Chan and Chang: The Origin and Cultural Vicissitudes of the Most Famous Chinese-American Literary and Screen Detective

Biographical, Cinema, Inter-ethnic relations, Literary & Linguistics, Performing arts, Popular Culture, Racial politics

The literary character Charlie Chan, created by Earl Derr Biggers, is best remembered in numerous cinema representations from the 1930s and 1940s. While the obsequious but sagacious Chinese-American detective became one of the enduringly nostalgic fictional figures of US popular culture, his creator in fact based him on a real life-and-blood Hawaiian-Chinese policeman – Chang Apana (his name is Hawaiianised but he was born “Chang Ah Pang” of Chinese migrant parents).

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Downtown Honolulu, circa 1935
 (Source: www.reditt.com)

Over the first three decades of the 20th century, the diminutive and slightly-built Chang Apana, a paniola (Hawaiian cowboy) before entering the Honolulu police service, patrolled the dingy and dangerous Chinatown district of Honolulu armed only with a 1.5m-long bullwhip. Chang’s detective escapades were legendary, involving – audacious, single-handed arrests of members of gambling dins, mastery over disguises in working undercover and shrewd and meticulous powers of sleuthing on murder cases (a cornucopia of material for Biggers to drawn on). Biggers’s own account of Charlie Chan’s genesis, is that he happened upon the existence of the “real Charlie Chan” after reading about Chang’s exploits in a Honolulu newspaper one day in the New York Public LibraryA.

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‘The House Without a Key’ (1925): the first Charlie Chan novel, although Chan appeared in it only as a minor character

A wellspring of a literary character
The portly Chinese detective with a penchant for “Confucius says”/fortune cookie-style aphorismsB appeared in six crime novels—initially serialised in the influential American magazine Saturday Evening Post—in the 1920s and ‘30’s. Biggers’ premature death in 1933 cut short the Chan literary sequence but not the film adaptations which continued to proliferate with a  series of extremely popular Fox mystery filmsC. Charlie Chan‘s first screen appearances were in obscure silent movies with Japanese and Korean actors playing the leads before Walter Oland, a US actor with Swedish-Russian parents, took over  and played Chan in 16 pictures. Upon Oland’s death American Sidney Toler assumed the mantle for 22 more CC movies,and lastly, Roland Winters, the son of German and Austrian parents, for a further six films.

ED Biggers

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Life inextricably entwined with art
There were some interesting connexions arising from ED Biggers’ magnum opus…firstly, Chang and Chan’s creator actually met – in 1928. By then, such was the fame of CC, people in Honolulu had started to call the real detective ‘Chan’. The local newspaper recorded their meeting at the Royal Hawaiian Hotel as “AUTHOR MEETS ‘LIVE’ CHINESE DETECTIVE”. Three years later there was the even more improbable meeting of Chan and Chang when 20th Century Fox shot The Black Camel on location in Honolulu. The meeting between sleuth Chang and actor Walter Oland and obligatory photo op occurred during filming…Chang was invited to watch the action and ended up coming every day apparently totally engrossed in the unfolding film [‘Chan, the Man’, (Jill Lepore), The New Yorker, 02-Aug-2010, www.newyorker.com].

Chang and Oland (Chan) meet at Waikiki

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The dragon’s embrace of Chan
Charlie Chan’s international cinematic popularity extended, perhaps surprisingly to observers looking at it with the greater cultural sensitivity of the present time, to the Chinese themselves. Walter Oland, at the height of his CC fame, visited Shanghai in 1936 on a promotional tour – to widespread acclaim. Local Chinese newspapers even presented the event in terms that suggested that Biggers’ literary creation was in fact a real person: “Great Chinese Detective Arrives in Shanghai”DAnd of course the Chan movies spawned home-grown imitators within China [‘Charlie Chan in China’, The Chinese Mirror: A Journal of Chinese Film History, 08-Jul-2011, [http://web.archive.org]. Chinese-born American academic Yunte Huang’s hunch as to why people in China took so whole-heartedly to the clearly faux-Chinese film character is to do with a tradition you see in Chinese operas of performing “the other”. He explains, there’s an acceptance of this “kind of imitation (be it opera or cinema) as part of the artistic culture of China” [‘Investigating The Real Detective Charlie Chan’, NPR, 07-Sept-2010, www.npr.org].

