Tin Pan Alley

Tin Pan Alley was the collection of New

York City music publishers and
songwriters who dominated the popular
music of the United States in the late 19th
century and early 20th century. The name
originally referred to a specific place: West
28th Street between Fifth and Sixth
Avenues in the Flower District[2] of
Manhattan; a plaque (see below) on the
sidewalk on 28th Street between
Broadway and Sixth commemorates
it.[3][4][5][6] In 2019, the New York City
Landmarks Preservation Commission took
up the question of preserving five
buildings on the north side of the street as
a Tin Pan Alley Historic District.[7] The
agency designated five buildings (47–55
West 28th Street) individual landmarks on
December 10, 2019, after a concerted
effort by the Save Tin Pan Alley initiative
(SaveTinPanAlley.org) of the 29th Street
Neighborhood Association.[8]
Buildings of Tin
Pan Alley, 1910[1]

The same
buildings, 2011
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 1930s when
the phonograph, radio, and motion
pictures supplanted sheet music as the
driving force of American popular music,
while others consider Tin Pan Alley to have
continued into the 1950s when earlier
styles of music were upstaged by the rise
of rock & roll, which was centered on the
Brill Building.
On December 10, 2019, the New York City
Landmarks Preservation Commission
individually designated five buildings on
West 28th Street as landmarks for their
historical significance as part of Tin Pan
Alley: 47, 49, 51, 53 and 55 West 28th
Street.[9]

Origin of the name

Various explanations have been advanced
to account for the origins of the term "Tin
Pan Alley". The most popular account
holds that it was originally a derogatory
reference by Monroe H. Rosenfeld in the
New York Herald to the collective sound
made by many "cheap upright pianos" all
playing different tunes being reminiscent
of the banging of tin pans in an
alleyway.[10][11] However, no article by
Rosenfeld that uses the term has been
found.[12][13]

Simon Napier-Bell quotes an account of

the origin of the name published in a 1930
book about the music business. In this
version, popular songwriter Harry von
Tilzer was being interviewed about the
area around 28th Street and Fifth Avenue,
where many music publishers had offices.
Von Tilzer had modified his expensive
Kindler & Collins piano by placing strips of
paper down the strings to give the
instrument a more percussive sound. The
journalist told von Tilzer, "Your Kindler &
Collins sounds exactly like a tin can. I'll call
the article 'Tin Pan Alley'."[14] In any case,
the name was firmly attached by the fall of
1908, when The Hampton Magazine
published an article titled "Tin Pan Alley"
about 28th Street.[15]

According to the Online Etymology

Dictionary, "tin pan" was slang for "a
decrepit piano" (1882), and the term came
to mean a "hit song writing business" by
1907.[16]
With time, the nickname came to describe
the American music publishing industry in
general.[11] The term then spread to the
United Kingdom, where "Tin Pan Alley" is
also used to describe Denmark Street in
London's West End.[17] In the 1920s the
street became known as "Britain's Tin Pan
Alley" because of its large number of
music shops.[18]
These buildings (47–55 West 28th Street) and others
on West 28th Street between Sixth Avenue and
Broadway in Manhattan housed the sheet-music
publishers that were the center of American popular
music in the early 20th century. The buildings shown
were designated as historic landmarks in 2019.

Origin of song publishing in

New York City
In the mid-19th century, copyright control
of melodies was not as strict, and
publishers would often print their own
versions of the songs popular at the time.
With stronger copyright protection laws
late in the century, songwriters,
composers, lyricists, and publishers
started working together for their mutual
financial benefit. Songwriters would
literally bang on the doors of Tin Pan Alley
businesses to get new material.

The commercial center of the popular

music publishing industry changed during
the course of the 19th century, starting in
Boston and moving to Philadelphia,
Chicago and Cincinnati before settling in
New York City under the influence of new
and vigorous publishers which
concentrated on vocal music. The two
most enterprising New York publishers
were Willis Woodard and T.B. Harms, the
first companies to specialize in popular
songs rather than hymns or classical
music.[19] Naturally, these firms were
located in the entertainment district,
which, at the time, was centered on Union
Square. Witmark was the first publishing
house to move to West 28th Street as the
entertainment district gradually shifted
uptown, and by the late 1890s most
publishers had followed their lead.[11]

The biggest music houses established

themselves in New York City, but 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, rights
to it were usually purchased from the local
publisher by one of the big New York firms.

In its prime

"I'm a Yiddish Cowboy" (1908)

The song publishers who created Tin Pan
Alley frequently had backgrounds as
salesmen. Isadore Witmark previously
sold water filters and Leo Feist had sold
corsets. Joe Stern and Edward B. Marks
had sold neckties and buttons,
respectively.[20] 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.

