"TIN PAN ALLEY" was the nickname given to the street where many music publishers worked during the period of 1880 to 1953. In the late 19th century, New York had become the epicenter of songwriting and music publishing, and publishers converged on the block of West 28th Street between Broadway and Sixth Avenue in Manhattan.
There are several stories about how the block got its name. One that is often repeated tells of a reporter (Monroe ROSENFELD) for the 'New York Herald' who was hired to write about the new business of sheet music publishing in the city. As he walked down 28th Street toward the publishing offices, he heard the dissonant chords and strings of competing pianos through the open windows. The sound, he remarked, sounded like a bunch of tin pans clanging.
During the period before Elvis Presley* made a song's performance more important than its publication--when a song's popularity was determined not by the number of records it sold but by the number of sheet music copies it sold--publishing companies hired composers and lyricists on a permanent basis to create popular songs. The publishers then used extensive promotion campaigns to market these songs to the general public in sheet music form.
Never in the history of American popular music were so many genres centered in one area. Through the 1880's and into the early 1900's, the European operettas were a heavy influence on American songs. This period is referred to as the Golden Age of the ballad. Between 1900 and 1910, more than 1800 "rags" had been published on TIN PAN ALLEY, beginning with "Maple Leaf Rag" by Scott Joplin*.
In 1912, W.C. Handy* introduced popular music to the underground sound of the Blues. By 1917, a recording by a new musician, Louis Armstrong*, took over TIN PAN ALLEY and the 1920's were dedicated to the playing and recording of Jazz. Theatre, which had remained the entertainment of choice, fused all preceding stage shows -- minstrel, vaudeville, musical comedy, revues, burlesque and variety -- to create the spectacular Broadway production.
By 1926, the first movie with sound came creating a new outlet for production music. Folk and Country Music was introduced to mainstream audiences in the mid-1930's. Big bands and swing music defined the 1930's and 40's, introducing new accompanying vocalists such as Ella Fitzgerald* and Billie Holiday*. In the early 40's, publishers imported Latin American sound from Brazil, Mexico and Cuba and English lyrics were adapted to foreign themes.
At the close of World War II, instrumental big bands faded behind the popularity of vocal groups and the new modern sound called "be-bop".
In the beginning of the 1950's, radio play and disc jockeys became more prominent, and records were being produced for sale to the public-mostly targeted toward teenagers -- rather than sheet music created for adults who bought music for their home. Publishers were no longer in charge of the promotion of a song, and from 1953 to the present, rock and roll dominated the charts.
The collaboration between publishers, songwriters and songwriting teams created the greatest popular songs of our country's musical history. While obsolete now, TIN PAN ALLEY remains synonymous with the most prolific and diverse period in American popular music.
Leading Jewish 'Tin Pan Alley /Broadway' composers include:
Mauric ABRAHAMS (1883 - 1931)
Irving ACTMAN
Stanley ADAMS (1907 - 1994)
Milton AGER (b. Oct. 6, 1893 - 1979)
Fred E. AHLERT (1892 - 1953)
Harry AKST (1894 - 1963)
Louis ALTER (1902 - 1980)
Harold ARLEN (1905 - 1986)
Gus ARNHEIM (1897 - 1955)
Abel BAER (1893 - 1976)
Nora BAYES (b. Leonora Goldberg; 1880 - 1928)
Milton BERLE (b. Mendel Berlinger; 1908 - 2002)
Irving BERLIN (b. Israel Baline; 1888 - 1989)
"Art" (Arthur Harry) BERMAN
Marc BLITZSTEIN
Rube (Reuben) BLOOM (1902 - 1976)
Nicholas "Slug" BRODSZKY (1905 - 1985)
Lew BROWN (b. Louis Brownstein; 1893 - 1958)
Irving CAESAR (1895 - 1996)
Sammy CAHN (b. Samuel Cohen; 1913 - 1993)
Saul CHAPLIN (b. Kaplan; 1912 - 1997)
Irving COHN (1898 - 1961)
Max COLPET (b. Kolpenitzky; 1905 - 1998)
Betty COMDEN (b. Elizabeth Cohen; 1917 - 2006)
Irving CONN (b. Cohn; 1898 - 1961)
Sam COSLOW (1902 - 1982)
Evelyn DANZIG (b. Levine; 1902 - 1996)
Joe DARION
Mack DAVID (1912 - 1993)
Benny DAVIS (1895 - 1979)
B.G. (Buddy) DE SYLVA (1895 - 1950)
Emery DEUTSCH
Helen DEUTSCH (1906 - 1992)
Howard DIETZ (1896 - 1983)
Ervin DRAKE (b. Ervin Maurice Druckman; 1919 -)
Milton DRAKE (b. Druckman; 1912 - 2006)
Al DUBIN (1891 - 1945)
Gus EDWARDS (b. Simon; 1879 - 1945)
Sherman EDWARDS (1919 - 1981)
Edward ELISCU
Ludwig ENGLANDER (1859 - 1914)
"Ray" (Raymond B.) EVANS (1915 - 2007)
Sammy FAIN (1902 - 1989)
Ted FETTER
"Buddy" (Arthur B.) FIELDS (1889 - 1965)
Dorothy FIELDS (1905 - 1973)
Herbert FIELDS (1897 - 1958)
