The poets of Tin Pan Alley : a history of America's great lyricists /

Publication Type:



Oxford University Press,, New York, NY, United States, p.718 pages : (2022)

Call Number:



(OCoLC)fst01004379, (OCoLC)fst01030814, (OCoLC)fst01071422, (OCoLC)fst01126120, 19th century, 20th century, Chansons, États-Unis, fast, Histoire et critique., History and criticism., Lyricists, Lyricists., Musicals, Musicals., Musique populaire, New York (État), New York (State), Paroliers, Popular music, Popular music., Songs, Songs., Textes, Texts, United States


Includes bibliographical references and index.The Tinpantithesis of Poetry -- Tin Pan Alley -- Ragged Meter Man : Irving Berlin -- The Jazz Age -- Funny Valentine : Lorenz Hart -- 'S Wonderful : Ira Gershwin -- De-Lovely : Cole Porter -- Conventional Dithers : Oscar Hammerstein -- Paper Moons : E. Y. Howard Dietz and "Yip" Harburg -- Fine Romances : Dorothy Fields and Leo Robin -- Hip, Hooray, and Ballyhoo : Hollywood Lyricists -- The Swing Era -- Midnight Sun : Johnny Mercer -- Call Me Irresponsible : Sammy Cahn -- The Great American Songbook."Mrs. Oscar Hammerstein, so the story goes, once overheard someone praise "Ol' Man River" as a "great Kern song." "I beg your pardon," she said, "But Jerome Kern did not write 'Ol' Man River.' Mr. Kern wrote dum dum dum da; my husband wrote ol' man river." It's easy to understand her frustration. While the years between World Wars I and II have long been hailed as the "golden age" of American popular song, it is the composers, not the lyricists, who always usually get top billing. "I love a Gershwin tune" too often means just that-the tune-even though George Gershwin wrote many unlovable tunes before he began working with his brother Ira in 1924. Few people realize that their favorite "Arlen" songs each had a different lyricist-Ted Koehler for "Stormy Weather," Yip Harburg for "Over the Rainbow," Johnny Mercer for "That Old Black Magic." Only Broadway or Hollywood buffs know which "Kern" songs get their wry touch from Dorothy Fields, who would flippantly rhyme "fellow" with "Jello," and which of Kern's sonorous melodies got even lusher from Otto Harbach, who preferred solemn rhymes like "truth" and "forsooth." Jazz critics sometimes pride themselves on ignoring the lyrics to Waller and Ellington "instrumentals," blithely consigning Andy Razaf or Don George to oblivion"--