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). An extraordinary number of
Jewish East European immigrants became
the music publishers and songwriters on
Tin Pan Alley – the most famous being
Irving Berlin. Songwriters who became
established producers of successful
songs were hired to be on the staff of the
music houses.
"Song pluggers" were pianists and singers
who represented the music publishers,
making their living demonstrating songs to
promote sales of sheet music. Most music
stores had song pluggers on staff. Other
pluggers were employed by the publishers
to travel and familiarize the public with
their new publications. Among the ranks of
song pluggers were George Gershwin,
Harry Warren, Vincent Youmans and Al
Sherman. A more aggressive form of song
plugging was known as "booming": it
meant buying dozens of tickets for shows,
infiltrating the audience and then singing
the song to be plugged. At Shapiro
Bernstein, Louis Bernstein recalled taking
his plugging crew to cycle races at
Madison Square Garden: "They had 20,000
people there, we had a pianist and a singer
with a large horn. We'd sing a song to
them thirty times a night. They'd cheer and
yell, and we kept pounding away at them.
When people walked out, they'd be singing
the song. They couldn't help it."[21]

When vaudeville performers played New

York City, they would often visit various Tin
Pan Alley firms to find new songs for their
acts. Second- and third-rate performers
often paid for rights to use a new song,
while famous stars were given free copies
of publisher's new numbers or were paid
to perform them, the publishers knowing
this was valuable advertising.

Initially Tin Pan Alley specialized in

melodramatic ballads and comic novelty
songs, but it embraced the newly popular
styles of the cakewalk and ragtime music.
Later on jazz and blues were incorporated,
although less completely, as Tin Pan Alley
was oriented towards producing songs
that amateur singers or small town bands
could perform from printed music. In the
1910s and 1920s Tin Pan Alley published
pop-songs and dance numbers created in
newly popular jazz and blues styles.
Plaque commemorating Tin Pan Alley

Influence on law and

business
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 changed
the term of copyright for published music
from 24 to 40 years, renewable for an
additional 20 instead of 14 years. The bill,
if enacted, would also have included music
among the subject matter covered by the
Manufacturing clause of the International
Copyright Act of 1891.

The American Society of Composers,

Authors, and Publishers (ASCAP) was
founded in 1914 to aid and protect the
interests of established publishers and
composers. New members were only
admitted with sponsorship of existing
members.
The term and established business
methodologies associated with Tin Pan
Alley persisted into the 1960s when
innovative artists like Bob Dylan helped
establish new norms. Referring to the
dominant conventions of music publishers
of the early 20th century, "Tin Pan Alley is
gone," Bob Dylan proclaimed in 1985, "I put
an end to it. People can record their own
songs now."[22]

Contributions to World War

II
During the Second World War, Tin Pan
Alley and the federal government teamed
up to produce a war song that would
inspire the American public to support the
fight against the Axis, something they both
"seemed to believe ... was vital to the war
effort".[23] The Office of War Information
was in charge of this project, and believed
that Tin Pan Alley contained "a reservoir of
talent and competence capable of
influencing people's feelings and opinions"
that it "might be capable of even greater
influence during wartime than that of
George M. Cohan's 'Over There' during
World War I."[23] The song "Over There" can
be said to be the most popular and
resonant patriotic song associated with
World War I.[23] Due to the large fan base
of Tin Pan Alley, the government believed
that this sector of the music business
would be far-reaching in spreading
patriotic sentiments.[23]

In the United States Congress,

congressmen quarrelled over a proposal to
exempt musicians and other entertainers
from the draft in order to remain in the
country to boost morale.[23] Stateside,
these artists and performers were
continuously using available media to
promote the war effort and to demonstrate
a commitment to victory.[24] However, the
proposal was contested by those who
strongly believed that only those who
provided more substantial contributions to
the war effort should benefit from any
draft legislation.[23]

As the war progressed, those in charge of

writing the would-be national war song
began to understand that the interest of
the public lay elsewhere. Since the music
would take up such a large amount of
airtime, it was imperative that the writing
be consistent with the war message that
the radio was carrying throughout the
nation. In her book, God Bless America:
Tin Pan Alley Goes to War, Kathleen E. R.
Smith writes that "escapism seemed to be
a high priority for music listeners", leading
"the composers of Tin Pan Alley [to
struggle] to write a war song that would
appeal both to civilians and the armed
forces".[23] By the end of the war, no such
song had been produced that could rival
hits like "Over There" from World War I.[23]

