Alexander's Ragtime Band by Irving Berlin copyright 1938

Description: Irving Berlin (born Israel Beilin; Yiddish: ישראל ביילין;[1] May 11, 1888[2] – September 22, 1989) was an American songwriter. His music forms a large part of the Great American Songbook. Berlin received numerous honors including an Academy Award, a Grammy Award, and a Tony Award. He also received the Presidential Medal of Freedom from President Gerald R. Ford in 1977. Broadcast journalist Walter Cronkite stated he "helped write the story of this country, capturing the best of who we are and the dreams that shape our lives".[3]Born in Imperial Russia, Berlin arrived in the United States at the age of five. He published his first song, "Marie from Sunny Italy", in 1907, receiving 33 cents for the publishing rights,[4] and became known as the composer of numerous international hits, starting with 1911's "Alexander's Ragtime Band". He also was an owner of the Music Box Theatre on Broadway. For much of his career, Berlin could not read sheet music, and was such a limited piano player that he could only play in the key of F-sharp; he used his custom piano equipped with a transposing lever when he needed to play in keys other than F-sharp.[5] He was known for writing music and lyrics in the American vernacular: uncomplicated, simple and direct, with his stated aim being to "reach the heart of the average American," who he saw as the "real soul of the country".[6]He wrote hundreds of songs, many becoming major hits, which made him famous before he turned thirty. During his 60-year career he wrote an estimated 1,500 songs, including the scores for 20 original Broadway shows and 15 original Hollywood films, with his songs nominated eight times for Academy Awards.[1] Many songs became popular themes and anthems, including "Alexander's Ragtime Band", "Blue Skies", "Easter Parade", "Puttin' on the Ritz", "Cheek to Cheek", "White Christmas", "Happy Holiday", "Anything You Can Do (I Can Do Better)", and "There's No Business Like Show Business". His Broadway musical This Is the Army (1942) was adapted into the 1943 film of the same name.[7][user-generated source]Berlin's songs have reached the top of the US charts 25 times and have been extensively re-recorded by numerous singers. Berlin died in 1989 at the age of 101. Composer Douglas Moore sets Berlin apart from all other contemporary songwriters, and includes him instead with Stephen Foster, Walt Whitman, and Carl Sandburg, as a "great American minstrel"—someone who has "caught and immortalized in his songs what we say, what we think about, and what we believe."[6] Composer George Gershwin called him "the greatest songwriter that has ever lived",[8]: 117 and composer Jerome Kern concluded that "Irving Berlin has no place in American music—he is American music."[9]Early life[edit]Jewish immigrant[edit]Life in Russia[edit]Berlin was born Israel Beilin[10] on May 11, 1888, in the Russian Empire.[11] Although his family came from the shtetl of Tolochin (Yiddish: טאָלאָטשין; today Talachyn, Талачын, in Belarus), Berlin later learned that he was probably born in Tyumen, Siberia, where his father, an itinerant cantor, had taken his family.[11] He was one of eight children of Moses (1848–1901) and Lena Lipkin Beilin (1850–1922).From Tyumen, the family returned to Tolochin, and from there, they travelled to Antwerp and left the old continent aboard the SS Rhynland from the Red Star Line.[12] On September 14, 1893,[13] the family arrived at Ellis Island in New York City. When they arrived, Israel was put in a pen with his brother and five sisters until immigration officials declared them fit to be allowed into the city.[14] After the family's naturalization, the name "Beilin" was changed to "Baline".According to biographer Laurence Bergreen, as an adult Berlin admitted to no memories of his first five years in Russia except for one: "he was lying on a blanket by the side of a road, watching his house burn to the ground. By daylight the house was in ashes."[15]: 10 As an adult, Berlin said he was unaware of being raised in abject poverty since he knew no other life.[16]: 19 The Berlins were one of hundreds of thousands of Jewish families who emigrated to the United States in the late 1800s and early 1900s, escaping discrimination, poverty and brutal pogroms. Other such families included those of George and Ira Gershwin, Al Jolson, Sophie Tucker, L. Wolfe Gilbert, Jack Yellen, Louis B. Mayer (of MGM), and the Warner brothers.[16]: 14 Settling in New York City[edit]Lower East Side in 1910After their arrival in New York City, the Baline family lived briefly in a basement flat on Monroe Street, and then moved to a three-room tenement at 330 Cherry Street.[1] His father, unable to find comparable work as a cantor in New York, took a job at a kosher meat market and gave Hebrew lessons on the side to support his family. He died a few years later when Irving was thirteen years old.[16]With only a few years of schooling, eight-year-old Irving began helping to support his family.[6] He became a newspaper boy, hawking The Evening Journal. One day while delivering newspapers, according to Berlin's biographer and friend, Alexander Woollcott, he stopped to look at a ship departing for China and became so entranced that he did not see a swinging crane, which knocked him into the river. When he was fished out after going down for the third time, he was still holding in his clenched fist the five pennies he earned that day.