Irving Berlin's iconic song, "Oh! How I Hate to Get Up in the Morning," stands as a testament to the universal experience of military reveille, capturing the sentiments of countless soldiers with humor and relatability. Written during his service in the U.S. Army at Camp Upton in 1918, the song became a centerpiece of his wartime musical revue, *Yip Yip Yaphank*. Unlike many popular songs of the era that glorified the heroism of war, Berlin's composition
offered a subversive, everyman perspective, giving voice to the common soldier's disdain for early morning calls. Its immediate popularity within the camp and its subsequent success on Broadway cemented its place as a beloved and enduring piece of American musical history, reflecting Berlin's unique ability to connect with the everyday realities of military life.
The Inspiration Behind the Anthem
The genesis of "Oh! How I Hate to Get Up in the Morning" stemmed from Berlin's own experiences and observations during his time in the Army. As a civilian, Berlin was a self-proclaimed night owl, accustomed to working on his music until the early hours of two or three in the morning. His efforts to adapt to military discipline, including springing out of bed promptly each morning, were initially met with resentment from fellow soldiers who perceived him as overly eager to wake up. This personal struggle with reveille, combined with a humorous incident involving a colonel's request for buglers to play George M. Cohan's "Over There"—a song beyond the bugle's range—provided fertile ground for his creative output.
Berlin crafted the song as a "protest written from the heart out," without any initial thought of financial gain. He described himself as a "thin little sergeant" when writing it, emphasizing the everyman perspective. The lyrics begin with a mundane recounting of a newly recruited soldier's camp life, gradually escalating to hyperbolic and absurd plans to escape morning reveille. Lines like "Someday I'm going to murder the bugler, Someday they're going to find him dead; I'll amputate his reveille and step upon it heavily, and spend the rest of my life in bed" perfectly encapsulate the shared, often unspoken, frustrations of soldiers. The song quickly gained popularity around Camp Upton even before any larger production plans were in motion.
A Star Performance in *Yip Yip Yaphank*
"Oh! How I Hate to Get Up in the Morning" became a pivotal number in *Yip Yip Yaphank*. The song made its debut in the show, which opened on August 19, 1918. Berlin himself performed the song, making a memorable entrance late in the show. He was dramatically dragged from a pup tent by two other soldiers, pretending to be asleep on his feet, before launching into the song. This theatrical presentation amplified the humor and relatability of the lyrics, making it an instant hit with audiences.
Reviewers lauded both the song and Berlin's performance. While his voice was noted as thin, his timing was deemed perfect, and he presented a hilarious stage persona. This portrayal of the reluctant soldier, directly contrasting with the heroic narratives often associated with wartime, resonated deeply. The *New York Times* later declared *Yip Yip Yaphank* an "immediate hit," largely due to the impact of this particular song and Berlin's engaging delivery. The song's success was so profound that it also appeared in the *Ziegfeld Follies of 1918*, further cementing its widespread recognition.
Enduring Influence and Parodies
The popularity of "Oh! How I Hate to Get Up in the Morning" extended beyond the stage, inspiring numerous parodies. The *New York Times* recounted one uncredited parody that humorously adapted the theme to mess hall food: "Oh, how I hate to go into the mess hall! Oh, how I long for the foods at home! For it isn't hard to guess Why they call the meals a mess- You've got to eat beans, you've got to eat beans, You've got to eat beans in the Army." This proliferation of parodies underscored the song's cultural penetration and its ability to capture a shared experience that transcended the original context of reveille.
Berlin's song continued to be a significant part of his legacy. Twenty-four years later, during World War II, the song was revived as a key performance in *This Is the Army*, a musical based on *Yip Yip Yaphank*. This revival demonstrated the timeless appeal of the song's message and its continued relevance to soldiers across different generations. The song's ability to articulate a common, yet often unexpressed, sentiment of military life ensured its place as a classic, a humorous and heartfelt protest that resonated with the realities of service.
