Year 1917 (MCMXVII) was a common year starting on Monday (link will display the full calendar) of the Gregorian calendar and a common year starting on Sunday of the 13-day-slower Julian calendar.
Below, events of World War I have the "WWI" prefix.
Dmitri Dmitriyevich Shostakovich Russian pronunciation: [ˈdmʲitrʲɪj ˈdmʲitrʲɪɪvʲɪt͡ɕ ʂəstɐˈkovʲɪt͡ɕ] (Russian: Дмитрий Дмитриевич Шостакович; 25 September 1906 – 9 August 1975) was a Soviet Russian composer and pianist and was one of the most celebrated composers of the 20th century.
Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky's chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death).
After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Sharp contrasts and elements of the grotesque characterize much of his music.
Jascha Heifetz (/ˈhaɪfɪts/; February 2 [O.S. January 20] 1901 – December 10, 1987) was a violinist, born in Vilnius, Lithuania. He is widely regarded as one of the greatest violinists of all time.
Heifetz was born into a Litvak family in Vilnius, Lithuania, then part of the Russian Empire. His father, Reuven Heifetz, son of Elie, was a local violin teacher and served as the concertmaster of the Vilnius Theatre Orchestra for one season before the theatre closed down. Jascha took up the violin when he was three years old and his father was his first teacher. At five he started lessons with Ilya D. Malkin, a former pupil of Leopold Auer. He was a child prodigy, making his public debut at seven, in Kovno (now Kaunas, Lithuania) playing the Violin Concerto in E minor by Felix Mendelssohn. In 1910 he entered the Saint Petersburg Conservatory to study under Leopold Auer himself.
He played in Germany and Scandinavia, and met Fritz Kreisler for the first time in a Berlin private house together with other noted violinists in attendance. Kreisler, after accompanying the 12-year-old Heifetz at the piano in a performance of the Mendelssohn concerto, said to all present, "We may as well break our fiddles across our knees." Heifetz visited much of Europe while still in his teens. In April 1911, Heifetz performed in an outdoor concert in St. Petersburg before 25,000 spectators; there was such a sensational reaction that police officers needed to protect the young violinist after the concert. In 1914, Heifetz performed with the Berlin Philharmonic conducted by Arthur Nikisch. The conductor was very impressed, saying he had never heard such an excellent violinist.
Mary Pickford (April 8, 1892 - May 29, 1979) was a Canadian-American motion picture actress, co-founder of the film studio United Artists and one of the original 36 founders of the Academy of Motion Picture Arts and Sciences. Known as "America's Sweetheart," "Little Mary" and "The girl with the curls," she was one of the Canadian pioneers in early Hollywood and a significant figure in the development of film acting.
Because her international fame was triggered by moving images, she is a watershed figure in the history of modern celebrity and, as one of silent film's most important performers and producers, her contract demands were central to shaping the Hollywood industry. In consideration of her contributions to American cinema, the American Film Institute named Pickford 24th among the greatest female stars of all time.
Mary Pickford was born Gladys Marie Smith in Toronto, Ontario, Canada. Her father, John Charles Smith, was the son of English Methodist immigrants, and worked a variety of odd jobs. Her mother, Charlotte Hennessy, was Irish Catholic. Mary had two younger siblings, Jack and Lottie Pickford, who would also become actors. To please the relatives, Pickford's mother baptized her in both the Methodist and Catholic churches (and used the opportunity to change her middle name to "Mary"). She was raised Roman Catholic after her alcoholic father left his family in 1895. He died three years later of a cerebral hemorrhage.
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 – 25 December 1977) was an English comic actor, film director and composer best known for his work during the silent film era. He became the most famous film star in the world before the end of World War I. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy Kid Auto Races at Venice in 1914. From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.
Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin was identified with left-wing politics during the McCarthy era and he was ultimately forced to resettle in Europe from 1952.
Instrumental
The strange young man who comes to me
A soldier on a three day spree
Who needs one night's cheap ecstasy
And a woman's arms to hide him
He greets me with a courtly bow
And hides his pain by acting proud
He drinks too much and he laughs too loud
How can I deny him?