Whether or not the number of songs

circulated from Tin Pan Alley between
1939 and 1945 was greater than during
the First World War is still debated. In his
book The Songs That Fought the War:
Popular Music and the Home Front, John
Bush Jones cites Jeffrey C. Livingstone as
claiming that Tin Pan Alley released more
songs during World War I than it did in
World War II.[25] Jones, on the other hand,
argues that "there is also strong
documentary evidence that the output of
American war-related songs during World
War II was most probably unsurpassed in
any other war".[25]

Composers and lyricists

Leading Tin Pan Alley composers and
lyricists include:

Milton Ager
Thomas S. Allen
Harold Arlen
Ernest Ball
Irving Berlin
Bernard Bierman
George Botsford
Shelton Brooks
Lew Brown
Nacio Herb Brown
Irving Caesar
Sammy Cahn
Hoagy Carmichael
George M. Cohan
Con Conrad
J. Fred Coots
Gussie Lord Davis
Buddy DeSylva
Walter Donaldson
Paul Dresser
Dave Dreyer
Al Dubin
Vernon Duke
Dorothy Fields
Ted Fio Rito
Max Freedman
Cliff Friend
George Gershwin
Ira Gershwin
Oscar Hammerstein II
E. Y. "Yip" Harburg
Charles K. Harris
Lorenz Hart
Ray Henderson
James P. Johnson
Isham Jones
Scott Joplin
Gus Kahn
Bert Kalmar
Jerome Kern
Al Lewis
Sam M. Lewis
Frank Loesser
Jimmy McHugh
F. W. Meacham
Johnny Mercer
Halsey K. Mohr
Theodora Morse
Ethelbert Nevin
Bernice Petkere
Maceo Pinkard
Lew Pollack
Cole Porter
Andy Razaf
Richard Rodgers
Harry Ruby
Al Sherman
Lou Singer[26]
Sunny Skylar
Ted Snyder
Kay Swift
Edward Teschemacher
Albert Von Tilzer
Harry Von Tilzer
Fats Waller
Harry Warren
Richard A. Whiting
Harry M. Woods
Allie Wrubel
Jack Yellen
Vincent Youmans
Joe Young
Hy Zaret[26]
Notable hit songs
Tin Pan Alley's biggest hits included:

"A Bird in a Gilded Cage" (Harry Von

Tilzer, 1900)
"After the Ball" (Charles K. Harris, 1892)
"Ain't She Sweet" (Jack Yellen and
Milton Ager,1927)
"Alabama Jubilee" (Jack Yellen and
George L. Cobb, 1915)
"Alexander's Ragtime Band" (Irving
Berlin, 1911)
"All Alone" (Irving Berlin, 1924)
"At a Georgia Campmeeting" (Kerry
Mills, 1897)
"Baby Face" (Benny Davis and Harry
Akst, 1926)
"Bill Bailey, Won't You Please Come
Home" (Huey Cannon, 1902)
"By the Light of the Silvery Moon" (Gus
Edwards and Edward Madden, 1909)
"Carolina in the Morning" (Gus Kahn and
Walter Donaldson, 1922)
"Come Josephine in My Flying Machine"
(Fred Fisher and Alfred Bryan, 1910)
"Down by the Old Mill Stream" (Tell
Taylor, 1910)
"Everybody Loves My Baby" (Spencer
Williams, 1924)
"For Sentimental Reasons" (Al Sherman,
Abner Silver and Edward Heyman, 1936)
"Give My Regards to Broadway" (George
M. Cohan, 1904)
"God Bless America" (Irving Berlin, 1918;
revised 1938)
"Happy Days Are Here Again" (Jack
Yellen and Milton Ager, 1930)
"Hearts and Flowers" (Theodore Moses
Tobani, 1899)
"Hello Ma Baby (Hello Ma Ragtime Gal)"
(Emerson, Howard, and Sterling, 1899)
"I Cried for You" (Arthur Freed and Nacio
Herb Brown, 1923)
"In the Baggage Coach Ahead" (Gussie
L. Davis, 1896)
"In the Good Old Summer Time" (Ren
Shields and George Evans, 1902)
"In the Shade of the Old Apple Tree"
(Harry Williams and Egbert van Alstyne,
1905)
"K-K-K-Katy" (Geoffrey O'Hara, 1918)
"Let Me Call You Sweetheart" (Beth
Slater Whitson and Leo Friedman, 1910)
"Lindbergh (The Eagle of the U.S.A.)" (Al
Sherman and Howard Johnson, 1927)
"Lovesick Blues" (Cliff Friend and Irving
Mills, 1922)
"Mighty Lak' a Rose" (Ethelbert Nevin &
Frank L. Stanton, 1901)
"Mister Johnson, Turn Me Loose" (Ben
Harney, 1896)
"My Blue Heaven" (Walter Donaldson
and George Whiting, 1927)
"Now's the Time to Fall in Love" (Al
Sherman and Al Lewis, 1931)
"Oh, Donna Clara" (Irving Caesar, 1928)
"Oh by Jingo!" (Albert Von Tilzer, 1919)
"On the Banks of the Wabash, Far Away"
(Paul Dresser 1897)
"Over There" (George M. Cohan, 1917)
"Peg o' My Heart" (Fred Fisher and Alfred
Bryan, 1913)
"Shine Little Glow Worm" (Paul Lincke
and Lilla Cayley Robinson, 1907)
"Shine on Harvest Moon" (Nora Bayes
and Jack Norworth, 1908)
"Some of These Days" (Shelton Brooks,
1911)
"Swanee" (George Gershwin, 1919)
"Sweet Georgia Brown" (Maceo Pinkard,
1925)
"Take Me Out to the Ball Game" (Albert
Von Tilzer, 1908)
"The Band Played On" (Charles B. Ward
and John F. Palmer, 1895)
"The Darktown Strutters' Ball" (Shelton
Brooks, 1917)
"The Little Lost Child" (Marks and Stern,
1894)
"The Man Who Broke the Bank at Monte
Carlo" (Charles Coborn, 1892)
"The Sidewalks of New York" (Lawlor
and Blake, 1894)
"The Japanese Sandman" (1920)
"There'll Be a Hot Time in the Old Town
Tonight" (Joe Hayden and Theodore
Mertz, 1896)
"Warmest Baby in the Bunch" (George M.
Cohan, 1896)
 "Way Down Yonder in New Orleans"
(Creamer and Turner Layton, 1922)
"Whispering" (1920)
"Yes, We Have No Bananas" (Frank Silver
and Irving Cohn, 1923)
"You Gotta Be a Football Hero" (Al
Sherman, Buddy Fields and Al Lewis,
1933)