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(Source: www.movieposters.ha.com)

Charlie Chan, detective at large

As the series progressed and the search for plots to accommodate the oriental ace detective widened, Charlie Chan took on a ”globe-trotting” role à la the “Road to“ series. Hence the public were served up increasingly formulaic offerings in a variety of exotic locales – Charlie Chan in Shanghai, Charlie Chan in Egypt, Charlie Chan in Panama, Charlie Chan in Paris, Charlie Chan in Rio, Charlie Chan in Reno, Charlie Chan at Monte Carlo, etc, etc.

Backlash against the honourable Mr Chan in an era of PC sensitivity
What passed—unchallenged in a ‘whitebread’ society—for innocuous humour in the 1930s and ‘40’s was viewed very differently in the more pluralistic and multicultural milieu of the 1980s and ‘90s and beyond. Many Asian-Americans looking back have found the Charlie Chan depiction objectionable, a Chinese racial stereotype of subservience and pidgin English, a relic of ‘yellowface’ (a kind of “Yellow Uncle Tom”, much akin to the contemporary view of ‘blackface’ minstrel entertainment in the US) [Charlie Chan: The Untold Story of the Honorable Detective and his Rendezvous with American History, Yunte Huang (2010); Lepore].

Chan (Sidney Toler) with #1 son and #2 son

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Yunte Huang has sought to redress or balance this jaundiced perception of Charlie Chan, arguing that the fictional Asian-Honolulan super-sleuth is “as American as Jack Kerouac” – “precisely because of (Chan’s) theatrical implausibilities and mixed-up origins”. To Yunte Chan “epitomises (both) the racist heritage and the creative genius of (America’s) culture”, and he notes that while Chan himself is Chinese, “his methods and his milieu are American”, eg, the books and films’ settings are Hawaiian/American mainstream, not set in Chinatown [‘Watching the Detective’, (Pico Iyer), Time, 23-Aug-2010; Yunte].

Assuaging the perception of ‘Orientals’ in America
The dominant literary precedent to Charlie Chan in American (and Western) popular culture of Asians was the figure of Fu Manchu. The creation of English writer Sax Rohrer (Arthur Henry Ward), the Fu Manchu novels (1913-48), exploited the “Yellow Peril” conspiracy image prevalent in the West of an Asian stereotype of evil – Fu was depicted in literature and on-screen as a mad scientist–cum–archvillain hellbent on a mission to rule the world. Yunte points out that Charlie Chan fulfilled a purpose of refuting or challenging the negative Fu Manchu image in the minds of many Americans. In contrast to the iniquitous Fu Manchu wreaking havoc everywhere, Chan is a “man of logic” (as are his fellow detectives extraordinaire Hercule Poirot and Sherlock Holmes), Chan’s personal qualities are that of moral rectitude, observation and logic (Yunte). Biggers himself derided the Fu Manchu portrayal as “sinister and wicked” and “old stuff”, compared to his creation, “an amiable Chinese on the side of the law (which) has never been used (before)” (1931) [‘Creating Charlie Chan’, Popular Culture1975].

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Other observers concur that the amiable Chinese detective was a departure from the old, more overtly racist stereotypes in US fiction at the time – supplanting the “heathen Chinee” with a more positive image of a Chinese person [‘The Importance of Being Charlie Chan’, (Sandra M Hawley), in Jonathan Goldstein, Jerry Israel & Hilary Conroy (Eds), America Views China: American Images of China Then and Now, (1991)]. Fletcher Chan notes that the books and movies “were a big factor in softening the attitude of white Americans towards Asians”, Charlie Chan as a sort of “goodwill ambassador” [‘Charlie Chan: A Hero of Sorts’, Fletcher Chan, Californian Literary Review, 26-Mar-2007, www.calitreview.com].

