The Story behind the Song

Star (Christchurch), Issue 17853, 22 May 1926, Page 17 (Supplement)

The Story behind the Song

— Ta-ra-ra-boom-de-oy.

stormy Jupiter, with his fits of temper and his nasty moods. But Venus, with all the intuition that is attribued to her sisters on this planet below, keeps away from her heavenly fellows, shuns them as one who knows their history and does not want their company; and even the magic glass at the Christchurch Observatory reveals only so much as might be the hem of her skirt, a little crescent it is, very like the moon in its first quarter. There arc many other heavenly bodies that you might sec during your nocturnal tour of the skies, small stars like sparks from a blacksmith’s anvil, twinkling and shimmering with an air of undue importance, big stars, brilliant, silvery orbs, that are perhaps the policemen of the heavens, keeping a vigilant eye on the flapper constellations that seem to be always doing their best to twinkle themselves away from the watching eyes of their elders To the man who has seen no more of the heavenly bodies than is to be seen through a pair of spectacles from the street, an hour in this old dome, with its faithful old telescope, is an hour well spent, an hour that flits much too quickly, for it is a wonderful land, the land of the stars.

One night some thirty-five years ago a theatrical Press agent, Henry J. Sayers, found himself in St Louis two days ahead of his troupe, writes Geller in the “ New York IleraldTribune.” With plenty of time to spare, he drifted the following night into a cabaret maintained by a negress, “ Babe” Connors. Here, in this ribald atmosphere, one found negro entertainers who also served as waiters. In catering to the .whites, the owner had installed a small, orchestra and soon she drew the local politicians, gamblers, • sporting fraternity and out-of-town visitors. With this patronage, her entertaining waiters would often sandwich an off-colour song or parody between the melodies of the day. it was in this environment that Sayers landed during his second night in St Louis. As he sat listening, one song in particular appealed to him. This melody had a catchy air and a chorus in which the intonation of “ Ta-ra-ra-boom-de-ay ” was repeated rhythmically eight times; however, he also realised that the words would never be tolerated on any public stage. Upon inquiry as to the source of the melody, he learned that an unknown negro pianisle had ground it out haphazardly. Somewhat of a songsmith himself. Savers reflected that here was a. melody fit to be heard for the new minstrel farce comedy, “ Tuxedo,” to be produced bv George Thatcher at the New Park Theatre, in New York, if only the original words were changed. Returning to his hotel, with the tune running through his mind, Sayers wrote two verses to accompany it and retained the novelty chorus. He sent the manuscript to Thatcher, who included it in his musical farce on the night of October 5, 1891. It received its full meed of encores along with the

rest of the musical numbers and was duly published. Upon his return to New York Sayers procured copies of his revamped song and mailed them to professional friends. One chanced to reach' Steve Cooney, an American in London, who was married to Lottie Collins, then fairly well known in music hall circles. Cooney was taken by the melody but reasoned that. Saver’s lines should be altered for British audiences, and he accordingly handed the number over, to an English song writer, Richard Morton. When it finally reached Lottie Collins, the song, for the second time, had been given a new setting.' It told of a demure and innocent. Quaker girl who, upon reaching the “ Ta-ra-ra-boom-de-ay ” chorus, became spirited and threw off the illusion she created in the verses. This change of pace from the quiet lines to the gingery chorus, enhanced by an excellent orchestration in which drum beats played an important factor—accomplished overnight an instantaneous success for Lottie Collins.

She would coyly sing the verse and then, zip! into the chorus with her famous kick dance. She became the highest salaried music hall player in Europe. Her fame and the fame of the song reverberated to America and she was lured to our shores. Of a magnetic personality' and with no end of animation, she duplicated her London success and soon had both continents singing “Ta-ra-ra-boom-de-ay.” Lottie Collins danced into limelight with “ Ta-ra-ra-boom-de-ay,” and when she passed on the melody went with