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Features6 DISCOVER SAN ANTONIO

Start planning all your special Mid·Winter activities. There's lots to see in the SanAntonio area.

8 THE POOL'S THE PLACE FOR BARBERSHOP HARMONY8y Nancy K. 8ierlinA Pennsylvia quartet discovers their songs help handicapped youngsters learn toswim.

The

~a1monizerA BI-MONTHLY MAGAZINE PU8LISHED FOR AND ABOUT MEMBERS OFSPEBSQSA. INC., IN THE INTERESTS OF BARBERSHOP HARMONY.

40 MINNEAPOLISREGISTRATIONBARGAIN BASEMENTNEW CHAPTERS

34 THE WAY I SEE IT

36 CHAPTERS IN ACTION

38 NEWS ABOUT QUARTETS

Also In This Issue

3 PRESIDENT'S PERSPECTIVE

20 QUARTET HOLIDAYGREETINGS

32 HISTORICAL NOTES

30 RECORD REVIEW

28 STORY OF A SONG

10 THE TIES THAT BINDThe Committee report on the evaluation of the relationship berween the Societyand the 1nstitute of Logopedics.

14 HISTORY REPEATS ITSELF IN SAN FRANCISCO, By Bob BisioThe San Francisco chapter celebrates with a Charter Night and invites the originalparticipants to reenact the 1945 event.

16 ARE YOU SINGING LEGAL ARRANGEMENTS? By Joe LilesAnswers to your questions on copyright and musical arrangements.

18 WHERE ARE THEY NOW? THE SCHMITT BROTHERSBy Lynne SotoThe 1951 International Quartet Champions are still singing barbershop harmony.

23 OH, TO BE IN ENGLAND! By Burt SzaboMusic Services Assistant Burt Szabo recounts his recent travels and participationin a BABS Harmony College.

24 CARDS ANYONE? By Paul PiperWhat fits into a large suitcase and represents more than 1,500 quartets andchoruses?

ABOUT THE SONG IN THIS ISSUEOn the cover of the original sheet musicof IDA (Sweet As Apple Cider) is thestatement, "Introduced and successfullysung by Eddie Leonard with Haverly'sMinstrels" and the credits show "wordsby Eddie Leonard and music by EddieMunson." Strangely though, none of ourresearch sources mention Eddie Munsonat all and later editions of the sheetmusic show "words and music by EddieLeonard." So jf any of you readers knowthe truth of the matter, we'd like to hearfrom you. What we do know is this,Eddie Leonard (real name Lemuel G.Toney, 1875·1941) was one of the lastgreat song-and-dance minstrels. He islisted in the 1966 edition of the ASCAPBiographical Dictionary as a "composer,author, singer and actor" whose lastprofessional engagement was in the BillieRose Diamond Horseshow production of1940. Burt Szabo has given us a verycreative arrangement of this wonderfulold song - you'll enjoy comparing itto the 1964 version the Society pub·Iished. You'll enjoy singing it even more!

CONVENTIONS

The HARMONIZER (lSSN 0017-78491 15 theofficial publication of the Society for thePreservation and Encouragement of BarberShop Quartet Singing In America, Inc. (S.P.­E.B.S.O.S.A.). It Is pUblished In the months ofJenuary, March, May, July, Soptomber andNovember at 6315 - 3rd Avenuo, Kenosha,Wisconsin 53140-6199. Second-class postagopaid at Kenosha, WisconsIn. Editorial andAdvertising offices are at the InternatIonalOffice. Advertising rates available upon request.Publisher assumes no responsibility for returnof unsolicited manuscripts or artwork. Noticeof change of address should be submitted to theeditorial offlcos of THE HARMONIZER, 6315- 3rd AVE" KENOSHA, WISCONSIN 53140­5199, at least thirty days before the nextpublication date. Subscription price to non­members Is $6 yearly or $1 an Issue. ForeignsubscrIptions are $12 yearly or $2 an issue.Copyright, 1984, by the SocIety for the Pre­sorvatlon and Encouregement of Barber ShopQuartet Singing in America, Inc.

NOVEMBER/DECEMBER 1984VOL. XLIV No.6

INTERNATIONAL1985 Minneapolis. Minn. June 30·July 71986 Salt Lake City. Utah June 29-July 61987 Hartford, Conn. June 28-July 51988 San Antonio. Tex. July 3-10

1985 San Antonio, Tex.1986 Tucson, Ariz.1987 Sarasota, Fla.1988 Washington. D.C.

MID-WINTERJan. 28-Feb. 2January 22-25January 28·31January 27-30

On The CoverThe Christmas cards shown on the cover were drawn by students at the Institute of

Logopedics. The dove of peace was drawn by Lance, a young adult. Lance was 14years old when he contracted encephalitis which left him with a severe memory lossand aphasia. The snowman was drawn by Steven, a severely hearing impaired teen·ager, who used his art skills to communicate the fun of winter play. 1984 marks the50th Anniversary of the founding of the Institute of Logopedics. and the 25th An­niversary of the Holiday Greeting Card Project.

ThinkingAloud

Hugh A. Ingraham, CAEExecutive Director

Dave LaBar recently sent along to mean issue of the Music Educators Journal,official publication of the Music Educa­tors National Conference, an organizationat whose national conventions our groupshave performed on a number of occasionsin the past few years. Featured in theissue were articles concerning "Contro­versy On Competitions", I found itfascinating reading for two reasons:first, it speaks to a controversy we arevery much involved in as well; and sec­ond, it gives us as Society members someinsight as to why music teachers couldbe turned off by the Young Men in Har·mony program if we place too much em­phasis on what they feel to be the wrongareas.

The following are quotes from musicteachers; each different quote is indi­cated by an asterisk. All are reprinted bypermission from the Music EducatorsJournal, copyright (c) 1983, MusicEducators National Conference.

IlThe inauguration of yearly nationalband contests in 1926 brought to musiceducation an increased competitive spirit.Contests were viewed by some as a baneto school programs because directorswould often rehearse only the contestpieces throughout the year. This causedstudents to be inadequately prepared inmusic fundamentals. The stress on techni­cal performance was also seen as a hin­drance to aesthetic and emotional res­ponsiveness of students. For too manydirectors contests became ends ratherthan means. Those who held stronglyto these opinions called for using festi­vals instead of contests.

IlThe competition, when properlyused, is an excellent device to assist inthe process of music education. Likemost things, the contest can be and isabused by some people. But used care­fully, it has many advantages.

Competitions are great motivators.

2

The director must make sure he or sheonly uses the contest as a means to anend, and not as an end in itself. Don'tfall into the trap of teaching only to win.

Students must realize that in contests,as well as in everything else, doing thebest job they possibly can is all that'simportant. Although winning is nice,trying hard and putting forth the besteffort are really what it is all about.

Ill n music, we are attempting to teachstudents an art form. The use of compe­tition to do this leads to an emphasis onthe trophy rather than the learning. Thegoal of athletics is to win - the goal ofmusic is to learn. Today's music compe­titions cause students to "overlearn" afew things at the expense of a generallearning. A disproportionate number ofstudent and teacher hours are spentpreparing for contests.

IlThere will always be problems con­nected with competitions. Any tension­causing activity creates unresolved con­flicts. Furthermore, whether judging orbeing judged, participants will construewhat' they will from the numbers, words,or sounds used to convey the "message"of the competition. Naming deficienciesor strengths is not the important valueof competitions. What is important isthe growth that takes place in preparingto compete, particularly as a cohesivegroup.

·Contest can result in winners andlosers. It can also produce winners andbigger winners. The winners come awaywith ones or trophies. The bigger winnerscome away with a greater musical under­standing and a performance enhancedby the uniqueness of the concentratedeffort of their group. We must teachthat the beauty of music lies not in thematerialistic attainment of a tangiblereward, but that our greatest satisfactionwill come from within us.

International Officers

President, John T. GIllespie, 712 NewgateRoad, Kalamazoo, M I 49007

Immediate Past President, Hank Vomacka,1881 Rose Street, Sarasota, FL 33579

Vice President, Gilbert L. Lefholz, 13316 E.51 st Street, Kansas City, MO 64133

Vice President, Darryl Flinn, 7975 ClevelandAvenue, NW N. Canton, OH 44720

VIce President-Treasurer, William K. Park,Box 621 MendenhAll, PA 19357

Board Members

Cardinal, Ernie Nlckoson, 1702 Cameron Ct.Lexington, K Y 40505

Central States, Winston Rashleigh, P. O. Box133 - 2420 E. 3rd St., Fremont, NE 68025

Dixie, Charles McCann, Box 40969, Nash­ville, TN 37204

Evergreen, Richard Merritt, 4556 Lake HeightsStree1, Bellevue, WA 98006

Far Western, Fred Koch, 6942 E. Calle 8e1el­geux, Tucson, AZ 85710

illInois, Joseph F. Shekloton, 710 WaverlyDrive, Arlington Heights, IL 60004

Johnny Appleseed, Jack Wentworth, 6414Lexlelgh Road, Reynoldsburg, OH 43068

Land 0' Lakes, Thurman J. Stack, 525 Wedge­wood, Plymouth, MN 55441

Mid·Atlantlc, Dale Thomas, 324 E. FourthStreet, Bloomsburg, PA 17815

Northeastern, Dick Young, Homestead Farm,Moultonboro, NH 03254

Ontario, Dyson Pinhey, 16 Parkslde Crescent,Nepean, Ontario K2G 385 CANADA

Pioneer, Fran Jones, 6855 Sandwood NE,Rock ford, M I 49341

Rocky Mountain, Rex Touslee, 1511 - 27thAve., Greeley, CO 80631

Seneca Land, Jim Eldridge, 211 Jefferson St.,Warren, PA 16365

Southwestern, Ed Reeder, 2236 Flat Creek,Richardson, TX 75080

Sunshine, AI Woodard, P. O. Box 381, Jupiter,FL 33468

And Past International Presidents

Merritt Auman, 2400 Wassner Dr., West Lawn,PA 19609

Burt Huish, P. D. Box 1925, Twin Falls, 1083301

Leslie Hesketh, Jr., 7467 Clifton Road, Clif­10n, VA 22024

International Office

HUGH A. INGRAHAM, CAE, ExeClltiuc DirectorSHIRLEY PANOSIAN, Exccutiuc Assistallt

TOM COGAN, Mgr., Membership DcuclopmclItD. WilLIAM FITZGERALD, Mgr" Special EuentsDAVE lABAR, Music Scruiccs AssistantWARREN lEISEMANN, Data Processing Mgr.JOE LILES, Djr, Music Education and ServicesBOB MUCHA, Mllsic Seruices AssistantROBB OllETT, Director ofCommuIlicatiollsRON ROCKWELL, Field RcpresentatiueFRANK SANTARELLI, Director of Finance

and AdmillistratiollLYNNE SOTO, Publicatio"s EditorGARY STAMM, Mgr Atldio- Visual Sucs,DAVE STEVENS, Music Services AssistalltBURT SZABO, Music Seruices Assistallt

Telephone: (414) 654·9111Office Hours: 8 a.m. - 5 p.m.Monday-Friday (Central Time)

NEW ADDRESSS.P. E.B.S. Q,S.A.6315 - 3rd AvenueKenosha, WI 53140·5199

'I-••~~ Plan, Pursue, Participate - Prosper!

By John T. GillespieInternational President

I can't believe that 1984 is almost his­tory and I will soon be joining the ranksof "Past Exhausted Roosters." It seemslike yesterday that 1 was writing an ar­ticle for the January/February issue ofthe Harmonizer, explaining our Society's1984 slogan, "PLAN, PURSUE, PARTI­CIPATE - PROSPER"!

The end of 1984 finds our Societyquite healthy. Musically, we collectivelyhave never done more to preserve andencourage our artform by bringing itto others. Financially, we're still in asolid position, although we will not endthe year with the surpluses we were

blessed with in the two preceding years.As of this writing, we do not yet havethe final financial results of the 51. LouisConvention, which will play a big rolein how we will end up compared to bud­get.

Membership has been a disappoint­ment in 1984. Although slightly ahead ofa year ago, we have no chance of meetingthe membership goals of 1984 as pre­sented in our five year plan.

For those chapters who tried formalplanning, aggressive monitoring of theplan throughout the year and the parti·cipation of all in the chapter, I'm sure

you had a prosperous year. Believe me,it really works! If you didn't try it, giveit a whirl in 1985_ You'll be glad youdid!

A tremendous personal disappoint­ment for me was my sudden illness andemergency surgery in June which re­quired my missing our InternationalConvention. I wish I could personallythank the many of you who wired plantsand flowers or who wrote and phonedwords of encouragement. Believe me, itreally helped.

Thanks for the privilege of serving asyour International President.

. Letters

This is to let all Barbershoppers knowthat Harmony, Inc., is celebrating their25th anniversary this year. There will bea special celebration at Providence,R. I. at the Mariott, during our annualconvention and contests.

In 1959, five choruses broke awayfrom another organization and formedtheir own, known as Harmony Inc.We have grown from five choruses to 72and we are still growing.

