DOCSLIB.ORG

As Thousands Cheer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
As Thousands Cheer AS THOUSANDS CHEER A Musical Revue in Two Acts, a Prologue and 21 Scenes. Sketches by Moss Hart. Music and lyrics by Irving Berlin. Opened Music Box Theatre, New York - 30 September 1933; closed 8 September 1934 (400 perfs) SYNOPSIS The show gave its authors a melody-filled, laugh-laden successor to their Face the Music. The cast included Clifton Webb, Helen Broderick, Ethel Waters, and Marilyn Miller in her last stage appearance before her untimely death. Using the clever device of having each scene preceded by an appropriate newspaper headline, its sketches sent their barbs far and wide: the Hoovers leaving the White House, with the President giving his cabinet a Bronx cheer; John D. Rockefeller refusing to accept Radio City as a birthday gift; commercials interrupting the singing during a Metropolitan Opera broadcast; a hotel staff falling under the influence of Noël Coward; and a Supreme Court decision that says musicals cannot end with reprises, resulting in a new number, "Not For All The Rice In China," as a finale. Berlin filled the score with top tunes. Besides "Supper Time," an African-American woman's lament for her lynched husband, and "Harlem On My Mind," in which a Josephine Baker type of expatriate longs for her old home (her lips start to whisper "Mon Cheri," but her heart keeps singing "Hi-di-ho"), Ethel Waters introduced the sizzling "Heat Wave." Marilyn Miller and Clifton Webb stepped out of a sepia-tinted photo in the rotogravure section to enjoy the "Easter Parade." Berlin had written this song during World War I, when its lyric began "Smile and show your dimple." The show was a triumph, running a year and making a handsome profit - a rarity during Depression days. Taken from A Chronicle of American Musical Theatre (3rd ed) by Gerald Boardman SCENES, SETTINGS AND MUSICAL NUMBERS: PROLOGUE Scene 1 Dining Room in Park Avenue - Langley, a Butler: Mr. Andrews: Mrs. Andrews: Scene 2 Editor's Office - Editor: Reporter: Scene 3 Columbus Circle - Boys, Girls ACT 1 Scene 1 Franklin D. Roosevelt Inaugurated Tomorrow - Mr. Hoover: Mrs. Hoover: Charlie: Scene 2 Woolworth Declares Regular Dividend - Barbara Hutton to Wed Prince Mdivani - The Lackey: Prince Hohenstein: Prince Donatelli: Prince Austerliebe: Prince DeLuneville: "How's Chances?" Scene 3 Heat Wave Hits New York - "Heat Wave" Scene 4 Joan Crawford to Divorce Douglas Fairbanks, Jr. - Joan Crawford: Douglas Fairbanks, Jr.: Will Hays: First Reporter: Second Reporter: Third Reporter: Fourth Reporter: Scene 5 Majestic Sails at Midnight" Scene 6 Lonely Heart Column - "Lonely Heart" Scene 7 World's Wealthiest Man Celebrates 94th Birthday - John D. Rockefeller, Sr.: John D. Rockefeller, Jr.: Mrs. John D. Rockefeller, Jr.: John D. Rockefeller, Jr.'s Children: Reporter and Cameraman: Scene 8 "The Funnies" Scene 9 Green Pastures Starts Third Road Season - Man: Woman:"To Be or Not To Be" Scene 10 Rotogravure Section Scene 11 Easter Parade on Fifth Avenue - 1883. - "Her Easter Bonnet" ("Easter Parade") ACT 2 Scene 1 Metropolitan Opera Opens in Old Time Splendour - Radio Announcer: Mons. Peppiton: Mr. Williams: Mrs. Williams: Her Daughter: Scene 2 Unknown Negro Lynched by Frenzied Mob - "Supper Time" Scene 3 Gandhi Goes on New Hunger Strike - Mahatma Gandhi: Aimee Semple MacPherson: Counterman: Cameramen: Reporter:. Native Messenger: Scene 4 Revolt in Cuba - The Dancers Scene 5 Noël Coward, Noted Playwright, Returns to England - First Bellboy: Second Bellboy: Mrs. Fisher, housekeeper: Ella, a scrubwoman: Aggie, a chambermaid: Henry Perlmutter, a Waiter: Window Cleaner: Scene 6 Society Wedding of the Season: Outside St. Thomas' - Bridesmaids: Ushers: "Our Wedding Day" Scene 7 Josephine Baker Still the Rage of Paris - Josephine Baker: Her Secretary: Maitre d'Hotel: "I've Got Harlem on My Mind" Scene 8 Prince of Wales Rumoured Engaged - The King: The Queen: The Prince: The Prime Minister: Scene 9 Broadway Gossip Column: - "Through a Key Hole" Scene 10 Supreme Court Hands Down Important Decision - Editors' Office: Editor: Reporter:"Not For All the Rice in China" DISCOGRAPHY: World Premiere Cast recording - Varèse Sarabande VSD 5999.