Doris FISHER (1915 - 2003)
Fred FISHER (1875 - 1942)
Marvin FISHER
Dave FRANKLYN
Arthur FREED (b. Grossman; 1894 - 1973)
Ralph FREED (1907 - 1973)
Max FREEDMAN (1893 - 1962)
Anatole FRIEDLAND (1888 - 1938)
Leo FRIEDMAN (1869 - 1927)
George GERSHWIN (b. Jacob Gershvin; 1898 - 1937)
Ira GERSHWIN (b. Gershvin; 1896 - 1983)
L. Wolfe GILBERT (1886 - 1970)
Ray GILBERT
Ray GOETZ
John GOLDEN (1874 - 1955)
Irving GORDON (1915 - 1996)
Mack GORDON (b. Morris Gittler; 1904 - 1959)
Jay GORNEY (b. Abraham J. Gornetzsky; 1894 - 1990)
Morton GOULD (1913 - 1996)
Adolph GREEN (1914 - 2002)
Bud GREEN (1897 - 1981)
Johnny GREEN (Oct. 10, 1908 - May 15, 1989)
Mort GREENE
Wilhelm GROSZ (aka Hugh Williams; 1894 - 1939)
Oscar HAMMERSTEIN* II (1895 - 1960)
Lou (Louis A.) HANDMAN (1894 - 1956)
Otto HARBACH (b. Hauerbach; 1873 - 1963)
E.Y. ("Yip") HARBURG (1896 - 1981)
Chas. K. (Charles Kassel) HARRIS* (1867 - 1930)
(the "King of the Tear Jerker")
"Larry" (Lorenz) HART (1895 - 1943)
Edward HEYMAN (1907 - 1981)
Bob HILLIARD (1918 - 1971)
Louis A. HIRSCH (1887 - 1924)
Al HOFFMAN (1902 - 1960)
Frederick (Friedrich) HOLLANDER (1896 - 1976)
Nat (Charles) HOROWITZ
Victor JACOBI (1883 - 1921)
Moe JAFFE (1901 - 1972)
Paul JAMES
Walter JURMANN (Oct. 12, 1903 - 1971)
Irving KAHAL (1903 - 1943)
Gus KAHN (b. Gustav Gerson Cohen; 1886 - 1941)
Roger Wolfe KAHN (1907 - 1962)
Bronislaw KAPER (1902 - 1983)
Buddy (Jules) KAYE (1918 - 2002)
Walter KENT (b. W. Maurice Kaufman; 1911 -)
Jerome D. KERN (1885 - 1945)
Ted KOEHLER (1894 - 1973)
Burton LANE (b. Levy, 1912 - 1997)
Jack LAWRENCE (1912 -)
Alan J. LERNER (1918 - 1986)
Sammy LERNER
Oscar LEVANT (1906 - 1972)
Al LEWIS (b. Albert or Alexander Meister; 1923? - 2006)
Sam M. LEWIS (1885 - 1959)
Jay LIVINGSTON (b. Jacob H. Levison; 1915 - 2001)
Jerry LIVINGSTON (b. Gerald Levinson; 1909 - 1987)
John Jacob LOEB (1910 -)
Frank H. LOESSER (June 29, 1910 - July 26, 1969)
Frederick LOEWE* (1901 - 1988)
Abe LYMAN (1897 - 1957)
Herb MAGIDSON (1906 -)
Edward B. MARKS (1865 - 1945)
Gerald MARKS (b. Oct. 13, 1900 - 1997)
Johnny MARKS (1909 - 1985)
Abel MEEROPOL (aka Lewis Allen; 1903 - 1986)
Joseph MEYER (1894 - 1987)
Irving MILLS (1894 - 1985)
Paul MISRAKI (1908 - 1998)
Vic MIZZY (1916 - 2009)
Joseph (Josef) MYROW (1910 - 1987)
Al (Allen J.) NEIBURG
Charles NEWMAN (1901 -)
Alex NORTH (b. Isadore Soifer; 1910 - 1991)
Mitchell PARISH (b. Michael Pashelinsky; 1900 - 1993)
Molly PICON (b. Margaret Opiekun; 1898 - 1992)
Lew POLLACK (1895 - 1945)
Ralph RAINGER (b. Reichenthal; Oct. 7, 1901 - Oct. 23, 1942)
Samuel "Buck" RAM (1907 - 1991)
Harry REVEL (1905 - 1958)
Leo ROBIN (1900 - 1984)
Richard RODGERS (orig. Rogazinsky; 1902 - 1979)
Sigmund (Zsigmond) ROMBERG (1887 - 1959)
Harold (Jacob) ROME (1908 - 1993)
Ann RONELL (b. Anna Rosenblatt; 1906/08 - 1993)
Billy ROSE (b. William S. Rosenberg; 1899 - 1966)
Monroe ROSENFELD
Bob ROTHBERG (1901 - 1938)
Harry RUBY (b. Rubinstein; 1895 - 1974)
Herman RUBY (1892 - 1959)
Arthur SCHWARTZ (1900 - 1984)
Jean SCHWARTZ (1878 - 1956)
Sholom SECUNDA
Jack SEGAL (1918 - 2005)
Dan SHAPIRO
Ted SHAPIRO
Al SHERMAN (1897 - 1973), father of the Sherman Brothers
Maurice SIGLER (1901 - 1961)
Carl SIGMAN (1909 - 2000)
Abner SILVER (1899 - 1966)
Frank SILVER (1896 - 1960)
Louis "Lou" SILVERS (1889 - 1954)
Howard SIMON
Moises SIMONS
Seymour SIMONS (1896 - 1949)
Louis C. SINGER
Ted SNYDER (1881 - 1965)
Fred SPIELMAN (1906 - 1997-)
Phil SPRINGER
Ted STERN
Joseph W. STERN (1870 - 1934)
Al STILLMAN (1906 - 1979)
Jule STYNE (1905 - 1994)
Dana SUESSE (1909 - 1987)
Doris TAUBER (1907 - 1996)
Irving TAYLOR (1914 - 1983)
Sammy TIMBERG (1903 - 1992)
Charles TOBIAS (1898 - 1970)
Harry TOBIAS (1895 - 1994)
Henry TOBIAS (1905 -)
Roy TURK (1892 - 1934)
Ralph Erwin VOGL (aka Harry Wright; 1896 - 1943)
Albert VON TILZER (b. Gummbinsky; 1878 - 1956)
Harry VON TILZER (b. Gummbinsky; 1872 - 1946)
Paul Francis WEBSTER (1907 - 1984)
Kurt WEILL (1900 - 1950)
George David WEISS (1921 -)
Meredith WILLSON (b. Robert M. Reiniger; 1902 - 1984)
Allie WRUBEL (1905 - 1973)
Jack YELLEN (1892 - 1991)
Victor YOUNG (1899 - 1956)
Some Jewish post-'Tin Pan Alley' songwriters-composers:
Lee ADAMS (1924 -)
Richard ADLER (1921 -)
eden ahbez (aka Alexander Aberle; 1908 - 1995)
Lynn AHRENS
Arthur ALTMAN (1910 - 1994)
Morey AMSTERDAM (1912 -)
Ken (Kenneth) ASCHER (1944 -)
Howard (Elliott) ASHMAN (1950 - 1991)
Burt BACHARACH (1928 -)
David BAERWALD (1960 -)
Steve BARRI (b. Steven Barry Lipkin; 1942 -)
Jeff BARRY (b. Joel Adelberg; 1938 -)
Lionel BART (b. Begleiter; 1930 - 1999)
George BASSMAN (1914 - 1997)
Roy C. BENNETT
Alan BERGMAN (1925 -)
Bert (Bertrand Russell) BERNS (1929 - 1967)
Don BLACK (1938 -)
Jerry BOCK (1928 -)
Michael BOLTON (b. Bolotin; 1953 -)
Carla BONOFF (1952 -)
Alain BOUBLIL (1941 -)
Roy BRODSKY
Jason Robert BROWN (1970-)