The first membership meeting washeld at Burlington, Vt., Oct. 17, 1959,hostessed by the Champlain EchoesChorus.

The steady growth in membership,the gradual spreading geographically, thevast improvement in quali'ty of compe·titian performances and the determina·

tion to abide by the principles of itsfounders, all besepak a bright future forHarmony Inc.

Barbara KingPublic Relations Chairman

Harmony, Inc.Clarksburg, Ma.

As a recently "Reborn Barbershopper"I continue to be amazed at the distancethe Society has traveled since I was firsta member.

I regret that pressure of businessmade it necessary for me to vacationfrom the Society for quite a while, butI'm now back for good.

From where I sit, I thoroughly agreewith Ralph 8yrd. I am constantly dis-

tressed by the amount of time taken bytalk of makeup, choreography, uniformsand such. And, I do not believe a quar·tet can win without screeching a tagwell out of the normal voice range, com­plete with antics designed for TV danceshows.

Wouldn't it be real great for a chorusto win with less than 50 members onstage, with just good singing in normalvoice ranges, and a minimum of chore­09raphy? Is it possible?

Don't get me wrong, I'm in for theduration, and I'll play by the rules, butI do believe in the original purpose statedin the title of our organization.

Thanks for your good work.Harold R. SnyderGreensboro, N. C.

3

In Memorial

LES EMMERSON BILL HANSEN

• suggestIons for blocking,costumes, props andbackdrop design.

Some Titles Available For Perusal:

DR. SOL HEIMAN3717 GENTILLY BLVD.NEW ORLEANS, LA. 70122

Each cassette is $8.00 and this includes postage and hand·ling. (Canadian orders please add $1.00 - U.S. funds,pretty please).

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Bill Hansen, past International Board member, passed awayon June 27 of cancer at the age of 66.

Hansen was a graduate of Indiana University and playedtrumpet in the University Jazz Band. He was employed asa special agent for the Federal Bureau of Investigationserving in the southern Michigan area and later in the SanAntonio, Texas office. After his retirement, he moved toJacksonville, Florida where he conducted courses in crimi­nology and lie detection. He moved to Marble Hills, Texasin 1983.

Hansen began barbershopping when he joined theBenton Harbor, Michigan chapter in 1954. He directed theFruit Belt Chapter Chorus for 13 years. Hansen was an AreaCounselor and was named Area Counselor of the Year1958-59. He served as District Vice·President and as DistrictPresident in 1962-63. He was the Pioneer District Inter­national Board member in 1964-65. He was also a mem­ber of the Sage Lake Round-Up,

Hansen is survived by a brother; his wife, Mary; a daugh­ter, Karen; and two sons, Keith and Kris.

ALL ABOARD!DUDLEY RIDES AGAIN!KLONDYKE BRIDE FEVER!SCHOOL DAZE!STRIKE THREE, YOU'RE OUT I

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Les Emmerson, a life·long supporter of the Cardinal Dis­trict, passed away on July 31 at the age of 76.

Emmerson directed the Fort Wayne Chorus for severalyears, sang with the Reddi-Kilowatts Quartet, served inmany chapter offices, and was certified as a judge in theSecretary category. He was also instrumental in formingthe Columbia City chapter.

He was a District Treasurer, and District President in1959 and 1960. Emmerson also served as InternationalBoard Member from 1961 to 1963.

In business life, Emmerson worked for I & M ElectricCompany for 35 years. He retired in 1975.

Emmerson was active in other social and civic organi·zations including the Trinity English Lutheran Church,Summit City No. 170 FA&M, Scottish Rite life member,Mizpah Chanters (a men's chorus) past president, SamsarUnity, Northeastern Indiana Kiwanis International pastpresident 1969, Kiwanis district governor 1971, Foreman'sClub and Senior Men's Golf Association.

Emmerson is survived by his wife, Harriet; a daughter,Judy Thiele; a son, Joseph; five grandchildren and onegreat·grandchild.r---------------------------------,It!l. WANT A CHANGE FROM 6) I

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Sing along with theRAPSCALLIONS

1984-85 InternationalQuartet Champions

___ STATE_

ADDRESS

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NAME _

EDUCATIONAL TOURS, INC.5935 South PUlaski, Chicago, III. 60629Mr. Frank Pipal, President

Dear Frank:

Please send me complete details on your

Barbershoppers HEART OF EUROPE Harmony lour.

r ,ITour Sponsored By Harmony Services Corporation, SPEBSQSA, Inc,

plus airfare

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Apr. 23 - May 3,1985

to the Heart of Europe

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discover the gentle edelweiss, the soaringAlps, fairy castles, romantic gondolas, finewines, sUdsey German beer, tiny villages J

friendly people and gemutlichkite galore!

Here's a trip 10 steal your heart away! A tune-filled. fun-filled vacation tothe very HEART OF EUROPE! Crammed with new sights and sounds. Anexciting mix of cultures. languages and cuisines. A happy blend of oldplaces and new friends. Top it all off with the music of the RAPSCAL­LIONS and you have the makings of memories!

Happy Vienna is first! Land of concert halls, Mozart and the blueDanube. Then Graz and the castle that guarded against Turkish inva­sions. Yugoslavia, country of many cultures and the lown of Ljubljana(Ioo-be-ah-nah) and the friendly Slavic people. Next, Lipica, home althafamous Upizzaner horses and then on to ....

Venice! Queen of the Adriatic! St, Mark's Square. romantic gondolarides and much, much more. Then Verona. setting for Romeo and Julietafter which we wend our way to Innsbruck and a glorious day in the Alps.Add to this the magic of mad·King Ludwig's fairy castle, Neuschwanslein.a back stage visit at Oberammergau plus an evening in Munich andyou've almost had your fill. But there's more. There's charming Salzburgwhere the Sound of Music was filmed. A day of delight in this ancient citycaptures your heart as only this HEART OF EUROPE Tour could. Don'lMiss It! Mail coupon Today!11-day TOUf, Apr, 23 - May 3, 1985" only $895 plus airfare

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COMEONAL

Discover San Antonio ...

Arrange your sightseeing toursto explore the city.

Everyone enjoys seeing new places.Barbershoppers attending the 19B5 SanAntonio Mid·Winter Convention will havethe opportunity to explore this wonder·ful city. A number of special activitieshave been arranged just for you.

LET'S SEE SAN ANTONIOThursday, January 31, 10:00 a.m.to 3:00 p.m.Get to know San Antonio. This bustour will drive through the KingWilliam District - an elegant residen­tial area settled in the late 1800's;visit the Mission San Jose, establishedin 1720; stop at the Lone Star Brew­ery to visit its game trophies collect­ion and the historic Buckhorn Bar;lunch at the Bright Shawl, a restoredhistoric house; and browse throughthe EI Mercado Mexican Market.Cost includes transportation, admis­sion fees, lunch, all taxes and gra­tuities and tour guides. Cost: $26per person.

AN OLD FASHIONED TEXAS EVEN·INGThursday, January 31, 5:30 p.m. to11:00 p.m.Put on your dandn' shoes for anevening of country western music,food and good times. A bus willtake you to Leon Springs, Texas,where you'll spend the evening at thehistoric Settlement Inn. The Inn was astage coach stop on the stage line be­tween San Antonio and San Diego.The Leon Springs Hotel was builthere in 1870. Dinner features a Texasstyle, all you can eat, barbecue buffet.Beer will be served with the meal.After dinner, dance to the music ofa country and western band. Costincludes transportation, barbecuebuffet dinner, 20 pitchers of beer forthe group (bar service and additionalbeer extra), and all taxes and gratui­ties. Cost: $35 per person.

A DAY IN NUEVO LAREDOFriday, February 1, 6:30 a.m. to7:00 p.m.Spend a day across the border in

1985 MIDWINTER TOURS ORDER FORM

Mexico. During the three hour busride to Laredo, Texas, your tourguide will fill you in on the high·lights of the day and what bargains toshop for in Mexico. The group willwalk across the bridge to NuevoLaredo where you will spend the daysightseeing, shopping and lunching atThe Winery. Those taking the tourmust bring with them a valid pass­port, birth certificate or multipleentry visa. The group will start backto San Antonio at 4:00 p.m. Wineand snacks will be served during thereturn trip. Cost includes transporta·tion, tour guides, refreshments on reoturn trip, all taxes and gratuities.Lunch is not included. Cost: $27per person.

SAN ANTONIO CULTURESaturday, February 2, 10:00 a.m. to3:00 p.m.Tour some of the art and culturespots of San Antonio. The bus tourwill take you to the McNay ArtInstitute; the San Antonio BotanicalGarden (weather permitting); lunch in

6

NAME _

ADDRESS _

CITY _

STATE/PROV. ZIP

Return this form with check or money order to:

S.P.E.B.S.Q.S.A., Inc.6315 - 3rd AvenueKenosha, WI 54140-5199

IU.S. FUNDS ONLY PLEASE)

REGISTRATION DEADLINE IS JANUARY 26

A. LET'S SEE SAN ANTONIO_ __ $26 per person

B. AN OLD FASHIONED TEXAS EVENING$35 per person

C. A DAY IN NUEVO LAREDO____ $27 per person

(Must have a valid passport, birth certificateor multiple entry visa.)

D. SAN ANTONIO CULTURE___ $26 per person

E. FOOD FOR THOUGHT LUNCHEON___ $12 per person

TOTAL

a garden setting along the SaladoCreek; visit the Institute of TexasCultures and its museum of Texashistory; and tour the game trophiescollection and the Buckhorn Bar atthe Lone Star Brewery. Cost includestransportation, tour guides, admissionfees, lunch at Los Patrios, and alltaxes and gratuities. Cost: $26 perperson.

FOOD FOR THOUGHT LUNCHEONSaturday, February 2,12:00 NoonExchange ideas for special events,programs and activities. Participantswill submit a one page summary of anactivity. Ideas must be mailed to theInternational Office by January 7.They should be typed on one page sothey may be copied. Packets of theideas will be distributed at the lunch­eon. Cost: $12 per person.

Sign up now for these special toursand activities! The deadline is January26, so return the activities registrationform and your check today!

SAN ANTONIO MID·WINTER CONVENTION REGISTRATION

Enclosed is my check/money order for:

Quantitv Total AmountConvention Registrations @ $10.00Sat. Evening tickets @S 8.00

I Total Amount

CHAPTER NO. _

NAME

ADDRESS

CITY

STATE/PROVINCE

MEMBER NO.

POSTAL CODE

Although it is not necessary to have a registration toobtain show tickots, NON·REGISTRANTS will not beessig ned seats until after Decombor 1, 1984 at whIchtime tickets will go on sale to the genoral public.REGISTRANTS will be assigned immodiate prioritysoating in the order their registrations are received.·Registrants will also receive 8 name badgo, entryto the afterglow, and a housing form from the head·quarters Hyatt Regoncy Hotol enabling them to obtainspocial group rates.

DATE RECEIVED

Make checks payable to: S.P.E.B.S.Q.S.A. 1984 Mid·WinterItlf you are ordering more than one registration, please attach an item­ized listing of names.

FOR OFFICE USE ONLY

7

The Pool's The Place ForBarbershop Harmony

By Nancy K. Bierlin

Wendell "Fuzz" Lomady decided toplunge into a new idea in teaching abouttwo years ago.

The result: Harmony.Lomady, a health, physical education

and aquatics director with the UpperDublin School District, has successfullycombined swimming instruction for sevenspecial education students with barber·shop quartet singing.

Yes, the seven students from ThomasFitzwater and Fort Washington Elemem·tary schools, are learning how to swimwhile Lomady and three of his friendsfrom the Abington chapter sing to thepupils.

"'t's my favorite class of the week. Ireally look forward to it:' said Lomadyas he told how he and his friends cameto work their singing magic on thesechildren.

"I'd been working with these specialeducation children for two years in thisswimming program, and I had been hav­ing a difficult time enlisting any studentassistants to work with me regularly, des­pite the fact that they receive credittoward graduation for their efforts.

"It's hard to get some of the youngpeople today to volunteer to come outand help," he said.

As an 11·year member of the Barber·shop Quartet Society, Lomady was askedlast year to get a quartet together to par·ticipate in the annual Interest Day atSandy Run Middle School. This year hetapped several of his friends to form hisown quartet, including Gus Essmann,who sings lead; Dick Carpenter, tenor,and Fred Aubel, bass. Lomady singsbaritone.

"Dick and Fred were retired," ex·plained Lomady, "and Gus works part­time with the Cheltenham TownshipHealth Department. So they all came toInterest Day and we explained and de·monstrated the art of barbershoppi n9 and

8

sang harmony to the students."From then on, Essmann has been a

volunteer swimming teacher with Lom·ady. "I love swimming, and I loveworking with youngsters," Essmann said."I was active in scouting for 37 years, andI had a scout troop when I lived inPhiladelphia,"

Most of the ch ildren have problemscommunicating and speaking no morethan a few words, Essmann explained."But when we sing songs like 'Old Mc·Donald' or 'Jingle Bells' to the kids, they

Each Wednesday

the steamy air

of the Upper

Dublin pool

resounds with

the mellow chords

of four

Barbershoppers

singing to their

young students.

can recognize some of the sounds andcome up with some words or sounds,too."

