2007, a plaque was placed on the bridge to mark the efforts of railway workers who assisted in rescuing survivors from the train.

The original group, known as 'the trust', made submissions on rail safety issues, including recommending that fines for safety breaches be dedicated to rail safety improvements, and campaigning for the establishment of an independent railway safety ombudsman.

Media

 * A television docudrama, The Day of the Roses, was produced in 1998 about the accident.
 * The Granville Train Disaster: 35 Years of Memories – a 2011 book by B. J. Gobbe, an emergency worker who attended the incident.
 * A television documentary, The Train, produced by Graham McNeice from Shadow Productions was aired in 2012 on The History Channel Australia about the accident, and narrated by Brian Henderson.
 * Revisiting the Granville Train Disaster of 1977 – a 2017 book by B. J. Gobbe.
 * ABC's You Can't Ask That, series 4 episode 8 ("Disaster Survivors"), featured a victim from the accident who spoke about what happened and the long-term impacts on her life.

title: Granville rail disaster


text:
George Gershwin

George Gershwin (born Jacob Gershwine; September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned popular, jazz and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs "Swanee" (1919) and "Fascinating Rhythm" (1924), the jazz standards "Embraceable You" (1928) and "I Got Rhythm" (1930), and the opera Porgy and Bess (1935), which included the hit "Summertime".

Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris, intending to study with Nadia Boulanger, but she refused him, afraid that rigorous classical study would ruin his jazz-influenced style; Maurice Ravel voiced similar objections when Gershwin inquired about studying with him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the 20th century and an American cultural classic.

Gershwin moved to Hollywood and composed numerous film scores. He died in 1937, only 38 years old, of a brain tumor. His compositions have been adapted for use in film and television, with many becoming jazz standards.

Ancestors
Gershwin's parents were both Jewish immigrants from Eastern Europe. His paternal grandfather, Jakov Gershowitz, was born in Odessa, Russian Empire (now Ukraine), and had served for 25 years as a mechanic for the Imperial Russian Army to earn the right of free travel and residence as a Jew, finally retiring near Saint Petersburg, Russia. Jakov's teenage son, Moishe, George Gershwin's father, worked as a leather cutter for women's shoes. Moishe's wife-to-be, George's mother-to-be, Roza Bruskina, was born in Saint Petersburg, Russia.

Moishe met Roza in Vilnius, Lithuania, where her father worked as a furrier. She and her family moved to New York because of increasing anti-Jewish sentiment in Russia, changing her first name to Rose. Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris. Gershowitz lived with a maternal uncle in Brooklyn, working as a foreman in a women's shoe factory. He married Rose on July 21, 1895, and Gershowitz soon Anglicized his name to Gershwine. Their first child, Ira Gershwin, was born on December 6, 1896, after which the family moved into a second-floor apartment at 242 Snediker Avenue in the East New York neighborhood of Brooklyn.

Early life
George was born on September 26, 1898, in the Snediker Avenue apartment. His birth certificate identifies him as Jacob Gershwine, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community. He was named after his grandfather, and, contrary to the American practice, had no middle name. He soon became known as George, and changed the spelling of his surname to 'Gershwin' around the time he became a professional musician; other family members followed suit after Ira and George, another boy, Arthur Gershwin (1900–1981), and a girl, Frances Gershwin (1906–1999), were born into the family. The family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. They grew up mostly in the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra.

George lived a boyhood not unusual in New York tenements, which included running around with his friends, roller-skating and misbehaving in the streets. Until 1908, he cared nothing about music. Then, as a ten-year-old, he was intrigued upon hearing his friend Maxie Rosenzweig's violin recital. The sound, and the way his friend played, captivated him. At about the same time, George's parents had bought a piano for his older brother Ira. To his parents' surprise, though, and to Ira's relief, it was George who spent more time playing it as he continued to enjoy it.

Although his younger sister Frances Gershwin was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus precluding spending any serious time on musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby George briefly pursued. Arthur Gershwin followed in the paths of George and Ira, also becoming a composer of songs, musicals, and short piano pieces. George studied with various piano teachers for about two years (circa 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained Gershwin's musical mentor, taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts.

