Happy Go Lucky Me E-Book

Paul Evans

• Herausgeber: McNidder and Grace
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2021

Beschreibung

Paul Evans, a New Yorker has had a long and varied musical career. As a songwriter, Paul has written hits for himself as well as for Bobby Vinton – the 1962 classic, 'Roses Are Red, My Love', the Kalin Twins 'When' in 1957, and Elvis Presley 'The Next Step is Love' and 'I Gotta Know' and more. His songs have been featured in movies – Martin Scorsese's Goodfellas and John Waters' Pecker, television shows (Scrubs) and TV ads. He also wrote an off-off Broadway show, Cloverleaf Crisis, and the theme for the original network television show, CBS This Morning. Paul has spent a great deal of his life as a recording artist. From his 1959 and 60's hits: 'Seven Little Girls Sitting in The Back Seat', 'Midnight Special' and 'Happy Go Lucky Me' to his 1979 hit: 'Hello, This Is Joannie', #6 on the UK pop charts and Top 40 on Billboard's Country charts. This book describes his journey from getting his start in the music business, becoming part of the Brill's song-writing community and the sixty-three music-filled years that followed.

Leseprobe

Praise for Happy Go Lucky Me

‘I always thought that Paul Evans was one of the most versatile pop songwriters – ‘When’ (Kalin Twins), ‘Johnny Will’ (Pat Boone), ‘Happy Go Lucky Me’ (George Formby, no less!), ‘I Gotta Know’ (Elvis Presley), ‘Let’s Pretend’ (Lulu) and ‘Hello This is Joannie’ (Paul Evans himself). This is partly because he worked with so many co-writers. This book is a glorious love letter to those wonderful songwriters around the Brill Building in New York. Brill!’

Spencer Leigh, author and broadcaster

‘The affable hit recording artist and songwriter takes us on a delightful romp through New York’s magnetic music scene, with its outsized characters and personalities, from the 1950s onward. In a review of his first record, for mighty RCA Victor, Cash Box magazine noted that ‘Paul Evans is here to stay’. What a crystal ball that reviewer had in 1957. Now he’s been around long enough to tell the tales with authority and good humour.’

John Broven, author of Record Makers and Breakers and other award-winning books

‘To be successful and survive the music Industry are two different things. In Happy Go Lucky Me Paul Evans writes about how he accomplished both in a riveting true story. Paul’s unique first-person account tells of the trails and triumphs of a challenging and ever-changing music industry. With a passion for songwriting and publishing, Paul explores the very foundation on how his world of songwriting, radio jingles and recording was formed with a well-researched look at his predecessors during the Tin Pan Alley era and the dawn of the Brill Building. Entertaining from start to finish, Paul’s book is a real page-turner, highly recommended for true music connoisseurs.’

Johnny Vallis, musician

‘Paul Evans had a dream – to make his mark as a creative musical force. Here’s how he made that dream come true as a singer, songwriter, producer and the crafter of three decades of hits for himself and others amid the heroes and villains and the music biz.’

Gary Theroux, author The History of Rock ‘n’ Roll

‘Perhaps the name Paul Evans wouldn’t be the first to trip off the tongue if you were asked to name some 50’s pop singers, but here is a man who remarkably has survived in a highly competitive business from his teens to his eighties. If you want to read the most in-depth book about the music industry and its characters from A to Z then this the book for you.’

Roger Easterby, record producer

‘This is not just a book about Paul Evans. It is so much more. I was very aware of his chart successes as a recording artiste but I never really knew him as a terrific composer who provided hits for the likes of Elvis Presley, Bobby Vinton, The Kalin Twins and more. The book takes us on a fascinating ride through the thrills, spills and vagaries of the American music industry, from the beginnings of rock and roll in the fifties and the tsunami of hits that poured out of the legendary Brill Building right up to present times. Paul thankfully doesn`t forget to include the tales of shady deals by shady people who knew exactly how to rip off young and innocent kids who were trying to make it in the business. Join the ride. Once you`re on you won`t want to get off.’