Where the Yellow Peril stereotype of Fu Manchu personifies the evil, scheming and immoral Asian in popular culture, the character of Charlie Chan presents—albeit with the retention of some truly cringeworthy ethnic stereotyping—an equal, at least intellectually, to the whites in the world he traverses [Yunte; ‘Charlie Chan’, Wikipedia, http://en.m.wikipedia.org].
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 Mr Wong: Charlie Chan rip-off with Boris Karloff

Endnote: Hollywood imitators, Moto and Wong
The success of Charlie Chan on the big screen led other filmmakers to try their hand at using European actors to portray Asian-American crime fighters, however these were pale imitations of the original and lacking the Chan series’ success and its longevity. Fox’s “Mr Moto” series had Hungarian-American Peter Lorre as a Japanese secret service agent with a Viennese accent. Monogram Pictures, a low-budget specialist, also tried to emulate the success of Chan with its copy/interpretation of a Chinese-American detective Mr Wong, with British horror specialist Boris Karloff in the title role. The last in the series of Mr Wong flicks, Phantom of Chinatownwas a first…in place of Karloff, Chinese-born Keye Luke (previously Charlie Chan’s “Number One Son”) featured in the role of Wong, avoiding the then standard ‘Yellowface’ casting for Asian-American roles.

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A Biggers’ story of reading about a slick piece of detective work by Sergeant Chang Apana and another Hawaiian-Chinese detective Lee Fook has been extensively investigated by Yunte Huang who could not confirm the said article appearing in the Honolulu media of the day. An alternative explanation is that Biggers discovered the local police celebrity on a holiday he took to Hawaii in 1919 or 1920
B eg., “Tongue often hang man quicker than rope”; “Mind like parachute – only function when open”; “Front seldom tell truth. To know occupants of house, always look in backyard”; “Truth is like football – must receive many kicks before reaching goal”; ad nauseam. This idiom or element of Chan’s persona is known today as a ‘flanderisation’ – where a single (often minor) trait or action of a character is increasingly exaggerated or accentuated until it becomes the character’s defining characteristic [www.allthetropes.fandom.com]
C as well as a regular stream of radio shows, comics and television series
D mind you, contestants on a 1980s US quiz show asked to name some historical or contemporary Chinese persons came up with “Charlie Chan” as their fifth response (‘The Chinese Mirror’)

CFS Changchun: ‘Hollywood’ on the Songliao Plains

Cinema, Old technology, Performing arts, Travel

From near Changchun’s central train station we waved down a cab to take us to the site of Changchun’s cinematic claim to glory in China, the Jilin province city’s pioneering film studios. Although it looked fairly close on Google Maps it took an eternity to get to the former movie site of CFS, Changchun Film Studios. Road distance in China is measured in the conventional way by metric length, but also by the number of motor vehicles they’re are between point A (where you are) and point B (where you want to go).

The setting for the film studios is an impressive one. From the street front you enter a big green park and walk up a grand, sweeping drive. At the top of the drive is the film studio complex, but before you reach the studio entrance, you have to contend with Mao Tse-tung. There he is, “the Chairman” standing erect, as he was in life, larger than the life of any one Chinese person. A gigantic, white statue of Mao, waving benignly at every human figure passing within the shadow of his massive, immovable image.

It was quite late in the day by now but we were still keen after travelling that far, to see inside the CFS Factory/Museum. The callow youth on the turnstiles gate had other ideas…he point-blank refused us entry because it was after 4 o’clock, less than an hour till the museum closed. Unable to dissuade him, we went away disgruntled but decided to explore the outside parts of the site anyway.

This bore unexpected fruit as we discovered a nice little courtyard adjacent to the factory with an overt military touch (statues of heroic patriotic types and other martial figures, battle-green painted artillery guns, etc). The factory’s military theme is continued in the forecourt which exhibits a fighter plane of 1950s vintage.

