Max Miller: remembering the Cheeky Chappie Max Miller: remembering the Cheeky Chappie Max Miller in 1951 Credit: Rex Features 7 May 2016 • 10:12am Max Miller used to say, "There'll never be another," and how right he was. The comedian was 68 when he died on May 7, 1963, and although more than half a century has passed since his death, his memory is still alive. In 2013 in Brighton – where Miller was born Thomas Henry Sargent on November 21, 1894 – a 'Max Miller Walk' street sign was unveiled by the British Music Hall Society and the comedian's appreciation society. As a youngster, Miller really did run away from home to join the circus (Billy Smart's), where he first honed his skills as an entertainer. Yet it was music hall that turned him into one of the most celebrated and controversial comedians of the 20th century, inspiring people such as Max Bygraves, who acquired his own stage name during the war as a result of his Miller impressions in RAF reviews.

Miller defied respectability and his risqué jokes brought him into conflict with the censors. There were even rumours that he had been banned by the BBC. Max Miller was noted for his outlandish costumes Credit: Rex Features Miller, known as the Cheeky Chappie, stood out in the drabness of the Forties and Fifties, not least for his flamboyant attire – the long fur coat over gaudy plus-fours, decorated jackets and ties, white trilby hat and diamond-topped walking stick. People loved his subversive humour, as in the song With a Little Bit of Luck, when he sang "with a little bit of luck... someone else'll do the blinking work." Tunes such as Ride on Your Bicycle had a sentimental tinge, but it was the strong sexual themes that were at the cutting edge of daring comedy. "Nobody else dare sing 'em," he said of his song A Fan Dancer Minus Her Fan. "I've got the beginning and part of the end but what I want is that middle bit, that's what I'm after," he told a raucous audience.

Max Miller in 1951 at London's Palace Theatre Credit: Rex Features My late mother once went to see him at the Finsbury Park Empire in the early Fifties and she said it was the women in the audience who were laughing the hardest, especially at the smutty jokes. Miller loved teasing his female fans. "There's a fellow standing there, not a stitch on. Can you imagine that? How's your memory, gal?," Miller would say to an older lady he picked out in the front row. Miller kept a clean 'White Book' of jokes and his more notorious 'Blue Book' with the strong material.

In The Max Miller Blue Book (published in 1975 by Robson Books and illustrated by cartoonist and jazz musician Wally 'Trog' Fawkes ), Barry Took wrote: "Max Miller's timing was as sharp as a razor and what made Max Miller a legend was his ability to make sex a cheerful business, something to enjoy and be happy about." Credit: Martin Chilton His act was carefully crafted, with a range of catchphrases such as "here's a funny thing" and "there'll never be another", and he would often pin the joke on pure innuendo, adding: "go on... make something of that. Filthy lot, filthy lot. You wicked lot... you're the sort of people who get me a bad name." Not all of his jokes were blue, though. He used to tell one that went: "A Yorkshire man came to London and he couldn't get any Yorkshire pudding... so he went home and battered himself to death." It was claimed that John Osborne modelled Archie Rice in his play The Entertainer on Miller but Osborne wrote: "This is not so. Archie was a man. Max was a god, a saloon-bar Priapus".

If you listen to him now, Miller is still funny, although some of his references – to Russia's five-year plans, the Folies Bergère and dock workers – naturally seem of a bygone age. A tribute concert to Max Miller Miller has inspired lots of comedians – a young Matt Lucas was on the bill of a 2002 concert in Brighton celebrating Miller's life – and among the patrons of the Max Miller Appreciation Society are Michael Aspel, Roy Hudd and Ken Dodd. Stan Laurel, who saw Miller at the Holborn Empire during a Laurel and Hardy tour, said: "Max's act was a work of art. His timing was perfect; he projected his personality as well, if not better, than any performer I have seen on either side of the Atlantic." Perhaps it's best to leave you with one of the Cheeky Chappie's jokes: 'I said to my father: "Dad, I want to get married." He said: "Alright son, who do you want to marry?" I said: "I'd like to marry Miss Green". He said: "You can't". I said: "Why not?" He said: "She's your half-sister.

When I was a lad I had a bike and I got around a bit." I said: "Alright, I'll marry Miss White." He said: "You can't, she's your half-sister. Forget about it." Well, I was a bit despondent and I walked around and my mum said to me: "What's wrong with you?" I said: "Well, I said to Dad I wanted to marry Miss Green and he said I couldn't because she's my half-sister. I said, "All right, I'll marry Miss White." He said: 'You can't, she's your half-sister." She said: "Look, you go and marry which one you like. He's not your father anyway!" Premium 03 Jan 2017, 6:10pm Interview 31 Dec 2016, 10:41am Max Miller | Biography & History | AllMusic google+ Artist Biography by Eugene Chadbourne The British comedian Max Miller , strongly associated with the Cheeky Chappie character he created, was a top star in the land of tea and crumpets from the '30s through the '50s.

Nonetheless, one of the best ways to focus attention his way is to mention that he is one of the people pictured on the front cover of Sgt. Pepper's Lonely Hearts Club Band by the Beatles . Miller , whose real name was Thomas Sargent , can be seen in the third row of the famous montage, right next to the wax hairdresser's dummy. Scholarly articles have been written about the significance of those chosen to appear on this album cover, a totem of an era in which public taste in comedians would drift away from the vaudeville tradition, perhaps forever. The Beatles must have felt we all needed comedy as much as love -- there are a fair number of funnymen on this album cover, including W.C. Fields , Stan Laurel , and Oliver Hardy . Miller learned his craft performing standup comedy for the large and mixed audiences in variety theaters. He seemed to know what to do, having hung out in such places along the Brighton seaside since he was a lad. Miller was considered brilliant at commanding listeners' complete attention and, in a career cycle repeated by many such comic greats, he went on to work in films.