He recounted the story of DonaldStabilito who, when Essmann first beganto work with him, was terrified of thewater and clung to him in fright, armsand legs wrapped tight around Essmann'sbody, unable to speak.

"'t took about a year, but now Donaldpaddles on a raft, and he can say 'raft'to let me know he wants to get on itand float," said Essmann.

Carpenter has been working andsinging with the two men for a year, ashas Fred Aubel.

Said Carpenter, a retired engineer,"They asked me to join them, and thatwas enough. I have an affinity for handi·capped people and I like to work withthem. I'm used to them. I also like toswim. And sing," he smiled.

The seven children range in age from6 to 11 years, and there are four boys andthree girls enrolled in the program thisyear. The school district buses them tothe high school pool from their elemen­tary schools.

They usually don't all come at once,said Lomady, "because they are moresubject to illnesses and they have morefrequent colds and respiratory problemsthan the other kids."

Lomady added that he does have oneassistant student helper, Kristin Shuttle·worth, a junior who has been with himall year.

Aubel said the four men had practicedfor last month's Interest Day at SandyRun.

"We can all practice our singing andhelp Fuzz swim with the kids at thesame time," he said. A retired iron·worker, Aubel is one of the originalcharter members of the 23-year-oldAbington chapter.

The three volunteers, whom the kids

Barbershoppers Wendell Lomady and Gus Essmann help students in tho pool whilo Dick Carpenterand Fred Aubel sing on the deck. Upper Dublin High School is in Fori Washington, Penn.

call "Uncle Gus, Uncle Dick and UncleFred," intend to go on working withtheir "waterbabies" when the programresumes next fall. Lomady, who is"Uncle Fuzz," plans to continue as avolunteer even after he retires.

"The way I look at this whole thingis, I wouldn't be where I am today ifpeople didn't help me, so, the least Ican do is pass it on."

He paraphrases the well·known bar·bershop theme song, "We Sing ThatThey Shall Speak," with which theBarbershoppers end each meeting andeach show, and which refers to theircharity, the Institute of Logopedicsin Wichita, Kansas: "We sing to encour­age their swimming - we sing barbershopharmony to warm up while the kids arechanging into their swimsuits, and theycome running out and put on theirstYrofoam 'bubbles' and jump in withus," he said.

"Some of them can't wait to get inthe water with us. We sing harmony inand out of the water - anywhere. Weeven got the boss (Tom D' Ancona, aqua­tics director at Upper Dublin) to singbass with us,"

Aubel added, "I was surprised at howwell these kids do, The ones we've beenworking with don't seem to have muchfear of the water now. The kids love toplay tricks with us - fool around withthe rafts and grab us around the neck,"he said.

Lomady told how Essmann broughtback little necklaces made of sharks'teeth for each child when he returnedfrom a recent Florida vacation. "Theschool used them in conjunction with adental program," he said, "and the kidsloved them."

Lomady said the children respond tosinging almost immediately, "They couldbe screaming in the water, for any parti­cular reason, and we'll start singing to

them. They'll stop screaming and res­pond and sing back to us. They'll evensing some of the words along with us,"he added. "When we sing to them theyforget their fear of the water ,"

Carpenter pointed out how lovablethe children are, "They crave affection.They need more affection than the aver­age kid, and we give it to them."

"And we old men need affection,too," chimed in Lomady with a laugh,summing up the four men's labor of lovewith their "waterbabies,"

Each Wednesday, from 9:30 to 10: 15a.m., the steamy air of the Upper Dublinpool resounds with the mellow chords ofthe four Barbershoppers as they sing totheir young charges.

It is difficult to know who is enjoyingit more, the four singers themselves ortheir laughing, splashing "waterbabies."

Reprinted with permission from THEAMBLER GAZETTE, MontgomeryCounty, Pa., written by Nancy K. Bier­lin, photo by Joseph Marsella.

9

The Ties That Bind

In 1984, the Society proudly celebratedits 20th anniversary of the union betweenS.P.E.8.S.Q.S.A. and the Institute ofLogopedics as our UNIFIED SERVICEPROJECT. During this anniversary, acommittee was appointed to study andevaluate this relationship. This article con­tains excerpts from the final reportadopted by the International Board ofDirectors at the St. Louis InternationalConvention.

HISTORYFrom its inception, men who joined

the Society for the sheer personal pleas·ure of ringing a barbershop seventh chordsoon discovered that their singing couldbe a face to help others less fortunate.And help they did - by singing for shut·ins; sponsoring scholarships; through do­nations and shows for other servicegroups, hospitals, churches and indioviduals. All the while adhering, withoutany apparent conscious direction, to thepriorities and purposes stated in theSociety's bylaws.

The 1954 International Board firstdiscussed the concept of a single So­ciety service project superimposed onlocal activities, but the idea remaineddormant while chapters continued to ac­tively participate in local communitycharitable activities. In 1964, then-Inter-

national President Dan Waselchuk pre·sented the idea in his plan for the yearasking "What sort of qualifications shoulda central charity offer a Society such asours?"

In his view, it should have the follow·ing:1. I t should be a charity with which the

individual Barbershopper can get in­volved on a personal basis.

2. It should not be dependent upon anyother large fund raising organization.

3. It should be in a growing field of ser·vice and research where a crying needfor these things exists.

4. It should be such that funds go direct·Iy into services designated by the chap­ter without the usual costs of raisingthese funds,

5. It should be related to music.

From these concepts, a study commit­tee researched the feasibility of a serviceproject for all 8arbershoppers. 8y May of1964, the research was complete. Thecommittee had answers to why the In·stitute of Logopedics filled our needs:1. Single or multiple communications

handicaps alike are eligible for diag·nosis and subsequent treatment at theInstitute.

2, The Institute is truly internationalin that children and adults from

anywhere in this continent, or theworld, may enroll.

3. The Institute is all·encompassing as itprovides a research program, profes­sional preparation and clinical ser·vice.

4. MUSIC plays a major role in com·municating with patients.

5. Monies raised by chapters, areas anddistricts can be used in the geogra·phical areas where monies are raised.

6, Money can be used entirely for thatportion of diagnosis, treatment andtransportation costs that the parentsare not able to bear, not for adminis­trative overhead.

The committee report continued"chapters, areas and districts would beencouraged and assisted, if necessary, insetting up an annual benefit show withthe entire net proceeds toward the In­stitute. Money would be held in trustby Harmony Foundation, recorded in aspecial account for that chapter, area ordistrict. "

The approach seemed workable ­chapters became more aware of theInstitute's programs and were willing towork toward this common goal. Anumber of very successful "LogopedicsSpectaculars" were staged.

Evolution of the service program

The Institute of logopedics in Wichita, Kansas.

10

The Society evaluates its relationship with theInstitute of Logopedics.

proved many basic premises correct.The Barbershopper and his family wanteda sense of individual participation, andthus the ideas of the Logopedics mug,chapter raffles, earmarking a percentageof chapter shows and special appearances,became widespread. The spirit of friend­ly competition, incentives and recog·nition inherent in our Society foundtheir way into the service program.

Adding to the incentive aspect, Har­mony Foundation instituted award pla­teaus of $10, $25 and $50 contributionsper man, providing plaques for the. vari·ous chapters achieving this level of do­nation.

STATUSAs more Barbershoppcrs and their

families visited the Institute of Logo­pedics or learned about its function,the service project achieved broad basesof support from the distaff side (as evi·denced in handicrafts) at Internationaland district conventions, participation inthe annual Logopedics breakfast and en­couragement at the chapter level.

The Institute has benefitted from "Ourrelationship in another highly importantway. The Society has provided them withan elaborate marketing system that wouldbe impossible to duplicilte in other ways.About half of the client referrals to theInstitute can be traced to a Barbershop­per somewhere. Through the use of theToll free number, many referrals andinquiries are received directly fromSociety members on behalf of themselvesor others. The Institute acknowledges thisbenefit and is grateful for it.

In a discussion with Dr. Frank Kleff­ner, President and Chief Operating Of·ficer for the Institute of Logopedics,six important points were emphasized

when the future of the Institute wasmentioned:1. It will be necessary for the Institute

to make some strategic changes.2. To accomplish future objectives, the

Institute must continue to strengthenits contribution base.

3. Continuing Society support is vital.4. Fifty percent of referrals to the In­

stitute involve a Barbershopper.5. Barbershopper involvement is broader

than financial contributions; i.e. match­ing grants, referrals, etc.

6. Relationship between Institute staffand Society staff is very good.Under the long term leadership of

Reedie Wright, the Logopedics and Ser­vice Committee has been exceptionallysuccessful in fulfilling its duties as char­ged. The collection of more than $5million for the Institute attests eloquent­ly to this fact and cannot be ignored.This committee has functioned largelywithout the direction of Society ad­ministration and without direct parti­cipation of the staff. Because of this,there has apparently been some lack ofcommunication among the staff, theadministration and the committee. Bothadministration officials and staff mem­bers perceive what they believe to beproblems or abuses in fund raising by thecommittee and the district and chapterrepresentatives. These alleged abuses fallgenerally into these categories:1. Over-zealous fund raising - pressure

tactics; peer pressure (District Paradeof Checks); hard·sell; overly emo·tional pleas.

2. Involuntary solicitation - fines orpunishment dollars and hat passing atchapter meetings to fulfill the goalsof $10 or $25 per man.

3. Excessive competition between chap-

Reedio Wright has been Chairman of thelogopedics and Service Committee since1974.

ters and districts with one tryingto outdo the other.

4. Use of raffles.5. Taking money from chapter treasury

to meet the goal of $10 or $25 perman.

6. Use of chapter funds not raised bysinging for charity.

7 _ Continual raising of Harmony Founda­tion award amounts, thus contribut­ing to hard-sell.

8. Logopedics chairmen taking dispro­portionate amount of time at districtboard meetings.

COMMITTEE CONCLUSIONS

A broad finding is that we have been,and continue to be doing, the rightthings. We find the overall relationshipsound as it continues to provide both the

11

Society and the Institute with all that wasoriginally intended ... and more.

Our findings are that the Institute ofLogopedics is most worthy of our con­tinued, aggressive support.

We sense an evolution within the In­stitute of Logopedics similar to the onethat is occurring within the Society (seeJuly/August HARMONIZER, p. 8·9).The evolution is caused by the changingneed of those being served, yet the basicunderlying purpose and philosophy reomains rock-solid. That evolution pre­sents a tremendously exciting challengefor the Society to participate with theInstitute in providing a bridge acrossthe widening gap between educationalinstitutions on the one hand, and themedical and health fields on the other,in serving the total needs of the com­municatively handicapped.

The philosophy of fund raising in theSociety was discussed in depth. It wasagreed that dollar limits should not beplaced on fund raising. The only validlimit on a chapter's participation in ourservice project should be one which doesnot infringe on the chapter's ability tomeet the aims and purposes of theSociety.

Voluntary support of our service pro·ject by members, quartets, chapters anddistricts was one of the earliest tenetsof the program, along with the conceptof singing to help the less fortunate.Both concepts remain valid today andhave wide support from persons provid·ing input to this study. Both point inthe direction of giving new emphasis to"We Sing That They Shall Speak ..."and less emphasis on collecting moneyfrom our members.

COMMITTEE RECOMMENDATIONSThe relationship between the Societyand the Institute should be reaffirmedand continued with the understandingthat the Society does not and shouldnot have an obligation to supportthe Institute.Participation in the Service Projectshould be voluntary. Fines and punish­ment dollars should be eliminated.The concept of "We Sing That TheyShall Speak ..." should be encouragedby administration and staff.The philosophy of not diluting aimsand purposes of the Society by fund­raising should be emphasized andcommunicated to chapters.The use of raffles should be studiedby the Laws and Regulations Commit·tee and either specifically approvedor rejected by the International Board.Logopedics and Service Committeeshould be more accountable to theInternational President andlor Execu·tive Committee.Continuity of the chairmanship of theLogopedics and Service Committeeshould be planned.District and chapter Logopedics chair·men should be apprised of the prob­lems of overzealous collection meth­ods, undue peer pressure or any ac­tivities that cause members to feelforced to give involuntarily.The International Executive Com·mittee should consider allowing theInstitute the use of district and chap·ter Logopedics chairman lists tomake mailings for the Service Com­mittee.Harmony Foundation should establishprocedures for transmittal of fundsfrom the Society to the Institutethat would provide consistency.

The Society should formulate an ade·quate expression of recognition andgratitude to Reed;e Wright (Far West·ern District) for his unswerving and to·tal devotion to the Unified ServiceProject since its inception. J'

John Pulichino. Sunshine District Logopedics Chairman, met Marquita (left) and Julie in theirclassroom.

12

We're still• •sIngIng your

song.