Frank Allen, bass/vocals with The Searchers and author of Travelling Man and The Searchers and Me

‘I’ve read dozens of music business autobiographies through the years, but only a very few manage to capture the behind-the-scenes stories and larger than life characters in a way that makes us feel like we’re right there in the middle of it. Paul Evans’ Happy Go Lucky Me takes us on a magical journey which sees him writing songs with the greats of the Brill Building era, landing singles with Elvis Presley, Bobby Vinton and Lulu and topping the charts (here and around the world) as a recording artist in his own right. With candor and wit, Paul takes us from his humble beginnings and boom years through multiple reinventions in jazz, jingles and television over the course of a six-decade career that’s still going strong. If you love a (true) story where indefatigable creative spirit and relentless optimism triumphs over a tough, competitive business, this one is a must read!’

Mark Fried, founder and CEO, Mojo Music & Media

‘Paul Evans has done it all successfully, from Jazz to Top 40 to having a #1 Country hit on New York’s WHN radio.’

Ed Salamon, former President /Programming, Westwood One Radio Networks

‘I have long admired the original and very varied songs of Paul Evans and I’m looking forward to learning more about them – and him – in his memoir.’

Sir Tim Rice, lyricist and author

Published by McNidder & Grace

21 Bridge Street

Carmarthen SA31 3JS

Wales, United Kingdom

www.mcnidderandgrace.com

Original paperback first published 2021

© Paul Evans

All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.

Paul Evans has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988.

Every effort has been made to obtain necessary permission with reference to copyright material. The publisher apologises if, inadvertently, any sources remain unacknowledged and will be glad to make the necessary arrangements at the earliest opportunity.

A catalogue record for this work is available from the British Library.

ISBN 9780857162182 paperback

ISBN 9780857162199 ebook

Cover design by Tabitha Palmer

Designed by JS Typesetting Ltd

Printed and bound in the United Kingdom by Short Run Press, Exeter

For Susan, who has always had my back.

ABOUT THE AUTHOR

Paul Evans has had a long and varied musical career.

As a songwriter, Paul has written hits for himself as well as for Bobby Vinton (‘Roses Are Red, My Love’), the Kalin Twins (‘When’), and Elvis Presley (including ‘I Gotta Know’ and ‘The Next Step Is Love’).

His songs have been featured in films (Martin Scorsese’s Goodfellas and John Waters’ Pecker), television shows (Scrubs, the Hulu series 11.22.63) and TV ads (the 1965 Clio-winning Kent commercial “Happiness Is”, and campaigns for the UK’s Sainsbury’s and France’s Intermarché supermarkets). He also wrote an off-off Broadway show, Cloverleaf Crisis, and the theme for the original network television show CBS This Morning.

Paul has spent a great deal of his life as a recording artist, first charting in 1959 with ‘Seven Little Girls Sitting In The Back Seat’, following up quickly with ‘Midnight Special’ and ‘Happy Go Lucky Me’, and then having a hit in 1979 with ‘Hello, This Is Joannie’ (#6 on the UK’s pop charts, Top 40 on Billboard’s Country charts).

Paul has produced music tracks for recordings, industrials, jingles and television. He has also soloed and sung in groups on many commercial jingles, and has been seen and heard on the Late Show with David Letterman and Late Night with Conan O’Brien. His voice can be heard in the Woody Allen films Mighty Aphrodite and Everyone Says I Love You. He was also a part of the world-traveling jazz quintet Group 5ive.

FOREWORDS

by Frank Allen and Mark Fried

Paul Evans shot onto the charts in 1959 with ‘Seven Little Girls (Sitting In The Back Seat)’, a catchy earworm of a song that turned him almost overnight into a teenage idol at a time when good looking young guys were being transformed daily into eye candy for young girls to scream at and to spend their record buying money on.

But Paul was smart enough to realise that the songwriter was the one who would still be earning his rewards long after the singer`s star had faded.

He fine-tuned his craft at the iconic Brill Building in New York where hits were being churned out daily by the likes of Pomus & Shuman and Lieber & Stoller, and nearby at 1650 Broadway by Aldon writers Mann & Weill and Goffin & King.

He was to provide hits for the likes of Elvis Presley. ‘I Gotta Know’ was one of my favourite tracks from the Elvis Is Back album. ‘Roses Are Red My Love’ was possibly Bobby Vinton`s most remembered success. And somewhat bizarrely his own hit, the self penned ‘Happy Go Lucky Me’, was covered here in the UK by George Formby, a geeky ukulele playing vaudeville star of the 40s whose career was in its fading years. Nevertheless, the clever Paul was receiving the writer`s royalties from the Formby sales.