Tin Pan Alley and Broadway: 1913–1923
In 1913, Gershwin left school at the age of 15 to work as a "song plugger" on New York City's Tin Pan Alley. He earned $15 a week from Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office in New York. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em" in 1916. It earned the 17-year-old 50 cents.

In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names (pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn). He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano. His first song to appear on Broadway was "Making of a Girl," written in 1916 with Sigmund Romberg and lyrics by Harold Atteridge. In was sung in The Passing Show of 1916. His 1917 novelty ragtime, "Rialto Ripples", was a commercial success. In addition to his musical activities, he took over the management of the popular and famous gay bathhouse Lafayette Baths together with his brother Ira.

In 1919, Gershwin scored his first big national hit with his song "Swanee", with words by Irving Caesar. Al Jolson, a Broadway star and former minstrel singer, heard Gershwin perform "Swanee" at a party and decided to sing it in one of his shows. In the late 1910s, Gershwin met songwriter and music director William Daly. The two collaborated on the Broadway musicals Piccadilly to Broadway (1920) and For Goodness' Sake (1922), and jointly composed the score for Our Nell (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of Gershwin's music, and Gershwin periodically turned to him for musical advice.

Musical, Europe and classical music: 1924–1928

In 1924, Gershwin composed his first major work, Rhapsody in Blue, for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman's Concert Band, in New York. It subsequently went on to be his most popular work, and established Gershwin's signature style and genius in blending vastly different musical styles, including jazz and classical, in revolutionary ways.

Since the early 1920s, Gershwin had frequently worked with the lyricist Buddy DeSylva. Together they created the experimental one-act jazz opera Blue Monday, set in Harlem. It is widely regarded as a forerunner to the groundbreaking Porgy and Bess introduced in 1935. In 1924, George and Ira Gershwin collaborated on a stage musical comedy Lady Be Good, which included such future standards as "Fascinating Rhythm" and "Oh, Lady Be Good!". They followed this with Oh, Kay! (1926), Funny Face (1927) and Strike Up the Band (1927 and 1930). Gershwin allowed the latter song, with a modified title, to be used as a football fight song, "Strike Up The Band for UCLA".

In the mid-1920s, Gershwin stayed in Paris for a short period, during which he applied to study composition with the noted Nadia Boulanger, who, along with several other prospective tutors such as Maurice Ravel, turned him down, afraid that rigorous classical study would ruin his jazz-influenced style. Maurice Ravel's rejection letter to Gershwin told him, "Why become a second-rate Ravel when you're already a first-rate Gershwin?" While there, Gershwin wrote An American in Paris. This work received mixed reviews upon its first performance at Carnegie Hall on December 13, 1928, but it quickly became part of the standard repertoire in Europe and the United States.

New York: 1929–1935
In 1929, the Gershwin brothers created Show Girl; the following year brought Girl Crazy, which introduced the standards "Embraceable You", sung by Ginger Rogers, and "I Got Rhythm". 1931's Of Thee I Sing became the first musical comedy to win the Pulitzer Prize for Drama; the winners were George S. Kaufman, Morrie Ryskind, and Ira Gershwin. Gershwin spent the summer of 1934 on Folly Island in South Carolina after he was invited to visit by the author of the novel Porgy, DuBose Heyward. He was inspired to write the music to his opera Porgy and Bess while on this working vacation''.  Porgy and Bess was considered another American classic by the composer of Rhapsody in Blue'' — even if critics could not quite figure out how to evaluate it, or decide whether it was opera or simply an ambitious Broadway musical. "It crossed the barriers," per theater historian Robert Kimball. "It wasn't a musical work per se, and it wasn't a drama per se – it elicited response from both music and drama critics. But the work has sort of always been outside category."