Before leaving altogether we chanced a quick look-through of the CFS gift shop which was still open. This proved a fortuitous diversion on our part…while unenthusiastically perusing the shop’s uninspiring assortment of predictable souvenirs on the shelves we noticed a side door ajar which we took advantage of by slipping through it and into the exhibits area. Thus, through a combination of arse-lucky opportunism and devious initiative we did gain entry to the factory after all and for gratis!

The public CFS Studios display comprised a long, darkly-lit corridor which threw the lighted exhibits down one side into relief. These exhibits were a miscellany of items reflecting the film company’s past productions, the result undoubtedly of a raid on the props department and the costume wardrobes (old military weapons, uniforms and paraphernalia), old style 35mm film cameras and sound recording machines, etc.

The military theme of the factory exhibition was further underscored in the choice of film posters to display…war movies galore! The impression that CFS’ most popular movie genre was war was hard to ignore on this evidence.

Peaking inside a few of the rooms running off the main corridor revealed that the complex was still a hub for contemporary film-making. Production tech staff could be seen working on documentary and TV projects using modern technical equipment (not the antique stuff in the corridor).

Another room off the corridor held a small viewing theatre…surprisingly to me the projector was running a 1930s British B & W film starring Larry Olivier (not dubbed into Chinese and no one watching!). Elsewhere in the room there were pictures and bios of Chinese film-makers, dubbers and other behind-the-camera personnel who had made a contribution at CFS Films during its halcyon days.

The props displayed were for the most part interesting and authentic-looking (authentically old too!), but I did find the stuffed tiger mounted and encased in glass right at the end of the passageway rather incongruous and something that didn’t add to the CFS collection.

Changchun Film Studio Group Corporation (Ch: 长春电影集团公司) (to give it its formal title) was the first film production unit registered by the PRC in 1949 after the communist victory. Changchun Film Studios was chosen to fill the cinema production void left by the Japanese Manchukuo Film Association and the Northeast Film Studio. The Corporation also operates the somewhat maligned Changchun Film Theme Park elsewhere in the city.

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Mao’s Goliath-proportioned statue and other plaques in the park are propaganda pieces for the government commemorating the communist state’s establishment (October 1, 1949)

A Near Miss in Tokyo: The Would-Be Assassination of a Hollywood Screen Icon

Military history, National politics, Performing arts, Popular Culture

One of the many enduring urban myths that used to float around about celebrated Hollywood actor and director Charlie Chaplin was that he once entered a “Charlie Chaplin Look-alike Contest” – and lost! [Charlie Chaplin allegedly entered a Chaplin look-alike contest and lost’, (Domagoj Valjak), The Vintage News, 05-Jan-2017, www.thevintagenews.com].

Given the gravity of the Hollywood silent star’s experiences on a 1932 visit to Japan – a close brush with mortality – the “Little Tramp’ may have wished in hindsight that he was similarly unrecognisable on that particular perilous occasion in Tokyo.

This bizarre as it sounds episode took place during a heightened period of political tensions in Depression-hit Japan. The incumbent Japanese prime minister Inukai Tsuyoshi, a fan of Chaplin, invited him to Japan. Unfortunately, this occurred at a time that certain far-right cells in the Japanese military were plotting to assassinate PM Inukai and cause an international incident.

PM InukaiThe group of young reactionary officers from the Japanese Imperial Navy – including Kiyoshi Koga, one of the ringleaders – sensed an opportunity in Chaplin’s impending visit to double their intended impact (chaos, anxiety and upheaval within mainstream Nihonjin society). The conspirators’❈ purpose was straightforward – to weaken the fabric of Japanese democracy and the rule of law culminating in the supplanting of the status quo civilian national government by a military one [‘May 15 Incident’, Wikipedia, http://en.m.wikipedia.org].

Why Chaplin?