The world of show business can often be a place where shady deals are made by shady men. Tricksters whose ethos was ‘a day without cheating an artiste is a day wasted’. Paul tells it like it is. Once bitten he always tried to learn from the experience to make sure he never got caught again.

People in the entertainment industry love reading fascinating stories about our own special world. I am no exception and I loved this book. I think you will too.

Frank Allen, bassist/vocals with The Searchers 1964 to the present day

The second half of the 20th century saw the American music business grow from a small group of writers, recording studios and independent labels operating within about five city blocks on New York’s Broadway to a multi-billion dollar business run by huge music and media conglomerates with offices all over the world. The music itself changed, too, from ballroom standards to rock and roll, from disco to grunge, and from rap to hip-hop. And as the business evolved, songwriters and artists found themselves on the top of the heap one day only to fall to the bottom of the barrel the next as a fickle public moved on to the next big thing.

But Paul Evans is a unicorn. Starting out in the late-50s as a fledgling songwriter, competing with such Brill-era giants as Carole King, Neil Sedaka and Phil Spector, he managed to get a long list of his songs cut across multiple genres and continents by such stars as Bobby Vinton, Jackie Wilson, Roy Clark, Lulu and Elvis. And while many of the songwriters of the day tried and failed to become artists themselves, Paul made the transition seamlessly, racking up Top 10 records on both sides of the Atlantic through the 60s and 70s. As styles and sounds shifted away from traditional pop in the 80s and beyond, Paul reinvented himself as a successful jingle writer and television composer while keeping a foothold in the live circuit, touring with a vocal jazz group and delighting fans on the oldies circuit.

But Happy Go Lucky Me is not just a story about one man’s extraordinary longevity in a decidedly mercurial business. Paul gives us a front row seat to his personal adventure, filled with larger-thanlife characters, where random introductions lead to big wins or crushing failures and a quick wit and relentless optimism (not to mention a ton of talent) are the primary tools for survival. And while the backdrop is music, the artisans who produce it and the heroes and villains who determine their fate, there’s a subtext here about one man’s continual creative reinvention, which can apply to almost anyone in any professional field. So sit back and let Paul take you through his six-decade adventure in one of the most dynamic, unpredictable, cutthroat but ultimately rewarding professions in the world. I guarantee you’ll enjoy the ride.

Mark Fried, founder and CEO, Mojo Music & Media

CONTENTS

About the Author

Forewords by Frank Allen and Mark Fried

Introduction

Music, Music, Music

Chapter 1 A Brief History of Tin Pan Alley and the Brill Building

Tin Pan Alley

The Brill Building

RCA, Decca and Atco Records

Down—But Not For Long

The Cream of The Brill Building’s Songwriter Crop

The Biggest of The Big Band Orchestras

Our Turf

And Now I’d Like to Get Something Off My Chest

Demonstration Records—Singer for Hire

Chapter 2 When Publishers Ruled the Songwriting World

The Publishers’ Sons

Mills Music

September Music

Hill & Range Music—Writing for Elvis Presley

Tannen Music

Planetary Music

Al Gallico Music

Chapter 3 Star Time

Seven Little Girls Sitting in The Back Seat

TV Land

Back into the Recording Studios

Happy Go Lucky Me

Thrilla In Manila

Separations

Back in Tin Pan Alley’s Arms

Chapter 4 Ups and Downs

Roses Are Red (My Love)

Cover Records

Get Out of Their Way

Chapter 5 Selling Ketchup

The Big, Wide, Wonderful World of Advertising

Jingles All the Way

Chapter 6 Sing, Sing, Sing

Social Services

The Most Beautiful Ship in the World

Chapter 7 After All, it is Called the Music Business

A Short Lesson in Music Economics

Chapter 8 Well Hello, Joannie

Back in the Game (Joannie)

Caught in a Trap (Wisner)

Chapter 9 Scratching that Itch

If You Have an Itch, Scratch It (Rockabilly Hill)

Oh What a Beautiful Morning (CBS and Sports)

If at First you Don’t Succeed (Well, You Know)

