Irving Berlin
American composer and songwriter
With a life that spanned more than 100 years and a catalogue that boasted over 1,000 songs, Irving Berlin epitomized Jerome Kern's famous maxim that "Irving Berlin has no place in American music - he is American music."
Irving Berlin was born Israel Beilin on May 11, 1888. One of eight children, his exact place of birth is unknown, although his family had been living in Tolochin, Byelorussia, when they immigrated to New York in 1893. When his father died, Berlin, just turned 13, took to the streets in various odd jobs, working as a busker singing for pennies, then as a singing waiter in a Chinatown Cafe. In 1907 he published his first song, "Marie from Sunny Italy," and by 1911 he had his first major international hit "Alexander's Ragtime Band."
Over the next five decades, Irving Berlin produced an outpouring of ballads, dance numbers, novelty tunes and love songs that defined American popular song for much of the century. A sampling of just some of the Irving Berlin standards includes "How Deep Is The Ocean," "Blue Skies," "White Christmas," "Always," "Anything You Can Do," "There's No Business Like Show Business," "Cheek To Cheek," "Puttin' On The Ritz," "A Pretty Girl Is Like a Melody," "Heat Wave," "Oh! How I Hate To Get Up In The Morning," "Easter Parade" and "Let's Face The Music And Dance." In a class by itself is his iconic paean to his beloved country, "God Bless America."
He was equally at home writing for Broadway and Hollywood. He wrote seventeen complete scores for Broadway musicals and revues, and contributed material to six more. Among the shows featuring all-Berlin scores were The Cocoanuts, As Thousands Cheer, Louisiana Purchase, This Is The Army, Miss Liberty, Mr. President, Call Me Madam and the phenomenally successful Annie Get Your Gun. Recent musicals created from his screen work include Irving Berlin's White Christmas (Broadway, across the USA, Canada and Great Britain), and Top Hat, winner of the 2013 Laurence Olivier Award for Best New Musical.
Among the Hollywood movie musical classics with scores by Irving Berlin are Top Hat, Follow The Fleet, On The Avenue, Alexander's Ragtime Band, Holiday Inn, Blue Skies, Easter Parade, White Christmas and There's No Business Like Show Business.
His songs have provided memorable moments in dozens of other films as wide apart in space and time as The Jazz Singer (1927), Home Alone (1991), Titanic (1997) and The Green Mile (1999) to The Simpsons (2006), Spider Man 3 (2007), Downton Abbey (2011) and the teaser trailer for Joker: Folie à Deux (2023). Among his many awards are a special Tony Award (1963) and the Academy Award for Best Song of the Year for "White Christmas" in 1942.
An intuitive businessman, Irving Berlin was a co-founder of ASCAP (American Society of Composers, Authors and Publishers), founder of his own music publishing company, and with producer Sam Harris, builder of his own Broadway theatre, The Music Box. An unabashed patriot, his love for - and generosity to - his country is legendary, exemplified by his establishing The God Bless America Fund, which receives all income from his patriotic songs and distributes it to the Boy Scouts and Girl Scouts.
Irving Berlin portrait, The Library of Congress
His actions were acknowledged with such accolades as the Army's Medal of Merit from President Truman in 1945; a Congressional Gold Medal for "God Bless America" and other patriotic songs from President Eisenhower in 1954; and the Freedom Medal from President Ford in 1977. In 2002, the U.S. Army at Fort Belvoir, Virginia, named the Army Entertainment Division (AED) World Headquarters "The Irving Berlin Center" in his honor. Also that year he was commemorated on a U.S. postage stamp.
Irving Berlin's centennial in 1988 was celebrated worldwide, culminating in an all-star tribute at Carnegie Hall benefitting the Hall and ASCAP, subsequently an Emmy Award winning special on CBS, and featuring such varied luminaries of the musical world as Frank Sinatra, Leonard Bernstein, Isaac Stern, Natalie Cole and Willie Nelson.
On September 22, 1989, at the age of 101, Irving Berlin died in his sleep in his town house in New York City. A widower since his wife of 62 years, the former Ellin Mackay, had died the previous year at the age of 85, Berlin was survived by three daughters and their families at the time of his death.