Eric (Howard) CARMEN (1949 -)
Morris "Moose" CHARLAP (1928 - 1974)
Martin CHARNIN (1934 -)
Deborah CHESSLER (1930 -)
Leonard (Norman) COHEN (1934 -)
Mark COHN
Cy COLEMAN (b. Seymour Kaufman; 1929 - 2004)
Carol CONNORS (b. Annette Kleinbard; 1940 -)
Linda CREED (1949 - 1986)
Manny CURTIS (b. Emanuel Kurtz; 1911 -)
Hal DAVID (1921 -)
Neil DIAMOND (1941 -)
Bob DYLAN (b. Robert Allen Zimmerman; 1941 -)
Fred EBB (1933/35 - 2004)
Sylvia White EISENBERG
Donald FAGEN (1948 -)
Leonard FEATHER (1914 - 1994)
Bob FELDMAN
Jack FELDMAN
Sid (Sidney) FELLER (1916 - 2006)
Buddy FEYNE (b. Bernard Feinstein; 1912 - 1998)
Sylvia FINE (1913 - 1991)
William (Alan) FINN (1952 -)
Dan FOGELBERG (1951 -)
Charles FOX
Art (Arthur) GARFUNKEL (1941 -)
Brian GARI
Bruce GELLER (1930 - 1978)
Norman GIMBEL
Norbert GLANZBERG
Kevin GODLEY
Gerry GOFFIN (1939 -)
Andrew GOLD* (1951 -)
Julie GOLD
Jerry GOLDSTEIN
Steve GOODMAN (1948 - 1984)
Michael GORE
Richard GOTTEHRER
Jack GOTTLIEB
Graham GOULDMAN
Norman GREENBAUM
Mort GREENE (1912 - 1992)
Howard GREENFIELD (1936 - 1986)
Ellie (Eleanor Louise) GREENWICH* (1940 -)
Walter GROSS (1909 -)
Christopher GUEST* (5th Baron Haden-Guest; 1948 -)
Arlo GUTHRIE* (1947 -)
Albert HAGUE (b. Oct. 13, 1920)
Marvin HAMLISCH (1944 -)
Jack HAMMER
Larry HARLOW (1939 -)
Sheldon HARNICK (1924 -)
Phil HARRIS
Jerry (Gerald) HERMAN (1933 -)
Arthur HERTZOG
Peter HIMMELMAN (1960 -)
Joel HIRSCHORN (1938 - 2005)
James (Roy) HORNER (1953 -)
Janis IAN (b. J. Eddy Fink; 1951 -)
Jacob JACOBS
Michael JARY (b. M. Andreas Jarczyk; 1906 - 1988)
Billy (William Martin) JOEL (1949 -)
Si KAHN
Martin KALMANOFF
John KANDER (1927 -)
Lucy KAPLANSKY (1960 -)
Al KASHA (1937 -)
Jack KELLER (1936 - 2005)
Aaron Jay KERNIS (1960 -)
Carole KING (b. Klein; 1942 -)
Don (Donald) KIRSHNER (1934 -)
Edward KLEBAN (1939 - 1987)
Mark KNOPFLER
Al KOOPER (1944 -)
Michael KORIE
Artie (Arthur Lawrence) KORNFELD (1942 -)
Lenny (Leonard) KRAVITZ* (1964 -)
Herbert KRETZMER (b. Oct. 5, 1925 -)
Jerry (Jerome) LEIBER (1933 -)
Carolyn LEIGH (1926 - 1981)
Mitch LEIGH (b. Irwin Mitnick; 1928 -)
Francis LEMARQUE (b. Nathan Kolb; 1917 -)
Jacques LEVY (1935 - 2004)
Andrew LIPPA (1964 -)
Sidney LIPPMAN (1914 - 2003)
Leonard "Lenny" LIPTON (1940 -)
Mark LONDON
Brian LOWDERMILK
Melissa MANCHESTER (1951 -)
Johnny MANDEL (1925 -)
Barry MANILOW (b. Barry Alan Pincus; 1946 -)
Barry MANN (b. Barry Iberman; 1939 -)
David MANN (b. Freedman; Oct. 3, 1916 - 2002)
Dick MANNING (b. Samuel Medoff; 1912 - 1991)
Walter MARKS
Jeff MARX (1970 -)
Richard (Noel) MARX (1963 -)
Eric MASCHWITZ (1901 - 1969)
Michael MASSER
Linda MELNICK (b. Rodgers)
Alan MENKEN (1949 -)
Bob MERRILL (b. Henry Lavan; 1921/23 - 1998)
Essra MOHAWK (b. Sandra Elayne Hurvitz; 1948 -)
Anthony NEWLEY (1931 - 1999)
Randy (Randall Stuart) NEWMAN (1943 -)
Laura NYRO (b. Nigro: 1947 - 1997)
Phil (Philip David) OCHS (1940 - 1976)
Marty PANZER
David POMERANZ
Jerome "Doc" POMUS (1925 - 1991)
Jerry RAGOVOY (1935 -)
Lou (Lewis Allen) REED (orig. Rabinowitz; 1942 -)
Jonathan RICHMAN (1951 -)
Robbie (Jamie Robert) ROBERTSON* (1943 -)
Mary RODGERS (1939 -)
David ROSE (1910 - 1990)
Jerry ROSS (b. Jerold Rosenberg; 1926 - 1955)
Fritz ROTTER (1900 - 1984)
Mark SANDMAN (1952 - 1999)
Carole Bayer SAYER (1947 -)
Milton SCHAFER
Claude-Michel SCHONBERG (1944 -)
Stephen SCHWARTZ (1948 -)
Sherwood SCHWARTZ (1916 -)
Neil SEDAKA (1939 -)
Maurice SHAPIRO
Richard M. SHERMAN (1928 -)
Robert B. SHERMAN (1925 -)
Andy SHERNOFF
David SHIRE (1937 -)
Mort (Mortimer) SHUMAN (1936 - 1991)
Carl SIGMAN (1909 - 2000)
Jeff SILBAR
Shel (Sheldon Alan) SILVERSTEIN (1930 - 1997)
Carly (Elisabeth) SIMON* (1945 -)
Paul (Frederic) SIMON (1941 -)
P. F. SLOAN (b. Philip Gary Schlein; 1945 -)
Phoebe SNOW (b. P. Ann Laub; 1952 -)
Stephen SONDHEIM (1930 -)
Phil (Harvey Phillip) SPECTOR (1940 -)
Paul STANLEY (b. Stanley Harvey Eisen; 1952 -)
Chris STEIN (1950 -)
Billy STEINBERG
Jim STEINMAN (1947 -)
Michael STEWART (1924 - 1987)
Mike STOLLER (1933 -)
Barbra STREISAND (1942 -)
Charles STROUSE (1928 -)
Bruce SUSSMAN
Sid TEPPER
Mel (Melvin Howard) TORME (1925 - 1999)
Diane (Eve) WARREN (1956 -)
Cynthia WEIL (1937 -)
Bobby WEINSTEIN
Ben "Bernie" WEISMAN (1921 - 2007)
Larry WEISS
George WYLE (b. Bernard Weissman; 1916 - 2003)
Peter YARROW (1938 -)
Maury YESTON
Pete (Peter) YORN (1974 -)
Hy ZARET (b. Hyman Zaritsky; 1907-2007)
Warren ZEVON* (1947 - 2003)
Influences
MUSICAL
Richard Charles RODGERS (born June 28, 1902, NYC - December 30, 1979) was one of the great composers of musical theater, best known for his song writing partnerships with Lorenz HART and Oscar HAMMERSTEIN* II. He wrote more than 900 published songs, and 40 Broadway musicals. Many of his compositions continue to have a broad appeal and have had a significant impact on the development of popular music.