Last years: 1936–1937
After the commercial failure of Porgy and Bess, Gershwin moved to Hollywood, California. In 1936, he was commissioned by RKO Pictures to write the music for the film Shall We Dance, starring Fred Astaire and Ginger Rogers. Gershwin's extended score, which would marry ballet with jazz in a new way, runs over an hour. It took Gershwin several months to compose and orchestrate. Gershwin had a ten-year affair with composer Kay Swift, whom he frequently consulted about his music. The two never married, although she eventually divorced her husband James Warburg to commit to the relationship. Swift's granddaughter, Katharine Weber, has suggested that the pair were not married because George's mother Rose was "unhappy that Kay Swift wasn't Jewish". The Gershwins' 1926 musical Oh, Kay was named for her. After Gershwin's death, Swift arranged some of his music, transcribed several of his recordings, and collaborated with his brother Ira on several projects.

Illness and death
Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he smelled burning rubber. As early as February 1934, he had said he smelled burning garbage at the Detroit railway station, though those with him did not. On February 11, 1937, he performed his Piano Concerto in F in a special concert of his music with the San Francisco Symphony Orchestra under the direction of French maestro Pierre Monteux. Gershwin, normally a superb pianist in his own compositions, suffered coordination problems and blackouts during the performance. He was at the time working on other Hollywood film projects while living with Ira and his wife Leonore in their rented house in Beverly Hills. Leonore Gershwin began to be disturbed by George's mood swings and his seeming inability to eat without spilling food at the dinner table. She suspected mental illness and insisted he be moved out of their house to lyricist Yip Harburg's empty quarters nearby, where he was placed in the care of his valet, Paul Mueller. The headaches and olfactory hallucinations continued.

On the night of July 9, 1937, Gershwin collapsed in Harburg's house, where he had been working on the score of The Goldwyn Follies. He was rushed to Cedars of Lebanon Hospital in Los Angeles, and fell into a coma. Only then did his doctors come to believe that he was suffering from a brain tumor. Leonore called George's close friend Emil Mosbacher and explained the dire need to find a neurosurgeon. Mosbacher immediately called pioneering neurosurgeon Harvey Cushing in Boston, who, retired for several years by then, recommended Walter Dandy, who was on a boat fishing in the Chesapeake Bay with Harry Nice, the governor of Maryland. Mosbacher called the White House and had a Coast Guard cutter sent to find the governor's yacht and bring Dandy quickly to shore.

Mosbacher then chartered a plane and flew Dandy to Newark Airport, where he was to catch a plane to Los Angeles; by that time, Gershwin's condition was critical and the need for surgery was immediate. Before Dandy could arrive, in the early hours of Sunday, July 11, 1937, doctors at Cedars removed a large brain tumor, believed to have been a glioblastoma, but Gershwin died that morning at the age of 38. The fact that he had suddenly collapsed and become comatose after he stood up on July 9 has been interpreted as brain herniation with Duret hemorrhages.

Gershwin's friends and admirers were shocked and devastated. John O'Hara remarked: "George Gershwin died on July 11, 1937, but I don't have to believe that if I don't want to." He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A memorial concert was held at the Hollywood Bowl on September 8, 1937, at which Otto Klemperer conducted his own orchestration of the second of Gershwin's Three Preludes.

Musical style and influence
Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin's abilities, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing." The orchestrations in Gershwin's symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of Gershwin.

George Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, "You should give me lessons." (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)

Gershwin's own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter him from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original."

Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also asked Schoenberg for composition lessons. Schoenberg refused, saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already." (This quote is similar to one credited to Maurice Ravel during Gershwin's 1928 visit to France – "Why be a second-rate Ravel, when you are a first-rate Gershwin?") Gershwin was particularly impressed by the music of Berg, who gave him a score of the Lyric Suite. He attended the American premiere of Wozzeck, conducted by Leopold Stokowski in 1931, and was "thrilled and deeply impressed".

Russian Joseph Schillinger's influence as Gershwin's teacher of composition (1932–1936) was substantial in providing him with a method of composition. There has been some disagreement about the nature of Schillinger's influence on Gershwin. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. A third account of Gershwin's musical relationship with his teacher was written by Gershwin's close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly in 1947.

What set Gershwin apart was his ability to manipulate forms of music into his own unique voice. He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. Although George Gershwin would seldom make grand statements about his music, he believed that "true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today."