Let us dance beneath the moon
I'll sing to you, "Claire de Lune'
The morning always comes too soon
But tonight the war is over
He speaks to me in schoolboy French
Of a soldier's life inside a trench
Of the look of death and the ghastly stench
I do my best to please him
He puts two roses in a vase
Two roses sadly out of place
Like the gallant smile on his haggard face
Playfully I tease him
Hold me neath the Paris skies
Let's not talk of how or why
Tomorrow's soon enough to die
But tonight the war is over
We make love too hard too fast
He falls asleep his face a mask
He wakes with the shakes and he drinks from his flask
I put my arms around him
They die in the trenches and they die in the air
In Belguim and France the dead are everywhere
They die so so fast there's no time to prepare
A decent grave to surround them
Old world glory old world fame
The old worlds gone gone up in flames
Nothing will ever be the same
And nothing lasts forever
Oh I'd pray for him but I've forgotten how
And there's nothing, nothing that can save him now
But there's always another with the same funny bow
And who am I to deny them
Lux aeterna, Luce-at e-is
Domine cum sanctic tu-is in aeternum
Qui-a pius es
Requiem aeternaum dona e-is Domine
Qui-a pius es
Tonight the war is over
Requiem aeternaum dona e-is Domine
Qui-a pius es
Et lux perpetua luce-at- e-is Cum sancris tu-is in
Aeternum qui-api-us es
The strange young man who comes to me
A soldier on a three day spree
Who needs one night's cheap ecstasy
And a woman's arms to hide him
He greets me with a courtly bow
And hides his pain by acting proud
He drinks too much and he laughs too loud
How can I deny him?
Let us dance beneath the moon
I'll sing to you, "Claire de Lune'
The morning always comes too soon
But tonight the war is over
He speaks to me in schoolboy French
Of a soldier's life inside a trench
Of the look of death and the ghastly stench
I do my best to please him
He puts two roses in a vase
Two roses sadly out of place
Like the gallant smile on his haggard face
Playfully I tease him
Hold me neath the Paris skies
Let's not talk of how or why
Tomorrow's soon enough to die
But tonight the war is over
We make love too hard too fast
He falls asleep his face a mask
He wakes with the shakes and he drinks from his flask
I put my arms around him
They die in the trenches and they die in the air
In Belguim and France the dead are everywhere
They die so so fast there's no time to prepare
A decent grave to surround them
Old world glory old world fame
The old worlds gone gone up in flames
Nothing will ever be the same
And nothing lasts forever
Oh I'd pray for him but I've forgotten how
And there's nothing, nothing that can save him now
But there's always another with the same funny bow
And who am I to deny them
Lux aeterna, Luce-at e-is
Domine cum sanctic tu-is in aeternum
Qui-a pius es
Requiem aeternaum dona e-is Domine
Qui-a pius es
Tonight the war is over
Requiem aeternaum dona e-is Domine
Qui-a pius es
Et lux perpetua luce-at- e-is Cum sancris tu-is in
Aeternum qui-api-us es
(David Olney)
The strange young man who comes to me
A soldier on a three day spree
He needs one night's cheap ecstasy
And a woman's arms to hide him
He greets me with a courtly bow
And hides his pain by acting proud
He drinks too much and he laughs too loud
How can I deny him.