At his trial Koga, responding to the prosecutor’s question, explained why the plan was to include Chaplin in the ‘hit’: “Chaplin is a popular figure in the United States and the darling of the capitalist class. We believed that killing him would cause a war with America, and thus we could kill two birds with a single stone” [‘No laughing matter’, (Shibley Nabhan), The Japan Times, 15-May-2005, www.japantimes.co.jp].

Why Inukai?

The perpetrators’ intent was to railroad the civilian regime in Japan, but Inukai had especially earned the ire of the clique because of his opposition to the military interventions in Manchuria and elsewhere, and it’s manipulation of the decision-making functions in the kyabinetto (キャビネット) (Japanese cabinet). The centre-right politician was planning to negotiate the Manchurian situation with the Chinese government and halt all further Japanese military activities in China – all anathema to the ultra-right militarists [‘Inukai Tsuyoshi, Prime Minister of Japan’, Britannia, www.britannia.com].

The coup attempt

Eleven young naval officers were chosen to carry out the “double strike” (known as the May 15 Incident or the ‘5.15 Incident’). They were thwarted from completing their assignment of taking out the second of their targets, owing to Charlie Chaplin’s own sudden about-face…once in Tokyo the film star lost interest in attending the reception to be held in his honour at the Japanese PM’s official residence and skipped it, instead he went to a sumo wrestling match with Inukai’s son (known as ‘Inukai Ken’), a pastime much more to his liking – this 11th hour change of mind probably saved the Hollywood cinema icon’s life!

The assassins on arrival at the prime minister’s residence or Sōri Kōtei (総理公邸)◙ (which was alarmingly short on security) duly liquidated incumbent PM Inukai as planned. The cadre of ultra-right extremists rounded out the night of terror by attacking the residence of the head of the Rikken Seiyūkai Party and tossing grenades into the Mitsubishi Bank’s Tokyo headquarters.

Chaplin meeting with the mayor of Tokyo on his trip

The Aftermath

The ensuing trial of the perpetrators was marked by a wave of public sympathy for the accused✙. Many believed that the young assassins’ actions admirably embodied the nativist Yamato (大和) spirit of Japan [‘May 15 Incident’, loc.cit.]. In such a politically charged environment, the assassins were handed extremely light sentences. The incident and its feeble handling by the establishment served to encourage conservative elements of the military to further excesses, eg, the February 26 Incident (1936), a failed putsch by a radical faction of the army with the same aim of installing a military government in Japan.

The developments in Japan in the 1930s, the isolated violent incidents by maverick cadres within the military and the incursions into Manchuria and beyond, set Japan on a path to the eventual dissolution of all political parties and the establishment of a military junta in 1940, and thus on a path to war.

Footnote: Chaplin, much later, from the sanctity of his memoirs, wrote light-heartedly of the incident: “I can imagine the assassins having carried out their plan, then discovering that I was not an American, but an Englishman – ‘Oh, so sorry!'” [Nabhan, loc.cit.].

PostScript: Japan, a dangerous environment for politicians

Assassination has been a constant in Japanese politics, a recurring feature in the nation’s political landscape. In the same year as Inukai was shot, there were two other political assassinations in Japan perpetrated by the League of Blood (the casualties a former finance minister and the head of the Mitsui Group corporation). The victims of extremist fringe violence in Japan include prime ministers or former prime ministers Prince Itō, Hara Takashi and Viscounts Saitō Makoto and Takahashi Korekiyo (these last two assassinated in the February 26 Incident). The pattern continued into the postwar era…two Japanese politicians were killed in 1960, and again in the 2000s some provincial politicians have been assassinated (these most recent killings have however tended to be the work of yakuza crime organisations).