In 2007, the Library of Congress named its Gershwin Prize for Popular Song after George and Ira Gershwin. Recognizing the profound and positive effect of popular music on culture, the prize is given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence associated with the Gershwins. On March 1, 2007, the first Gershwin Prize was awarded to Paul Simon.

Recordings and film
Early in his career, under both his own name and pseudonyms, Gershwin recorded more than one hundred forty player piano rolls which were a main source of his income. The majority were popular music of the period and a smaller proportion were of his own works. Once his musical theater-writing income became substantial, his regular roll-recording career became superfluous. He did record additional rolls throughout the 1920s of his main hits for the Aeolian Company's reproducing piano, including a complete version of his Rhapsody in Blue. Compared to the piano rolls, there are few accessible audio recordings of Gershwin's playing. His first recording was his own "Swanee" with the Fred Van Eps Trio in 1919. The recorded balance highlights the banjo playing of Van Eps, and the piano is overshadowed. The recording took place before "Swanee" became famous as an Al Jolson specialty in early 1920. Gershwin recorded an abridged version of Rhapsody in Blue with Paul Whiteman and his orchestra for the Victor Talking Machine Company in 1924, soon after the world premiere. Gershwin and the same orchestra made an electrical recording of the abridged version for Victor in 1927. However, a dispute in the studio over interpretation angered Whiteman and he walked out on the session. Victor's staff conductor and arranger Nathaniel Shilkret led the orchestra, though Whiteman is still credited as conductor on the original record labels.

Gershwin made a number of solo piano recordings of tunes from his musicals, some including the vocals of Fred and Adele Astaire, as well as his Three Preludes for piano. In 1929, Gershwin "supervised" the world premiere recording of An American in Paris with Nathaniel Shilkret and the Victor Symphony Orchestra. Gershwin's role in the recording was rather limited, particularly because Shilkret was conducting and had his own ideas about the music. When it was realized that no one had been hired to play the brief celeste solo, Gershwin was asked if he could and would play the instrument, and he agreed. Gershwin can be heard, rather briefly, on the recording during the slow section. Gershwin also appeared on several radio programs, including Rudy Vallee's, and played some of his compositions. This included the third movement of the Concerto in F with Vallee conducting the studio orchestra. Some of these performances were preserved on transcription discs and have been released on LP and CD.

In 1934, in an effort to earn money to finance his planned folk opera, Gershwin hosted his own radio program titled Music by Gershwin. The show was broadcast on the NBC Blue Network from February to May and again in September through the final show on December 23, 1934. He presented his own work as well as the work of other composers. Recordings from this and other radio broadcasts include his Variations on I Got Rhythm, portions of the Concerto in F, and numerous songs from his musical comedies. He also recorded a run-through of his Second Rhapsody, conducting the orchestra and playing the piano solos. Gershwin recorded excerpts from Porgy and Bess with members of the original cast, conducting the orchestra from the keyboard; he even announced the selections and the names of the performers. In 1935, RCA Victor asked him to supervise recordings of highlights from Porgy and Bess; these were his last recordings.

RCA Victor issued a 5 record 12-inch 78 rpm Memorial Album (C-29) recorded from the RCA Magic Key program broadcast on July 10, 1938, over the NBC Radio Network. It featured the Victor Salon Group conducted by Nathaniel Shilkret and singer Jane Froman. A 74-second newsreel film clip of Gershwin playing I Got Rhythm has survived, filmed at the opening of the Manhattan Theater (now The Ed Sullivan Theater) in August 1931. There are also silent home movies of Gershwin, some of them shot on Kodachrome color film stock, which have been featured in tributes to the composer. In addition, there is newsreel footage of Gershwin playing "Mademoiselle from New Rochelle" and "Strike Up the Band" on the piano during a Broadway rehearsal of the 1930 production of Strike Up the Band. In the mid-30s, "Strike Up The Band" was given to UCLA to be used as a football fight song, "Strike Up The Band for UCLA". The comedy team of Clark and McCullough are seen conversing with Gershwin, then singing as he plays. In 1945, the film biography Rhapsody in Blue was made, starring Robert Alda as George Gershwin. The film contains many factual errors about Gershwin's life, but also features many examples of his music, including an almost complete performance of Rhapsody in Blue. In 1965, Movietone Records released an album MTM 1009 featuring Gershwin's piano rolls of the titled George Gershwin plays RHAPSODY IN BLUE and his other favorite compositions. The B-side of the LP featured nine other recordings. In 1975, Columbia Records released an album featuring Gershwin's piano rolls of Rhapsody in Blue, accompanied by the Columbia Jazz Band playing the original jazz band accompaniment, conducted by Michael Tilson Thomas. The B-side of the Columbia Masterworks release features Tilson Thomas leading the New York Philharmonic in An American in Paris. In 1976, RCA Records reissued a collection of Gershwin's original recordings on the album Gershwin plays Gershwin, Historic First Recordings (RCA Victrola AVM1-1740). Included was the first LP release of the 1924 recording of Rhapsody in Blue with the Paul Whiteman Orchestra and Gershwin on piano; An American in Paris, from 1929 conducted by Nathaniel Shilkret with Gershwin on celesta. Also included were Three Preludes, "Clap Yo' Hands" and "Someone to Watch Over Me", among others.