Chapter 10 The World is My Oyster—Sometimes you Just Have to Pry it Open

All That Jazz

Magic Moments

Cloverleaf Crisis

Chapter 11 I Wake to the Fact that I am an Oldie

Oldies Shows

Oldies and the Internet

Compilation CDs

Working My Music

Epilogue

A Ride On a Musical Merry-Go-Round

… And One Final Note

Appendix 1 Paul Evans’ Discography

Appendix 2 Paul’s Songs Recorded by Other Artists

Bibliography

Index

Acknowledgments

INTRODUCTION

MUSIC, MUSIC, MUSIC

I was born Paul Lyle Rapport on March 5, 1938 into an unusually musical family. Let’s take my mother, Leah, for instance. She played piano in a band that worked the Catskill Mountains resort area in upstate New York. Later she taught piano and played in silent movie theaters. She told me how her father would accompany her to the theaters because at that time theaters had movable chairs, and somehow those chairs occupied by men kept sliding closer and closer to the pretty piano player. It was my mother who made sure that my sisters and I all took piano lessons. So, okay, I was off to a good musical start.

The other half of my musical genes comes from my father, Nathan. He was a creative artist and lettered the famous poster for Gone With The Wind while he was working for MGM Studios. He wrote poetry and drew cartoons for The Flutist magazine. He played the flute as a hobby, and here’s a bit of family history: my father sold his flute to pay for my first guitar. He sold it at such a fair price that the buyer ran off with the flute before my father could change his mind. How could I not love that first Guild guitar?

I was the youngest of three children. My eldest sister, Estelle, taught me the basics of chording a guitar. She was a folkie, and in demand at hootenannies. Even though she was twelve years older than I was, she would even allow me occasionally to accompany her to these folk song sing-alongs. That’s how I acquired my early love of folk music. Years later I gave my Guild guitar to Estelle. The family would gather at her home and we’d have our own hootenannies. And when Estelle passed away, my niece inherited the guitar, so now we gather at her home for a family sing-along whenever we can. The tradition continues, and the guitar has become a family heirloom.

My first Guild Guitar

Our family’s middle sibling, Marilyn, made a career playing the piano for private parties and in clubs and stores. She played for years at Nordstrom, the large luxury department store chain. Marilyn had an incredible “ear” for music. She could play any standard song you could name, and maybe even more impressively, play it in the key that you might want to sing it in. Just ask her, and voilà, Marilyn would play it for you.

I once wrote a song with my father after he passed away. Impossible? Not at all! Allow me to explain. Dad had written a little ditty that my sisters and I loved. I found it in a stack of memorabilia after he died and added a couple of verses to it. It told our family’s story:

‘I LOOK AT THE MOON’

I look at the moon, the moon looks at me

And then we two we look at the sea

The sea sees we, we see the sea

Dum diddle diddle dum dum dee

Now this little ditty was written by my daddy

As he dawdled one day on a doodlin’ pad

He probably wrote it to cheer us all up

When me and my sisters were feelin’ real bad

Now Estelle is the oldest, I am the youngest

Marilyn’s in the middle—and still when we’re sad—

There’s a trick that we’ve found that can turn it around

We just sing a little bitty of this ditty by Dad

* * *

Dad was a flautist, and Mom was the proudest

Of her children, including her loudest—who could that be?

Estelle plays guitars, Marilyn plays the bars

And I play for people who like oldies like me

Our family tradition, our musical mission

Is to play and to sing at the drop of a hat

And Mother and Father, did we ever bother

To sit you both down and to thank you for that?

I look at the moon, the moon looks at me

And then we two we look at the sea

The sea sees we, we see the sea

Dum dum diddle diddle dum dum dee

Nathan Rapport and Paul Evans.

Published by Port Music, Inc.

Dinnertime was family time with my mother and father, my sisters and my grandmother. My favorite seasons were spring, summer, and fall because we would eat in our screened-in porch overlooking our vegetable garden and lilac trees while we listened to the sounds of Perry Como, Dinah Shore, Doris Day, and other popular singers of the day on our radio. However, those peaceful meals came to a screeching halt when I discovered rock ’n’ roll.

My father was a Gilbert and Sullivan fan. When their music was played on WQXR, New York’s classical music station, he would sing along, word for word. He could tolerate the folk music that my sister Estelle brought into the house, but when I asked if we could listen to the beginnings of rock ’n’ roll—Elvis, Little Richard, Chuck Berry, Bo Diddley, etc.—my father tried but couldn’t abide the music. So he bought me my own radio and banished it and me to our basement. I can still remember him standing at the top of the stairs and yelling, “Turn that damn radio down.”