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❈ comprising the naval officers’ cell, some cadets of the Japanese Imperial Army and civilian members of the ultra-nationalist League of Blood

◙ in 2013 Shinzō Abe after regaining the prime ministership refused to move into the same presidential residence that Inukai was assassinated in, though he denied he was motivated by superstition [‘Japanese prime minister fails to move back into ‘haunted’ residence’, (Justin McCurry), The Guardian, 19-Aug-2013, www.theguardian.com]

✙ 350,000 signatures in blood were received, petitioning the court for lenient sentences for the eleven

New York’s Seminal Brill Building: 1960s America’s Pop Music Factory

Leisure activities, Memorabilia, Music history, Performing arts, Popular Culture, Social History

(Photo: https://nypost.com)

The Brill Building at 1619 Broadway in Midtown New York City, architecturally, has few distinguishing features to set it apart from most any other homogeneous looking commercial medium high-rise building in the “Big Apple” (save for a rather dazzlingly decorative archway entrance). But for a period from the end of the Fifties to the late Sixties it was the fulcrum (if not quite the epicentre) of innovative and groundbreaking Rock and Pop music-making in the USA.

The young professionals are in the Building!
The collaborative and creative energies of the Brill Building produced a conducive environment for young professional songwriters of the period to work with music producers to create highly productively musical outcomes. So there were song-writing teams that emerged around 1960 (often they were couples) – (Carole) King and (Gerry) Goffin, (Barry) Mann and (Cynthia) Weil, (Jeff) Barry and (Ellie) Greenwich – who linked up successfully with young producers like “wonder-kid” Phil Spector [‘The Brill Building: Assembly-Line Pop’, (Reebee Garofalo), Encyclopaedia Britannia, www.encyclopaediabritannia.com].

Kirshner, King & Goffin

But the Brill Building’s genesis as a revolutionary force in 1960s US pop music actually started in a building across the road – at 1650 Broadway. Here in 1958 “pop entrepreneur” Don Kirshner and musician Al Nevins formed Aldon Music. Aldon’s reading of the popular music zeitgeist of the day was that rock and roll’s original impact had dissipated and somewhat lost its way. Kirshner’s remedy was “to take its energies and reapply the old-fashioned Tin Pan Alley disciplines to the craft and professionalism of making hits for the youth market” [Inglis, Ian. “‘Some Kind of Wonderful’: The Creative Legacy of the Brill Building.” American Music, vol. 21, no. 2, 2003, pp. 214–235. JSTOR, www.jstor.org/stable/3250565]. Kirshner put together a stable of aspiring young songwriters, including Goffin and King, Mann and Weil, as well as Howard Greenfield and Neil Sedaka.

1619 + 1650 = the Brill Building style
The term “Brill Building” in the musical context doesn’t confine itself exclusively just to that one building…Brill Building as a descriptor for the achievements in NYC pop and rock creativity of the day is an omnibus reference for what was happening at both addresses, 1619 and 1650 Broadway, New York.

The pioneers of the new professionalism that was to become labelled as “Brill Building” were probably the song-writing team of Leiber and Stoller (Jerry Leiber and Mike Stoller) who had earlier written for Elvis Presley, started to write hits for the Drifters from the late 50s that mark the starting-off point for Brill [Garofalo, loc.cit.]. A new wave of songwriters began to etch out pop songs from within the walls of 1650 Broadway and 1619 Broadway (the Brill Building adopted Aldon’s ‘hothouse’ style of songwriting from youthful collaborators with a creative overlap between the two addresses) [Inglis, op.cit.].

Distinguishing features of Brill Building music and music-makers
Kirshner’s writing staff at 1650 Broadway were not only dedicated professionals, they were remarkably youthful…the eighteen songwriters Kirshner had in his employ in 1961 (roughly equally male and female) were aged between 19 and 26, a clear departure from the status quo ante of “middle-age men churning out novelty songs” [ibid.]. This contemporary generation of songwriters, not much older than their target audience, grasped the idiom of teenagers and wrote exclusively for the youth of the 1960s [Garofalo, loc.cit.].

Other composer/lyricist teams to thrive in the environment of the Brill Building included Doc Pomus and Mort Shuman, Tommy Boyce and Bobby Hart (who later worked with Kirshner and the Monkees) and the extraordinarily prolific hit-making duo of Burt Bacharach and Hal David.