Lorenz "Larry" HART (May 2, 1895, Harlem, NY - November 22, 1943) was the lyricist half of the famed Broadway songwriting team RODGERS and HART. His most memorable lyrics include, "Blue Moon", "The Lady is a Tramp", "Manhattan", "Mountain Greenery", and "My Funny Valentine".
Oscar HAMMERSTEIN* II (July 12, 1895, NYC - August 23, 1960) was an American writer, producer, and (usually uncredited) director of musicals for almost 40 years.
George GERSHWIN (September 26, 1898, Brooklyn, NY - July 11, 1937, NY), born Jacob Gershvin [orig. Gershowitz], was an American composer who wrote most of his vocal and theatrical works in collaboration with his elder brother lyricist Ira (Israel) GERSHWIN (1896-1983). Gershwin composed both for Broadway ("Lady Be Good") and for the classical concert hall ("Rhapsody in Blue", "Porgy and Bess"). He also wrote popular songs with success. Many of his compositions have been used on television and in numerous films, and many became Jazz standards. Some of their more famous works include: "The Man I Love", "Fascinating Rhythm", "Someone to Watch Over Me", "I Got Rhythm", "Summertime", and "They Can't Take That Away from Me".
Otto A. HARBACH (August 18, 1873, Salt Lake City, Utah - January 24, 1963) was an American lyricist and librettist of about 50 musical comedies
Jerry (b. Gerald) HERMAN (July 10, 1933, New York City) is an American composer/lyricist of the Broadway musical theater. He composed the scores for the hit Broadway musicals "Hello, Dolly!", "Mame", and "La Cage aux Folles".
Some leading Jewishfilm score composers:
Burt BACHARACH
George BASSMAN
Elmer BERNSTEIN
Francis CHAGRIN (aka Alexander Paucker)
Danny ELFMAN
Charles FOX
Hugo W. FRIEDHOFER
Irving GERTZ
Walter GOEHR
Ernest GOLD
Elliott GOLDENTHAL
Jerry GOLDSMITH
Allan GRAY (b. Josef Zmigrod)
Johnny GREEN
Dave GRUSIN*
Bernard HERRMANN
James HORNER
Dick HYMAN
Bronislaw KAPER
Fred KARLIN (1936- 2004)
Laura KARPMAN (1959 -)
Erich Wolfgang KORNGOLD
Joseph KOSMA (b. Jozsef Kozma; 1905 - 1969)
Irwin KOSTAL
Johnny MANDEL
Vic MIZZY
Stanley MYERS
Alfred NEWMAN
Lionel NEWMAN
Thomas NEWMAN*
Alex NORTH
Michael NYMAN
Cyril ORNADEL
Andre PREVIN
Harry RABINOWITZ
David RAKSIN
David ROSE
Leonard ROSENMAN
Lawrence ROSENTHAL
Miklos ROZSA
Walter SCHARF
"Lalo" (Boris) SCHIFRIN
David SHIRE
Howard SHORE
Matyas SEIBER
Shel SILVERSTEIN
Herman STEIN
Max STEINER
George E. STOLL
Morris STOLOFF
Peter TINTURIN
Dimitri TIOMKIN
Franz WAXMAN
Victor YOUNG
Sounds Like
Popular standards are, according to Webster*, "something established as a rule or basis of comparison in measuring or judging quantity, quality, value, etc.; a usage or practice that is generally accepted or followed; criterion; a piece of music that has remained popular for many years; suitable to speech or writing that is more or less formal; not slang, dialectal, obsolete". Popular standards from TIN PAN ALLEY are all of those things.
A standard is a song immediately recognized. It is a song one may not know the title to, but with the first four words and two measures, immediately sings along with (for example Irving BERLIN's "Cheek To Cheek" is recognizable for the phrase "Heaven... I'm in Heaven...").
The standards from TIN PAN ALLEY are individual, written without the context of a script or storyboard, from a single inspiration. While many standards were later included in Broadway shows or Hollywood musicals, the songs were not written for that purpose.
The words and music reflect the creative personality of the songwriters and many times, their personal recollections and emotions. Special to TIN PAN ALLEY because of their enduring popularity and constant rebirth, most Americans cannot remember a time when standards did not exist. Standards are timeless and embedded in the American psyche-reflecting the soundtrack of our lives.
Never before and never after TIN PAN ALLEY was American popular culture so clearly defined by American popular music. TIN PAN ALLEY was based on the songwriter and the creation of standards. The collaborations that came out of TIN PAN ALLEY were unlike any the music world had ever known or would ever know again.