Let us dance beneath the moon
I'll sing to you 'Claire de Lune'
The morning always comes too soon
But tonight the war is over
He speaks to me in schoolboy French
Of a soldiers life inside a trench
Of the look of death and the ghastly stench
I do my best to please him
He puts two roses in a vase
Two roses sadly out of place
Like the gallant smile on his haggard face
Playfully I tease him
Hold me neath the Paris skies
Let's not talk of how or why
Tomorrow's soon enough to die
But tonight the war is over
We make love too hard too fast
He falls asleep his face a mask
He wakes with the shakes and he drinks from his flask
I put my arms around him
They die in the trenches and they die in the air
In Belguim and France the dead are everywhere
They die so so fast there's no time to prepare
A decent grave to surround them
Old world glory old world fame
The old worlds gone gone up in flames
Nothing will ever be the same
And nothing lasts forever
Oh I'd pray for him but I've forgotten how
And there's nothing nothing that can save him now
There's always another with the same funny bow
And who am I to deny them
Lux aeterna Luce-at e-is
Domine cum sanctic tu-is in aeternum
Qui-a pius es
Requiem aeternaum dona e-is Domine
Qui-a pius es
Requiem aeternaum dona e-is Domine
Qui-a pius es
Et lux perpetua luce-at- e-is Cum sancris tu-is in
Aeternum qui-api-us es
Tonight the war is over
Going down Morgan with Janko, Jerko, and Jerry,
We downed our Pils, and over at the South Shore, they sipped their sherry.
I opened my Kaiserized speller to learn what they know:
Nurse killers, annexers-executioners, wo!
Hey Slavonians, be ye mindful
That our 'tis tongue dies never.
The happy Hun Felsch sure likes his blond beer
And I like his doubles so much I might even cheer.
Last year he had enough and got fixed on the cardinal
Who'd pardon all
The riff-raff and all their sinister ways and halfs and he laughs
Over on 56th, and he's got the arsenic on his left White Sock
And he sees the chicken stock in a big black pot
And he pours in the lot, but what ruined or saved the day
Was that the soup then turned gray, and a hundred higher-ups came
Back from the hospital to keep getting wafers from Mundelein:
But now the Gigantics are getting the tar taken out of their pine
By my hero Red Faber and I'm ready to get rapprochement with my neighbor
As part of the healthy back and forth€”
But not if he's from up north.
So I ask Dad, Why can't we ever win, ever win, once?
Go ask Dad, why you can't ever win, ever win, once.
The strange young man who comes to me
A soldier on a three day spree
Who needs one night's cheap ecstasy
And a woman's arms to hide him
He greets me with a courtly bow
And hides his pain by acting proud
He drinks too much and he laughs too loud
How can I deny him?
Let us dance beneath the moon
I'll sing to you Claire de Lune'
The morning always comes too soon
But tonight the war is over
He speaks to me in schoolboy French
Of a soldier's life inside a trench
Of the look of death and the ghastly stench
I do my best to please him
He puts two roses in a vase
Two roses sadly out of place
Like the gallant smile on his haggard face
Playfully I tease him
Hold me 'neath the Paris skies
Let's not talk of how or why
Tomorrow's soon enough to die
But tonight the war is over
We make love too hard too fast
He falls asleep, his face a mask
He wakes with the shakes and he drinks from his flask
I put my arms around him
They die in the trenches and they die in the air
In Belgium and France the dead are everywhere
They die so fast there's no time to prepare
A decent grave to surround them
Old world glory, old world fame
The old world's gone, gone up in flames
Nothing will ever be the same
And nothing lasts forever
Oh I'd pray for him but I've forgotten how
And there's nothing, nothing that can save him now
There's always another with the same funny bow
Going down Morgan with Janko, Jerko, and Jerry,
We downed our Pils, and over at the South Shore, they sipped their sherry.
I opened my Kaiserized speller to learn what they know:
Nurse killers, annexers-executioners, wo!
Hey Slavonians, be ye mindful
That our ‘tis tongue dies never.
The happy Hun Felsch sure likes his blond beer
And I like his doubles so much I might even cheer.
Last year he had enough and got fixed on the cardinal
Who'd pardon all
The riff-raff and all their sinister ways and halfs and he laughs
Over on 56th, and he's got the arsenic on his left White Sock
And he sees the chicken stock in a big black pot
And he pours in the lot, but what ruined or saved the day
Was that the soup then turned gray, and a hundred higher-ups came
Back from the hospital to keep getting wafers from Mundelein:
But now the Gigantics are getting the tar taken out of their pine
By my hero Red Faber and I'm ready to get rapprochement with my neighbor
As part of the healthy back and forthâ "
But not if he's from up north.
So I ask Dad, Why can't we ever win, ever win, once?