Times Square Tintypes: Irving Berlin

In this chapter from his 1932 book, Times Square Tintypes, Broadway columnist Sidney Skolsky profiles perhaps the greatest of American songwriters, Irving Berlin.
 

THE BIRTH OF THE BLUES

HE has a name that will live forever and he bought it for a song. IRIVING BERLIN.
Came to this country at the age of four, the youngest of eight children. In Russia his father was a cantor. Here a kosher butcher.
He has yet to find a hat to fit him.
He eats a lot for one of his size.
Plays the piano by ear. And only in F sharp. Has a specially constructed piano with a sliding keyboard. When the music calls for another key he merely moves the lever.
He is not a one finger player. Uses all his fingers badly.
Has a scar on his forehead. It was received on a Washington’s Birthday in Cherry Street, trying to start a bonfire.
Thinks he is a good stud poker player. His friends say he’s lucky.
His pet aversions are riveters and second verses.
Ran away from home at the age of fourteen. His first stop was Callahan’s saloon. Here he sang “The Mansion of Aching Hearts” until enough coins were tossed at him to pay for a night’s lodging. Later became a singing waiter at Nigger Mike’s place, 12 Pell Street. The barker on the trip to Chinatown bus now points out the place.
He wrote “Alexander’s Ragtime Band,” credited with starting the jazz vogue, at the age of twenty-three.
Crowds frighten him. So do certain individuals.
His idea of a great achievement is writing a song that reaches the million copy mark.
Maintains a home in West Forty-sixth Street. But lives elsewhere. The first of every month generally finds him moving.
His square moniker is Israel Baline. For a time, he went under the name of Cooney. Became Berlin because that was the way the Bowery pronounced Baline.
As a singing waiter he kicked a hoofer named George White out of the place for being a pest, and he served Al Smith.
Is always chewing gum. This can be observed by merely watching the funny way his hat moves on his head.
His favorite biographer is Alexander Woollcott.
He composes in this fashion: First playing the song on the piano. Then singing it to Arthur Johnson, his right and left hand man, who records upon paper what he hears. Then Johnson plays the written manuscript. This is the first draft. From this Berlin works on to the final version. Often after a song has been published he changes it.
His bill for flowers for the Mrs. is $1,000 a month.
His patent leather dinner shoes have more cracks than his hair has waves.
Of all the songs he has written, a figure exceeding four hundred, his favorite is “The Song Is Ended But the Melody Lingers On.”
Is very restless. Can’t sit or stand still. Always paces the floor. He walks miles in any room he is in. It is the only exercise he gets.
As far as playwrights go, his taste begins and ends with George S. Kaufman. As for music, he’ll whistle anything by Jerome Kern. For lyrics he hands first prize to B. G. De Sylva. And if asked to name the swellest guy in the theatrical game, he’d shout Sam Harris.
He has had to change his entire working schedule since he became a father.
He has never worn a diamond. The only jewelry he wears is, occasionally, a pearl tie pin.
Never eats the crust of bread or rolls. Always plucks the filling. This can be seen circled about his plate.
After finishing a song he sings it to the first person he meets. A bell boy at Palm Beach was the first person to hear “Lazy.” A Broadway taxi driver was the first to hear “All Alone.” A bewildered stranger, occupation unknown, was the first to hear “Say It With Music.”
He never writes anything in longhand but his signature on a check. Everything else he prints.
The one thing in life he is looking forward to is walking into a restaurant with his daughter, Mary Ellen.
Of all the songs ever written the one he’d love to be the author of is “The Rosary.”
On the fly leaf of a book containing every song he wrote there is this ditty which he believes sums up everything:

Let Me Be a Troubadour,
And I Will For Nothing More
Than One Short Hour Or So
To Sing My Song And Go.

He has a form-fitting couch which was especially designed for him.

Cinema Slang: groupie

No slang we’ve encountered in an old movie caught us more offguard than the use of “groupie” in The Man with Two Faces (1934) , starring Edward G. Robinson, Mary Astor, Ricardo Cortez, Mae Clarke, and Louis Calhern, and based on a play cowritten by George S. Kaufman and Alexander Woollcott called The Dark Tower.

We’d long assumed that “groupie” was a product of the rock era, that it was coined to describe those women (and men, too, we suppose) who are willing to go that extra mile in demonstrating their devotion to a particular musician or band.

But a scene in THE MAN WITH TWO FACES suggests that the term might be much older.

In the film, Astor plays Jessica Wells, a troubled actress who was formerly married to a controlling creep named Stanley Vance (Calhern). Prior to the action depicted in the film, Vance had abandoned Wells, leaving her a total mess, her life and career in ruins. Finally, when word was received that Vance had died, Wells had slowly begun to pull herself together.

As the film opens, Wells is healthy and about to open on Broadway. Suddenly—wouldn’t you know it?—Vance appears on the scene, very much alive, and everyone close to Wells is concerned that she will crack up again.

In the pertinent scene, another actress (Clark) is sitting on Calhern’s lap as he flirts shamelessly with her. In walks a sardonic actor from the troupe (Robinson) who says, dismissively, “Well—a new groupie!”

Now, it’s possible he could be referring to Vance, since Clarke’s character is an actress and more likely to have an admiring fan, or he could—and I think this possibility the more likely one—be referring to Clarke’s character as Calhern’s groupie, without the fan/performer connotation we usually associate with the word.

Either way, we were surprised to hear the word uttered in a seventy-five-year-old movie. And our friend who works for the Oxford English Dictionary was, too.

“I’m very surprised to hear that the word is that early,” he told us when we mentioned the scene to him. “Every source I’ve ever seen puts it in the late ’60s.” The verdict’s not in yet—he’s still looking into the matter—but it appears that I might just have helped uncover what Jesse said could be “a major discovery.”

Now, it’s not as though we get a free copy of the OED for our contribution or anything (we live in Manhattan—who has room, anyway?), but we do get a kick out of the possibility that we may have contributed a cite that reveals a particular usage to be more than three decades older than was previously thought. We can’t really take any credit, of course—we were just indulging our interest in old movies.

But it’d be nice if our hobby actually provided a service. We leave our small marks in such ways as we can.