Performing at my high school’s Valencia Theater show

I went into the basement willingly, and started my exile by tuning in to Barkin’ With Larkin, Don Larkin’s country music show on WAAT, a New Jersey station that reached across the Hudson River into New York City. That’s where I heard an early interview with Elvis Presley. However, as rock ‘n’ roll took the place of the standard songs on local radio, I quickly became devoted to WINS with Alan Freed and Murray Kaufman, WMGM with Peter Tripp, and eventually WABC’s Dan Ingram and WMCA’s “Good Guys” who dominated the ’60s. All of them were my NYC rock ‘n’ roll heroes.

The basement became some sort of an office for me. I added a phonograph player and a tape recorder, and that hideaway became a hangout for my friends who were into music. The tape recorder, by the way, replaced a wire recorder that my father had given me and which I used to record my first writing attempts. I’d record my songs onto a moving spool of wire. Really. Onto a spool of wire. The trouble with the wire recorder (besides its sound quality) was that if you were in “fast forward” or “reverse” and hit “stop”, the wire would often wrap itself around its spool and you’d wind up with one big unusable tangle of wire. Thank goodness (sometimes) that tech marches on.

I went to P.S. 136 in my hometown of St. Albans in Queens, New York, and then to Andrew Jackson High School in bordering Cambria Heights, where I wound up producing and singing in our school’s variety shows. Yes, I was some sort of a “Mr. Entertainment” at Jackson, but I plead guilty to being jealous of our school’s other male singer. He was a tall, good-looking guy who crooned love songs and was rewarded with screams from the girls in the audience. My appearances were applauded—but where were the screams? Later, just a year after graduation, I caught sight of the crooner in an advertisement for Thomas’ Hairpieces. Poof! The teenage envy that I had been carrying around with me was gone.

Our variety show’s biggest moment came in 1955, when we held it at the Valencia Theater in the nearby town of Jamaica, where my family would go for our major shopping. The Valencia was the first of five Loew’s “Wonder Theaters”; very large and lavishly decorated theaters located in and around New York City, built in 1929 and 1930. It was the largest of the Wonder Theaters, meant to hold 3,500 people, and was called by some “the Taj Mahal of movie theaters”. Stepping out on that stage was an awesome moment for me and, I’m sure, for my fellow performers. The show was hosted by New York City’s popular WMGM disc jockey Bill Silbert, and I continued my role of producer, MC and singer. I was now one very small step closer to a career in music.

And here’s a bit of trivia for you. The Shangri-las, who recorded ‘Leader of the Pack’ and ‘Remember (Walking in the Sand)’ got their career started when they were attending Andrew Jackson High School in 1963.

Go Andrew Jackson!!

(And go Andrew Jackson did—when the city closed it in 1994.)

I graduated from high school and went on to Columbia University on a partial scholarship to study engineering. While there I hosted a weekly folk music show on Columbia’s own AM radio station, WKCR-AM. (This was a “carrier current” system, which was broadcast through the university’s electrical system and could only be heard on AM radios that were plugged into outlets on campus. My audience was obviously limited.) The big folk-pop music revolution hadn’t gotten under way yet, so I played mostly Pete Seeger and the Weavers, Harry Belafonte and Burl Ives. I taped my first show and when I listened back I realized that not only was my voice New York-heavy, I delivered my comments with such New York speed that I had trouble understanding myself. I spent the rest of the semester practicing how not to speak like a New Yawker. Unfortunately, my out-of-town friends tell me that I still haven’t solved the problem.

After that first year at Columbia, I got my first taste of singing professionally. My friends and I used to swim at the Rockaway beaches in Queens. We’d take the same streets to get there and back, and we would drive passed Basile’s, a small nightclub owned by the Basile brothers, Ed and Jack. One day, curiosity and thirst got the better of us and we stopped in for a beer. We noticed that the club had a bar and a dining room with a small stage open to the two rooms. After a couple of visits, we got to know the owners while they tended to the bar. It turned out that they didn’t get much use out of the stage, so along with my best friends, Kenny Riches and Billy Stio, I hatched a scheme to get me an audition at the club. We sat at the bar with a couple of beers and Kenny and Billy started chatting up the Basile brothers and Vera, the barmaid. They told the brothers what a good a singer I was, with me mumbling something like “Aw shucks” every once in a while. Then they “convinced” me to go back to the car and get my guitar and sing some songs for the brothers, who liked what they heard and hired me. I now had my first paying entertaining gig. Singing in front of a paying audience was a revelation to me: The applause was intoxicating, and I was thrilled when so many customers told me that they came to Basile’s specifically to hear me. The die had been cast.