Unforgettable, that's the sound of theSuntones. In our 25 years together we haveenjoyed bringing you the songs you love.Although we have curtailed our stageappearances, all the fun and excitement of ourmusic is yours to enjoy on these fabulousrecordings.

This holiday season take advantage of thesespecial prices; all albums and cassettes (anycombination) $6 each, all 8 tracks $4. Pleaseunderstand, our stock is limited. Orders areshipped 4th class. Allow 2 to 3 weeks delivery.

Please send me the following albums and/or lapes (post paid)Canadian orders please add $4.00. Mark checks "U.S. Funds."Mall 10 SunrIse Records, P.O. Box 15736, W. Palm Beach. Fla. 33406

NAMESTREE,,-T-------------------

CITY STATE ZIP _

ALBUM 8 TRACK CASSETTE

AS TIME GOES BYA TOUCH OF OLDSOMEWHERE 'l(-WATCH WHAT HAPPENS oj('

AFTERGLOW *KEEP AMERICA SINGINGA TOUCH OF GOLDFIDDLERWHERE IS lOVEMY FAIR LADY

oX· not available

History Repeats Itself InSan Francisco

By Bob Bisio

Charlie Merrill reenacted his role and presented the San Francisco Charter to the same four memobers who received it in September, 1945. From the left are Warren Hanna, Ed Engstrom, EdDavis, Charlie Merrill and Bill Gavin.

Five men present for the original SanFrancisco charter presentation reenactedthe event 39 years later during a CharterNight Celebration for the San Franciscochapter.

Ed Davis, Ed Engstrom, Bill Gavinand Warren Hanna accepted the charterfrom Charlie Merrill - just like it hap·pened in 1945.

The group of over 100 which gatheredto honor these men for their contri­butions to the Society also witnessedsomething which was not present at theoriginal meeting - a show.

Val Hicks and the Stop, Look andListen Quartet, Santa Rosa, Calif. sang'one of Charlie Merrill's arrangements,"Quaker Down in Quaker Town." Therewas gang singing and performances by theSan Francisco Cable Car Chorus, directedby Charlie Feltman; the Bay Notes, San

14

Mateo; Fancy Dans, San Jose; KeySystem, San Jose; The Villians, Oak·land·East Bay; The San Francisco StormDoor and Whale Oil Company, Peninsula;and the San Francisco quartets: Notes ofInterest, Deja Vu, iThe San AndreasFaults and Pacific Song Exchange.

Ralph Bryant, president, San Fran·cisco Chapter; Chuck Hunter, vice presi·dent, Nor·Cal West; and Lynn Brittan,past district president, also read excerptsilll:Jstrating historical episodes from the40s and 50s.

Everyone agreed it was a magicalnight, one to remember as part of SanFrancisco's chapter history.

Bob Bisio of the San Francisco chapterwrote this special feature on the chapter'shistory and tells what each of the meninvolved in the reenactment are doingnow.

The year was 1945. World War II was inits final stages. The war in Europe hadended in May and now the entire wareffort was centered in the Pacific. Noone knew when this war would end.

Eighteen men met at the EI JardinRestaurant across from the Golden GatePark in San Francisco on June 27. Underthe leadership of Don Grenfell, (whosang with a.c. Cash), a former memberof the Bartlesviile, Okla. Chapter, theydecided to ask International SecretaryCarroll P. Adams, in Detroit, to admitthe San Francisco Chapter to the So­ciety.

During July the temporary secretary,Gibson Paul, completed the applicationfor a charter and sent a check for $41,covering the $5 fee and $2 for each of theoriginal 18 men, to Charles M. Merrill ofthe Reno, Nevada chapter. Reno wassponsoring San Francisco in its member·ship application. On July 16, San Fran·cisco was notified that it was admitted tothe Society.

The next scheduled meeting had to bepostponed because V·J Day (Victory,Japan) happened on that date, August15, and San Francisco was going wild.

At the August 22 meeting the foilow·ing week, the temporary President, DonGrenfell, summarized the type of mem­bers that the chapter was anxious to get,"good fellows, interested in quartetsinging but not necessarily singers, avoid·ing egotists or those anxious to have thespotlight on themselves, and avoidingthose known to overindulge."

On September 7, Ed Davis, Ed Eng·strom, Bill Gavin and Warren Hanna wereamong those present when Charlie Mer­rill presented the charter to San Fran­cisco.

Of the group that first met at the EIJardin Restaurant, Ed Davis and EdEngstrom are the only remaining memobers. .

In 1945, Ed Davis was a very youngCoast Guardsman who sang lead. Helater became a member of many of SanFrancisco's well known quartets andcompeted with the Barbary Coasters.Ed was chapter president in 1949.

Ed Engstrom was a mainstay in theSan Francisco Chapter for many yearsand served as secretary. He was active inSan Francisco until 1969 when he retiredto Santa Rosa,

Bill Gavin and Warren Hanna were atthe chapter's second meeting on August22. Jack Hare (Far Western DistrictPresident, 1947-481 noted that the chap­ter was fortunate to have a man of Bill'sexperience and background to conductthe choral singing. Jack stressed the factthat, "we are not attempting to becomea glee club or choral society, but thatpractice of the Society's arrangementswould be beneficial, particularly to thosewith less experience in barbershop sing­ing. A limited time would be given to thisat each meeting allowing ample timefor quartets and extemporaneous sing·ing."

Bill became San Francisco's first chor·us director. He was a well known BayArea and national radio personality.

In August, 1983, the National Associ­ation of Broadcasters presented Bill witha lifetime membership. Bill founded thecountry's first radio-airplay informationsheet 25 years ago. Today the GavinReport is one of the top three sourcesfor selecting radio music.

Bill was a long. time director of theSan Francisco and Berkeley Choruses.He also directed the Marin CountyChorus. At 75, Bill is active, interestedin life and full of energy.

North Dakota born Warren Hanna fin­ished high school at 15 and the Univer­sity of North Dakota at 18 and, afterWWI service, received his law degree andMBA from the University of Minnesota.

In 1943 he founded what today is thelargest law firm in America specializingin workers' compensation defense. He isreferred to as "The Dean of CaliforniaWorkers' Compensation." He is an authorand editor of several law texts and histhree volume text entitled ''The Cali·fornia Law of Employee Injuries," isoften referred to as "The Bible."

He has published two books aboutGlacier National Park. His book "LostHarbor, The Controversy over Drake'sCalifornia Anchorage", published in 1979,is a landmark contribution to Bay Areahistory.

Warren held many offices in the SanFrancisco Chapter and sang with theBarbary Coasters in the PreliminaryQuartet contest in San Francisco in 1948.He also sang with the Berkeley Califor­nians (Oakland-East Bay) when they wonthe chorus championship in Los Angelesin 1957. He was also with them whenthey placed second at Dallas, 1960 andthird at Toronto, 1963.

Warren is still an active Barbershopperand daily works at his various law en­deavors, his writing (his new book willbe published this year and is titled "TheMan From Montana")' and other ac­tivities. Warren is 85 years old.

Charlie Merrill is a magical name inbarbershopping. He was the youngestInternational President of the Society(19471. His brother, Art, was also Inter­national President (1955). His thirdbrother, Bill, was president of the AlohaChapter.

Charlie is a native of the Bay Area.He attended the University of California,Berkeley, where, among many otherhonors and activities (he is an outstand·ing amateur photographerl, he becamehead varsity cheerleader. After he gradu­ated from Berkeley, he went to HarvardLaw School. When he left Harvard, Char­lie started a law practice in Reno, Nevada.

Soon after, he was appointed Chief Jus­tice of the Nevada State Supreme Court.During this time in Nevada he foundedthe Reno Chapter, silng with the BonanzaFour. FWD's first district champions,and competed in three Internationalcontests.

His legal talents were recognized andhe was appointed a Federal Judge on theNinth Circuit Court of Appeals in SanFrancisco. Although Charlie is "retired,"he works every day as a full time judge.

Charlie was one of the lead ing ar­rangers of the Society and one of themost memorable of the 40's. His arrange­ments have been published by the So­

ciety. '"

Warren Hanna, age 85. and Joshua Feltman,age 9. are both mombers of the San Fran·cisco Chapter. Warren joined in 1945.Joshua in 1982.

15

Are You Singing Legal Arrangements?(Here's how to find out.)

By Joe LilesDirector Music Education and Services

The Music Department regularly receivesrequests for information on the copy­right laws that protect musical compo­sitions and arrangements. Here are someanswers to the most frequently askedquestions.

HOW CAN I TELL IF AN ARRANGE·MENT IS LEGAL?

Any music purchased from a reputabledealer is expected to be legal. Anythingthat is obviously copied, whether byhand or office copie" must have the ex­pressed permission of the copyright hold­er. The copy must also show the copy­right notice at the bottom of the firstpage in the precise manner dictated bythe publisher. Correspondence should bein the files to give evidence of permissionto make copies. If you find a piece ofmusic on which there is no copyrightnotice at the bottom of the first page,chances are very high that it is an illegalcopy. It would be an extremely rare ex­ception if neither the song nor arrange·ment was ever copyrighted.

HOW LONG DOES A COPYRIGHTLAST?

If the song and/or arrangement isless than 75 years old, it is probably pro·tected by copyright.

DOES S.P.E.B.S.Q.S.A. OWN ALL OFTHE ARRANGEMENTS IT SELLS?

The Society does own many of thelisted arrangements in our catalog, butit is just as illegal to make copies ofthose as arrangements from any pUb­lisher. Most of S.P.E.B.S.Q.S.A. ar­rangements are owned by other pub­lishers. We stock them for the conven­ience of our chapters and quartets. Inthis manner, those wanting barbershopmusic arranged for male singers canorder from one source.

16

WHAT ABOUT BARBERSHOP MUSICSOLD IN MUSIC STORES THAT ISNOT AVAILABLE THROUGH THESOCIETY?

A number of publishers print arrange·ments that we do not stock becausethey are unacceptable as barbershopsongs or arrangements. They must havethe sanction of the International MusicDepartment before we will distributethem to our Society members or othergroups wanting to sing barbershop.

WE BOUGHT A LEGAL ARRANGE·MENT, BUT WE WANT TO MAKE AFEW CHANGES.

Any minor changes like intro, tag,modulations or an occasional chordchange or revoicing is no problem. It isprobably acceptable to make copies ofvery small, incidental changes. Just don'treproduce copies of the "re·arrangement"without written permission from thepublisher. Most simple changes can betaught by rate. Do not change the mel­ody or lyrics without permission.

WHAT IF THERE IS NO ARRANGE­MENT AVAILABLE OF A PARTICU·LAR SONG? OR, WHAT IF WE WOULDLIKE A DIFFERENT ARRANGEMENTOTHER THAN THE AVAILABLE ONE?

Typically, choral organizations, bands,orchestras, etc. who want a personal·ized arrangement choose an arranger whocontracts with the publisher directly forpermission to arrange. The publishercharges a fee for use of the music andpermission to arrange.

It is much the same for our Societygroups who want an arrangement. How­ever, your Society has negotiated anacceptable form through the NationalMusic Publishers Association to simplifythe process for our choruses and quartets.

The form and instructions are availablethrough Harmony Foundatiori, the OldSongs Library (Ruth Marks), S.P.E.B.·S.Q.S.A., Inc., 6315 - 3rd Avenue,Kenosha, WI 53140·5199. We haveHarmony Foundation to thank forsupporting this very important servicefor our Society.

WHO INITIATES THE PAPERWORK?The contract is between the arranger

and the publisher. The chapter or quartetchooses a song and arranger and, if thearranger agrees, the arranger signs thecontract provided by Harmony Found­ation. The contract is sent to RuthMarks. The Music Department evaluatesthe song to see if it is adaptable to bar·bershop harmony. If it is, Ruth completesthe paperwork and contacts the pub·lisher for permission. If the song will notadapt to barbershop style, the requestinggroup is given the publisher's name andaddress and they must deal with thepublisher directly.

IS THERE AN ADVANTAGE IN GOINGTHROUGH HARMONY FOUNDATIONFOR PERMISSION?

A big Yes! If chapters and quartetssend their (approved) requests throughthe same office, we have a record of whocleared what arrangement. When thereare subsequent requests for a particulararrangement, Harmony Foundation canfollow through for you and request per­mission for your copies. It is our onlygathering place for information concern·in~ unpublished, approved barbershoparrangements.

HOW MUCH DOES IT COST TO GETPERMISSION FROM A PUBLISHER?

The most common rate at the time ofthis writing is $10.00 for permission to

arrange. (Walt Disney songs are $50.00,howeverl. This allows for five copies tobe made, one of which goes to the filesof the Old Songs Library for documenta·tion for the publisher and four copiesgo to the requesting quartet. For achorus there is an additional 20 centsper copy for the number needed.

WHAT IF ANOTHER GROUP WANTSTHE APPROVED ARRANGEMENT ORWE NEED MORE COPIES?