Miller also made his own music including original songs, but should not be confused with the so-called "real" Max Miller , a pianist born with that name who was a fixture on the Chicago jazz scene. The comedian's heyday was no doubt during the Second World War, radio audiences hungry for laughs as well as the moments of peace heralded by such broadcasts. With so many listening, Miller 's Cheeky Chappie just had to be the bad boy, pushing the limits of what was allowed by the censors. Where this would lead on the tight little island does not require a sleuth to figure out: the BBC wound up banning some of his broadcasts. There was one period of five years in which Miller was completely barred from the network. It was apparently in the previous war that Miller , at that point still Sargent but actually a private, realized he could be as funny as the goofs who had entertained him on the Brighton vaudeville scene. Having made fellow grunts chuckle under the worst circumstances, the young entertainer felt he could take on whatever came away his way in the theatrical foxholes of London as well as Brighton.

Recordings of his material have allowed it to live on; the Pearl Flapper label, for example, has had several volume of vintage Cheeky Chappie tracks available since 2002. Critics of the BBC like to view the censorship of Miller as an extreme example of state-controlled media fascism: "Hitler couldn't even manage to censor Karl Valentin " is a comment that has been made in reference to the Bavarian comic superstar. Valentin 's comic valentines were more overtly political, however, whereas the jokes Miller mailed were simply smutty, although hardly by the standards of the next century. The latter humorist mastered the double entendre instead of coming right out with profanity. His comic style has often been labeled "seaside humour." The seaside was where he spent most of his life, hanging around with normal blokes rather than showbiz peers or young worshipers such as the Beatles themselves. Miller commented thusly on these social preferences: "I much prefer a retired bus driver to anybody in show business." Max Miller - the Cheeky Chapppie.

Britain's Top Comedian JOKES STAGE,RADIO & TV MILLER'S MOVIES CHEEKY BIOGRAPHY MAX'S LEGACY MMAS HOME PAGE MMAS NEWS STATUE MEMORABILIA SHOWS SHOPPING LINKS Max Miller, Britain’s top comedian in the 1930s, 1940s and 1950s was born in Brighton, England. He excelled as a stand- up comic playing in large variety theatres where his skill was such that he could hold an audience in the ‘palm of his hand’. He also made films, wrote and sang his own songs. Max was renown for telling risqué jokes. He used innuendo and when on stage would woo his audience particularly the ladies. Much of his material was too blue for broadcasting. The song, Let’s Have A Ride on Your Bicycle was banned by the BBC until it became too popular and public opinion forced the Corporation to lift the ban. © Website created for The Max Miller Appreciation Society by terry.hardy, Nov- 99; Rev Jan- Max Miller ::::: She Said She Wouldn't. - YouTube Max Miller ::::: She Said She Wouldn't. Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 11, 2013 Thomas Henry Sargent (21 November 1894 -- 7 May 1963), better known by the stage name Max Miller -- the Cheeky Chappie - was a British comedian who was top of the bill in variety in the 1930s, '40s and '50s. He made films, toured in revues and music hall, and sang and recorded songs, some of which he wrote. He was known for his flamboyant suits, his wicked charm, and his risqué jokes, which often got him into trouble with the censors. Category Max Miller - Bygones - The Cheeky Chappie Documentary - YouTube Max Miller - Bygones - The Cheeky Chappie Documentary Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 27, 2014 Here's my favourite documentary about the great Max Miller one of Britain's greatest ever Comedians Bygones - The Cheeky Chappie, Anglia TV broadcast in 1979.. If you haven't heard his recordings do please seek out some of his stuff freely available on the internet,there is only about 10 minutes of him on film doing his brilliant stage performance,but he released several of his shows on records his jokes and his presentation are still funny. Thomas Henry Sargent (21 November 1894 -- 7 May 1963), best known by his stage name Max Miller and also known as 'The Cheeky Chappie', was a British front-cloth[1] comedian who was probably the greatest stand-up comedian of his generation.[2] He made films, toured in revues and music hall, and sang and recorded songs, some of which he wrote. He was known for his flamboyant suits, his wicked charm, and his risqué jokes which often got him into trouble with the censors.

Category Max Miller | Album Discography | AllMusic Max Miller Biography by Eugene Chadbourne The British comedian Max Miller, strongly associated with the Cheeky Chappie character he created, was a top star in the land of tea and crumpets from the '30s through the '50s. Nonetheless, one of the… Music Hall Songs, Singers and Song-writers, and the enduring legacy of Music Hall and Variety Ta-ra-ra Boom-de-ay Music Hall, its Songs, Singers and Influence Music Hall was a form of entertainment in Britain, similar to Vaudeville in America and to Cabaret in France and elsewhere in Europe. It arose initially in the mid-1800s from competition between public bars, who provided food and entertainment to attract and retain customers. Before long dedicated Music Halls were built with a stage at one end, but unlike traditional theatres the floor was filled with tables and chairs for the customers. The entertainment provided consisted mainly of singers and comedians, but included a wide range of variety acts and popular entertainment. Many singers and acts became very popular, essentially the pop stars and celebrities of the day, such that some stars became the main attraction.

There was significant demand for new songs, and song-writers were busy meeting that demand. Music Hall Songs were in a sense the forerunner of "Pop Songs", a concept that emerged in the 1950s. The Growth of London and Regional Music Halls In the early 1800s there was a wide variety of venues for people to eat and drink and socialise. These catered for various classes of customer and might be known as cyder cellars, public houses, supper rooms, taverns, saloon bars and pleasure gardens. Typically these venues provided entertainment, possibly in a separate room requiring an admission fee outwith the main public area. Demand for the entertainment increased and various entrepreneurs spotted the business opportunity and converted or built custom music halls, to which they recruited popular artists from the various Song and Supper Bars. Charles Morton was one of those men and he built the Canterbury Music Hall in 1852 which could initially seat 700 people. The hall was later extended and other similar establishments were built in London and elsewhere. The biggest Music Halls and some of the best known singers were London-based, and many well-known songs refer to London landmarks and culture.