TIN PAN ALLEY's biggest hits included (chronological):
"After the Ball" (Charles K. HARRIS, 1892)
"The Man Who Broke the Bank at Monte Carlo" (Charles Coborn*, 1892)
"The Sidewalks of New York" (Lawlor* & Blake*, 1894)
"The Band Played On" (Charles B. Ward* & John F. Palmer*, 1895)
"Mister Johnson, Turn Me Loose" (Ben Harney*, 1896)
"A Hot Time in the Old Town Tonight" (Joe Hayden* & Theodore MERTZ, 1896)
"Warmest Baby in the Bunch" (George M. Cohan*, 1896)
"At a Georgia Campmeeting" (Kerry Mills*, 1897)
"Hearts & Flowers" (Theodore Moses Tobani*, 1899)
"Hello My Baby (Hello Ma Ragtime Gal)" (Emerson*, Howard* & Sterling*, 1899)
"Only a Bird in a Gilded Cage" (Harry Von TILZER, 1900)
"Bill Bailey, Won't You Please Come Home" (Huey Cannon*, 1902)
"In the Good Old Summertime" (Ren Shields* & George Evans*, 1902)
"Give My Regards To Broadway" (George M. Cohan*, 1904)
"Way Down Yonder In New Orleans" (Creamer* & Turner Layton*, 1922)
"Yes, We Have No Bananas" (Frank SILVER & Irving COHN, 1923)
"I Cried for You" (Arthur FREED & Nacio Herb Brown*, 1923)
"Everybody Loves My Baby" (Spencer Williams*, 1924)
"All Alone" (Irving BERLIN, 1924)
"Sweet Georgia Brown" (Maceo Pinkard*, 1925)
"Baby Face" (Benny DAVIS & Harry AKST, 1926)
"Lindbergh (The Eagle of the U.S.A.)" (Al SHERMAN & Howard Johnson*, 1927)
"(Potatoes Are Cheaper, Tomatoes Are Cheaper) Now's The Time To Fall In Love" (Al SHERMAN & Al LEWIS, 1933)
"You Gotta Be a Football Hero" (Al SHERMAN, Buddy FIELDS & Al LEWIS*, 1933)
"Unchained Melody" (Hy ZARET / Alex NORTH)
Some -- legendary -- Jewish jazz-perfomers & composers :
Larry ADLER (harmonica),
Georgie AULD (saxophone),
Joey BARON (drums),
Jay BECKENSTEIN (sax),
Bob BERG (sax),
Jeff BERLIN (bass),
Sonny BERMAN (trumpet),
Hal BLAINE (drums),
Rube BLOOM,
Ruby BRAFF (trumpet),
Michael BRECKER (sax),
Randy BRECKER (trumpet),
Bob BROZMAN (),
Uri CAINE (piano),
Barbara CARROLL (piano),
Serge CHALOFF (sax),
Popa CHUBBY (vocals),
Peter CINCOTTI* (piano/vocals),
Buddy CLARK (vocals),
AL COHN (sax),
Steve COLEMAN,
The COMEDIAN HARMONISTS (Roman CYCOWSKI, Harry FROMMERMANN, Erich COLLIN; vocals),
Harry CONNICK*, Jr. (piano/vocals),
Marc COPLAND (piano),
Jeremiah CYMERMAN (clarinet),
Eddie DANIELS (clarinet),
Paul DESMOND (sax),
Dave DOUGLAS (trumpet),
Ziggy ELMAN (trumpet),
Percy FAITH (piano/composer/conductor),
Andy FARBER (sax),
Mitch FARBER,
Frances FAYE (vocals/piano),
Michael FEINSTEIN (vocalist/piano),
Victor FELDMAN (drums),
Eddie FISHER (vocalist),
Bela FLECK (banjo),
Benjamin FRANKEL (violin/piano/vocals)
Bud FREEMAN (sax),
Dave FRISHBERG (piano/vocals),
Kenny G. (sax),
Herb GELLER (sax),
George GERSHWIN (piano),
Terry GIBBS (vibraphone),
Sandy GOLD (piano),
Aaron GOLDBERG (piano),
Stu GOLDBERG (paino)
Gil GOLDSTEIN (piano, accordion),
Benny GOODMAN (clarinet),
Eddie GORME (vocals),
Burton GREENE (piano),
David GRISMAN (mandolin),
Marvin HAMLISCH,
Lennie HAYTON,
Woody HERMAN (clarinet/sax),
Yaron HERMAN (piano),
Fred HERSCH (piano),
Art HODES (piano),
Paul HORN (flute),
Dick HYMAN (piano),
Ike ISAACS (guitar),
David IZENZON (double-bass),
Harry JAMES (trumpet),
Al JOLSON (vocals),
Tiny KAHN (drums),
Max KAMINSKY (trumpet),
Fred KARLIN (trumpet),
Dick KATZ (piano),
Barney KESSEL (guitar),
Lee KONITZ (sax),
Dave KOZ (sax),
Steve LACY (sax),
Steve LAWRENCE
Jack LESBERG (bass),
Oscar LEVANT (piano),
Stan LEVEY (drums),
Milcho LEVIEV (piano),
Mark LEVINE (piano/valve trombone),
Lou LEVY (piano),
Mel LEWIS (drums),
Ted LEWIS (vocals/clarinet),
Mike MAINIERI (vibraphone),
Herbie MANN (flute/sax),
Shelly MANNE (drums),
Marky MARKOWITZ (trumpet),
Tony MARTIN (vocals),
Mezz MEZZROW (clarinet/sax),
Buddy MORROW (trombone),
Ben POLLACK (drums),
Flora PURIM (vocals),
Joshua REDMAN (tenor saxophone),
Kip REED (bass),
Ephy RESNICK (trombone),
Buddy RICH (drums),
Red RODNEY (trumpet),
Shorty ROGERS (trumpet),
Joel ROSENBLATT,
Eddie ROSNER (trumpet),
Dave SAMUELS (vibraphone, marimba),
Boris "Lalo" SCHIFRIN
Raymond SCOTT (piano),
Ronnie SCOTT, OBE (sax),
Artie SHAW (clarinet),
Dinah SHORE (vocals),
Ben SIDRAN (piano/keyboards),
Zoot SIMS (sax),
Willie "The Lion" SMITH*,
Jeremy STEIG (flute),
Sylvia SYMS (vocals),
Mel TORME (vocals),
George WEIN (piano),
Cecil WINSTON (drums/piano),
Michael WOLFF (piano),
Denny ZEITLIN (piano),
Michael ZILBER (sax),
John ZORN (sax).
There really is no such place in New York as TIN PAN ALLEY, and there never was. The term was supposedly coined by a songwriter-reporter named Monroe ROSENFELD in 1903 or so, who compared the din of piano-playing song pluggers pounding battered uprights on publisher's row on New York's 28th Street to tin pans.
The name stuck, even after many of those offices had either gone, broke or gotten rich and moved uptown, or later still, had sold their catalogs to the Hollywood studios and the record companies.
TIN PAN ALLEY for many years meant, simply, the business of popular music, like Wall Street is shorthand for the money business and Silicon Valley for semiconductors and cyberspace.
Vaudeville and the bustling Musical comedies of the early 20th century created rich opportunities for a generation of American songwriter/publishers such as Albert and Harry VON TILZER, Charles K. Harris, and Felix F. FEIST. Along with dozens of others they were the founders of TIN PAN ALLEY. Their armies of song pluggers roamed the streets of New York and Chicago, blasting out the words and music of the latest tunes to any producer or performer who would listen. Even Operettas playing in legitimate theaters could be hustled to introduce a new song, an "interpolation" totally unrelated to the show.