The intent is for use by the specificgroup only, but if another quartet orchorus wishes to sing the same arrange­ment, it is a simple matter to contactthe publisher and get permission to makecopies for your group. Harmony Founda­tion helps you with this request. Sub·sequent copies requested by you or otherquartets or choruses that wish to per­form that arrangement have been run­ning from 20 to 50 cents each.

IF WE FIND AN ILLEGAL ARRANGE·MENT, HOW CAN WE MAKE IT LE·GAL?

You can't make something legal thatis already illegal. The best thing to do isto start over. Find the arranger of thatsong, if you can, and follow the pro­cedures for making a legal arrangement.If he or she cannot be located, find anarranger who will make a new specialarrangement for you ... legally.

WHAT ABOUT MEDLEYS OR INTER·POLATING A SMALL PORTION OF ASONG INTO AN ARRANGEMENT?

Permission must be obtained fromeach publisher for any recognizableportion of a song owned by that pub­lisher. The proper copyright notice must

appear on the first page on which eachsong appears. The full fee is paid for eachsong no matter how much or how little ofthe song is used. Medleys can get a littleexpensive, but not nearly so much asthe consequences for not obtaining per­mission.

IS THERE A LIMIT TO THE NUMBEROF COPI ES WE CAN MAKE?

The form says 200, but this probablyshould be changed. The publishers havebeen very supportive and generous,allowing whatever is requested. No singlegroup has asked for more than 200, butby the time other chapters requestcopies of that same arrangement thecount gets to 500 or so.

I AM AN ARRANGER. IF I GET PER­MISSION TO ARRANGE, CAN I MAKE200 COPIES AND GIVE THEM AWAY?

By no means! Only the publisher hasrights of distribution. If the publisherchooses to give you limited distribution,so be it, but you must ask.

CAN AN ARRANGER CHARGE FORHIS SERVICES?

The arranger mayor may not chargeyou a fee for doing the arrangement. Itis a one time fee for making that specificarrangement, unless a special agreementhas been made with the publisher forroyalties. None of our arrangers arereceiving royalties from publishers.

It is very important to know that thearranger has absolutely no control overfuture distribution of the arrangement.The publisher owns and controls allrights to the arrangement. The arrangercannot charge another fee, give away

or sell the arrangement without per­mission from the publisher (copyrightholder). Selling without permission canbring as much as a $50,000 fine.

ARE THERE ANY MORE FEES TOPAY?

The approved arrangement can be sungpublicly for no other fees, just like anylegally purchased arrangement, unlesstickets are sold or performance is used tocreate an ambience for buying in a placeof business. In these instances, of course,the ASCAP/BM I fees must be paid bythe appropriate people, those who arereaping the profits. (Not the paid or guestentertai ners).

I'VE SEEN "FOR REHEARSAL ONLY","NOT FOR SALE" AND "YOU CAN­NOT MAKE COPIES OF THIS AR­RANGEMENT WITHOUT WRITTENPERMISSION OF THE ARRANGER". .. WHAT DO THESE STATEMENTSMEAN?

None of these or any like statementsmake an arrangement legal. An arrangercannot own an arrangement unless it isof an original song written by thatarranger, or unless the song is in publicdomain. In either case the arranger mustcopyright that arrangement (or song iforiginal) if it is to be protected. (Formsfor this are available from the Libraryof Congress). An arranger cannot copy­right an arrangement of a song that isowned by someone else. The copyrightowner of the song has complete controland ownership of all arrangements made

of that song. '"

© Copyright 198417

Where Are They Now?The Schmitt Brothers

By Lynne SotoPublications Editor

The Schmitt Brothers dressed in formal attire for shows during the 60s. From the reft: Jim, Joe, Fran and Paul.

The Schmitt Brothers - Joe, Jim, Pauland Fran - started singing four-partmusic around their family piano playedby brother Ray. A few months later inDecember, 1949, the brothers met O. H."King" Cole, then past internationalpresident, while they were performing ata Manitowoc, Wis. hotel. Cole had heardthe brothers singing for the Business andProfessional Women of Manitowoc Countymeeting.

Cole invited the four to join the localbarbershop chapter, gave them member­ship application forms, and told themwhere the group met. The brothers laterrecalled, "the warmth and good fellow­ship of our first meeting with a Barber­shopper has lasted through all of ourquartet life. We were not asked to join,we were told we were wanted in theSociety. We were left to feel that wecould not refuse to be part of the move·ment which we were now part of, wheth·er we knew it or not."

Another member of the ManitowocChapter, John Means, became the SchmittBrothers' coach, teaching them truefour-part harmony - barbershop style.

18

With Means' help the brothers wonthe 19(;0 Land 0' Lakes District quartetcontest.

After that, the Schmitts began pre·paring for international competition,At this time they met arrangers RudyHart and Milt Dietjen. John, Rudy andMilt put together six arrangementsfor them to sing at the 1951 internationalconvention in Toledo, Ohio.

Ready For The Competition

Thinking back to their Toledo compe­tition, the brothers remembered theirchampionship experience.

"We had been coached to do our sing­ing at the contest and not burn ourselvesout before we got there. So there was nosinging for us on the train, There wasonly real concentration, as we got readyto do our best at Toledo.

"It was a fantastic experience as wewalked on the stage Friday afternoon atabout four-thirty. The Paramount Thea·ter must have been 120 degrees hot with150 percent humidity. Those in the audi­ence, who were still around after listening

to the previous 39 quartets, were liter­ally 'pooped' and a bit on the soggyside. The Schmitt Brothers came onstage completely rested, for we had beenplaying cards in our dressing room,sitting in our underwear so that wewouldn't wrinkle our trousers.

"When we were introduced we movedon to the stage and, without taking apitch, Joe intoned a 'hello' bell-chord,leading the quartet into Hal Staab'sI Love The Way You Roll Your Eyes.We had never received applause from a100 percent barbershop audience before,and the enthusiasm of these hot, tiredpeople was overwhelming.

"We called home late Friday night totell our family that we had made· thecut. Saturday was a long day, for we hadto keep up our enthusiasm, knowingfully well that we were far out of ourclass as part of the top five in this greatcontest. We felt like we had done a poorjob on Saturday night, and yet we wereso thrilled to have the opportunity to singwith those other four great quartets (Key-

Please turn to page 26,

I•

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o o o

Oh, To Be In England!

During September it was my pleasureto tour the lovely cOlJntry of England,teach at BABS Harmony College andvisit barbershop clubs.

Upon my arrival at Heathrow Airport,London, (after a very short, sleeplessnight aloft), I was met by three membersof the Crawley Club and whisked toBirmingham, site of Harmony College.Here, approximately 150 Barbershopperswould gather for intensive work in allareas of barbershopping. There wereclasses in Arranging, Barbershop Craft,Show Production, Theory of BarbershopHarmony, Better Club Nights, Song·writing, Interpretation, Vocal Tech·niques, Emceeing, Physics of Sound,Music Reading, Ouartet Activity, Direct­ing, and Coaching.

Students, without exception, wereeager to learn more about barber­shopping. My responsibilities includedteaching classes in Sight Singing, Theoryof Barbershop Harmony, Woodshedding,Arranging and addressing the entirestudent body on the "Philosophy ofBarbershop. "

I also sang in the ThursdayairesChorus, a chorus which meets once a yearon the Thursday evening precedingHarmony College, and which would havea major part in the Saturday night Har­mony College Show. I thoroughlyenjoyed the privilege of directing theThursdayaires Chrous in "I'll Take YouHome Again, Kathleen," certainly one of

BABS' favorite barbershop songs.All in all, Harmony College was a

delightful experience. It is much like ourown Harmony College, except for teabreaks, tomatoes and beans for breakfast,and the "open bar" before dinner andafter evening sessions. Love those Britishtraditions!

During the week following the College,I visited the Wearside, Sheffield, Bristol,and Saffron Walden Clubs before return·ing to Birmingham for an all day Satur·day Advanced Arrangers Workshop. Fivevery highly qualified students attended.Then it was off for visits to the Leicester,Reading, Crawley and So lent City Clubs.

At every club meeting I found Barber·shoppers who are very competitive andextremely eager to learn more aboutsinging, woodshedding, and music read·ing. Their questions indicated a realinterest in knowing more about thestructure and traditions of barbershopmusic and what makes it unique.

IS IT BARBERSHOP?

Barbershoppers throughout Englandwish to preserve the real barbershop styleand sound, and the true old·fashionedbarbershop music. Many wonder whetherthey are hearing authentic barbershopmusic from the groups visiting theircountry and those groups that they hearon non·contest recordings.

Some quartets and choruses seem tobe leaning away from the traditionalbarbershop style, perhaps under theinfluence of visiting groups and re­cordings. There is genuine concern on thepart of most Barbershoppers that theymust continue to sing the very bestbarbershop music and to resist theintroduction of weakening elements. Iwas very impressed by the number ofmen who want to know "just what isbarbershop" so that they can get on withthe fun of singing.

TIME FOR TEA!

Each Club meeting involved wood­shedding - often for the first time formost of the participants, and exposure

By Burt SzaboMusic Services Assistant

to sight singing techniques. There werefrequent questions on Sound and Inter­pretation. I heard many fine quartets,observed many talented directors, andenjoyed listening to their fine choruses.

I found that the usual Club meetingstarted at 7:30 p.m., with a "tea break"about 9:00 p.m" followed by morerehearsal until around 10:00 p.m. Itseems that most of the rehearsal time isspent "on the risers." Shortly after 10:00p.m. the local pub beckoned and a headycombination of "bitter and barbershop"usually ended the evening.

There is one unusual aspect of musicallife in England that may eventually havea profound effect on barbershop ~usic

there. England is a very musical country- every city has many choral organiza­tions vying for singers. These include notonly the usual church organizations, butlight opera companies, glee clubs, folksinging groups, etc. It would not beunusual for a medium·sized city to have15 or 20 such organizations, all present­ing performances throughout the year.

In addition, each city and manysmaller towns have music festivals andcompetitions during the year. These areopen to all singing organizations, semi­professional as well as amateur, fromopera groups to folk singing groups. Thusbarbershop choruses have the oppor­tunity to compete with and to be com·pared with many other kinds of vocalmusic organizations, an opportunity wedo not enjoy here in North America.

Several BABS choruses have done verywell in these festivals, some of which arenational in scope and involve the winningchoruses performing in the Royal AlbertHall in London. This would be equiva­lent to our barbershop choruses com­peting with college, university, andcommunity concert choirs, and havingthe finals competition take place inLincoln Center, New York City.

In all, I traveled about 1100 miles,from the north of England to the southcoast, and met with about 550 Barber­shoppers. What do I remember? Thelovely countryside, thatched roof cot-

Please turn to pago 26.

23

Cards Anyone?By Paul Piper

Lest you get the wrong idea, let mequickly assure you this story is not aboutplaying cards. It is about calling cards,card collecting, and barbershop quar­tets.

One of the unnoticed things that anunsuspecting audience gets from a goodquartet is an organized thoughtful reper­toire of songs, generally easy on the ear,and highly entertaining to boot. Andwhat better way tor quartets to adver­tise their talents than through a businesscard, preferably one that in some wayprojects the image of the quartet orthe songs that it sings.

A friend of mine has more than 1,500sLich calling cards. Indeed, a good manyBarbershoppers know Cam Black becausehe has turned this unusual extra-curri­cular barbershop hobby into a vehiclefor meeting Barbershoppers from all overthe Society so that he can build onhis collection. He sings with the MarkhamMen of Harmony Chorus, the StudioFour quartet, and yes, they both havecards designed by Cam, who is a com·merical artist.

His collection began quite innocentlyabout eleven years ago. A fairly newquartet called Canadian Heritage askedhim to design a business card for them.He agreed and, to get some ideas, pro·cured several existing ones from otherquartets. The Heritage, of course, wenton to become one of Ontario's bestquartets and Cam's collection, whichbegan as a reference, has since becomefamous throughout the Society as one ofthe most extensive card collections inbarbershopping.

The extent of the collection is quitebroad-ranging and not just confined tothe Society. For example, there are 165Sweet Adeline cards, which includeeleven of their International champions.Then there is a mix of nearly 100 cards

24

from Harmony Inc. and BABS (BritishAssociation of Barbershop Singers) in­cluding three of their champions. Thelargest number of cards within theSociety is some 150 from Far WesternDistrict. These include no less than fourInternational champions. Now with thepassing of time and word·of·mouth newsof the collection, it has expanded to in­clude choruses as well as quartets.

It became evident early on that acollection this size would need to becatalogued to be manageable. It is pre­sently arranged by District and containedin four albums. Each album is ,dividedinto five sections, consisting of the six­teen districts in the Society and the otherorganiza"tions referred to earlier. Specialrecognition is given to Internationalchampions by means of a gold star af·fixed to each card, making them easy tospot. The entire collection has becomevery bulky so a special suitcase waspurchased to store everything in oneplace. This also makes it easy to trans­port to conventions and to the variousseminars and other functions that Camfrequently attends.

