News From VHSource, LLC Vol 4 April 2015 Herbert & Kern? Those of you who read regularly know that we do a lot More Prickly than Enduring of asking “why” and love finding the little “Ah ha’s.” A good reason for that is the fact we’ve been studying ften the “why” something happened is far more the same topic for two decades and keep running into interesting than facts and dates. That pesky “why” interesting parallels and juxtapositions. So and so had Oalso seems to be a topic that most biographers stay a bit of a tiff with so and so - why? We apologize if very far away from. It often leaves a reader wanting more that leads to a modicum of opinion which results in – wanting the researcher to dig deeper. In fact, it would some judgment. Be that as it may ... appear that some almost bend over backwards to avoid even approaching the question. They tell you all sorts of On the surface, Herbert and Kern appear to have had facts about when, where, and who as well as musical little interaction – at the most four encounters that are analysis of measures, themes and compositions. But just discussed by any writer. If one looks in the Index, go looking for a few answers as to “why,” and you’ll see Herbert’s name does not have an abundance of what I mean. reference pages. At first reading each of the four appears to be a fairly benign encounter. However, as We have also noticed while attending various symposiums, we examined the relationship between Victor lectures, talks, etc. that when folks prepare a talk or Herbert and Florenz Ziegfeld which launched in “paper” regarding a particular topic, the viewpoint is also 1916 with the revue/musical comedy entitled The usually factual. This happened, then this, and finally this. Century Girl, we noted that the following year’s When an audience listens and has a chance to ask production questions, the audience will often pose a question Miss 1917, involving, “why.” It is at that point many researchers i n v o l v e d appear to stumble. The last one I heard actually said “I Herbert and hadn’t thought of that aspect.” It’s that pesky question that J e r o m e separates the academic researcher from the passionate K ern . A seeker. If one is passionate about a topic, the mind starts f i r s t “wondering” as one reads the dry, often dull, facts and mention of automatically the question that rises to the surface is those two “why.” It can sometimes lead to much longer research n a m e s time than one first expected. Also, if one is passionate together. about a subject, one reads enough to start re-connecting the dots in different ways as one learns more about a Immediately, some “why” questions arise. Why in certain situation. Occasionally, that connecting of the dots 1916 pair a 28 year old Irving Berlin with the 57 year even comes long after first investigating a subject. If the old best American theatrical composer? Answer: preparer of the paper is coming at the topic from a marketing value! Berlin had become an international relatively new perspective, he or she may very well miss star with his “Alexander’s Ragtime Band” and had the little “ah ha’s.” additional major hits with “I Love A Piano” and “Play 2 News From VHSource, LLC Vol 4 April 2015 A Simple Melody,” all since 1907. The Tin Pan Alley framework in which to wrap the hits but not to choose song writer had also written as many as 300 songs in the the hits themselves. That would be left to Ziegfeld and same time period. The buzz created by teaming Herbert Dillingham as producers with, presumably, input from and Berlin could be huge, and it was. Are these statements both composers. The name of the Kern work? “The based on “fact?” No. They are based far more on Land Where the Good Songs Go.” experience and common sense. The Century Girl was a king sized hit. Why? People came to see Herbert, Berlin We reported last month some fireworks when this and Ziegfeld. The researcher who doesn’t bring a bit of number came up. It struck us as such an interesting common sense and experience to facts sometimes misses story that it led directly to this article. Almost interesting journeys. immediately, we ran across this in-depth description of that first rehearsal in biographer Gerald Bordman’s The Century Girl was a book, Jerome Kern, His Life and Music, Oxford significant enough hit to warrant University Press, 1980. Fortunately Bordman proved trying the same formula again. For to be one of the few to make some non-factual Miss 1917 Ziegfeld kept Herbert observations: because he loved the huge production numbers Herbert