In popular culture
In the 1959–1960 television season,
NBC aired a sitcom Love and Marriage,
based on the fictitious William Harris
Music Publishing Company set in Tin
Pan Alley. William Demarest, Stubby
Kaye, Jeanne Bal, and Murray Hamilton
co-starred in the series, which aired 18
episodes.
In the song "Bob Dylan's Blues" from Bob
Dylan's 1963 album The Freewheelin' Bob
Dylan, he introduces the song, saying,
"Unlike most of the songs nowadays
that have been written up town in Tin
Pan Alley, that's where most of the folk
songs come from nowadays, this, this is
a song, this wasn't written up there, this
was written down somewhere in the
United States."
In the song "Bitter Fingers" from the
1975 autobiographical "concept album"
Captain Fantastic and the Brown Dirt
Cowboy, Elton John refers to himself
and his longtime song-writing partner,
lyricist Bernie Taupin, as the "Tin Pan
Alley Twins".
Neil Diamond's liner notes ("... tin pan
alley died hard, but there was always the
music to keep you going ...") indicate
that the album Beautiful Noise (1976)
was intended as a tribute to his days
there.
Tin Pan Alley is mentioned in the song
"It Never Rains" (1982) by Dire Straits.
The Bob Geddins blues song "Tin Pan
Alley (aka The Roughest Place in
Town)", recorded by Jimmy Wilson, was
a top 10 hit on the R&B chart in 1953[27]
and became a popular song among
West Coast blues performers.[28] The
song was also covered by Stevie Ray
Vaughan.
The song "Tin Pan Alley" by The Apples
in Stereo.
Tin Pan Alley of the 1960s was
discussed by Robbie Robertson of The
Band in the Martin Scorsese film of The
Band's final concert in 1976, The Last
Waltz.
The song "Who Are You" by The Who
has the stanza "I stretched back and I
 hiccupped / And looked back on my
busy day / Eleven hours in the Tin Pan /
God, there's got to be another way",
which references a long legal meeting
with music publisher Allen Klein.
In the 1970s to early 1980s, a Times
Square bar named Tin Pan Alley, its
owners, Steve d'Agroso and Maggie
Smith, and many of its patrons were the
real-life inspiration for the HBO series
The Deuce. The bar was renamed The
Hi-Hat in the series.[29]

See also
Brill Building
 Music Row
Printer's Alley
Radio Row
The Tin Pan Alley Rag
Denmark Street, known as "Britain's Tin
Pan Alley"