Part of the fun in such a fascinatinghobby is obtaining hard-to-get cards be·cause of their age or rarity. Cam's col·lection has some pretty special items;some of these are cards from championsof the past - the 1939 Bartlesville Bar­flies, the '4B Pittsburghers, the '51Schmitt Brothers, the '5B Gaynotes,and ellery champion from 1961 through1983. Cam is still looking for the '50Buffalo Bills.

Of course any collector worth his saltshould have favorites and Cam has hisshare. Among his treasures is a "Bub"Thomas original; "Bub" is an illustratorhimself and has contributed a number ofcartoons to various Society periodicals."Bub" now sings with the Dapper Dans

of Disney World.Among Cam's other prize possessions

are: one of the early Boston Commondesigns, a Four Chorders from London, aFour Renegades from Buz Haeger and acard that Cam designed for the Regents.Among the funnier offerings is The SixFoot Four, or 24 Feet of BarbershopHarmony from Silver Spring, Maryland.

There are many more; some humor­ous, others that are autographed, and afew with a story attached. But nearly allhave some sentiment, perhaps a memoryof some special event or some othersignificant meaning. And all of them havekept him motivated to continue col­lecting, thus making it larger and en­couraging a wider audience. He keeps it atexhibit readiness by sorting and tabula'ting new additions about once a monthand inserting them in their proper places.

When I asked Cam about a specialstory or anecdote, he looked thoughtfulfor a moment and then recounted whathappened at a convention in Washingtona few years back. The collection wassmaller then, but he had taken it alongto the convention. He and his wife, Ev,were at the airport chatting with friendswhile waiting for a bus to take them totheir hotel. The suitcase containing thevaluable collection was inadvertentlyleft on the sidewalk when they got on thebus, temporarily forgotten in the usualairport bustle.

On arriving at their destination he wasdismayed to discover that Ev did not havethe case as he had supposed. As mightbe expected, Ev, of course, thoughtthat Cam still had it. They both fearedthe worst but telephoned the airportofficials responsible for wayward luggageand explained their situation. For once,Cam did not enjoy a contest as his mindwas occupied with what he felt was aminor catastrophe. As luck would have

Cam Black displays his collection of more than 1,500 quartet and chorus calling cards.

it, he awoke the following morning to acall from the airport; the missing suitcasehad been found and was on its way tothe hotel. What a relief!

One of the challenges facing a quar­tet card collector is to find new ways ofgetting different cards from those thatyou already have. Cam designed quite anifty device which could be placed onbulletin boards at Society functions. It isa poster identifying Cam and his collec­tion with a good sized pocket attached.He would put some of his duplicates inthe pocket, attach it to the notice boardand go on with whatever was next on theagenda. His cards would serve as a sort ofteaser but were surprisingly effective atinducing other collectors or quartetsinto leaving their cards in his specialcontainer. A significant number ofcards were donated in this way, or fromsimilar ideas that he or his friends wouldimplement when he couldn't go him­self.

As word got around, some influentialBarbershoppers became interested andrealized that they might be able to helpCam's collection. Lou Perry, one of ourwell·known arrangers, sent him some 40cards of quartets that had written himfor arrangements. Bob Johnson, MacHuff, and International Office staffmember Dave LaBar have passed on manycards on various occasions.

Cam Black's card collection is a fineachievement. It is remarkable because ofthe countless hours spent in putting ittogether and the perseverenee of the manwho started it. Some day it could finditself in the Society museum as part ofour history.

It may be that some of you have someloose cards that you will eventuallydiscard (pun intended). so why not sendthem to Cam? His address is: 49 MarlowCrescent, Unionville, Ontario L3R 4P4.

One of his happy and rewarding asso·ciations is with Jody Garland, who reogisters all our quartets at the Internation·al Office in Kenosha. Jody has been agreat booster of Cam's project and aninvaluable help along the way. If anyonehas a larger collection than his, it wouldbe Jody. Hers aside, Cam would chal­lenge anyone in the Society who is now

collecting.Whatever its eventual destiny, you

owe it to yourself to make a point ofseeing the collection if you haven't yetdone so. Quite apart from the collection,which most of you will find interesting,you'll meet a good Barbershopper and adedicated hobbyist. And, above all else,have your card ready! '"

25

from the

Happiness

Emporium

cOl/frol yom·ft'l/.'

in Minneapolis -

Oh To Be In England!Continued from page 23.

tages, Shakespeare's birthplace, GeorgeWashington's ancestral home, trifle, 90mph (not kph as I first thought) on themotorways, Oxford and Cambridge,roundabouts, the London Underground,marvelous hospitality, afternoon tea onthe Thames, "fish and chips," 11th and12th century churches, hotels and pubs(when they talk about old. they reallymean OLD), Scottish eggs, and on andon. I was fortunate to be able to spend aweekend in London before returninghome.

I could not begin to thank all the folkswho chauffered me around the country,or who with their families, took me intotheir homes, and with whom I renewedacquaintances since meeting them at ourHarmony College or International con­ventions. Their talents are outstandingand their good humor irrepressible. Thetrip was a thrill from start to finish, butthe greatest thrill of all was .repeatedeach meeting night as I directed eachclub in "Keep The Whole World Singing."

"'"

Two Rivers Realty Company. Paul worksfor the New York Life Insurance Com'pany. Next year Paul will realize a life­long dream when he receives his musicdegree from Silver Lake College.

And after 35 years the Schmitts arestill avid Barbershoppers. They regularlysing for district and A.I.C. shows, and forspecial community events.

One of their favorite times duringinternational convention is their appear-

ance at the Sunday morning churchservice. About 25 years ago, the brothersbegan observing the Sabbath with two oftheir brothers who are priests. Their hotelroom Mass attracted other Barber·shoppers. Eventually, this Sunday morn­ing gathering expanded into larger roomsto accommodate the ever increasingnumber of participants. At the 1984 51.Louis convention, more than 900 Bar­bershoppers and their families attendedthe service. The money collected duringthe service is donated to the Institute ofLogopedics.

In looking back over their years as aquartet, the Schmitts believe that, "bar·bershopping is not just music. It is really

people in harmony." "'"i_.~.~~.._~.._.~~._ .._.~ .._~._.~,._ .._.._.~~~ .._.._..-.~~~ ..- i1 YOU OUGHT TO BE IN PICTURES /I ... and our service can make that happen. II II • OFFICIAL CONVENTION PHOTOGRAPHER Ii S.P.E.8.S.0.S.A.. INC I/ /\\;:,;. GROUPS OF 4 OR 400 - OUR SPECIALTY II &;::::::1 CALL OR WRITE iI /~~1~h1~;1 g."Jv-)JY'PHOT00RAPH Y I/1 'q~\~ I/' 1103 8ROAD FIELDS DRIVE II'

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Life As A Champion Quartet

The years that followed their 1951victory were busy, filled with singing andtravel. They sang 110 performances dur­ing their championship year. By theirtenth anniversary they had traveledover one million miles to appear before1,347 audiences. loday's numbers showtwo million miles for 2,857 shows.

The Schmitts began recording theirsongs in 1958. Seven albums preservethe Schmitt Brothers' sound. And as theyregularly appear on the Association ofInternational Champions records, we canstill hear their voices as they sound today.The brothers recall that, "one of ourearly coaches had a pet phrase, namely,that we should always strive to 'polishthe gems' in a song. We have since learnedthat it's the 'gem' that really shows itsbrilliance when it is set within the ring ofthe chord. We have sincerely tried topolish those gems until they result ingoose bump reactions to a song."

When not singing barbershop har·many, the four brothers follow their owncareers. Jim recently moved from thefamily lumber business to work for Cold­well Banker Real Estate. Joe is Presidentand Executive Directo~ of the Manitowoc

- Two Rivers Chamber of Commerce.Fran is also in real estate and is with the

The Schmitt Brothers in 1951 after winning in Toledo.

stone Quads - 2nd; Cleft Dwellers ­3rd; Four Chorders - 4th; Antlers - 5th)that our anxiety over our poor perform­ance was short-lived.

"And then the impossible happened.The Schmitt Brothers had won the 1951international championship."

Where Are They Now?The Schmitt Brothers.Continued from page 18.

26

ScrORY OF A SONG

"/ Heard '[lte &11.1 Oil Christmas Day" &"0 Lillk '[OWI1 OJ &·II"(IIelll"

Borrowing customs from other countrieslargely accounts for the way we celebrateChristmas in the United States - theChristmas tree from Germany, SantaClaus from Holland, and evergreens fromEngland. But Americans have contribu­ted their own carols to the collection oftunes we sing during the holiday season.

This country's very popular poet,Henry Wadsworth Longfellow, has givenus "I Heard The Bells On ChristmasDay." Longfellow composed the wordsoriginally as a poem entitled, "Christ­mas Bells", in 1863, just six months afterthe Battle of Gettysburg.

Imagine, jf you can, the white·haired,bearded professor at his desk on a coldwinter night. His heart ached for hiswife, Fanny, who had died in a fire twoyears earlier. He was thinking of his son,Charley, a young lieutenant in the Armyof the Potomac. As an American, he wasbemoaning the dread Civil War that wastaking place.

Then poetic talent took over hissorrows. In his mind Longfellow beganto hear church bells ringing out the joy·ful message of Christ's birth. Thinkingsorrowfully of the war which he waswitnessing, he wrote:

And in despair, I bowed my head"There is no peace on Earth", I said,"For hate is strongAnd mocks the songOf peace on Earth, good will to men."

But his faith revived so that he couldend with:

The"n pealed the bells more loud anddeep

"God is not dead; nor doth he sleep!The wrong shall fail,The right prevail,With peace on Earth, good will to

menl"

28

J. Baptiste Calkin, a London organ·ist, provided the melodic music for thepoem in 1B72, so "Christmas Bells" be·came a fa'vorite carol in this country,better known as "I Heard The BellsOn Christmas Day."

Another widely loved American wrote"0 Little Town Of Bethlehem" - PhillipsBrooks, an Episcopal clergyman wholater became a bishop.

He left his post at Holy Trinity Churchin Philadelphia for a trip to the Holyland in 1B65, the last year of the CiviiWar. He traveled slOWly along on horse­back over the dusty road from Jerusalemto Bethlehem. He looked out on thegreen fields where shepherds in theChristmas story had watched their sheep.Then he entered the Church of the Na·tivity built on the very spot where Jesuswas born. During the long service, whichlasted from ten o'clock until three inthe morning, the devout clergyman ex­perienced a sublime closeness to themiraculous birth of the Christian saviormany centuries ago.

Afterward he wrote to his Sunday­school children, "I remember especiallyon Christmas Eve when I was standing inthe old church in Bethlehem, close tothe spot where Jesus was born, when thewhole church was ringing hour after hourwith the splendid hymns of praise toGod, how again and again it seemed asif I could hear voices I know well, tel­ling each other of the 'Wonderful Nightof the Savior's Birth."

The uplifted minister returned toPhiladelphia with the memory of aChristmas night in Bethlehem warminghis heart. That memory gave rise to theverses of "0 Little Town of Bethlehem"three years later when the author wasonly thirty-two.

He composed the words for his Sun­day-school children and asked his busi·nessman-organist, Lewis Redner, to sup·ply the music. Redmer went to bed ona Saturday night with no melody onpaper, although the carol was to be sungthe next morning. Suddenly in the nighthe awakened from a deep sleep, openedhis eyes, and listened. "An angel strain"came to his ears. He quickly jotted downthe melody which had sprung full-blowninto his mind in such a strange fashion.The next morning Redner filled in theharmony. Six teachers and thirty-sixSunday-school children joyfully sang "0Little Town of Bethlehem" for the firsttime, making a beautiful contributionfrom America to the world's Christmasmusic.

NOTE: Barbershop arrangements of "IHeard The Bells 0" Christmas Day"and "0 Little Town Of Beth/ehem"are printed in the "Yuletide Favorites"songbook published by the Society.

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Why should you consider adding to your basic lifeinsurance? Because with today's rising cost of living,any coverage you have is worth only about half what itwas just 10 years ago! And while the value of yourbenefits has decreased, your need for insurance pro­tection has probably increased. If you've bought a

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Record Review

By Don Richardson

The

1972-1982

Decade of Gold

Vocal Majority

especially like S.K. Grundy's "A Nightingale Sang In BerkleySquare," but "On A Wonderful Day," "Redhead," and "ThisIs All I Ask" are also impressive. The other songs - favoritesor not - are executed almost perfectly.

The best argument for saving your money, however, is theinconsistent song choice. Much as I must grant the FourFreshmen's superiority in their field, I really am not taken bytheir approach to music any more than I prefer Flamencodancers. And about all I can say of the Jimmy Webb medley isthat it is a very good performance of mediocre material. Thesongs simply aren't strong enough for these performers.

One distracting feature of the live recording is the voice ofthe emcee which is imposed onto the structure of the record. I

understand its need on theinternational records when somany of us sound alike and theemcee helps to differentiate, buthere I think the emcee simplyinterrupts when his purposeshould be to connect. Listeningto emcees on records, I haveconcluded that people who areresponsible should be forced tolisten to the albums over andover again; maybe they woulddo as I do - re·record the albumonto cassette omitting the an·nouncing.