"You'd be So Nice to Come Home To
If I Had My Way
I Would Do Anything for You
You're the Cream in My Coffee".
Once launched, the songs were purveyed to the public largely on sheet music, the song fully detailed on two staves for piano and a vocal staff above it, with melody and lyrics. The upright piano had come into its own as the century turned, and most middle-class homes had a piano and several people in the family to play it. Successful songs sold hundreds of thousands of copies. The popular songs of the early 20th century were pedestrian affairs, with simple harmonies common to hymns and Folk songs. With few exceptions, the TIN PAN ALLEY songwriters were self-taught and musically quite unsophisticated. Their legacy of Standards is thin to nil.
"Once in a While
Day In, Day Out
Through the Years
With a Song in My Heart
I Hear a Rhapsody".
Still, if the product of TIN PAN ALLEY didn't represent cultural finery, it did furnish a training ground for young songwriters who would soon endow American music with a real cultural treasue: 'the Songbook of American Standards'. It's almost as if those hardscrabble TIN PAN ALLEY publishers had planned an old-world apprentice system. Among the kids working on the ALLEY, demonstrating the new tunes for Vaudevillians or writing charts for their orchestras, were a 15-year-old George GERSHWIN at REMICK, a fellow named Harry RUBY pushing product for the Gus EDWARDS and VON TILZER houses, and a young composer of recognized talent, Jerome David KERN, marking times as a stock clerk over at T.B. Harms. They and dozens like them would soon be the journeymen in the trade, and they would bring to it talent and training, and at times true genius, far beyond the plans and visions of the generation that apprenticed them.
"You Stepped Out of a Dream
Lover, Come Back to Me
My Heart Stood Still
Come Rain or Come Shine
Our Love Is Here to Stay".
In the years after 1920, recordings would challenge sheet music as the common currency of the music business, and TIN PAN ALLEY itself would go into decline. But the TIN PAN ALLEY firms by then established the financial base upon which the coming 'Golden Age of popular music' would be built.
A pervasive show business myth insists that all entertainers and performers from the early years of the century must have sprung from poverty-stricken childhoods on New York's Lower East Side, gotten little or no education in the process, and succeeded on raw talent and grit alone. It's a nice myth, and is the true story of one of the great songrwriters of the 'Popular Standards': Irving BERLIN. He's the most famous of them all, so that may explain the prevalence of the myth. But it certainly doesn't fit the others. Richard RODGERS, Harold ARLEN, Jerome D. KERN, Dorothy FIELDS, the non-Jews Cole Porter and Duke Ellington --- they were products of comfortable, middle-class families, with good educations and, for some, considerable privilege.
"What'll I Do?
If I Should Lose You
There Will Never Be Another You
You're My Everything".
Several of them apprenticed on TIN PAN ALLEY, but even as youngsters they brought to their song-plugging chores a much higher degree of musical skill than the older mentors who were teaching them the business. Lorenz "Larry" HART, Oscar HAMMERSTEIN II, and Richard RODGERS all had the benefit of higher education at Columbia University; Dorothy FIELDS was the daughter of Lew FIELDS, one of the most successful and wealthy showmen in New York. Are these the struggling youngsters of show biz myth? No, the future Standards writers, instead, were an urbane, civilized bunch --- sophisticated New Yorkers, most of them, well-educated, but seasoned early on in the ways of the theater and show business. How else could they mastered all the tools they brought to the game? For the lyricists, a knowledge of all that had gone before, from Shakespeare* to Gilbert* & Sullivan*. For the composers, deep study of harmony and classical theory, pluw for many, solid piano training.
But the composers of the Popular Standards were equally products of their own musical era. They were all born within a few years of 1900, just as the new sound called "Ragtime" was creeping up on America. These influences would in time be brought to bear on the established song matrix of TIN PAN ALLEY, one factor in the raising of popular music to a zenith of excellence.
What brought these uniquely capable young talents to the tough, competitive world of show business? Who can say? A lot of talented people apparently found themselves gathered together around a time and place that must have been very exciting, and potentially profitable, and they probably couldn't imagine themselves doing anything but writing songs. Together, they were about to change popular music!
Singer-songwriter Laura WETZLER stated:
"From TIN PAN ALLEY to the BRILL BUILDING and beyond, songwriters of Jewish heritage have helped create American popular music. A celebration of the vital contributions of Jewish composers and lyricists to every style of vocal music; the songwriters, the musical elements, historical influences and the role of the culture in forming these gifted creators. Trace these individual journeys through the artistry, social context and legacy of three generations of such writers as BERLIN, KERN, the GERSHWINS, RODGERS & HAMMERSTEIN, BERNSTEIN, HARBURG, LOESSER, HAMLISCH and SONDHEIM to Carole KING, Burt BACHARACH, Carly SIMON, Leonard COHEN, Bob DYLAN, the BERGMANS, Paul SIMON, and many more. How does the Jewish concept of 'Tikkun Olam' ('repair of the earth') express itself consciously, unconsciously, if at all, in the world view of some of these writers?"
"The influence of mainstream American popular songwriting, embodied by the conglomerate of professional composers and publishers dubbed TIN PAN ALLEY (1880-1953), on rock's early development is sometimes overlooked. While Rock 'n' Roll was to a significant degree a reaction against the overly professional, sentimental, and sterile conventions of pre-rock American pop, the best of TIN PAN ALLEY's melodic and lyrical hallmarks were incorporated into Rock 'n' Roll to raise the music to new levels of sophistication..."
"Swanee" (George GERSHWIN)
A history...
TIN PAN ALLEY was the name given to the collection of New York City-centered music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century.
The start of TIN PAN ALLEY is usually dated to about 1885, when a number of music publishers set up shop in the same district of Manhattan. The end of TIN PAN ALLEY is less clear cut; some date it to the start of the Great Depression in the 1930's when the phonograph and radio finally supplanted sheet music as the driving force of American popular music, while others consider TIN PAN ALLEY to have continued on into the 1950's when earlier styles of American popular music were upstaged by the rise of Rock 'n' Roll.
TIN PAN ALLEY was originally a specific place, West 28th Street between Broadway and Sixth Avenue in Manhattan, New York.
"I Got Rhythm" (G. GERSHWIN / I. GERSHWIN)
The name "TIN PAN ALLEY" was originally derogatory, a reference to the sound made by many pianos all playing different tunes in this small urban area, producing a cacophony comparable to banging on tin pans. With time this nickname was popularly embraced and many years later it came to describe the American music industry in general.