Some famous London venues included "The Eagle Tavern", "The Gaiety Theatre" in the Strand, "The London Pavilion" and "The Alhambra" in Leicester Square. The Eagle Tavern on City Road was frequented by Charles Dickens and immortalised in the song Pop Goes the Weasel whose lyrics mention "In and Out of the Eagle". Many songs originating at the time became strongly associated with London and particularly Cockney culture. Many such examples are of the "Knees Up" variety such as "Any Old Iron" and "Boiled Beef and Carrots" (both popularised by Harry Champion), and "Knees Up Mother Brown" which later became the Sherman Brothers' inspiration for "Step in Time" sung by the Chimney Sweeps in Mary Poppins. A number of songs include local slang words including Cockney Rhyming Slang. However the phenomenon of Music Hall was not just about London which had hundreds of halls, the concept was widespread across the UK with many regional Music Halls in all the major cities. To take just one other region, the Music Hall style of entertainment was very popular in Scotland. Glasgow in particular with its denser population had a thriving music hall tradition.

Comedian Stan Laurel was born in Scotland to a theatrical family, and started out in Music Hall before emigrating to the US. His first puplic appearance was at Glasgow's Britannia Music Hall (then called the "Panopticon") in 1906. Other entertainers sang songs with a Scottish theme both on their home turf but also in various locations across the world. Sir Harry Lauder (1870-1950) started out in Scottish and British theatres singing songs such as "Roamin' in the Gloamin'", "I Love a Lassie", "A Wee Deoch-an-Doris", and "Keep Right on to the End of the Road". His trademark costume consisted of a kilt, tweed jacket, "Tam o'shanter" hat and crooked walking-stick, which defined the popular international image of a Scotsman. Will Fyffe (1885-1947) may have been born in Dundee, but he also became an international star singing the song "I Belong To Glasgow".

The Britannia Panopticon still holds events in Glasgow and calls itself "The World's Oldest Surviving Music Hall" since it opened in 1857 (see the Britannia Panopticon website). Music Hall Songs and the Impact of War in Europe The Musical aspect of Music Hall entertainment was a large and far-reaching business, and in many ways it was the forerunner of what we now call the Popular Music Business. The public-facing part of that business were the entertainers and singers themselves. They were the stars and celebrities of the era, with their pictures on posters, people saw them, read about them in the papers, they spread gossip about them, and they generally had a good income. Behind the scenes were the impresarios of Music Hall, often the owners of the music halls themselves or their managers and directors who contracted and organised the entertainment. Then there were the song-writers, composers and lyricists who created the material for the stars. Music Hall started before recording techniques were commonplace, so this was quite different from today's music business. However composers and song-writers made a respectable income from sheet music sales. Most middle class homes at the time had a piano and sheet music sales were much greater than today.

Reflecting that, we have used a number of images of original period sheet music to illustrate this article. Music Halls songs covered a huge variety of subjects, though those that have stayed popular tended to be based on timeless concepts with a memorable chorus where audiences could join in. Many were simple love songs, though sometimes with a twist or an endearing metaphor such as "The Honeysuckle and the Bee", "If you were the only girl in the world" or Daisy Bell with its "Bicycle Built for Two". Some memorable songs had a certain feel-good factor such as I Do Like to be Beside the Seaside which endured far beyond its music hall origins, or Ta-ra-ra Boom-de-ay with its suggestion of naughty Parisian night-life, and some such as Don't Dilly Dally on the Way told an engaging narrative but included a wealth of social commentary from the period. There were also humorous songs sung by comedians such as the Harry Champion, and songs with a degree of clever innuendo such as Daddy Wouldn't Buy Me A Bow-Wow . Of course Music Hall entertainment was heavily influenced by the events of World War I (and later by World War II).

Some Music Hall songs were sung by soldiers in the forces, and conversely those songs sung by the troops were included in Music Hall acts. It's a Long, Long Way to Tipperary was written in 1912 by Jack Judge (1872-1938) whose grandparents came from Tipperary in Ireland. The song became a favourite with the armed forces during the war, and remained popular in Music Halls for many years. Other war-time favourites included "Keep the Home-Fires Burning" composed in 1914 by Ivor Novello and Lena Gilbert Ford, and "Pack Up Your Troubles in Your Old Kit-Bag" written by brothers George Henry and Felix Powell. Some of these same songs reappeared during World War II, but new songs were popularised by the singer Vera Lynn including "White Cliffs of Dover" and "We'll Meet Again". "Maybe it's because I'm a Londoner" was written by Hubert Gregg (1914-2004) in response to the London bombings during WWII, and even the children's song "Run Rabbit Run" was subverted by Flanagan and Allen who changed the lyrics to "Run, Adolf".

This style of song, particularly "It's a Long Way to Tipperary" and "Pack Up Your Troubles in Your Old Kit-Bag", seems to have inspired the theme song for TV's "Dad's Army". This series was set during World War II but since it was not about soldiers on the front but about the Home Guard who generally consisted of older men, an older more traditional style of song seemed appropriate. Thus series co-creator Jimmy Perry wrote the lyrics for "Who do you think you are kidding, Mr Hitler?" and composed the music with Derek Taverner. The theme song was recorded for the series by popular music hall entertainer Bud Flanagan (1896-1968) shortly before he died. The song was true to the war-time songs sung by Flanagan and Allen (Bud Flanagan and Chesney Allen) who helped morale during WWII with songs such as "We're Going To Hang Out The Washing On The Siegfried Line". Music Halls and Variety Shows The concept of the Royal Variety Performance originated in the Music Hall era.