The soundtrack to Woody Allen's 1979 film Manhattan is composed entirely of Gershwin's compositions, including Rhapsody in Blue, "Love is Sweeping the Country", and "But Not for Me", performed by both the New York Philharmonic under Zubin Mehta and the Buffalo Philharmonic under Michael Tilson Thomas. The film begins with a monolog by Allen, in the role of a writer, describing a character in his book: "He adored New York City ... To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin." In 1993, two audio CDs featuring piano rolls recorded by Gershwin were issued by Nonesuch Records through the efforts of Artis Wodehouse, entitled Gershwin Plays Gershwin: The Piano Rolls. In 2010, Brian Wilson released Brian Wilson Reimagines Gershwin, consisting of ten George and Ira Gershwin songs, bookended by passages from Rhapsody in Blue, with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett.

Compositions
 Orchestral  Solo piano Operas London musicals Broadway musicals Films for which Gershwin wrote original scores
 * Rhapsody in Blue for piano and orchestra (1924)
 * Concerto in F for piano and orchestra (1925)
 * An American in Paris for orchestra (1928)
 * Dream Sequence/The Melting Pot for chorus and orchestra (1931)
 * Second Rhapsody for piano and orchestra (1931), originally titled Rhapsody in Rivets
 * Cuban Overture for orchestra (1932), originally entitled Rumba
 * March from "Strike Up the Band" for orchestra (1934)
 * Variations on "I Got Rhythm" for piano and orchestra (1934)
 * Catfish Row for orchestra (1936), a suite based on music from Porgy and Bess
 * Shall We Dance (1937), a movie score feature-length ballet
 * Three Preludes (1926)
 * George Gershwin's Song-book (1932), solo piano arrangements of 18 songs
 * Blue Monday (1922), one-act opera
 * Porgy and Bess (1935) at the Colonial Theatre in Boston
 * Primrose (1924)
 * George White's Scandals (1920–1924), featuring, at one point, the 1922 one-act opera Blue Monday
 * Lady, Be Good (1924)
 * Tip-Toes (1925)
 * Tell Me More! (1925)
 * Oh, Kay! (1926)
 * Strike Up the Band (1927)
 * Funny Face (1927)
 * Rosalie (1928)
 * Treasure Girl (1928)
 * Show Girl (1929)
 * Girl Crazy (1930)
 * Of Thee I Sing (1931)
 * Pardon My English (1933)
 * Let 'Em Eat Cake (1933)
 * My One and Only (1983), an original 1983 musical using previously written Gershwin songs
 * Crazy for You (1992), a revised version of Girl Crazy
 * Nice Work If You Can Get It (2012), a musical with a score by George and Ira Gershwin
 * An American in Paris, a musical that ran on Broadway from April 2015 to October 2016
 * Delicious (1931), an early version of the Second Rhapsody and one other musical sequence was used in this film, the rest were rejected by the studio
 * Shall We Dance (1937), original orchestral score by Gershwin, no recordings available in modern stereo, some sections have never been recorded (Nominated- Academy Award for Best Original Song: They Can't Take That Away from Me)
 * A Damsel in Distress (1937)
 * The Goldwyn Follies (1938), posthumously released
 * The Shocking Miss Pilgrim (1947), uses previously unpublished songs