Al JOLSON
The term is also used to describe any area within a major city with a high concentration of music publishers or musical instrument stores --- a good example being Denmark Street near Covent Garden in London. In the 1920's the street became known as "Britain's TIN PAN ALLEY" due to the large number of music shops, a title it holds to this day. The Tin Pan Alley Festival is held there each July.
Origins
In the mid-19th century, copyright control on melodies was poorly regulated in the United States, and many competing publishers would often print their own versions of whatever songs were popular at the time. Stephen Foster*'s songs probably generated millions of dollars in sheet music sales, but Foster* saw little of it and died in poverty.
With better copyright protection laws late in the century, songwriters, composers, lyricists, and publishers started working together for their mutual financial benefit.
The biggest music houses established themelves in New York City. Small local publishers (often connected with commercial printers or music stores) continued to flourish throughout the country, and there were important regional music publishing centers in Chicago, New Orleans, St. Louis, and Boston. When a tune became a significant local hit, however, rights to it were usually purchased from the local publisher by one of the big New York firms.
The music houses in lower Manhattan were lively places, with a steady stream of songwriters, vaudeville and Broadway performers, musicians, and song pluggers coming and going.
It's a little known fact that many popular music standards of the TIN PAN ALLEY era were written by women. But between 1920 and 1949, 178 women joined ASCAP, and DOROTHY FIELDS, ANN RONELL, Kay Swift* and Dana Suesse* were among the most influential songwriters of the time. Their music was heard everywhere--from the vaudeville stages to Broadway, across the airwaves and at the movies.
Leading TIN PAN ALLEY Publishing Houses included:
- AGER, YELLEN, & BORNSTEIN, Inc.
- Irving BERLIN, Inc. (1567 Broadway).
- Broadway Music Corporation.
- Leo FEIST, Inc. (231 West 40th street; advertising "You Can't Go Wrong With A Feist Song").
- T. B. Harms*, Francis*, Day* and Hunter*, Inc. (62 West 45th street).
- Charles K. HARRIS*
- REMICK Music Corporation.
- SHAPIRO, BERNSTEIN & Company (218 West 47th street).
- Joseph STERN & Company.
- Harry VON TILZER Music Publishing Company.
- M. Witmark* & Sons, Inc. (144 West 37th street).
- Watterson*, BERLIN & SNYDER, Inc. (1571 Broadway).
- Consolidated Music Corporation (144 West 37th street).
Aspiring songwriters came to demonstrate tunes they hoped to sell. When tunes were purchased from unknowns with no previous hits, the name of someone with the firm was often added as co-composer (in order to keep a higher percentage of royalties within the firm), or all rights to the song were purchased outright for a flat fee (including rights to put someone else's name on the sheet music as the composer). Songwriters who became established producers of commercially successful songs were hired to be on the staff of the music houses; the most successful of them, like HARRY VON TILZER and IRVING BERLIN, went on to found their own music publishing firms.
IRVING BERLIN,
the Dean of American Songwriters
IRVING BERLIN (May 11, 1888, Tyumen, Russia (or possibly Mogilev, now Belarus) - September 22, 1989, NYC), born Israel Isidore Baline, was an American composer and lyricist, one of the most prodigious and famous American songwriters in history. BERLIN was one of the few Tin Pan Alley/Broadway songwriters who wrote both lyrics and music for his songs. Although he never learned to read music beyond a rudimentary level, he composed over 3,000 songs, many of which, including "God Bless America", "White Christmas", "Alexander's Ragtime Band", and "There's No Business Like Show Business," left an indelible mark on American popular music and culture. He produced 17 film scores and 21 Broadway scores, in addition to his individual songs.
Irving BERLIN's best known songs follows:
"Alexander's Ragtime Band"
"Always"
"Anything You Can Do (I Can Do Better)"
"Blue Skies"
"Change Partners"
"Cheek to Cheek"
"Doin&..39; What Comes Natur'lly"
"Easter Parade"
"God Bless America"
"Heat Wave"
"Hostess with the Mostest"
"How Deep is the Ocean?"
"I Love a Piano"
"I've Got My Love To Keep Me Warm"
"Isn't This a Lovely Day?"
"Let Yourself Go"
"Let's Face The Music and Dance"
"No Strings (I'm Fancy Free)"
"Oh, How I Hate to Get up in the Morning"
"A Pretty Girl is Like a Melody"
"Puttin' on the Ritz"
"Say It Isn't So"
"Steppin' Out With My Baby"
"This Year's Kisses"
"Top Hat, White Tie and Tails"
"What'll I Do?"
"White Christmas"
Song pluggers were pianists and singers who made their living demonstrating songs in order to promote sales of sheet music. Most music stores had song pluggers on staff; other pluggers were employed by the publishers to travel around and make the public familiar with their new publications.
When Vaudeville performers played New York City, they would often visit various TIN PAN ALLEY firms in order to find new songs to add to their acts. Second- and third-rate performers often would pay for rights to use a new song, whereas famous stars would be given free copies of publisher's new numbers or even paid to publicly perform them, for the publishers knew this was valuable advertising.
Initially TIN PAN ALLEY specialized in melodramatic ballads and comic novelty songs, but it quickly embraced the newly popular styles of the cakewalk and ragtime music. Later on elements of Jazz and the Blues were incorporated as well, although less completely, as TIN PAN ALLEY was oriented towards producing songs that any amateur singer or small town band could perform from printed music.
Since improvisation, blue notes, and other characteristics of Jazz and Blues could not be captured in conventional printed notation, TIN PAN ALLEY manufactured Jazzy and bluesy Pop-songs and dance numbers. Much of the general public in the late 1910's and the 1920's did not know the difference between these contrived commercial products and authentic Jazz and Blues.
"Rhapsody in Blue (part 1)" (G. Gershwin)
Influences
A group of TIN PAN ALLEY music houses formed the Music Publishers Association of the United States on June 11, 1895, and unsuccessfully lobbied the federal government in favor of the 'Treloar Copyright Bill', which would have extended the term of copyright for published music to 40 years, renewable for an additional 20, and also included music among the subject matter covered by the Manufacturing clause.
The 'American Society of Composers, Authors, and Publishers' (ASCAP) was established in New York City on February 13, 1914 as an organization to mutually aid and protect the interests of established publishers and composers, mostly associated with New York's TIN PAN ALLEY. New members were only admitted with sponsorship of existing members. By the end of the 1910's, it was estimated that over 90% of the sheet music and phonograph records sold in the U.S. paid royalties to ASCAP.