“White Christmas” was sung by Bing Crosby, alongside Danny Kaye and Rosemary Clooney, in the 1954 film of the same name. The song had won the Academy Award for best original song when it was first introduced in 1942. (Universal History Archive/Universal Images Group via Getty Images)
By Dave Kindy
December 25, 2021 at 7:00 a.m. EST
On Christmas Day 1941, crooner Bing Crosby stepped up to the microphone to introduce his new song. He was performing live on his hugely popular national radio show on NBC, “Kraft Music Hall.”
As the orchestra began to play, Crosby’s calming baritone floated over the airwaves: “I’m dreaming of a white Christmas, just like the ones I used to know …”
He ended the wistful song of holidays past, and the audience politely clapped. It was the first time he had sung “White Christmas” — what would become Irving Berlin’s super seasonal classic — but hardly anyone noticed it then.
The United States, still numb from the devastating attack on Pearl Harbor a little more than two weeks earlier, was preparing for a deadly war and had little time for a sentimental song about “sleigh bells in the snow” and “merry and bright” days.
“America was massively distracted,” said James Kaplan, author of “Irving Berlin: New York Genius,” published in 2019. “This was only 17 days after the worst attack on the country ever. There were more pressing concerns at the time.”
Of course, “White Christmas” would become the biggest-selling single of all time. According to Guinness World Records, it has sold some 50 million copies worldwide, with another 50 million in album sales.
So how did “White Christmas” become the megahit it is today?
Oddly, the very circumstances that inhibited its initial success eventually led to its explosion. As young men went off to face fascism and tyranny in faraway killing fields, the song’s touching message would resurface as a symbol of longing for a life that once was.
After World War II, tens of thousands of U.S. soldiers mutinied — and won
“White Christmas” was the brainchild of one of America’s greatest songwriters. Born Israel Beilin in western Siberia in 1888, Irving Berlin grew up on the mean streets of the Lower East Side of New York City. As a child, this son of an Orthodox rabbi learned about Christmas from an equally poor Irish Catholic family, the O’Haras. Young Izzy, as his childhood companions called him, was welcomed into their home, where they introduced him to what could best be described as a Charlie Brown tree. It left a lasting impression.
“This was my first sight of a Christmas tree,” Berlin told The Washington Post in 1954. “The O’Haras were very poor and later, as I grew used to their annual tree, I realized they had to buy one with broken branches and small height, but to me that first tree seemed to tower to heaven.”
Music video by Bing Crosby, London Symphony Orchestra performing White Christmas.© 2019 Universal Music Operations / Geffen Records
Dreaming of a “White Christmas”
Sheet music of the popular song, purchased in 1943, is one little girl’s lifetime link to Technical Sergeant Neal K. Moore.
December 17, 2020
Seventeen days after the Japanese attack on Pearl Harbor, Bing Crosby made the first live radio performance of a new song called “White Christmas.” Crosby’s unforgettable voice, singing what would become one of the most iconic Christmas songs ever written, went almost unnoticed in the flurry of activity around the United States’s violent entry to World War II. The song had been created by the prolific songwriter Irving Berlin in January 1940. Its nostalgic view of an ideal snowy northeastern Christmas had to wait until the August 1942 release of the movie Holiday Inn before its popularity could take off. Within a month of the film’s premiere, sheet music and record sales grew at an ever increasing pace, propelling “White Christmas” to the top of the Hit Parade music chart for 10 weeks beginning in November 1942. From that point on, “White Christmas” became an instant classic and one of the most patriotic songs of World War II.
Seventeen days after the Japanese attack on Pearl Harbor, Bing Crosby made the first live radio performance of a new song called “White Christmas.” Crosby’s unforgettable voice, singing what would become one of the most iconic Christmas songs ever written, went almost unnoticed in the flurry of activity around the United States’s violent entry to World War II. The song had been created by the prolific songwriter Irving Berlin in January 1940. Its nostalgic view of an ideal snowy northeastern Christmas had to wait until the August 1942 release of the movie Holiday Inn before its popularity could take off. Within a month of the film’s premiere, sheet music and record sales grew at an ever increasing pace, propelling “White Christmas” to the top of the Hit Parade music chart for 10 weeks beginning in November 1942. From that point on, “White Christmas” became an instant classic and one of the most patriotic songs of World War II.