The gender equality between songwriters achieved at Brill, brought female pop and rock songwriters like King, Weil and Greenwich to the fore, correlating with the rise of the girl groups of the early 60s… these female writers wrote hits for the Shirelles, the Crystals, the Chiffons, the Ronettes and the like [Inglis, op.cit.].

The Ronettes: “Big hair” sound!

‘Brill’ place, ‘Brill’ music?
Recollections of the songwriters’ working conditions at the Brill Building doesn’t suggest an ideal environment to inspire the creation of Top 40 hits: writers were assigned their “respective cubby holes” (Carole King), “a tiny cubicle the size of a closet”…”no window or anything” …(an upright) “piano and a chair” …”we’d go in and write songs all day” (Barry Mann, ibid.). The creators of pop and rock worked in an assembly line fashion in something akin to a standard nine-to-five office job [Garofalo, loc.cit.]. Kirshner would play one young writing team off against another to enhance their productivity [Sociology of Rock, Simon Frith (1978)].

The hit factory
And yet despite these strictures it somehow worked! The songwriting team did come up with “teenage drivel” from time to time, but collectively, the youthful penners of contemporary Sixties song generated a steady series of musical hits for a Pop-crazy world! Fusing the urgency of R & B with “the brightness of mainstream pop” melodies, Goffin and King, Greenfield and Sedaka and the other B.B. star writing teams came up with perennial pop classics like “Will you Love me Tomorrow?”, “Calendar Girl”, “Leader of the Pack” and the much revered “You’ve Lost That Lovin’ Feelin'” [ibid.].

A vertical integration of the pop music biz on a micro-scale
The “B.B. factory” was good at matching artists to appropriate material. By 1962 the Brill Building contained 165 separate music businesses. This meant a B.B. musician “could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building”, Garofalo, loc.cit.; ‘The Brill Building’, Wikipedia, http://en.m.wikipedia.org; Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North, (Edited by John Shepherd, David Horn), 2013, www.books.google.com.au]

Time call on the Brill Building
By the mid to late 1960s the B.B. music line was losing its energy. A new creative force was rapidly filling its void – the rise of the singer-songwriter, heralding a new era of artists who wrote their own material. The new wave led by the phenomenal global success of the Beatles (the unsurpassed potency of the Lennon/McCartney songwriting duo) and the guru-like acclaim afforded Bob Dylan, fairly swiftly relegated the Brill Building writers to the edges of pop music relevance [Garofalo, loc.cit.].

 Footnote: A Brill Building ‘sound?’
The Brill Building style of songs drew inspiration from diverse strands of earlier music – R & B (rhythm and blues), Latin, jazz and African-American gospel. The result was often referred to as the “Brill Building sound” but there actually wasn’t a specific or distinctive sound at all. The only similarities between the Brill ‘products’ was in the recurring themes and components in the song lyrics (might be described as “First World problems” seen through the eyes of 60s American youth) [‘The Brill Building pioneered assembly line pop music but left a legacy of hits’, (Troy Lennon), The Daily Telegraph, 13-Sep-2017, www.dailytelegraph.com.au]; Inglis, op.cit.].

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Spector was both a collaborator with the Brill songwriters and a customer of their compositions

described by Ian Inglis asa crucial moment in the development of Brill Building’s pop sensibilities”

Tin Pan Alley was a loose collection of composers, lyricists and music publishers based in NYC who dominated the industry for several decades through the first half of the 20th century (Irving Berlin, Cole Porter, the Gershwins, Sammy Cahn, Hammerstein and Rodgers and many more)

although two of the mainstays of the Brill team, Goffin and King, never actually worked in the Brill Building, producing their entire creative output in the period over at Aldon Music (they did however sell some of their compositions through the Brill Building)

many of the Brill writing alumni went on to be highly successful performers in their own right – top of the totem industry names like Neil Diamond, Gene Pitney, Paul Anka and Paul Simon

another interesting juxtaposition emerging from the Brill Building music factory was the contrast between writer and artist – the songwriters were all white and mostly Jewish, writing largely for emerging black girl groups (Inglis)