The Vocal Majority has be­come our most prolific recordingchorus - they have five recordsto their credit. The others are"Standing Room Only," "WithA Song In Our Hearts," "Here'sTo the Winners," and "FromTexas With Love." Ail have thesame strong (and weak) points as

"A Decade of Gold." To order any of them, send S7.95 for LPAlbums 1$8.95 for Cassettes or B-Tracks) to The Vocal Ma­jority, P. O. Box 29904, Dallas, TX, 75229. If it's good,four-part singing you want, any of the records will suffice, butI prefer "A Decade of Gold" because of its variety.

Don Richardson, a Barbershopper since 1965 and a Societymember since 1969, recorded "Close Harmony," a weeklyhalf·hour of barbershop music in stereo for 11 years. He aloneis responsible for choosing the records to be reviewed in thiscolumn, and the opinions expressed are solely his. He maybe contacted at 3006 North 15th Avenue, Phoenix, AZ,

A

Last year the Vocal Majority Chorus of Dallas (Metro). Texas,toured San Francisco, Los Angeles, and Denver. singingfor sellout crowds in all three cities. With them they took theirrecording equipment. The result is an album of the VocalMajority on tour recorded live called"A Decade of Gold."

Performers can tell you that singing or recording in a studiois simply not as fulfilling as performing before an audience.You can probably hear the difference, too, between a per­formance sung for a tape recorder and one sung before people.The tirst is sometimes quite sterile while the live performanceusually captures some of the electricity which charges theperformers and rewards the audience for helping create a memoorable experience. This album is notable for the presence ofthe audience throughout. Whatis more natural following thealmost reverent performance of"You Can Have Every Lighton Broadway" than that theapplause be heard? I find ita satisfying way to let go of aperformance just as applauseworks for me in person whenI'm in the audience.

Some of our best arrangers ofbarbershop music are repre­sented on this record: BrianBeck, Ed Waesche, Buzz Haeger,Bill Wyatt, S. K. Grundy, MoRector, Drayton Justus, NancyBergman, and Jim Clancy areresponsible for giving us thespots to sing. The Four Fresh­men arranged "It's A BlueWorld," but that isn't barber-shop. In addition to the ar-rangers, there is other talent. JimClancy directs the Vocal Ma-jority usually, but Sonny Lipford directs one song, too,and two quartets - the Side Street Ramblers and the Class ofthe 80's - acquit themselves quite nicely. In general, thisrecord is quite impressive for the talent and for the music.

The best argument for buying any of the five Vocal Ma­jority records is the level of performance. Without fail, thegroup has established a level of excellence that is unmatchedby any other recording barbershop group. You may have a dif·ferent favorite chorus, but I'm convinced that nobody canbeat the Vocal Majority at their game" - singing. Everyone ofthe seven songs (and one almost-song) is done flawlessly. I

30

, " -

STANDINGROOM ONLY!

City/Stale _

ZipJPostal Codt' ___

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71le Vocal Majon',y's flrstrecording, a recreation of its"Good Time Music Show",featuring the 1973 Interna·tiona I Quartet Champion"Dealer's Choice", and"Folkel Minorily" quartets, Vocal Majority songs include:"Sweet Gypsy Rose", "TOOa)''', "Who's In The StrawberryPatch With Sally?", "Country Roads", and eight otherVocal Majority "Good Time Music Show" favorites.

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Your singing friends will appreciate thebreathtaking richness of The VocalMajority's 135 male voices, aile of ahalldflill of seclilar choirs to perform illconcert with the Mormon TabernacleChoir in Salt Lake City.

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Good Until December 31, 1984

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IBIPECIAL'. ,<~, HOLIDAYOFFER

MID·WINTER MEETINGS - BRIEF SUMMARY. Early in ourhistory it was deemed necessary to have the InternationalBoard meet twice each year to conduct the Society's businessaffairs. The first Mid-winter convened in St. Louis in January1940 at the call of Founder O.C. Cash. Plans were laid forS.P.E.B.S.Q.S.A. participation in the second annual contestand convention in New York, July 22-26 that year. There·after, Mid-winter meetings have been regularly scheduledexcept for several years in the 1960s when the Board metprivately each January at our Kenosha headquarters. SanAntonio was the site in 1969 for the resumption of Mid­winter meetings open to the general membership. Since then,these meetings have been a magnet - not only for our Inter­national Board but for many of our members who can com·bine a winter vacation with other interesting barbershophobby activities. In recent years the Mid-winter sessions havebeen in cities where the January climate is warm and pleasant.

THE FOOD·FOR·THOUGHT LUNCHEON - For moreinformation on this special event, please refer to the SanAntonio activities feature in this issue.

THE ROLE OF INTERNATIONAL HISTORIAN At firstnobody thought about the future. And the past was whathappened only yesterday. But by 1941 the Society concludedthat someone should be named Historian. Our fourth annualconvention, meeting in Grand Rapids, Michigan, elected DeacMartin of Cleveland, Ohio, to this new post. The office waselective from July 1, 1941 to June 30, 1949. Since then theHistorian has been appointed each year by the InternationalPresident. These men and their dates of office are: DeacMartin 1941-43; Dick Sturges 1943-47; Hal Staab 1947·49;Bill Otto 1949-52; Stirling Wilson 1952-61; Cal Browy 1961·64; Dean Snyder 1964-72; Wilbur Sparks 1972-84; DeanSnyder 1984-?

YOUTH AND AGE In 1939 the spirit of youth in quartetsinging, so obvious today, had not yet arrived. Speaking of hisfirst quartet contest that year (1939), George McCaslin recent­ly wrote in the JAD "Cider Press", "There wasn't a singlequartet there that could not boast that one or two of itsmembers was a 20-year veteran of male quartet harmony ...something we already loved".

In the late 1940s and during the 1950s the Society wasdeeply involved with the military services both here andabroad in our Armed Forces Collaboration program. The

32

By Dean SnyderInternational Ulstorian

HARMONIZER for December, 1951 carries a special 24-pagesection describing the overseas adventures of three of our bestknown quartets of that period - The Buffalo Bills in Europe,the Mid·States Four in Korea, and the Cardinals in Alaska.In 1952 the Four Teens, representing the U.S. Air Force,won the coveted Society quartet championship at the KansasCity convention.

The Four Teens, mentioned above, were the youngestquartet to win International championship honors. JohnSteinmetz, tenor, was 21; Jim Chinnock, lead, was 19; DonLamont, bari, was 20 and Don Cahall, bass, also 20. John M.(Jiggs) Ward, bari of the 1948 champion Pittsburghers and aformer International Vice President, recently verified theabove facts in correspondence with Don Lamont who is stilla member of the Eau Claire, Wisconsin Chapter.

Reminiscent of the Armed Forces Collaboration programis the career as musician and Society member of Dr. Harold(Bud) Arberg. He is first pictured in the December 1949HARMONIZER when, as Lt. Arberg, he was present at anArmy Special Services School before becoming acquaintedwith BSO harmony in a training session with Society repre­sentatives. Later Arberg gained fame as an arranger of songs inthe barbershop style circulated each month to all the ArmedServices. Over 150 of his barbershop quartet arrangementswere published in the Armed Forces Song Folio, the Army HitKit and the Army Song Book during the years from 1951 to1962. Beginning in January 1952 Bud Arberg, while chorusdirector of the Alexandria, Virginia Chapter, was the first todevelop and promote the continuing study of barbershopcraft.

The Pittsburghers, the society's quartet winners in ourtenth anniversary year of 1948, represent the oldest champ­ions with the original four members still living. And all fourhave retained their Society membership through the years.Harry Conte, tenor; Tom Palamone, lead and Jiggs Ward,baritone, live in the Pittsburgh area. Bill Conway, bass, livesin up-state New York.

The purpose of these Notes is to bring together some littleknown or sometimes forgotten facts and oddities concern­ing barbershop tradition and the Society and its members.Comments and contributions are invited for future HAR­MONIZER use. Items should be of Society-wide interest.

• BODY'S by'WORCESTER

,M ENOf SONG,

FROM THE

HAY STACK FOURN.E.D. COMEDY nUARTET CHAMPIONS

Contact

Leo Pierce15 Willow St. Apt. 31Westboro. Ma. 01581

+

SOLID BARBER SHOP HARMONY IN HILARITY

The Way I See It

By Stan McCreary

To me, the most impressive thing aboutbarbershop harmony is that quite ordin­ary voices (the kind possessed by about99% of our members), blended skill­fully in good barbershop arrangements,can produce a truly beautiful sound. Iwas pleasantly surprised to learn thisearly in my barbershop days and it hasbeen indelibly imprinted on my mindover the years. This is the really terrificthing about barbershop. It gives guys wholove to sing the joy of making beautifulmusic, in spite of the limitations of theirvocal apparatus.

We are all aware that a quartet involv­ing four exceptional voices can makealmost anything sound good and whenthey sing solid barbershop, our earstell us that good changes to fantastic.However, for the vast majority of quar­tets and probably all choruses, the fur­ther they depart from pure barbershop,the more apparent is the deteriorationin sound and the less appealing is themusic. A presentation may be catchy,contemporary and expertly arranged andmay win big applause for such featuresbut the cleverness or popular content ofthe performance never compensates forthe loss of great barbershop sound.

Our founders rescued barbershop har­mony singing from the brink of oblivion.In so doing, they perpetuated a heritageof immeasurable musical enjoyment forso many thousands of Society membersand patrons alike. With this in mind, Ithink it becomes increasingly clear tothe membership that the survival ofour special musical style remains in doubtand today it is threatened from within.

The problem now is an insidious con­fusion, dilution, adulteration and evenoutright abandonment of barbershop har­mony principles by many within our ownranks. In this predicament, the logical

34

conclusion as time goes on, is that moreand more non-barbershop (perhaps weshould say anti·barbershop) will crowdout the real thing at meetings, practicesand performances. It may be only a mat­ter of time before genuine barbershopmusic and arrangements are thought ofas out-of-date or passe. If the trend isallowed to continue, less and less realbarbershop will be learned and per­formed. The Society's reason for beingwill be destroyed.

"Our Society's

reason for being

IS

to preserve

barbershop

harmony

singing."

As one instrument in the Society'sstruggle to stem the erosion of it's pur·pose, I believe it is time to tighten up ourCode of Ethics. The aim would be to re­flect more precisely our concern with thebarbershop harmony style. The point isto leave no room for people to misunder­stand or to think we are trying to pre­serve singing in general. Singing is in nodanger of extinction. Our Society'sreason for being is to preserve barbershopharmony singing. The following suggestedchanges in our Code of Ethics would helpspell this out and emphasize it.

(a) Code of Ethics item number onecould be extended to read "We shalldo everything in our power to per­petuate the Society and the art ofsinging in the Barbershop Harmonystyle".

(bl Code of Ethics item number fourcould be extended to read "We shallaccept for membership only congenialmen of good character who love har­mony in music or have a desire to har­monize in the Barbershop style, asdefined by the Society".

(cl Code of Ethics item number ninecould be changed to read "We shall,by our stimulus to good music in theBarbershop Harmony style, endeavorto spread the Spirit of Harmonythroughout the world.

These minor revisions would serve tomake our Code of Ethics much more ex­plicit. This should help steer new Bar­bel'shoppers in the right direction andhelp counteract the misleading ideas ofthose who have little regard for the So­ciety's purpose. Also, it should remindthose of us who haven't thought about itlately, that our Society does have a defi­nite objective regarding the barbershopmusical style and that this objective isendangered.

Finally, I believe the suggested changeswould be a logical and appropriate ex·tension in our Code of Ethics and of thedecisive board resolution which con­fronted our problem at the 1983 Inter·national Convention. I hope that some­one on our International board of direct­ors, who is concerned about the Society'sfuture, will work to achieve this clari­fication of the Society's purpose in ourCode of Ethics.

Stan McCrearyLangley, B. C.

nris/mastpecitllfrom the

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· Chapters In Action

The Big Vee Showboat Chorus of theVacaville, Calif_, chapter made a specialheadliner appearance at the MidnightSons Chorus, Anchorage, Alaska, chaptershows. They also appeared in Valdez fora Sweet Adelines show and participatedin the Valdez Gold Rush Celebration.

Always spreading Barbershop harmonyto the world, the Big Vee ShowboatChorus sang in the airport, on the plane,on the stage, and on the road while tour­ing near Valdez.

The Vocal Majority Chorus of theDallas (Metro), Texas chapter performedat the Ecumenical Prayer Breakfast stagedat Reunion Arena in Dallas during theRepublican Party convention. The break­fast was sponsored by the Dallas Wei·coming Committee, a non-political, non·sectarian volunteer organization organ­ized by the City of Dallas to honorPresident Reagan. The Vocal Majoritysang two songs during the threehourmusical program. They sang their closingpatriotic song accompanied by theDallas Symphony Orchestra. The programalso featured a 2,200 member choir fromarea churches and synagogues.