Load more

Recommended publications
  • Happy Birthday!
    THE THURSDAY, APRIL 1, 2021 Quote of the Day “That’s what I love about dance. It makes you happy, fully happy.” Although quite popular since the ~ Debbie Reynolds 19th century, the day is not a public holiday in any country (no kidding). Happy Birthday! 1998 – Burger King published a full-page advertisement in USA Debbie Reynolds (1932–2016) was Today introducing the “Left-Handed a mega-talented American actress, Whopper.” All the condiments singer, and dancer. The acclaimed were rotated 180 degrees for the entertainer was first noticed at a benefit of left-handed customers. beauty pageant in 1948. Reynolds Thousands of customers requested was soon making movies and the burger. earned a nomination for a Golden Globe Award for Most Promising 2005 – A zoo in Tokyo announced Newcomer. She became a major force that it had discovered a remarkable in Hollywood musicals, including new species: a giant penguin called Singin’ In the Rain, Bundle of Joy, the Tonosama (Lord) penguin. With and The Unsinkable Molly Brown. much fanfare, the bird was revealed In 1969, The Debbie Reynolds Show to the public. As the cameras rolled, debuted on TV. The the other penguins lifted their beaks iconic star continued and gazed up at the purported Lord, to perform in film, but then walked away disinterested theater, and TV well when he took off his penguin mask into her 80s. Her and revealed himself to be the daughter was actress zoo director. Carrie Fisher. ©ActivityConnection.com – The Daily Chronicles (CAN) HURSDAY PRIL T , A 1, 2021 Today is April Fools’ Day, also known as April fish day in some parts of Europe.
    [Show full text]
  • Hello! My Baby Student Guide.Pdf
    Goodspeed’s Student Guide to the Theatre is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED GUIDE TO THE THEATRE Student The Max Showalter Center for Education in Musical Theatre HELLO! MY BABY The Norma Terris Theatre November 3 - 27, 2011 _________ CONCEIVED & WRITTEN BY CHERI STEINKELLNER NEW LYRICS BY CHERI STEINKELLNER Student Guide to the Theatre TABLE OF CONTENTS NEW MUSIC & ARRANGEMENTS BY GEORGIA STITT ABOUT THE SHOW: The Story...................………………………………………….3 LIGHTING DESIGN BY JOHN LASITER ABOUT THE SHOW: The Characters...........................……………………………5 ABOUT THE SHOW: The Writers....................…..…………………………………...6 COSTUME DESIGN BY ROBIN L. McGEE Listen Up: Tin Pan Alley Tunes................………………………………................7 SCENIC DESIGN BY A Few Composers + Lyricists..............................……………………………….....8 MICHAEL SCHWEIKARDT Welcome to the Alley!...............…………………………………………………...10 CHOREOGRAPHED BY Breaking into the Boys Club......…………………………………………………...11 KELLI BARCLAY New York City..............................…………………………………………………...12 DIRECTED BY RAY RODERICK FUN AND GAMES: Word Search........................................................................13 FUN AND GAMES: Crossword Puzzle….……………………………...................14 PRODUCED FOR GOODSPEED MUSICALS BY How To Be An Awesome Audience Member…………………......................15 MICHAEL P. PRICE The Student Guide to the Theatre for Hello! My Baby was prepared by Joshua S. Ritter M.F.A, Education & Library Director and Christine Hopkins,
    [Show full text]
  • Leonard Bernstein's MASS
    27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII.