How did a secular Christmas song written by a Jewish Russian immigrant become one of the most important wartime songs? It had to do with the timing of its release and the type of emotion that the song evoked. “White Christmas” does not mention war, does not mention production or contributing to a great effort, it is just a simple personal reflection about a single holiday and one’s longing for it. The nostalgic and introspective lyrics struck a chord that exemplified the national mood at the time. The desire to be home for Christmas was a feeling that was amplified by the war. Millions were entering military service and were separated from home for the first time at Christmas. Even if they lived in Texas where a white Christmas was rare, this song made them homesick. Although the common thread of nostalgia and longing to be home for Christmas was the element that bound the millions who listened to and were affected by “White Christmas,” each individual’s reason for their connection is different. For far too many, their last white Christmas fell between the years 1941 to 1945.
In 1943, Donna Ray Moore went to the local music shop with her uncle, Neal K. Moore. Moore, a technical sergeant in the 33rd Armored Regiment, 3rd Armored Division, was home in Dennison, Texas, for his last leave before his unit shipped out to Europe. Donna remembers going to the store and purchasing the sheet music for “White Christmas.” She and her uncle then brought the music to church where they performed the song.
What Are Out-of-Town Tryouts?
The tradition of out-of-town tryouts for Broadway shows has been a part of the theater's history for almost 100 years. Tryouts allow producers to work out kinks and identify flaws before a show's Broadway premiere. They also give audiences in less prestigious areas the chance to see potential hits before they open on Broadway.
Before the 1970s: Most new musicals would tour before opening on Broadway. These tours could last up to two years, and would often involve major changes to the score and libretto.
Favorite tryout cities: Popular cities for tryouts included New Haven, Boston, Philadelphia, Atlantic City, and Baltimore.
Tryout length: Pre-Broadway tours typically last four to six weeks.
Tryout purpose: Tryouts allow producers to work out kinks in a production in relative privacy before moving to New York.
Tryout benefits: Tryouts help ensure that a production is polished and ready for Broadway, which can increase the likelihood of favorable reviews and sold-out houses.
Tryout audiences: Tryouts also allow audiences in less prestigious markets to see potential hits before they open on Broadway.
Broadway Shows Skip Out-Of-Town Tryouts for the Great White Way
By Gordon Cox
In the old days, there was one road to Broadway, and it was usually on the road. Producers took a new musical out of town, worked out the kinks in the relative privacy of the regions and then moved into New York with visions of Tony Awards dancing in their heads. Or they could give the project a trial run at an Off Broadway theater in advance of the big leagues. They certainly never opened a show cold on Broadway.
But there are signs that the thinking is changing.
In 2011, “The Book of Mormon” opened cold on Broadway — and became the hit of the season, scoring nine Tonys and packing houses to this day. Last year, “Something Rotten!” skipped a tryout to go directly to Broadway, where it earned 10 Tony noms (and one award) and is still running. This season, two of the five contenders in the all-important new musical category — “School of Rock” and “Shuffle Along” — opened cold.
Is the tryout headed for a fade out? Not quite. But talk to producers around town, and it becomes clear that a number of factors — from rising costs to real-estate scarcity — are shifting the calculus of pre-Broadway runs.
Which Shows Had the Biggest Overhaul From Out-of-Town Tryout to Broadway Opening?
Jennifer Ashley Tepper Is answering your questions with Broadway Deep Dive!
By: Jennifer Ashley TepperSep. 24, 2023
Do you have a burning Broadway question? Dying to know more about an obscure Broadway fact? Broadway historian and self-proclaimed theatre nerd Jennifer Ashley Tepper is here to help with her new series, Broadway Deep Dive. Every month, BroadwayWorld will be accepting questions from theatre fans like you. If you're lucky, your question might be selected as the topic of her next column!
Recently, the legendary Austin Pendleton shared some fascinating stories about the original production of Fiddler on the Roof, as part of a performance at 54 Below. This performance was Backstage Babble Celebrates Tony Awards History, put together by the talented Charles Kirsch, and one highlight of the lineup was Pendleton telling tales of Fiddler on the Roof’s time out of town in Detroit and Washington D.C. in 1964, prior to opening and becoming a smash hit at the Imperial on Broadway.
According to Pendleton, Fiddler’s out of town production received the worst reviews in recent memory when it started out at the gargantuan Fisher Theatre in Detroit. Variety in particular skewered the show, noting that nothing other than Zero Mostel’s performance as Tevye was worth anything—not the music, lyrics, other performances, or anything else. Pendleton remembered that after the reviews came out, the whole company was drowning their sorrows at a nearby bar after the performance, and things were getting wild. “Nothing is more of an aphrodisiac than being out of town with bad reviews.” Because Pendleton had worked with director-choreographer Jerome Robbins before, he had the courage to approach him. Robbins was slowly drinking a martini. Pendleton asked, “What are you going to do?” And Robbins responded, “Ten things every day.”