ASCAP's earliest members included the era's most active songwriters IRVING BERLIN, James Weldon Johnson, JEROME D. KERN and John Philip Sousa. Not long after, prominent songwriters such as W.C. Handy, RICHRAD RODGERS, Oscar HAMMERSTEIN II, and GEORGE and IRA GERSHWIN became members.
In 1919, ASCAP and the Performing Right Society of Great Britain signed the first reciprocal agreement for the representation of each other..s members.. works in their respective territories. Today, ASCAP has reciprocal agreements all over the world and licenses the U.S. performances of hundreds of thousands of international music creators.
The advent of radio in the 1920's brought an important new source of income for ASCAP. Radio stations originally only broadcast performers live, the performers working for free. Later, performers wanted to be paid and recorded performances became more prevalent.
Many composers didn't want their music performed or played for free, but some radio broadcasters grew reluctant to honor ASCAP license fees, and in 1940, during negotiations with ASCAP over rates, radio broadcasters formed Broadcast Music Incorporated (BMI) in an effort to drive down licensing fees. Eventually, public demand forced the radio broadcasters to agree to new rates. Today, over 11,500 local commercial radio stations and 2,000 non-commercial radio broadcasters are ASCAP licensees.
ASCAP was the first U.S. performing rights organization to distribute royalties for performances on the Internet, and continues to pursue and secure licenses for websites, digital music providers and other new media.
As of early 2007, ASCAP claims 275,000 songwriters, composers and music publishers as members
ASCAP members (1914):
Louis A. HIRSCH
Silvio Hein
Victor Herbert
Jay Witmark
Gustave Kerker
Victor Herbert
Nathan Burkan
Raymond Hubbell
Glen MacDonough
The BRILL BUILDING, located at 1619 Broadway in Manhattan, was home to the publishing firm of 'Aldon Music'.
'Aldon Music', formed by Donald KIRSHNER and Al Nevins*, was dedicated to creating songs focused on the teenager, but with the musical sophistication and professionalism of TIN PAN ALLEY.
Songwriting teams from the BRILL BUILDING were the most prolific of the Rock & Roll era. Teams such as GERRY GOFFIN and CAROLE KING; HOWARD GREENFIELD and NEIL SEDAKA; BURT BACHARACH and HAL DAVID; JERRY LEIBER and MIKE STOLLER, and BARRY MANN and CYNTHIA WEIL focused songs on teenage experiences with lyrics that were believable, romantic and melodramatic, while the music was a simple melodic voice.
As the teen market faded in 1965, the BRILL BUILDING songwriters began looking for more meaningful ways of songwriting and began to feel their demos were often better than those produced by the studio artists the record labels provided. Historically, there was very deep divide between the songwriter and the recording artist, and it was the writers from the Brill Building who first bridged that divide, becoming the first singer-songwriters.
Post-BRILL BUILDING music was heavily influenced by traditional folk music, which used lyrics as a narrative to describe any situation or experience. During the late 60's and early 70's, the narrative lyric was applied to the simple melodic line of the BRILL BUILDING songs. In the tradition of folk, these songs were easily learned and passed orally from protest marches to street corners.
The music introduced between 1965 and 1975 was both domestic and international. In America, James Brown* introduced Soul Music with "Say It Loud: I'm Black and I'm Proud," an anthem dedicated to African-American pride. Brian Wilson* and The Beach Boys brought the lilt of West Coast "Surf sound" to the mainstream. And the American Blues began influencing another society, this time overseas: British musicians like Mick Jagger* and Keith Richards* (The Rolling Stones) who, as part of the "British Invasion," created a blues-based sound heavily dependent on the electric guitar with the now-standard bass beat.
However, it was the combination of two contrasting styles that defined this era and the contemporary singer-songwriter. BOB DYLAN and the Beatles' Paul McCartney* and John Lennon* had already been established as distinctive songwriters and powerful performers. In a period of corruption, war and racial division, they used their words and music to define turbulent political and cultural issues. The fusion of DYLAN's traditional Folk narrative and the McCartney*-Lennon* melodic rock sound created Folk-Rock, which remains synonymous with the term singer-songwriter.
The Songwriters Hall of Fame (SHOF) was founded in 1969 by songwriter Johnny Mercer and publishers Abe Olman and Howie Richmond.
The SHOF not only celebrates songwriters and educates the public on their great achievements, but is also devoted to the development of new songwriting talent through workshops, showcases and scholarships.
Over the course of the past 38 years, some key Songwriters Hall of Fame inductees have included:
John Fogerty, Isaac Hayes and David Porter, Steve Cropper, Richard and Robert Sherman, Bill Withers, Carole King, Paul Simon, Bob Dylan, Billy Joel, Sir Elton John, Bernie Taupin, Brian Wilson, James Taylor, James Brown, Curtis Mayfield, Hal David and Burt Bacharach, Jim Croce, Phil Collins, Alan and Marilyn Bergman, Jimmy Webb, Van Morrison and Cy Coleman among many, many others.
LOVE the page and music! Thanks for adding me! You can check out my other page if you have not already at: www.myspace.com/shortysatbrickcity Have a great weekend! Peace, T
Hello from the amazing Currently hot and windy plains just outside Calgary , Alberta(subject to change on the 1/2 hour with out notification) Wonderful music in your space.Many discoveries made at your space, very nice indeed to be m8s.Cheers ! (mO:) moreno
In a act of Kindness endorphin levels are elevated in the Giver, the Receiver and the Observer, how nice is that.
"do not seek happiness .. but .. do rid your self of unhappiness = Zero Negative thoughts"
"Share knowledge ,it is a way to achieve immortality"
Ever wondered what to do in the event of a nuclear threat?
A while ago I found stuff that inspired me to make this film:
Living Under the Shadow of the Nuclear Umbrella
Both artistic (ensure you get the background music!) and educational, it primarily comprises official British government civil defence advice.
Though source materials are quite aged, much remains relevant today.
I encourage all to visit the YouTube page to learn more (Show support! Rate! Comment!) and responsibly circulate as widely as possible, here: http://www.youtube.com/watch?v=UaIim3Rj7L4
Saul, Thank you so much for the add. The music that you have on display is the music of the times and should be treated as the start of music as we know it today. Peace Sharon
Hi!! thanks for the add of both my pages (the Carole King Fan Page is also mine)...I'm very glad to be your friend and thank you so much for putting me in your topfriends =) it's a honor!! Linda
Hi!! thanks for the add =) I hope you like my page and forgive me if I make some mistakes...I'm Italian and I hope to learn English better soon!!! I hope you're having a great day and please keep in touch!! Linda
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