It was initially called the Royal Command Performance, and it soon became an annual event with members of the Royal Family in attendance and the show raising funds for the Entertainment Artistes' Benevolent Fund. The first event was held in 1912 with King George V and Queen Mary in attendance at the Palace Theatre in London's West End. (The Palace Theatre had been converted from the failed Royal English Opera House 20 years earlier in 1892.) Although this is a traditional theatre (with all seating facing the stage) many of the artists performing were from a music hall tradition. The first show starred Vesta Tilley, Vesta Victoria, Harry Lauder, Gus Elen, Dan Leno and the great Russian ballerina Anna Pavlova. Notably absent was Marie Lloyd because the organisers considered her act to be too risqué for royalty. Instead she staged a rival show on the same night at a nearby theatre, billed as "By Command of the British Public". There is little real difference between the style of entertainment at a Variety Show and the entertainment provided at Music Halls.

Both are likely to feature several singers and comedians, with other performers including magicians, acrobats, dancers, male and female impersonators, ventriloquists, etc. with a master of ceremonies to introduce the acts to the audience. The only real difference between the two is the layout of the venue where the show is held. However, the concept of Variety (and the broader idea of "Light Entertainment") has lasted longer than Music Halls, perhaps because Variety translates more directly from the stage to television. Indeed TV variety shows were broadcast regularly in the latter half of the 20th century, and the Royal Variety Performance is still broadcast annually. "The Muppet Show" is a TV show using the puppet techniques of Jim Henson and Frank Oz. In many ways the show looks back to the traditions of variety and vaudeville. The series is similar to a sketch show, but is full of songs with a lot of these performed on a stage. Statler and Waldorf are the two old men in the balcony who comment on the acts on stage. Their regular heckling is probably true to life in its portrayal of such variety shows.

On the series Miss Piggy performed "Don't Dilly Dally on the Way", "Waiting at the Church" and "The Boy in the Gallery" accompanied by Rowlf on the piano, Fozzie Bear has sung (Wotcher) Knocked 'Em In The Old Kent Road dressed as a "Pearly King", and a guest puppet sang "Burlington Bertie from Bow", and many other actual or similarly-styled music hall songs have also been performed by various puppets. The Muppets also released a vinyl single called "The Muppet Show Music Hall" which included 4 music hall tracks from the series. One particular show which celebrated the days of Music Hall was "The Good Old Days" which remained on television from 1953 to 1983. The show was presented by the actor Leonard Sachs who had helped to found the "Players' Theatre" in London, and "The Good Old Days" (held in Leeds) continued the same nostalgic tradition that had become popular at the theatre. Everything about the TV show aimed to recreate the sounds and sights of the music hall era.

The entertainers wore period costume and so did the audience, since admittance was free to those dressed appropriately and people were eager to join in the spirit of the show. The acts were performed in a Victorian or Edwardian style, sometimes re-creating period acts, and many popular entertainers of the day appeared in the show including Arthur Askey, Rod Hull, Bruce Forsyth, Barry Cryer and Roy Castle. The show helped to introduce many original Music Hall songs to a new audience, with the closing song being "Down at the Old Bull and Bush". In addition to these period songs, the programme also featured a number of show tunes from musicals, particularly if these were close in style to the original songs. So audiences would hear songs like "We're a Couple of Swells" from Easter Parade, or songs from musicals with a London setting including "Half a Sixpence", "Oliver!", "Mary Poppins" or "My Fair Lady" with its Cockney favourite "Get Me To the Church on Time" sung by Stanley Holloway in both stage and film versions. The Enduring Influence of Music Hall In the 20th century Music Hall started to decline.

Although the World Wars changed the focus of Music Halls, the biggest change was competition from many other forms of entertainment. Music Halls had to compete with the Cinema, with Dance Halls and with Jazz Music, and later Radio and Television reduced audience numbers even further. By 1960 most Music Halls had closed their doors. However "Variety Shows" (essentially the same style of mixed entertainment) continued in theatres and on television. Many singers who started out in Music Halls made a successful transition into other media such as Radio and Television. Indeed for much of the 20th century there was regular cross-over of songs and artists between Music Hall/Vaudeville and stage & film musicals/shows and later with records, radio and television. Performers who started out in Music Hall include Charlie Chaplin, Stan Laurel, Arthur Askey, George Formby (with his ukelele) and Gracie Fields. All these artists and more had very successful careers beyond Music Hall. Since it is set in the East End of London where Cockney traditions arose, the TV show "EastEnders" does from time to time use music hall songs if the series has a pub or party sing-song.

Indeed the influence of Cockney Music Hall songs is particularly strong. We've already mentioned that "Knees Up Mother Brown" was the inspiration for Chimney Sweeps' "Step in Time" in Mary Poppins (1964). That song in turn was probably the model for "Me Ol' Bamboo" in another Sherman Brothers' musical, Chitty Chitty Bang Bang (1968). The song "Flash, Bang, Wallop!" in the musical Half a Sixpence (1967) also seems to have a Cockney flavour to it. The song's lyrics "Stick it in your fam'ly album" echo the rhythm of the Cockney phrase "How's yer father? Al'right!" which is often sung to the instrumental section following the chorus of "Any Old Iron". The Cockney penchant for short rhythmic phrases was also used by the composer Quincy Jones in his music for the film The Italian Job (1969) with a smattering of Rhyming Slang. Incidentally the phrase "How's your Father?" was popularised by music-hall comedian Harry Tate (1872-1940).