    [Show full text]
  • Call Me Madam, P
    NEW YORK CITY CENTER EDUCATION INSIDE ENCORES! Your personal guide to the performance. S AR E Y 5 7 TABLE OF CONTENTS CONTEXT Inspiration for Call Me Madam, p. 4-5 Meet the Creators & Artists, p. 6-7 An Interview with Casey Hushion, p. 8-9 Call Me Madam’s Lasting Influence on Encores!, p. 10-12 Glossary, p. 13 RESOURCES & ACTIVITIES Before the Show, p. 15 Intermission Activity, p. 16-17 After the Show, p. 18 Sources p. 19 Up Next for City Center Education p. 20-21 CONTEXT INSPIRATION FOR CALL ME Perle Mesta WHO WAS SHE? Perle Mesta was the first United States Ambassador to MADAM Luxembourg. The original “hostess with the mostest,” Mes- ta was known for hosting lavish parties in Washington D.C for almost 30 years. Born in Oklahoma, her family came into wealth when her father became involved in the oil and real-estate industries. In 1917 she married George Mesta, owner of Mesta Machinery. Mrs. Mesta became interested in politics when her husband introduced her to several high-ranking officials, including President Calvin Coolidge. Following her husband’s death, she became heavily involved in the quest for women’s rights and joined the National Women’s Party as its Congressional chairman and Public Relations specialist. While lobbying for the Equal Rights Amendment, she made a multitude of con- nections with politicians who would later attend her famous social gatherings. A Republican for most of her life, Mesta realigned herself with the Democratic party, opting to give financial support to then Senator Harry Truman.
    [Show full text]
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • Florenz Ziegfeld Jr
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ZIEGFELD GIRLS BEAUTY VERSUS TALENT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Theatre Arts By Cassandra Ristaino May 2012 The thesis of Cassandra Ristaino is approved: ______________________________________ __________________ Leigh Kennicott, Ph.D. Date ______________________________________ __________________ Christine A. Menzies, B.Ed., MFA Date ______________________________________ __________________ Ah-jeong Kim, Ph.D., Chair Date California State University, Northridge ii Dedication This thesis is dedicated to Jeremiah Ahern and my mother, Mary Hanlon for their endless support and encouragement. iii Acknowledgements First and foremost I would like to express my deepest gratitude to my thesis chair and graduate advisor Dr. Ah-Jeong Kim. Her patience, kindness, support and encouragement guided me to completing my degree and thesis with an improved understanding of who I am and what I can accomplish. This thesis would not have been possible without Professor Christine Menzies and Dr. Leigh Kennicott who guided me within the graduate program and served on my thesis committee with enthusiasm and care. Professor Menzies, I would like to thank for her genuine interest in my topic and her insight. Dr. Kennicott, I would like to thank for her expertise in my area of study and for her vigilant revisions. I am indebted to Oakwood Secondary School, particularly Dr. James Astman and Susan Schechtman. Without their support, encouragement and faith I would not have been able to accomplish this degree while maintaining and benefiting from my employment at Oakwood. I would like to thank my family for their continued support in all of my goals.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • "Call Me Madam"
    JNOIAWAPOUS POBLIQ LIB ART AND Ml/SIG OEPAiTiH "CALL ME MADAM" JULY 30-AUG. 5 Indiana i ijreateit Summer C*ntertainment Souuenir Program 25c € ^ 2 a* HILTON U. BROWN THEATRON DRAWING COURTESY OF (BUTLER BOWL) LENNOX & MATTHEWS & ASSOCS., INC. ARCHITECT-ENGINEERS BUTLER UNIVERSITY, INDIANAPOLIS • NOW is the time . to plan your • International Tour • Caribbean Cruise • European Tour • Domestic Tour spring - summer - fall conducted and independent travel Specialists in Tailored for "YOU" Itineraries Wc are appointed agents for: ALL STEAMSHIP LINES ALL AIR LINES ALL RAIL LINES ALL TOUR COMPANIES ALL HOTELS There Is No Substitute for Experience We KNOW, He Have BEEN There ROSS AND BABCOCK TRAVEL BUREAU INC. CLAYPOOL HOTEL MEIrose 5-5417 Indianapolis 4, Ind. Foreign and Domestic Tours and Cruises Passport and Visa Information Our Service Is Free STARLIGHT MUSICALS, INC. A