IN: Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofe several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."

Two audio recordings exist of Gershwin performing an abridged version of the work with Whiteman's orchestra: an acoustic recording made for Victor on June 10, 1924, and running 8'59'' (this recording includes the original clarinetist, Ross Gorman, playing the glissando) and a Victor electrical recording made April 21, 1927, running 9'01'' (about half the length of the complete work). This 1927 version was also dubbed onto an RCA Victor  33 1/3 rpm Program Transcription in 1932. The latter version was actually conducted by Nathaniel Shilkret after an argument between Gershwin and Whiteman. A 1925 piano roll captured Gershwin's performance in a two piano version. Whiteman's orchestra also performed a shortened version of the piece in the 1930 film The King of Jazz featuring Roy Bargy on piano. Whiteman re-recorded the piece on both sides of a 12-inch Decca 78 rpm (29051) recorded on October 23, 1938. The first complete recording, with pianist Jesus Maria Sanroma and Arthur Fiedler conducting the Boston Pops Orchestra, was issued by RCA Victor in 1935.  Since the mid-20th century, the 1942 version has usually been performed by classical orchestras playing the expanded arrangement. In this form, it has become a staple of the concert repertoire. It has direct popular appeal while also being regarded respectfully by classical musicians.  On August 21, 1945, a recording by Oscar Levant with the Philadelphia Orchestra (conducted by Eugene Ormandy) entered at its peak position of number 23 on the Cash Box survey (Columbia Masterworks 251).  In 1973, the piece was recorded by jazz-rock artist Eumir Deodato on his album Deodato 2. The single reached Billboard peak positions number 41 Pop, number 10 Easy Listening. A disco arrangement was recorded by French pianist Richard Clayderman in 1978 and is one of his signature pieces.  In the late 1970s, interest in the original arrangement was revived. On February 14, 1973, it received its first performance since the 1920s: Kenneth Kiesler secured needed permissions and led with work with pianist Paul Verrette on his U. of New Hampshire campus. Reconstructions of it have been recorded by Michael Tilson Thomas and the Columbia Jazz Band in 1976, and by Maurice Peress with Ivan Davis on piano as part of a 60th-anniversary reconstruction of the entire 1924 concert. Andre Watts (1976), Marco Fumo (1974), and Sara Davis Buechner (2005) released recordings of the work for solo piano as did Eric Himy (2004) in a version that featured the uncut original short score. Meanwhile, such two-piano teams as Jose Iturbi and Amparo Iturbi, France Veri and Michael Jamanis and Katia and Marielle Labeque, also recorded the piece. Michel Camilo recorded the piece in 2006, winning a Latin Grammy award.
QUESTION: Where was it played?
IN: James "Jim" Clark, Jr OBE (4 March 1936 - 7 April 1968) was a British Formula One racing driver from Scotland, who won two World Championships, in 1963 and 1965. Clark was a versatile driver who competed in sports cars, touring cars and in the Indianapolis 500, which he won in 1965. He was particularly associated with the Lotus marque. Clark was killed in a Formula Two racing accident in 1968 in Hockenheim, West Germany.

Jim Clark won the 1963 Belgian Grand Prix at Spa-Francorchamps in extremely foggy and rainy conditions. After starting eighth on the grid Clark passed all of the cars in front of him, including early leader Graham Hill. About 17 laps into the race, with the rain coming down harder than ever, Clark had not only lapped the entire field except for Bruce McLaren, but he was almost five minutes ahead of McLaren and his Cooper. This would be the first of seven victories for Clark and Team Lotus that year.  In the 1967 Italian Grand Prix at Monza after starting from pole, Clark was leading in his Lotus 49 (chassis R2), when a tyre punctured. He lost an entire lap while having the wheel changed in the pits. Rejoining sixteenth, Clark ripped back through the field, progressively lowering the lap record and eventually equalling his pole time of 1m 28.5s, to regain the lost lap and the lead. He was narrowly ahead of Brabham and Surtees starting the last lap, but his car had not been filled with enough fuel for such a performance: it faltered, and finally coasted across the finish line in third place.  In his Indianapolis 500 win, Clark led for 190 of the 200 laps, with an unprecedented average speed of over 150 mph (240 km/h), to become the first non-American in almost half a century to win the famous race.  In 1963 and 1965, Jim Clark equaled Alberto Ascari's record for Highest percentage of possible championship points in a season (100%). Leading 71.47% of the laps in 1963, Jim Clark holds the record for highest percentage of laps in the lead in a season. He also holds the record for most Grand Slams, taking pole, fastest lap, race win and leading every lap of the race in 8 races (1962 British Grand Prix, 1963 Dutch Grand Prix, 1963 French Grand Prix, 1963 Mexican Grand Prix, 1964 British Grand Prix, 1965 South African Grand Prix, 1965 French Grand Prix, 1965 German Grand Prix).
QUESTION:
Did his family ever show to any of his races