Moving beyond East London, songs such as Daisy Bell and I Do Like to be Beside the Seaside are familiar to millions. Such songs have survived relatively unscathed, long after the tradition of Music Hall has died. In many ways these better known songs have become a form of traditional folk music known and recognised by lots of people. Children may learn the songs in school or from their parents, or hear them on television and films. Another enduring influence is the way that the songs of the music hall period have influenced later songwriters, both those involved in Music Theatre and those writing popular music. As already noted, many songs from musicals have adopted a similar style to these early songs. Paul McCartney's father was a Music Hall entertainer and many people have noted this influence in his songs such as "When I'm Sixty-Four". Chas & Dave were a popular duo recording many hit records in the 1970s and 80s, often in the Cockney style which had its origins in the music hall era, including the song "Rabbit" with its rhyming slang.

Some pop acts have even recorded cover versions of Music Hall songs such as Herman Hermit's 1965 version of "I'm Henery the Eighth, I Am", Davy Jones' pre-Monkees recording of "Any Old Iron", Blur's covers of "Daisy Bell" and Let's All Go Down the Strand and Bruce Springsteen singing The Flying Trapeze . As the music business undergoes yet another revolution, it will be interesting to see how music hall traditions will last. The following sections provide a set of references about Music Hall, its Songs, its Songwriters and Singers, with links to Videos, DVDs, CDs, museums and other Websites. A Selection of Music Hall songs Here is a small selection from the best known music hall songs. This first section with links to the songs, will take you to a dedicated page providing more detailed information about the song, and allow you to download the Piano/Vocal sheet music with lyrics, plus midi and mp3 files. Daisy Bell is perhaps the most famous music hall song, and is sometimes called "Bicycle Built for Two".

It was sung in the Music Halls by Katie Lawrence, and then famously by the computer HAL in the film "2001: A Space Odyssey" Don't Dilly Dally on the Way tells an unusual but endearing story. It was first popularised by Marie Lloyd, and became another music hall classic Daddy Wouldn't Buy Me A Bow-Wow was often performed holding a kitten on stage. Vesta Victoria first sang it in London and May Belford made it popular in Paris I Do Like to be Beside the Seaside started off in British Music Halls sung by Mark Sheridan, but has since proved popular at many seaside resorts. Ta-ra-ra Boom-de-ay started as a US Vaudeville song, but quickly became popular in London and Paris.

It was later recycled for the US children's TV show "Howdy Doody" The Man Who Broke the Bank at Monte Carlo was inspired by a true event reported in the news, when someone won over a million francs at a Monte Carlo casino The Daring Young Man on the Flying Trapeze (or simply "The Flying Trapeze") was inspired by the real life trapeze artist Jules Léotard It's a Long Way to Tipperary is a music hall song which seemed to resonate with soldiers who were far from home during World War I Let's All Go Down the Strand (Have a Banana!) is a feel-good song which mentions some London landmarks including the Strand where the "Gaiety Theatre" music hall was located Knocked Them in the Old Kent Road (or "Wot Cher!") is a fun Cockney song full of slang terms but still easily understood Pretty Polly Perkins of Paddington Green (subtitled "The Broken-Hearted Milkman") was an early music hall song by Harry Clifton (1832–1872) which seems to owe its style to English folk song Here is a further selection of well-known music hall songs.

We are unable to provide sheet music for these at the current time, but some of these are candidates to provide sheet music at a later date. "The Honeysuckle and the Bee" or "You Are My Honey-Honeysuckle" was another popular song of the period, and recently heard on the TV series "Mr. Selfridge". It was written in 1901 by William H. Penn (music) & Albert H. Fitz (lyrics) "Burlington Bertie" is a music hall song composed by Harry B. Norris in 1900 and sung by Vesta Tilley dressed as an upper class man. The lyrics were adapted in 1915 by William Hargreaves to become "Burlington Bertie from Bow". This was performed by Hargreaves' wife Ella Shields who dressed as a poor man from Bow (a poor area in East London) who had upper class pretensions. This version seems to be the inspiration for Irving Berlin's song "A Couple of Swells". "Seaside Girls" was also composed by Harry B. Norris and also sung by Vesta Tilley as a man.

The song has a claim to fame because James Joyce mentioned it in his novel "Ulysses". "If you were the only girl in the world" was written in 1916 by Nat D. Ayer (1887-1952) and Clifford Grey (1887-1941). It is a happy love song which has been covered by lots of artists, including Perry Como, Doris Day and Barbra Streisand "Any Old Iron" is a Cockney favourite, first sung by Harry Champion who popularised the song in the music halls and who later recorded it. It was written in 1911, with music by Charles Collins, lyrics by Fred E. Terry and E.A. Sheppard. "I'm Henery the Eighth, I Am" is another favourite song sung by Champion, written by Fred Murray and Bert Weston in 1910. The song tells of a man whose wife has been married seven times before, and all to men called Henry or "Henery" in a Cockney accent, but of course referencing the English monarch of the same name.

"Boiled Beef and Carrots" was composed by Charles Collins and Fred Murray in 1909, named after a dish commonly eaten in London's East End at the time, and sung by Harry Champion "A Little Bit of Cucumber" was another food-related song sung by Harry Champion, and written in 1915 by the composer T. W. Conner "Down at the Old Bull and Bush" is a song about a London Pub which was resurrected as the theme song for the TV Series "The Good Old Days" "She was a Clergyman's Daughter" composed by Austin Rudd (1869-1929) was a Music Hall song performed by Ada Reeve "I Belong To Glasgow" was written and performed by Will Fyffe (1885-1947) a Scottish Music Hall comedian, and film and pantomine entertainer who actually came from Dundee rather than Glasgow!