[6][17]His mother took a job as a midwife, and three of his sisters worked wrapping cigars, common for immigrant girls. His older brother worked in a sweatshop assembling shirts. Each evening, when the family came home from their day's work, Bergreen writes, "they would deposit the coins they had earned that day into Lena's outspread apron."[15] : 11 Music historian Philip Furia writes that when "Izzy" began to sell newspapers in the Bowery, he was exposed to the music and sounds coming from saloons and restaurants that lined the crowded streets. Young Berlin sang some of the songs he heard while selling papers, and people would toss him some coins. He confessed to his mother one evening that his newest ambition in life was to become a singing waiter in a saloon.[18]: 48 From this he stepped up to work as a song plugger and singing waiter in cafes and restaurants in the downtown areas of New York City. His first lyric, written with a café pianist, earned him a royalty of thirty-seven cents.[19]However, before Berlin was fourteen his meager income was still adding less than his sisters' to the family's budget, which made him feel worthless.[17] He then decided to leave home and join the city's ragged army of other young immigrants.[15]: 15 He lived in the Bowery, taking up residence in one of the lodging houses that sheltered the thousands of other homeless boys in the Lower East Side. Bergreen describes them as being uncharitable living quarters, "Dickensian in their meanness, filth, and insensitivity to ordinary human beings."[15]: 15 Early jobs[edit]Berlin at his first job with a music publisher, aged 18Having left school around the age of thirteen,[11] Berlin had few survival skills and realized that formal employment was out of the question. His only ability was acquired from his father's vocation as a singer, and he joined with several other youngsters who went to saloons on the Bowery and sang to customers. Itinerant young singers like them were common on the Lower East Side. Berlin would sing a few of the popular ballads he heard on the street, hoping people would pitch him a few pennies. From these seamy surroundings, he became streetwise, with real and lasting education. Music was his only source of income, and he picked up the language and culture of the ghetto lifestyle.[20]Berlin learned what kind of songs appealed to audiences, writes Bergreen: "well-known tunes expressing simple sentiments were the most reliable."[15]: 17 He soon began plugging songs at Tony Pastor's Music Hall in Union Square and, in 1906, when he was 18, got a job as a singing waiter at the Pelham Cafe in Chinatown. Besides serving drinks, he sang made-up "blue" parodies of hit songs to the delight of customers.Biographer Charles Hamm writes that in Berlin's free time after hours, he taught himself to play the piano.[21] Never having had lessons, after the bar closed for the night, young Berlin would sit at a piano in the back and begin improvising tunes.[6] He published his first song, "Marie from Sunny Italy", written in collaboration with the Pelham's resident pianist Mike Nicholson,[11] in 1907, receiving 33 cents for the publishing rights.[4] The sheet music to the published song presented his name as "I. Berlin".[22]Berlin photographed in 1907 in Pach Brothers StudioBerlin continued writing and playing music at Pelham Cafe and developing an early style. He liked the words to other people's songs but sometimes the rhythms were "kind of boggy," and he might change them. One night he delivered some hits composed by his friend George M. Cohan, another kid who was getting known on Broadway with his own songs. When Berlin ended with Cohan's "Yankee Doodle Boy", notes Whitcomb, "everybody in the joint applauded the feisty little fellow."Recognition as songwriter[edit]Max Winslow (c. 1883–1942), a staff member at music publisher Harry Von Tilzer Company, noticed Berlin's singing on many occasions and became so taken with his talent that he tried to get him a job with his firm.[23] Von Tilzer said that Max claimed to have "discovered a great kid", and raved about him so much that Von Tilzer hired Berlin.[when?][21]: viii In 1908, when he was 20, Berlin took a new job at a saloon named Jimmy Kelly's in the Union Square neighborhood.[1] There, he was able to collaborate with other young songwriters, such as Edgar Leslie, Ted Snyder, Al Piantadosi, and George A. Whiting. In 1909, the year of the premiere of Israel Zangwill's The Melting Pot, he got another big break as a staff lyricist with the Ted Snyder Company.Installed as a staff lyricist with a leading Tin Pan Alley music publishing house, Berlin quickly established himself as one of that frantic industry's top writers of words to other composer's melodies. By 1910 he was already in demand and even appeared in a Shubert Broadway revue performing his own songs.[19] It was purely by chance that Berlin started composing music to the words of his songs. A lyric he had submitted to a publisher was thought to be complete with music. Not wishing to lose the sale, Berlin quickly wrote a melody. It was accepted and published. The success of this first effort opened the door to his career as a composer of music as well as lyrics.