Performing at Basile’s

I spent my summer entertaining there. I had no car at the time, so Kenny offered to do the driving. He would pick me up at my home, drive me to Basile’s, go back home to study for summer classes at City College, then come back and pick me up at 1:00 a.m. and drive me back to my home. Sometimes we’d stop along the way to debate politics or religion. Kenny continued this routine until one of the Basile brothers sold me my first car for $50.00. (Kenny and I are still buddies all these years later. My wish for the people that I care for is that they all find a Kenny in their lives.)

Some time that summer of 1956, I heard Roy Orbison’s big hit recording of ‘Ooby Dooby’ and I loved it. The chorus went like this:

Ooby dooby, Ooby dooby, Ooby dooby, Ooby dooby Ooby dooby dooby dooby dooby, Dooby do-wah, do-wah-do-wah

Written by: Dick Penner and Wade Lee Moore.

Published by Hi Lo Music Inc.

And I thought, I can do that. Perhaps not as well as the great Roy Orbison, but I can do that. (No one really knew just how great a singer Roy was until we heard ‘Pretty Woman’, ‘Crying’, ‘Only the Lonely’, ‘It’s Over’, ‘Blue Bayou’ and so many other great songs that he co-wrote with either of his two favorite co writers, Bill Dees and Joe Melson.) So, I decided to do what I knew had to be done. I would take a year off from studying at Columbia and go into Manhattan to a place that I’d heard about. A building that somehow was calling to me: the Brill Building.

First I had to tell my family that I’d be giving up what was by now a full scholarship to Columbia. It was not an easy thing to do. A family meeting was called and the verdict was: “Don’t.” My father was furious. My brother-in-law called me stupid. I heard “What about your scholarship?” and “You’re throwing away a steady career for a roll of the dice.” My mother was dumbfounded. Her son wanted to be a singer? A writer? Those were supposed to be hobbies.

I left the meeting downhearted, so I arranged a meeting with my close pals, Kenny and Billy. We drove around for a while and then I parked the car and presented them with my dilemma. I had heard my family’s arguments and wondered if they were correct. Was I being stupid? My friends were quick to warn me that if I didn’t follow my dream, I’d always wonder what might have been and I would never forgive myself for not trying. Ah, thank you, thank you, my two good friends.

There were two more voices that I needed to hear. First I went to the Dean of Engineering at Columbia. “Why did you choose engineering?” he asked. I admitted that it was because I hadn’t set my mind on any specific profession and had heard that engineers made a lot of money. His answer surprised me. “Paul, engineers start out at a higher income, but within four years the average business graduate makes much more money.” Oh, m’God. Another good reason for me to take a year off from school. Then I went back to Andrew Jackson and looked up a man I trusted and had a great deal of respect for—my grade counsellor. I told him that I planned to take off just one year and if I didn’t have success as a writer or singer in that first year, I’d return to college. Dependable Mr. Blatt gave me his blessings but made me promise to follow my one-year rule and, if things didn’t work out, go back to my studies. That did it. My path was decided. So with apologies to my family and thanks to my friends and advisors, all that was left for me to do was to find the right spot to start my journey to music’s proverbial fortune and fame.

Chapter 1

A BRIEF HISTORY OF TIN PAN ALLEY AND THE BRILL BUILDING

TIN PAN ALLEY

The name “Tin Pan Alley” originally referred to a block of five buildings on West 28 Street, between Fifth and Sixth Avenues in New York City, where writers and publishers gathered in the very early 1900s. Those buildings apparently got their name because of the cacophony created by so many pianos playing so many different melodies at the same time. I’ve read stories, all unverifiable, that the great songwriter Harry Von Tilzer rigged his piano by placing something—paper? tacks on a strip of cloth?—on the strings of his piano to create a more percussive sound, which certainly would have added to the noise. One reporter said that the buildings sounded like tin pans being beaten with a stick, and the name “Tin Pan Alley” was born.