"(How Much Is) That Doggie in the Window?" is a popular song written by Bob Merrill in 1952, which became a hit as sung by Patti Page in the US, though it was a recording by Lita Roza which became a hit in the UK. "I've Got a Lovely Bunch of Coconuts" is a novelty song composed in 1944 by the English songwriter Fred Heatherton. It was sung by a number of artists, became a hit in the US, and was heard frequently in the UK on radio and television. "Ship Ahoy!" or "All The Nice Girls Love A Sailor" was Written and Composed by A. Mills and Bennett Scott in 1905, and first performed by Hetty King (1883-1972 ) a well-known male-impersonator. "Show Me The Way To Go Home" was Written and Composed by Irving King, and sung by Ella Sheilds (1879-1952) who recorded it in 1925.

"Botany Bay" (with the chorus "Singing Toorali-Oorali-Addity") was a song used in a Victorian Burlesque show called "Little Jack Sheppard" though it may have been based on an older folk song. The song became popular in British, American and Australian Theatres, and is sometimes included in Children's Song Collections. "The Laughing Policeman" is a popular music hall song with altered lyrics by Charles Jolly (actually Charles Penrose) based on the earlier "Laughing Song" written in 1894 by George W. Johnson. "On Mother Kelly's Doorstep" and "I'm Shy Mary Ellen, I'm Shy" were two of many music hall songs written by George Alex Stevens (1875–1954). "Keep The Home Fires Burning" with music by Welsh-born Ivor Novello (David Ivor Davies, 1893-1951) and lyrics by US-born Lena Gilbert Ford (1870-1918) became a popular song during World War I.

"Pack Up Your Troubles in Your Old Kit-Bag" by brothers Felix and George Henry Powell (the latter using the name "George Asaf") is another music hall song from World War I (1915) which became a popular marching song with soldiers caught up in the conflict "Mother's Advice" or "I'm Glad I Took My Mother's Advice" was performed and recorded by Maidey Scott (1887-1966). "Hello, Hello, Who's Yer Lady Friend?" was written by Harry Fragson with Worton David and Bert Lee, and sung by Mark Sheridan. "When Father Papered the Parlour" was written by R. P. Weston and Fred J. Barnes in 1910 and popularised by Australian born comedian Billy Williams, real name Richard Isaac Banks (1878-1915). "With Her Head Tucked Underneath Her Arm" (about the ghost of Anne Boleyn haunting the Tower of London) was written in 1934 by R. P. Weston and Bert Lee and performed by Stanley Holloway.

"Nellie Dean" (There's an Old Mill by the Stream) was written by the American composer Henry W. Armstrong (1879-1951) in 1905. It was soon popularised in British Music Halls by Gertie Gitana (1887-1957) and now associated with drunken singers. "Strolling Through the Park" (originally called "The Fountain in the Park") was written by Ed Haley (1862-1932), picked up by Music Hall artists and sung by Judy Garland in the 1940 film "Strike Up the Band". "Everybody's Doing It" is a song by Irving Berlin (1888-1989) which became popular in theatres on both sides of the Atlantic. "Hands, Knees and Boomps-a-Daisy" is a popular Music Hall song and dance. "Let Me Call You Sweetheart" is a popular song written by Leo Friedman and Beth Slater Whitson in 1910. It was sung by Laurel and Hardy in the 1938 film "Swiss Made", but frequently sung and recorded by other artists.

"The Sun Has Got Its Hat On" and "The Lambeth Walk" were two songs written for the musical "Me and My Girl" with music composed by the prolific songwriter Noel Gay (1898-1954). "Where Did You Get That Hat?" is a comic vaudeville song written by the American comedian Joseph J. Sullivan in 1888, and subsequently sung by many Music Hall artists. "K-K-K-Katy" was written by the Canadian born songwriter Geoffrey O'Hara (1882–1967) in 1917. "I'm Forever Blowing Bubbles" was a Broadway song with music by John Kellette (1873-1922) from the musical "The Passing Show of 1918". Selected Music Hall Songwriters and Entertainers George Leybourne (1842-1884) used the stage name Joe Saunders before reverting back to his own name. He became famous singing "Champagne Charlie" and adopted the persona in real life, only drinking champagne in public. He could certainly afford this celebrity lifestyle, since he was sponsored by Moet and Chandon!

He also wrote the lyrics for the song, with the music being composed by Alfred Lee. The song-writing pair also wrote the well-known The Daring Young Man on the Flying Trapeze (originally just "The Flying Trapeze") which was inspired by the real life trapeze artist Jules Léotard. Leybourne's arch-rival in the music halls was The Great Vance. They were sponsored at various times by rival drinks brands. Their rivalry was the subject of the 1944 film "Champagne Charlie" where Tommy Trinder played George Leybourne and Stanley Holloway played The Great Vance. Leybourne died at only 42. Charles Coborn (1852-1945) was a London based Music Hall entertainer. His real name was Charles Whitton McCallum, and he initially used the stage name Charles Laurie before becoming Charles Coborn after a London street called Coborn Road. He wrote some songs himself having his first success with "Two Lovely Black Eyes" but hit the big-time singing Fred Gilbert's The Man Who Broke the Bank at Monte Carlo .

Bessie Bellwood (1856–1896) was one of the earliest female character performers from the Victorian Music Hall. She was born Kathleen Mahoney in Ireland, and initially sang Irish Ballads but on the Music Hall stage she soon developed the persona of a Cockney street-seller. With her famous repartee and ability to charm audiences and put down hecklers, this stage persona wasn't so far removed from her own larger than life personality. Her most famous song was "What Cheer Ria?" which she co-wrote with Will Herbert in 1885. It tells of a working class vegetable seller who uses her savings to buy an upper class ticket for the Music Hall. She was generous to charity, but poor at managing her own finances and facing bankrupcy, became an alcoholic and died at the age of 40. In the film "Champagne Charlie", Bessie Bellwoood was played by Betty Warren. Albert Chevalier (1861-1923) was a popular Music Hall entertainer who on stage frequently adopted the persona of a "Coster".