That’s exactly what happened: Fiddler on the Roof turned into the Fiddler on the Roof we all know and love gradually, one line cut and blocking change at a time. As the original Motel the Tailor, Pendleton had his own solo “Miracle of Miracles” (which he regaled the audience with at 54 Below) written out of town. When the decision was made to give the character of Perchik “Now I Have Everything”, Motel’s original song (with some bumps along the way), Jerry Bock and Sheldon Harnick quickly penned the joyous “Miracle of Miracles” for Motel to sing instead. While other shows that became well-loved hits on Broadway may have experienced more dramatic alterations out of town, Fiddler’s transformation from seemingly-destined-flop tom for a time, the longest running show in Broadway history, was dramatic in its own way. For another take on Fiddler’s busy time out of town, I highly recommend the wonderful book Wonder of Wonders: A Cultural History of Fiddler on the Roof by Alisa Solomon.
Terminology
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A commissioned officer rank corresponding to the field commander of a company of soldiers usually, or that of a battery of an artillery battalion
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A noncommissioned officer ranking in the army above a private first class and below a sergeant and in the Marine Corps above a lance corporal and below a sergeant.
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A high overshoe worn especially in snow and slush.
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Simplistic individuals who have a limited impact on the operations of the market or a business.
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A junior enlisted soldier with the lowest rank in the Army or Marine Corps
Basic Drill Commands
Fall in
Individuals form a formation at the position of attention.
Fall out
Individuals drop out of formation. By custom, officers usually take a single step backward with their left foot. Noncommissioned personnel take a step back with the left foot, then with their right, and then perform an about face.
Attention
Standing upright with an assertive and correct posture: famously "chin up, chest out, shoulders back, stomach in". Lightly ball your fists, and hold your arms fixed at your sides keeping your elbows slightly bent. Your thumbs should not be wrapped in your fingers, they should be pointing down, lined up with the seams of your pants. Lock head and eyes in a fixed forward posture. Ideally eyes unmoving fixated on a distant object. Blank facial expression. Put the heels of your feet together, and point your toes out roughly 45 degrees from the center so your feet form a V. There should be about 6 inches between both tips of your big toes when you do this. No speech, facial or bodily movements except when as required by military drill.
Present, ARMS
Individuals execute a hand or rifle salute and hold it until given the command "order arms".
Order, ARMS
Individuals bring their hand or rifle back down to their side.
Open ranks, MARCH
Movement in which each row (rank) spreads out from another row.
Close ranks, MARCH
Movement in which the formation is restored to its normal interval.
Dress right, DRESS
Movement in which individuals except those on the extreme left side raise their left arms parallel to the ground in order to get the proper distance from each other.
Parade, REST
Individuals spread their feet about 12 inches while bringing both of their arms behind their back interlocking their hands. The back of the left hand rests against the back. The back of the right hand rests on the palm of the left, with the left thumb locked over the right hand and the right thumb locked over the left thumb. If armed, individuals put their left hand behind their back, extending their rifle while the butt remains on the ground by their right foot.
Stand at ease
Individuals perform the command of parade rest, but their eyes and head follow the person in charge.
At ease
Individuals are permitted light movement given their right foot does not leave the ground; they are not allowed to talk.
Rest
Individuals are permitted light movement and may also engage in quiet conversation as long as their right leg is planted on the ground. Can also be expressed by the command "Relax"
Forward, MARCH
Individuals begin marching, from the left foot and a 30 inch step at 120 steps per minute.
Company/Platoon/Squad/Detail, Halt
Individuals stop marching.
Right (left) Flank, MARCH
The whole formation turns and continues to march.
Right (left) FACE
Right (left) face is a two-count movement started on the commands Right FACE. On the command FACE, (1) raise your left heel and right toe slightly and turn 90° to
the right.Keep your left leg straight but not stiff; (2) bring your left heel smartly alongside the right heel and stand at attention. While facing, your arms should remain at the position of attention.
About, FACE
About face is a two-count movement performed on the commands About FACE. On the command About, shift your weight to your left leg without noticeable movement.
On the command FACE, (1) place your right toe about 6 inches behind and slightly to the left of your left heel; (2) on the ball of the right foot and the heel of the left foot, turn smartly to the right until you are facing the rear. Your feet will be in the position of attention when the turn is completed if you place your right toe properly behind your left heel. While facing, your arms should remain at the position of attention.