could When shows are in trouble, the troubles usually both musically and speedily churn appear quite early. In the case of the new show, out and added Jerome Kern. which Dillingham and Ziegfeld decided to call Immediately the question “why” Miss 1917 the troubles began at the very first again raises its head. Why not rehearsal. Jerry had been assigned to write a song Jerome Kern pre 1920 stick with Berlin? One could stop [“The Land Where the Good Songs Go”] that with the facts, and most would frame the first-act finale, which was to biographers for the three men seem to have done just that. consist of a medley of old favorites and a salute to then not-too-distant performers who had made One will often find a small reference to this pairing in the them famous. Several of those performers were in biographies. But the “why” and the result of the “why” are fact in the show. Bessie McCoy had returned to much more intriguing, and this takes a bit digging as well the stage as Bessie McCoy Davis and would sing as good old common sense. “The Yama Yama Man” much as she had nine years before in Three Twins [1908]. Elizabeth Ziegfeld was all about hiring the “best,” “bigger” and Brice [No relation to Fanny] and Charles King “better.” If the formula worked using a relatively new would revive “Be My Baby Bumble Bee” from A talent, think what success could be attained if Ziegfeld Winsome Widow [1912, produced by Ziegfeld]. now hired Jerome Kern, the second best American Other cast members were selected to impersonate theatrical composer and paired him with Herbert. Again, famous artists not in the show and to sing their songs. For example, Marion Davis was to play the contract did not ask either composer to “work Edna May and sing her “Follow On,” from The together.” Each had his own scoring chores and was ready Belle of New York [1897]. for the first rehearsal with the score and parts to become a complete production score. Yet, why not have the two When it came to assigning newcomer Vivienne working together? In the case of The Century Girl, the Segal [1897-1992] a song, Herbert promptly producers may have decided it was best to protect the suggested that she do Fritzi Scheff’s “Kiss Me neophyte from the machine. In the case of Miss 1917, Again.” [Mlle Modiste, 1905] Jerry said he thought perhaps it was to keep egos from clashing. Hmmm - a fact, Miss Segal in no way resembled Herbert’s old star definitely not stated anywhere. Common sense? but that she could easily impersonate Julia Definitely, and just wait for the result. Sanderson and sing “They Didn’t Believe Me.” [Girl From Utah, 1914] A mild argument ensued between the two composers, with each telling the One of Kern’s assignments had been a medley number for young singer to go home and study his particular the first act during which the production would salute all song. Miss Segal had only come to Broadway’s the old favorite Broadway hits and the singers who had attention two years before in The Blue Paradise introduced them. Kern’s assignment was to produce a [1915]. She rightly felt her place was not yet secure, but feared offending either Kern or 3 News From VHSource, LLC Vol 4 April 2015 Herbert. She took both songs home and sang each one NOTE: We actually applaud Bordman for talking about carefully several times. Finally, she concluded that sensitive materials, utilizing words that are a bit on the Herbert was correct. His song fit her natural tessitura judgmental side. In defense of Kern, whom he is after all comfortably. Rather that make the ultimate decision, writing about, Bordman also points out that “They Didn’t Miss Segal soliticited Dillingham’s advice. He told her, Believe Me” is generally regarded as the first 4/4 love “Stick to your guns.” ballad to become the principal song in a Broadway musical.” Why fight over this song versus “Kiss Me Again?” Let’s look a little closer at the song itself. Wikipedia tells us : The Girl from Utah is an Edwardian musical comedy in two acts with music by Paul Rubens, and Sidney Jones, a book by James T. Tanner, and lyrics by Adrian Ross, Percy Greenbank and Rubens. The story concerns Vivienne Segal an American girl who runs away to London to Several days later when the time came for the first run- avoid becoming a wealthy Mormon's newest through of the scene, Miss Segal waited for her turn, wife. The Mormon follows her to England, then came forward and began to sing “Kiss Me Again.” but she is rescued from a bigamous marriage She had barely sung the first phrase when Jerry came by a handsome actor.