A Coster was London slang for a street-seller who sold fruit and vegetables, and in the photo you can see Albert Chevalier in his Cockney Coster costume with a basket of vegetables. For a time Albert was managed by his brother Charles Ingle (born Auguste Chevalier). The pair wrote two of Albert's most successful songs Knocked 'Em in the Old Kent Road and "My Old Dutch", both with lyrics by Albert Chevalier and music by Charles Ingle. "My Old Dutch" is Cockney slang for "My Wife" and the song's lyrics are an affectionate poem to Albert's own wife Florrie, who happened to be the daughter of Music Hall entertainer George Leybourne. "Knocked Them in the Old Kent Road" is famous for another Cockney phrase "Wot Cher!". Among Albert's other major hits was another alluding to marriage: "The Future Mrs. Hawkins". Mark Sheridan (1864-1918), born Frederick Shaw, was a music hall comedian and singer. He generally appeared on stage wearing a coat, widely-flared trousers and a top hat.

He had a number of songs in his repertoire including "Who were you with last night?", "Hello, hello, who's your Lady friend?" and the war-time song "Belgium put the kibosh on the Kaiser". His most popular song by far was I Do Like to be Beside the Seaside which he first performed in 1909 at the Empire Theatre in Glasgow. Vesta Tilley (1864-1952) born Matilda Alice Powles, was a male impersonator who started performing in male clothes at the age of 5. Several of the songs she sang were composed by Harry B. Norris including "Burlington Bertie", "Seaside Girls" and "The Piccadilly Johnny With The Little Glass Eye" (also called "Algy"). Among other songs she sang were "Following in Father's Footsteps" and "All the Nice Girls Love a Sailor" (also called "Ship Ahoy!") which was first performed by another famous female impersonator, Hetty King. Tilley gave up performing on stage around 1920, in part because her husband went into politics and became an MP.

Lottie Collin (1865-1910) was a physically active entertainer from the very start of her stage career. At a young age she started out in Music Halls performing a skipping routine with her even younger sisters. Later as a solo singer she toured America for the first time and saw a performance of Ta-ra-ra Boom-de-ay (sometimes spelled "Boom-der-ay") at a Vaudeville show. She took the song back to Britain and it became a big hit for her, where she danced a high kicking Can-Can style dance with the chorus. She continued to perform in London and sometimes in the US and had other songs in her repertoire including "The Little Widow" and "Daddy Wouldn't Buy Me A Bow-wow", but never quite reaching the success (or the notoriety) of her Can-Can act. Harry Champion (1865-1942) born William Henry Crump, was a singer and comedy entertainer from East London.

At the peak of his music hall career he popularised a number of fondly remembered Cockney songs including "Boiled Beef and Carrots" (1909), "I'm Henery the Eighth, I Am" (1910), "Any Old Iron" (1911) and "A Little Bit of Cucumber" (1915). Marie Lloyd (1870-1922) made her first public appearance at The Eagle in 1885 at the age of 15. She became one of the most famous Music Hall entertainers singing songs such as "A Little Of What You Fancy Does You Good!" and "The Boy I Love Is Up in the Gallery", though her most famous songs were undoubtedly Don't Dilly Dally on the Way and "Oh! Mr Porter". Her performances were considered to be risque at the time, with lots of Double-Entendres, though it was probably aspects of her personal life (at the time she wasn't married to her long-term partner) which meant she wasn't invited to perform at the first Royal Variety Performance.

She supported the war effort in a number of ways but now married, her relationship foundered and her health and voice suffered. Harry Lauder (1870-1950) was a famous Scottish entertainer, born in Edinburgh and later knighted Sir Henry Lauder. His first London appearance was in 1900 and his fame spread internationally, resulting in several tours to Australia and the United States. He is reported to have been the highest paid entertainer of the day and later became the first British artist to sell more than a million records. He did much to support the armed forces during World War I, entertaining the troops and raising funds for charities supporting ex-servicemen. He wrote most of his own songs, and when his own son was killed in action during WWI he wrote "Keep Right on to the End of the Road". Other songs he wrote and performed included "Roamin' in the Gloamin'", "I Love a Lassie" and "A Wee Deoch-an-Doris". Vesta Victoria (1873-1951) began as a child star appearing on stage with her father as "Baby Victoria" and later as "Little Victoria".

She soon found fame when she started singing Daddy Wouldn't Buy Me A Bow-wow! at the age of 19. She was a comic singer who adopted a Cockney persona on stage (although she came from Leeds) and her performance included some innuendo and comic situations where she seemed to lament various misfortunes. She had misfortunes in real life with marital relationships, but enjoyed much success in British Music Halls and in Vaudeville in the US singing songs such as "Waiting At The Church", "Now I Have To Call Him Father" and "Our Lodger's Such A Nice Young Man". Although she retired after WWI, she later recorded her hit songs and appeared in the Royal Variety Performance in 1932. Billy Merson (1879–1947) was a music hall entertainer and songwriter. As a comedian he worked with George Formby senior, father of the ukelele playing singer, and in 1922 he starred in the the West End comedy musical "Whirled into Happiness". As a songwriter he wrote "The Photo of the Girl I Left Behind", "Desdemona" and "The Spaniard That Blighted My Life".