References
Notes

1. Reublin, Rick (March 2009) "America's

Music Publishing Industry: The story
of Tin Pan Alley" The Parlor Songs
Academy
2. Dickerson, Aitlin (March 12, 2013)
"'Bowery Boys' Are Amateur But
Beloved New York Historians" NPR
3. Mooney Jake (October 17, 2008) "City
Room: Tin Pan Alley, Not So Pretty"
The New York Times
4. Gray, Christpher (July 13, 2003)
"Streetscapes: West 28th Street,
Broadway to Sixth; A Tin Pan Alley,
Chockablock With Life, if Not Song"
The New York Times
5. Spencer, Luke J. (ndg) "The Remnants
of Tin Pan Alley" Atlas Obscura
. Miller, Tom (April 8, 2016) "A Tin Pan
Alley Survivor -- No. 38 West 28th
 Street " Daytonian in Manhattan
7. "Manhattan's Tin Pan Alley could
become a city landmark" . am New
York. Retrieved March 18, 2019.
. Staff (December 10, 2019) "LPC
Designates Five Historic Buildings
Associated with Tin Pan Alley" (press
release) New York City Landmarks
Preservation Commission
9. Staff (December 10, 2019) "LPC
Designates Five Historic Buildings
Associated with Tin Pan Alley" (press
release) New York City Landmarks
Preservation Commission
10. Charlton (2011), p.3 Quote: the "term
Tin Pan Alley referred to the thin, tinny
tone quality of cheap upright pianos
used in music publisher's offices."
11. Hamm (1983), p.341
12. Friedmann, Jonathan L. (2018).
Musical Aesthetics: An Introduction to
Concepts, Theories, and Functions .
Newcastle upon Tyne: Cambridge
Scholars Publishing. p. 119.
13. Brackett, David (2005). The Pop, Rock,
and Soul Reader: Histories and
Debates. Irvington, New York: Oxford
University Press. ISBN 0195125711.
14. Naper-Bell, Simon, Ta-ra-ra-Boom-de-
ay: The Beginning of the Music
Business, (2014), p.7: quoted from
Goldberg, Isaac and George Gershwin,
Tin Pan Alley: A Chronicle of the
American Popular Music Racket,
(1930)
15. Browne, Porter Emerson (October
1908) "Tin Pan Alley" The Hampton
Magazine v.21, n.4, pp.455-462
1 . "tin pan alley" etyomonline.com,
January 14, 2020
17. Daley, Dan (January 8, 2004). "Pop's
street of dreams" . The Telegraph.
London. Retrieved February 23, 2011.
 ""We used to think of Tin Pan Alley,
which is what they called Denmark
Street years ago when all the music
publishers were there, as rather old-
fashioned," recalls Peter Asher"
1 . "Tin Pan Alley (London)" ,
musicpilgrimages.com, November 7,
2009
19. Hischak, Thomas S. (ndg) "Tin Pan
Alley" on Grove Music Online. Oxford
Music Online/Oxford University Press
20. Whitcomb, Ian (1973) After the Ball.
Allen Lane, p.44
21. Naper-Bell, Simon, Ta-ra-ra-Boom-de-
ay: The Beginning of the Music
 Business, (2014), p.6
22. "Bob Dylan, Titan Of American Music,
Wins 2016 Nobel Prize In Literature" .
23. Smith, Kathleen E. R. (2003). God
Bless America: Tin Pan Alley Goes to
War. Lexington, Kentucky: University
Press of Kentucky. pp. 2–6
24. Hajduk, John (December 2003). "Tin
Pan Alley on the March: Popular
Music, World War II, and the Quest for
a Great War Song". Popular Music and
Society. 26 (4).
25. John Bush Jones, God Bless America:
Tin Pan Alley Goes to War (Lebanon:
 University Press of Kentucky, 2003),
pp. 32–33
2 . "Song for Hard Times" , Harvard
Magazine, May–June 2009
27. Santelli, Robert (2001). Penguin Books,
p. 524
2 . Herzhaft, Gérard (1992). Encyclopedia
of the Blues. University of Arkansas
Press, p. 475
29. "The Deuce: Behind the Scenes
Podcast 72" . The Rialto Report.
September 3, 2017. Retrieved
January 5, 2019.

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Further reading

Scheurer, Timothy E., American Popular

Music: The nineteenth century and Tin
Pan Alley , Bowling Green State
University, Popular Press, 1989 (Volume
I)
Scheurer, Timothy E., American Popular
Music: The age of rock" , Bowling Green
State University, Popular Press, 1989
(Volume II)

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related to Tin Pan Alley.
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Parlor Songs: History of Tin Pan Alley

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