[19] In 1910, Berlin wrote a hit that solidly established him as one of Tin Pan Alley's leading composers. Alexander's Ragtime Band not only popularized the vogue for "ragtime", but later inspired a major motion picture.[19]Songwriting career[edit]Before 1920[edit]Duration: 4 minutes and 15 seconds.4:15"Alexander's Ragtime Band", performed by Billy Murray, Edison Amberol cylinder, 1911"Alexander's Ragtime Band" (1911)[edit]Ragtime a Form of Insanity'Alexander's Ragtime Band' is a public menace....Hysteria is the form of insanity that an abnormal love for ragtime seems to produce. It is as much a mental disease as acute mania—it has the same symptoms. When there is nothing done to check this form it produces idiocy.— Dr. Ludwig Gruener German newspaper story[24]: 23 Berlin rose as a songwriter in Tin Pan Alley and on Broadway. In 1911, Emma Carus introduced his first world-famous hit, "Alexander's Ragtime Band", followed by a performance from Berlin himself at the Friars' Frolic of 1911.[1] He became an instant celebrity, and the featured performer later that year at Oscar Hammerstein's vaudeville house, where he introduced dozens of other songs. The New York Telegraph described how two hundred of his street friends came to see "their boy" onstage: "All the little writer could do was to finger the buttons on his coat while tears ran down his cheeks—in a vaudeville house!"[21]: ix Berlin with film stars Alice Faye, Tyrone Power and Don Ameche singing chorus from "Alexander's Ragtime Band" (1938)Richard Corliss, in a Time profile of Berlin, described "Alexander's Ragtime Band" as a march, not a rag, "its savviest musicality comprised quotes from a bugle call and "Swanee River". The tune revived the ragtime fervor that Scott Joplin had begun a decade earlier, and made Berlin a songwriting star.[25] From its first and subsequent releases, the song was near the top of the charts as others sang it: Bessie Smith, in 1927, and Louis Armstrong, in 1937; No. 1 by Bing Crosby and Connee Boswell; Johnny Mercer in 1945; Al Jolson, in 1947 and Nellie Lutcher in 1948. Add Ray Charles's big-band version in 1959, and "Alexander" had a dozen hit versions in just under a half century.[25]Initially the song was not recognized as a hit, however; Broadway producer Jesse Lasky was uncertain about using it, although he did include it in his "Follies" show. It was performed as an instrumental but did not impress audiences, and was soon dropped from the show's score. Berlin regarded it as a failure. He then wrote lyrics to the score, played it again in another Broadway review, and this time Variety news weekly called it "the musical sensation of the decade".[15]: 68 Composer George Gershwin, foreseeing its influence, said it was "the first real American musical work", adding, "Berlin had shown us the way; it was now easier to attain our ideal."[8]: 117 Sparking a national dance craze[edit]Enjoying early success in New York, c. 1911Berlin was "flabbergasted" by the sudden international popularity of the song, and wondered why it became a sudden hit. He decided it was partly because the lyrics, "silly though it was, was fundamentally right ... [and] the melody ... started the heels and shoulders of all America and a good section of Europe to rocking."[15]: 69 In 1913, Berlin was featured in the London revue Hello Ragtime, where he introduced "That International Rag", a song he had written for the occasion.[1]Watch Your StepFuria writes that the international success of "Alexander's Ragtime Band" gave ragtime "new life and sparked a national dance craze". Two dancers who expressed that craze were Vernon and Irene Castle. In 1914, Berlin wrote a ragtime revue, Watch Your Step, which starred the couple and showcased their talents on stage. That musical revue became Berlin's first complete score with songs that "radiated musical and lyrical sophistication". Berlin's songs signified modernism, and they signified the cultural struggle between Victorian gentility and the "purveyors of liberation, indulgence, and leisure", says Furia. The song "Play a Simple Melody" became the first of his famous "double" songs in which two different melodies and lyrics are counterpointed against one another.[18][26]Variety called Watch Your Step the "first syncopated musical", where the "sets and the girls were gorgeous". Berlin was then 26, and the success of the show was riding on his name alone. Variety said the show was a "terrific hit" from its opening night. It compared Berlin's newfound status as a composer with that of the Times building: "That youthful marvel of syncopated melody is proving things in Watch Your Step, firstly that he is not alone a rag composer, and that he is one of the greatest lyric writers America has ever produced."[16]: 173 Whitcomb also points out the irony that Russia, the country Berlin's family was forced to leave, flung itself into "the ragtime beat with an abandon bordering on mania". For example, Prince Felix Yusupov, a recent Oxford undergraduate of Russian noble lineage and heir to the largest estate in Russia, was described by his dance partner as "wriggling around the ballroom like a demented worm, screaming for 'more ragtime and more champagne'".[16]: 183 Simple and romantic ballads

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