Eyes RIGHT
When given the commands Eyes RIGHT, smartly turn your head 45° to the right on the command RIGHT. The commands to turn your head back to the position of
attention are Ready FRONT. On the command FRONT, snap your head to the front.
Uncover, TWO
On the first command of execution "Uncover," recruits will move their hands up smartly, grasping the front of their cover. You may lift your cover slightly so as not to muss your hair. Then, on the second command of execution "Two," remove your cover, smartly bringing your hand and your hat to the right side, in the most direct manner without exaggerated or sweeping motion.
Cover, TWO
On the first command of execution "Cover," recruits will replace the cover on their head, using both hands to position it correctly. When it is adjusted, they will bring the left hand back to the position of attention. On the second command of execution "Two," recruits smartly bring their right hands back to the position of attention.
Right (left) step, MARCH
Individuals take side steps to the right (left).
By the Right (left) flank, MARCH
A 90 degree pivot to the right (left) while marching.
Right (left) oblique, MARCH
A 45 degree pivot to the right (left) while marching.
Column right (left), MARCH
A movement in which the entire formation executes a series of turns depending on their position. The goal of this movement is to get the entire formation to turn to the right (left) while keeping the same people in the same positions known as column formation.
To the Rear, MARCH
A turn 180 degrees while marching, also executed to the right.
Change step, MARCH
Individuals execute a movement in order to get on step with the formation.
Route step
Individuals walk normally without being in step. Often used on long marches or when crossing a bridge to avoid creating harmonic rhythms. The Air Force uses a different command: "At ease, march."
Extend, MARCH
A movement in which the formation widens.
Close, MARCH
A movement in which the formation narrows in width.
Mark time, MARCH
Marching in place.
Half step, MARCH
Marching at half the distance, often bringing the upper leg parallel to the ground. 15 Inch steps.
Double time, MARCH
Marching at twice the cadence of "Forward March;" something of a light jog. The unit is still required to keep in step.
Right shoulder, ARMS
The rifle is placed on the right shoulder. The right hand holds the butt of the rifle and the forearm is parallel to the ground.
Left shoulder, ARMS
Same as right shoulder arms except on the left side.
Port arms, ARMS
The rifle is carried diagonally in front of the body by both hands.
Counter-column, MARCH
The platoon is ordered to reverse direction while marching. The columns neatly turn in on themselves and at the end of the movement the entire marching column has
reversed direction. Also known as "circle counter", or "counter march".
FASHION AND WORLD WAR II
1940-1949
Posted by Karina Reddy | Last updated Aug 18, 2020 | Published on May 8, 2019 | 1940-1949, 20th century, decade overview
OVERVIEW
With the first half of the 1940s dominated by World War II, fashion stalled. Both men and women were often seen in their uniforms during the war and, if they were not, their clothing styles were dictated by rationing and Utility clothing. After the war, Christian Dior launched the New Look in Paris, returning women’s fashion to an overtly feminine silhouette, while men, women, and children’s clothing all began to lean towards the sporty, casual American Look.
Womenswear
The close of the 1930s had brought with it the start of World War II. As World War I had in the 1910s, WWII had a profound impact on fashion in the first half of the 1940s, and even after the war had ended. France, the United Kingdom, and the United States all had distinct fashion stories during the first half of the 1940s due to the impact of the war. After the war, those fashion stories began intersecting again with the arrival of Christian Dior’s New Look.
By the dawn of the 1940s, France had long been established as the center of women’s fashion design. However, just six months into 1940, German forces occupied Paris, an occupation that would last until late 1944. While some designers left Paris at the start of the occupation, many stayed and continued to design (Ewing 141). Because France was cut off from the US and the UK, these designs were not seen outside of France and diverged drastically from what other countries were wearing. This difference can be seen as early as 1940 as the Bergdorf Goodman sketches by American designer Philip Hulitar (Fig. 2 and 3) show a much sleeker silhouette than the full-skirted wedding ensemble by French designer Jeanne Lanvin (Fig. 1).
Fig. 1 - Jeanne Lanvin (French, 1867–1946). Wedding Ensemble, 1940. Linen, silk, cotton. New York: The Metropolitan Museum of Art, 1978.582.199a–e. Gift of Marvin B. Patterson (Mrs. Jefferson Patterson), 1978. Source: The Metropolitan Museum of Art