Estate
Gershwin died intestate, and his estate passed to his mother. The estate continues to collect royalties in the United States from licensing the copyrights on his post-Rhapsody in Blue work. The estate supported the Sonny Bono Copyright Term extension Act (that extended the U.S. 75-year copyright protection an additional 20 years) because its 1923 cutoff date was shortly before Gershwin had begun to create his most popular works. The copyrights on all Gershwin's solo works expired at the end of 2007 in the European Union, based on its life-plus-70-years rule, and in the U.S. on January 1, 2020, on Gershwin's pre-1925 work.

In 2005, The Guardian determined using "estimates of earnings accrued in a composer's lifetime" that George Gershwin was the wealthiest composer of all time.

The George and Ira Gershwin Collection, much of which was donated by Ira and the Gershwin family estates, resides at the Library of Congress.

In September 2013, a partnership between the estates of Ira and George Gershwin and the University of Michigan was created and will provide the university's School of Music, Theatre, and Dance access to Gershwin's entire body of work, which includes all of Gershwin's papers, compositional drafts, and scores. This direct access to all of his works provides opportunities to musicians, composers, and scholars to analyze and reinterpret his work with the goal of accurately reflecting the composers' vision to preserve his legacy. The first fascicles of The Gershwin Critical Edition, edited by Mark Clague, are expected in 2017; they will cover the 1924 jazz band version of Rhapsody in Blue, An American in Paris and Porgy and Bess.

Awards and honors

 * In 1937, Gershwin received his sole Academy Award nomination for Best Original Song at the 1937 Oscars for "They Can't Take That Away from Me", written with his brother Ira for the 1937 film Shall We Dance. The nomination was posthumous; Gershwin died two months after the film's release.
 * In 1982, George Gershwin was inducted into the Jewish-American Hall of Fame.
 * In 1985, the Congressional Gold Medal was awarded to George and Ira Gershwin. Only three other songwriters, George M. Cohan, Harry Chapin, and Irving Berlin, have received this award.
 * In 1998 a special Pulitzer Prize was posthumously awarded to Gershwin "commemorating the centennial year of his birth, for his distinguished and enduring contributions to American music."
 * The George and Ira Gershwin Lifetime Musical Achievement Award was established by UCLA to honor the brothers for their contribution to music and for their gift to UCLA of the fight song "Strike Up the Band for UCLA".
 * In 2006, Gershwin was inducted into the Long Island Music Hall of Fame.
 * In 2007, the Library of Congress created the Library of Congress Gershwin Prize for Popular Song (aka, Gershwin Prize) in honor of both George and Ira Gershwin.

Namesakes

 * The Gershwin Theatre on Broadway is named after George and Ira.
 * The Gershwin Hotel in the Flatiron District of Manhattan in New York City was named after George and Ira.
 * In Brooklyn, George Gershwin Junior High School 166 is named after him.
 * One of Holland America Line's ships, MS Koningsdam, has a Gershwin Deck (Deck 5)

Biopic

 * The 1945 biographical film Rhapsody in Blue starred Robert Alda as George Gershwin.

Portrayals in other media

 * In George Lucas's The Adventures of Young Indiana Jones a fictional George Gershwin appears as a friend of Indiana Jones in the made-for-TV movie from 1999, Scandal of 1920. He also briefly appears in Hollywood Follies. He is portrayed by Tom Beckett.
 * Since 1999, Hershey Felder has produced a one-man show with him portraying George Gershwin Alone, which has played over 3,000 performances and won two 2007 Ovation Awards. In response to the COVID-19 pandemic, Felder launched a global live-streaming Hershey Felder Presents: Live from Florence featuring a performance of "Hershey Felder as George Gershwin Alone" in September 2020.
 * Paul Rudd portrays an imaginary friend based on George Gershwin, said to be his creator's favorite composer, in the 2015 series finale of the Irish sitcom Moone Boy, "Gershwin's Bucket List".

title: George Gershwin