"Take Me Out to the Ball Game" is a 1908 Tin Pan Alley song by Jack Norworth and Albert Von Tilzer which has become the unofficial anthem of North American baseball, although neither of its authors had attended a game before writing the song. The song's chorus is traditionally sung as part of the seventh-inning stretch of a baseball game. Fans are generally encouraged to sing along, and at some ballparks, the words "home team" are replaced with the team name.
Yankee Doodle Dandy is a 1942 American biographical musical drama film about George M. Cohan, known as "The Man Who Owned Broadway". It stars James Cagney, Joan Leslie, Walter Huston, and Richard Whorf, and features Irene Manning, George Tobias, Rosemary DeCamp, Jeanne Cagney, and Vera Lewis. Joan Leslie's singing voice was partially dubbed by Sally Sweetland.
"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.
"You're a Grand Old Flag" is an American patriotic march. The song, a spirited march written by George M. Cohan, is a tribute to the U.S. flag. In addition to obvious references to the flag, it incorporates snippets of other popular songs, including one of his own. Cohan wrote it in 1906 for his stage musical George Washington, Jr.
"It's a Long Way to Tipperary" is an English music hall song first performed in 1912 by Jack Judge, and written by Judge and Harry Williams, though authorship of the song has long been disputed.
"The Yankee Doodle Boy", also known as "(I'm a) Yankee Doodle Dandy" is a patriotic song from the Broadway musical Little Johnny Jones, written by George M. Cohan. The play opened at the Liberty Theater on November 7, 1904. The play concerns the trials and tribulations of a fictional American jockey, Johnny Jones, who rides a horse named Yankee Doodle in the English Derby. Cohan incorporates snippets of several popular traditional American songs into his lyrics of this song, as he often did with his songs. The song was performed by James Cagney in the 1942 film Yankee Doodle Dandy, in which he played Cohan.
Collins & Harlan, the team of American singers Arthur Collins and Byron G. Harlan, formed a popular comic duo between 1903 and 1926. They sang ragtime standards as well as what were known as "coon songs" – music sung by white performers in a black dialect. Their material also employed many other stereotypes of the time including Irishmen and farmers. Rival recording artist Billy Murray nicknamed them "The Half-Ton Duo" as both men were rather overweight. Collins and Harlan produced many number one hits with recordings of minstrel songs such as "My Gal Irene", "I Know Dat I'll be Happy Til I Die", "Who Do You Love?" and "Down Among the Sugarcane". Their song "That Funny Jas Band from Dixieland", recorded November 8, 1916, is among the first recorded uses of the word "jas" which eventually evolved to "jass", and to the current spelling "jazz".
"Give My Regards to Broadway" is a song written by George M. Cohan for his musical play Little Johnny Jones which debuted in 1904 in New York.
Ada Jane Jones was an English-American popular singer who made her first recordings in 1893 on Edison cylinders. She is among the earliest female singers to be recorded.
American patriotic music is a part of the culture and history of the United States since its foundation in the 18th Century. It has served to encourage feelings of honor both for the country's forefathers and for national unity. They include hymns, military themes, national songs, and musical numbers from stage and screen, as well as others adapted from many poems. Much of American patriotic music owes its origins to six main wars — the American Revolution, the American Indian Wars, the War of 1812, the Mexican–American War, the American Civil War, and the Spanish–American War. During the period prior to American independence, much of the country's patriotic music was aligned with the political ambitions of the British in the new land. And so, several songs are tied with the country's British origin.
"The Battle of New Orleans" is a song written by Jimmy Driftwood in 1936. The song describes the Battle of New Orleans from the perspective of an American soldier; it tells the tale of the battle with a light tone and provides a rather comical version of what actually happened at the battle. It has been recorded by many artists, but the singer most often associated with this song is Johnny Horton. His version, recorded at Bradley Studios in Nashville, Tennessee, scored number 1 on the Billboard Hot 100 in 1959. Billboard ranked it as the No. 1 song for 1959, it was very popular with teenagers in the late 1950s/early 1960s in an era mostly dominated by rock and roll music.
"On the 5:15" is a song written in 1914 by Henry I. Marshall and recorded in 1915 by Billy Murray, along with the American Quartet, which featured a bass counterpoint to Murray's Irish tenor voice.
"Rock Island Line" is an American folk song. Ostensibly about the Chicago, Rock Island and Pacific Railroad, it appeared as a folk song as early as 1929. The first recorded performance of "Rock Island Line" was by inmates of the Arkansas Cummins State Farm prison in 1934.
The American Quartet was a four-member vocal group that recorded for various companies in the United States between 1899 and 1925. The membership varied over the years, but the most famous line-up — comprising John Bieling, Billy Murray, Steve Porter (baritone), and William F. Hooley (bass) — recorded for the Victor Talking Machine Company from 1909 to 1913. The same group of singers also recorded for Edison Records as the Premier Quartet, and for that and other labels as the Premier American Quartet. From 1912 to 1914 the quartet also recorded with countertenor Will Oakland as the Heidelberg Quintet.
George Michael Cohan was an American entertainer, playwright, composer, lyricist, actor, singer, dancer and theatrical producer.
"Oh Johnny, Oh Johnny, Oh!" is a song composed by Abe Olman (1887–1984), lyricized by Ed Rose, and published by Forster Music Publisher, Inc. The music was copyrighted 7 February 1917 and the copyright was renewed 29 December 1944. Under the Copyright Term Extension Act (1998), the sheet music is in the public domain, as is all music published in the U.S. prior to 1923. Its melody and structure form the basis of a self-calling circle dance, using square dance steps and popular in summer camps.
Goodbye, France or "Good-bye France " is a World War I era song written and composed by Irving Berlin and published by Waterson, Berlin & Snyder, Inc., in New York City. The sheet music cover, illustrated by Albert Wilfred Barbelle, features French and American soldiers shaking hands with the Statue of Liberty in the background.
"The Worst Is Yet to Come" is a World War I-era song recorded on December 12, 1918 in Camden, New Jersey. Sam M. Lewis and Joe Young provided the lyrics. Bert Grant was the composer. The song was published by Waterson, Berlin & Snyder, Inc. in New York City. Billy Murray performed the song. Artist Albert Wilfred Barbelle designed the cover art for the sheet music. On one version of the cover, a soldier is in position to bayonet a prisoner in bed.
"It's a Long Way to Berlin, but We'll Get There!" is a World War I era song released in 1917. Arthur Fields wrote the lyrics. Leon Flatow composed the music. Leo Feist, Inc. of New York City published the song. Rosenbaum Studios designed the sheet music cover. It features soldiers marching in formation. There is an inset photo of Maurice Burkhardt, Will J. Ward, Ed Morton, Jimmy Flynn, Willie Weston, or Francis Maguire that varies per edition. There is another version of the cover known as the "Popular edition". It features a photo of Henry Bergman.
"America, Here's My Boy" was one of the most popular songs in the United States in 1917. The lyrics were by Andrew B. Sterling and the music by Arthur Lange; the publisher was the Joe Morris Music Co. of New York City. Written at the peak of the preparedness movement and copyrighted on February 16, 1917, it was widely regarded as a reply to "I Didn't Raise My Boy to Be a Soldier," the pro-neutrality hit published two years before. After the country entered the war it became a pervasive expression of commitment, with many performances by amateurs in venues from minstrel shows to benefit concerts. It was a favorite of the troops at training camps, and in October it was sung to Josephus Daniels, the Secretary of the Navy, by 12,000 sailors at the Great Lakes Naval Training Station.