This latter song was sung regularly by Al Jolson, and became the composer's best known song. Merson became one of the first chairmen who compered the music hall at the Players Theatre in London, and which later gave rise to the BBC TV show "The Good Old Days". Fred Godfrey (1880-1953), born Llewellyn Williams in Swansea in Wales, was a prolific composer of songs for the music hall. In total he wrote some 800 songs, some by himself and many in collaboration with various lyricists and other songwriters. His most famous songs are "Take Me Back To Dear Old Blighty" and "Bless 'Em All" both originally written during World War I but enjoying later popularity when sung by artists such as Max Miller and George Formby. There is a website dedicated to the composer at Bless ’Em All: The Songs of Fred Godfrey , maintained by his Canadian based grandson Barry Norris. Max Miller (1894-1963), born Thomas Henry Sargent, was a music hall and variety comedian often called the "Cheeky Chappie".

His acts generally consisted of telling jokes and singing songs such as "My Old Mum", "Twin Sisters", "Mary from the Dairy" and "Let's Have A Ride On Your Bicycle". He wrote or co-wrote some of these songs himself and he featured in a number of films in the 1930s and the 1940s. There is a Max Miller Appreciation Society and a website dedicated to the comedian at . Noel Gay (1898-1954) was born Reginald Moxon Armitage and used the professional name Stanley Hill in addition to Noel Gay. He was musically gifted from a young age and studied at the Royal College of Music. He became famous as a songwriter for stage musicals and occasionally film. Although his best known musicals were mostly staged in the 1930s when Music Hall was in decline, his songs tapped into music hall traditions. Among his many songs are "There's Something About a Soldier", "We Don't Know Where We're Going", "Hey! Little Hen", "Who's Been Polishing the Sun?", "All Over the Place" and "All the King's Horses".

His most famous musical was "Me and My Girl" in 1937 with lyrics by Douglas Furber (1885-1961) and including the songs "The Lambeth Walk", "Leaning on a Lamppost", "The Sun Has Got Its Hat On" and title song "Me and My Girl". The show was successfully revived in 1985. Music Hall - Further Information For more information about Music Hall, the following programmes, DVDs, CDs and websites will be of interest: In 2012 Michael Grade presented a documentary called "The Story of the Music Hall" for BBC4, with help from Jo Brand, Alexei Sayle and Barry Cryer. In the 90 minute programme Grade looked at the famous venues, the impresarios and the performing artists. Unfortunately this is not currently available on DVD. The Doctor Who story "The Talons of Weng Chiang" was set in a Music Hall theatre and featured songs such as "Daisy Bell". The DVD for the story has a feature documentary on Music Halls.

This is available on DVD at Amazon.co.uk (region 2) or Amazon.com (region 1) There is a recommended sheet music book called "The Novello Music Hall Songbook" with a preface by variety veteran Roy Hudd. The book has piano music (arranged by Geoffrey Brawn), lyrics and background information for 10 songs of the period - available at Amazon.co.uk or Amazon.com There is also a "Bumper Book of Music Hall Songs" which is a huge collection of 100 songs on 300+ pages, arranged for Piano/Voice with Guitar chords. It is available from Amazon.co.uk or Amazon.com The album "The Golden Age of the Music Hall" has 25 original mono recordings, made 1905-1934 and remastered for CD. It is available at Amazon.co.uk or Amazon.com "The Glory of Music Hall" is a collection of later recordings with Max Miller, Stanley Holloway, Gracie Fields, George Formby, Max Wall, Tommy Trinder, Arthur Askey and more.

It is available at Amazon.co.uk or Amazon.com "Me and My Girl" (subtitled "The Lambeth Walk Musical") original London Cast (with Robert Lindsay and Emma Thomson) for the 1985 revival of the 1937 musical by Noel Gay and Douglas Furber. It is available at Amazon.co.uk or Amazon.com "Marie Lloyd - Queen of the Music Hall" was a BBC drama production starring "EastEnders" actress Jessie Wallace as the controversial singer. It is available on DVD at Amazon.co.uk or Amazon.com "Let's Have A Banana" is a 2009 album collection of songs recorded by Stanley Holloway. It is available for download only at Amazon.co.uk The Victoria and Albert Museum based in London has a wealth of information and memorabilia about Music Hall acts. Their website also has several interesting articles and photographs. We recommend starting with the following articles: The Story of Music Halls and Music Hall Character Acts The Two Ronnies sing Pub Songs with their own lyrics to the tune of well-known music hall songs Biographical Note Music Hall itself had all but vanished when I was born, but it is impossible to escape the influence of Music Hall even if you are not conscious of it.

I suspect that my mother never visited a Music Hall either, but she was familiar with many music hall songs. She sang them at home, and frequently taught me the choruses. We used to watch "The Good Old Days" on television and that was another opportunity to absorb the old songs. It's a fascinating and very big topic, but I've tried to provide a reasonably succinct summary with a focus on those songs that are most familiar to me, and to provide sheet music for those songs which are now in the public domain. Comedify.com - Max Miller Comedify.com Max Miller : The Cheeky Chappie Thomas Henry Sargent (21 November 1894 – 7 May 1963), better known by his stage name Max Miller, was Britain's top music hall comedian in the late 1930s to the late 1950s. Nicknamed the "Cheeky Chappie", Miller was known for his risqué jokes (see censorship) and gaudy suits. Born Thomas Henry Sargent in Hereford Street, Brighton, Sussex, Miller became notorious for double entendres which saw him banned from the BBC.

His jokes were reputedly written in two notebooks, white for 'clean' humour, blue for 'adult' jokes. He had the habit - to avoid censorship - of stopping before the end of a sentence which could only end with a dirty joke so he could then rebuke the audience for their "dirty minds." He was known for outlandish outfits, generally patterned plus fours and matching long jacket, a trilby hat and kipper tie. He was a popular singer of comedy songs, his most famous being Mary From the Dairy, which was his signature tune. He appeared in 14 films and made three Royal Variety Show...

Question: Which music hall star was known as "The Cheeky Chappie"?
Answer: MAX MILLER