Non-Profit Corporation Directed By Civic Leaders Of The City Of Indianapolis 417 CIRCLE TOWER BUILDING INDIANAPOLIS 4, INDIANA OFFICERS Dear Starlight Musical Patron: H. T. PRITCHARD Chairman of the Board Before the 1956 season of Starlight Musicals has passed, we are sure you will go home one L. G. GORDNER President night humming "There's No Business Like Show Business," and with which I agree. There are JOHN I. KAUTZ pitfalls for the unwary, and rich rewards in satisfaction. These are not limited to the actors them­ Vice President NOBLE L. BIDDINGER selves, but extend to management, and in our case, even to the Board of Directors which now for Vice President another season hope to present good entertainment to the public on a non-profit basis.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    Irving Berlin “This Is the Life!” The Breakthrough Years: 1909–1921 by Rick Benjamin “Irving Berlin remains, I think, America’s Schubert.” —George Gershwin It was a perfect late summer evening in 2015. A crowd had gathered in the park of a small Pennsylvania town to hear the high-school band. I was there to support my trombonist son and his friends. The others were also mostly parents and relatives of “band kids,” with a sprinkling of senior citizens and dog walkers. As the band launched its “covers” of current pop hits toward the treetops, some in the crowd were only half-listening; their digital devices were more absorbing. But then it happened: The band swung into a new tune, and the mood changed. Unconsciously people seemed to sit up a bit straighter. There was a smattering of applause. Hands and feet started to move in time with the beat. The seniors started to sing. One of those rare “public moments” was actually happening. Then I realized what the band was playing—“God Bless America.” Finally, here was something solid—something that resonated, even with these teenaged performers. The singing grew louder, and the performance ended with the biggest applause of the night. “God Bless America” was the grandest music of the concert, a mighty oak amongst the scrub. Yet the name of its creator—Irving Berlin—was never announced. It didn’t need to be. A man on a bench nearby said to me, “I just love those Irving Berlin songs.” Why is that, anyway? And how still? Irving Berlin was a Victorian who rose to fame during the Ragtime Era.
    [Show full text]
  • Alice M. Donahue V. Warner Brothers Pictures Distributing Corporation Et Al : Brief of Respondents Utah Supreme Court
    Brigham Young University Law School BYU Law Digital Commons Utah Supreme Court Briefs (pre-1965) 1953 Alice M. Donahue v. Warner Brothers Pictures Distributing Corporation et al : Brief of Respondents Utah Supreme Court Follow this and additional works at: https://digitalcommons.law.byu.edu/uofu_sc1 Part of the Law Commons Original Brief submitted to the Utah Supreme Court; funding for digitization provided by the Institute of Museum and Library Services through the Library Services and Technology Act, administered by the Utah State Library, and sponsored by the S.J. Quinney Law Library; machine- generated OCR, may contain errors. Van Cott, Bagley, Cornwall & McCarthy; Dennis McCarthy; C. Vernon Langlois; R. W. Perkins; Morris Ebenstein; Of Counsel; Recommended Citation Brief of Respondent, Donahue v. Warner Brothers, No. 7965 (Utah Supreme Court, 1953). https://digitalcommons.law.byu.edu/uofu_sc1/1924 This Brief of Respondent is brought to you for free and open access by BYU Law Digital Commons. It has been accepted for inclusion in Utah Supreme Court Briefs (pre-1965) by an authorized administrator of BYU Law Digital Commons. For more information, please contact [email protected]. In the Supreme Court of the State of Utah ALICE M. DONAHUE, BARBARA D 0 N A HUE, and CONSTANCE MARILYN DONAHUE, Plaintiffs and Appellants, vs. Case No. WARNER BROTHERS PICTURES 7965 DISTRIBUTING CORPORATION, INTERMOUNTAIN THEATRES, INC., ARCH E. OVERMAN and C. E. OVERMAN, Defendants and Respondents. BRIEF OF RESPONDENTS VAN COTT, BAGLEY, CORNWALL, &McCARTHY, DENNIS McCARTHY, Attorneys for Warner Brothers Pictures Distributing Corporation and Inter­ mountain Theatres, Inc. C. VERNON LANGLOIS, Attorney for Arch E.
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
    EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
    [Show full text]