SEEN ON TVThe Etobicoke, Onto chapter appeared

on the program "Standing Room Only."The show presented the group in re­hearsal and interviewed many of theBarbershoppers. "Standing Room Only"is produced by the MacLean-HunterCable channel and reviews amateurtheatre activities in the Etobicoke area.

The Bloomington, III., chapter ap­peared in rehearsals on Channel 25 inPeoria. They provided local color to thenational NBC coverage of the St. Louisconvention during Fourth of July week.

Birmingham Cable TV presented theAlabama Jubilee chapter's annual showwhich was recorded earlier in the year.

The Franklin Chordsmen appeared onRollins CableVisiol1 program "Entertain­ment". The show focused on barbershopsinging and facts about the Society. It isseen in the Rhode Island and Massa­chusetts areas.

36

The Dallas (Town North). Texaschapter sang at the Loews Anatole Hotelduring a rally following President Rea­gan's first appearance in the city. Dealingwith the Presidential Secret Servicewas a new experience for the riser set-upcrew. So was singing in a hotel atruim­style lobby the size of a football fieldwith 15 story balconies.

The Shore liner Chorus of the NorthShore Chapter, III., Sang at the NationalCollege of Education for their Elderhostelprogram. An ice cream social followedtheir performance. Elderhostel is a specialnational summer college program forsenior citizens.

What involves 29 novice quartets, abig audience, and 700 paunds of salmon?The An·O-Chords of the Oak Harbor,Wash. chapter know the answer - it'stheir Weekend of Barbershoppin9 andSalmon Barbecue. The event also includes

The Lincoln Continentals of theLincoln, Neb., chapter have received adonation from the Powell Fund. Themoney was used to establish the LancePowell Memorial Music Fund which willbe used for musical scholarships toHarmony College.

The members of the Florence, S.C.chapter sang at the grand opening cere­monies of a new Peaples Federal Savingsand Loan branch affice. The chapteruses the Peaples Federal CommunityRoom for their weekly rehearsals andwere pleased ta be able ta provide a sing­ing service far the savings and loan.

the chapter's two-night annual show.Doesn't that roasting salmon just make

your mouth water? Maybe we shauldall plan ta attend next year. Mark yaurcalendars far the last weekend in July.

OVERSEAS RELATIONSThe Stevens Point, Wis. chapter took

off for England this summer. The 25 manchorus presented shows with Englishchapters from Crawley, Bristol, Newcastleand Liverpool. They also sang at theLiverpool International Garden Exposi·tion.

The River City Barbershop Chorus ofMason City, Iowa, has established "TwinChapter" bonds with the Great WesternChorus of Bristol, England. The chapterswill exchange ideas on membership,contests, shows, quartets and chapterbulletins.

Members of the Soundsmen Chorus ofthe Huntington North Shore, N. Y.chapter sang for the passengers on theferry run between Port Jefferson andBridgeport during the summer. The routecrosses the Long Island Sound.

The Islander Chorus of the Watertown,N. Y. chapter performed at the WellesleyIsland State Park for the summer Festivalof the Arts. More than 1,500 attendedthe concert which also featured theSyracuse Symphony.

The Fairtawn Harmonizers Chorus ofSandwich, III., recognized their oldestmember, Donald "Rosie" Rosentreter,during their annual show. Donald joinedhis first quartet in 1929 during high

school. Donald is the only remainingmember of the quartet and is shown inthe center of the photo. The quartet wonfirst place in the 1929 state music con­test.

©1984 RUBESPUBLICATIONS

TO BARBERSHOP SHOWS

·EtlTERTAINt.lENT"

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37

News About QuartetsThe Center Stage, 1984 Silver Medal·

ists, announce the addition of a newmember to their quartet. Drayton Justusis replacing Dennis Gore as lead. GlennVan Tassell has taken over the contactduties for the quartet. His address is 5876Mohawk Drive, Ypsilanti, MI, 48197.

Vaudevillo, current third place Inter­national Medalists, announce that tenorHarold Nantz is leaving the quartet forpersonal reasons. He is being replacedby John Casey, who recently cgmpetedwith the new Seneca Land District Quar­tet Champions "Shenanigans." The quar­tet is looking forward to competing in1985. For show bids please contactScott Werner, 3302 N. 8radford Street,Dale City, Va. 22193.

The Manhat·Tones, North Queens,N. Y. chapter; Next Edition, SomersetHills·Plainfield, N.J., Wilmington, Del.,Iseline, N.J.; Captain Billy's Wizbang,and The Friendly Persuasions, both ofWestchester County, all performed duringa special IBM family weekend at RyePlay land. New York. More than 15,000company employees and their familiestook over the park. During the weekend,the quartets roamed around the amuse­ment park grounds singing for the visi­tors.

The New Yorkers Quartet of the Hunt­ington North Shore and WestchesterCounty, N. Y. chapters extended abarbershop welcome to the visitingChinese delegation during their tour ofAmerica earlier this year. The delegationwas the largest official group to visit theStates. The group included two Vice

38

The Crooked River Music Companyof the Cleveland East Suburban, Ohiochapter made their second appearance atthe Grand Ole Opry in Nashville, Tenn.,this summer. While on their trip theyrecorded their first two albums, per­formed at Opryland, U.S.A., and made aspecial featured appearance on a paddlewheeler dinner cruise on Old HickoryLake. While the quartet was busy per­forming during convention week they

Ministers (one head of the State Scienceand Technology Commission, the otherhead of the State Planning Commission)plus the Ambassador to the PermanentMission at the United Nations. The NewYorkers Quartet includes Richard John­son, lead; Kevin Clifford, tenor; EdwardWaesche, III, bari; and Alan Fennell, bass.

didn't learn until later that they hadreceived a Public Relations Award fortheir 1983 appearance in the Grand OleOpry. Their barbershopping activities alsowon them the 1983 President's Achieve­ment Award for the Johnny AppleseedDistrict. Shown from the left are FrankChlad, tenor; Jack Donohoe, bass; HerbRamerman, lead; and Chet Campana,bari.

The Bow River Autaentic SingingSociety (B.R.A.S.S.) of Calgary. AI·berta performed at the InternationalTheatre and Television Awards Nightbefore an audience of more than 1,000.Baritone Terry Crowe arranged a songwhich was performed during a specialaward presentation to Dinah Shore.

The Touch of Clash and The GoldenOldies from the Grand Rapids chapterentertained passengers on a new Amtrakpassenger line operating between GrandRapids, Mich. and Chicago, III. TheVIP crowd of 500 making the 12 hourround trip was a willing captive audiencefor the quartets.

INSTITUTE OFLOGOPEDICS

Contributions through August$ 11,308

6,18810,97311,49233,90511,96812,32514,505

5,58245,12526,05811,159

6,10714,5884,8007,829

233,913

Preview 11 (Order No. 4921) The GangThllt Sang Heart Of My Heart; Girl OfMy Dreams; Down By The Old MillStream; If I Had The Last Dream Left InThe World; Give My Regards To Broad·way.

Preview No. 7 (Order No. 4917) I'llNever Lei You Cry; Any Uttle GirlCan Make A Bad Man Good; AlabomyBound; My Melancholy Baby; A GirlWhose Name Begins With "M".

Preview NO.9 (Order No. 4919) Somo­body Stole My Gal; I'd Love To MeetThat Old Sweetheart Of Mine; WeddingBells; Conoy Island Washboard; Streetsof New York.

Preview NO.8 (Order No. 4918) Some­thing To Write The Folks About; I'mStill Havin' Fun; Whore Have My OldFriends Gor,e; There's Nobody Else RutYou; My Wild Irish Rose.

Why was the Barbershop Preview Series the smash hit of1984? Hint: It might be beause you get five publishedarrangements and a cassette tape of the songs performed bya quartet far anfy $5.00 (U.S. Funds).

Preview No. 10 IOrder No. 4920) Dad­dy. You've Been A Mother To Me;Broadway Rose; How Ya Gonna Keep'Em Down On Tho Farm, Sunny SideUp; Cuddle Up A Little Closer, LoveyMine.

Preview No. 12 (Ordor No. 4922) SayMister! Have You Met Rosie's Sister;Let Me Call You Sweetheart; Margie;Soft Shoe Song; My Sally. Just TheSame.

Chapters may sign up for a standing order of previews as they are released. I ndlvi­duals may be notified of newly released previews by requesting so in writing fromthe Order Desk.

Order from: S.P.E.B.S.Q.S.A .•(414) 654·9111.are

thiscontributions

than 1983 atNOTE: 1984$13,632 moretime.

CARDCSDDIXEVERFWDILLJADLOLPIOMADNEDSLDSWDSUNRMOthersTOTAL

PUBLISHER'S STATEi\lF.NT

STATEMENT REQUIRED BY THE ACT

OF AUGUST 24, 1912, AS AMENDED BYTHE ACTS OF MARCH 3, 1933, JULY 2,1946, AND JUNE 11, 1960 (74 STAT. 208)SHOWING THE OWNERSHIP, MANAGE·MENT, AND CIRCULATION OF THEHARMONIZER published in January,March, May, July. September and Novem·ber at Kenosha, Wisconsin, for October 1,1984.

Barber Shop Quartet Singing in America,Inc., 6315 - 3rd Avenue, Kenosha, Wiscon­sin 53140·5199.

3. The known bondholders, mortgagesand other security holders owning orholding 1 percent or more of total amountof bonds, mortgages, or ,other securitiesare: (If there are none, so state.) None.

TO THE HIGHEST RATED

MUSIC1. The names and addresses of the

publisher. editor, managing editor, andbusiness managers are: Publisher, Societyfor the Preservation and Encouragement ofBarber Shop Quartet Singing in America,Inc., 6315 - 3rd Avenue, Kenosha, Wis·consln, 53140·5199; Editor, Lynne Soto,6315 - 3rd Avenue. Kenosha, Wisconsin53140-5199; Managing Editor, None; Busl·ness Manager, R. Ollett, 6315 - 3rd Ave­nue, Kenosha, Wisconsin 53140·5199.

2. The owner is: (if owned by a corpor­ation, its name and address must be statedand also Immediately thereunder the namesand addresses of stockholders owning orholding 1 percent or more of total amountof stock. I f not owned by a corporation, thenames and addresses of the Individualowners must be given. 11 owned by a part·nership or other unincorporated firm, itsname and address, as well as that of eachIndividual member, must be given.) Societyfor the Preservation and Encouragement of

4. Paragraphs 2 and 3 InclUde, in caseswhere the stockholder or securitY holderappears upon the books of the company astrustees or in any other fiduciary relation,the name of the person or corporation forwhom such trustee is acting; also the state·ments in the two paragraphs show theattiliant's full knowledge and belief as tothe circumstances and conditions underwhich stockholder and security holders,who do not appear upon the books of thecompany as trustees, hold stock and securl·ties in a capacity other than that of a bona­fide owner.

5. The average number of copies of eachIssue of this publication sold or dIstributed,through tho malls or otherwise, to paid sub­scribers during the 12 months precoding thedate shown above was (This information Isrequired by the act of June 11,1960, to beIncluded in all statements regardless of fre.quency of issue) 39,100.

Lynne Soto, Editor

PRINTINGIN THE UNITED STATES"ASK ANY PUBLISHER"

BOOKS AND LOOSELEAFARRANGEMENTS PUBLISHED

BY THE SOCIETY AREPRINTED BY

DIVISION OF THEWALTER M. CAROUEVILLE COMPANY2200 ESTES, ELK GROVE, ILL. 60007

lAIC 312) 625-3915 or 439-8700

39

Etc.

NewChaptersPERMIAN BASIN, TEXASSouthwestern DistrictChartered September 17, 1984Sponsored by San Angelo & Lubbock,Texas43 membersWilliam W. Collier, 2812 NorthtownPlace, Midland, Texas 79705 (President)Allen M. Fisher, 1111 W. Wall, Midland,Texas 79701 (Secretary)

GAINESVILLE, GEORGIADixie DistrictChartered September 7, 1984Sponsored by Stone Mountain, Georgia38 membersGuy M. Stancil, 670 Hillcrest Avenue,Gainesville, Georgia 30501 (President)Don Wagner, At. 12, 80x 290,Gainesville, Georgia (Secretary)

MT. VERNON, ILLINOISIllinois DistrictChartered September 27, 1984Sponsored by Harrisburg & Carbon­dale, Illinois31 membersHal Wolfe, 407 North St., Mt. Vernon,Illinois, 62864 (President)A. J. Long, 520 W. Schwartz, Salem,Illinois, 62881 (Secretary)

LOGANSPORT, INDIANACardinal DistrictChartered October 1, 1984Sponsored by Kokomo, Indiana35 membersAobert Hunter, 820 Hilltop Lane, La·gansport, IN 46947 (President!Earnest Beall, AA 4, 80x 14483, Logans·port, IN 46947 (Secretary)

NORTON,KANSASCentral States DistrictSponsored by Hays, Kansas30 membersDuane Winder, 810 N. Wabash, Norton,Kansas (President)Harold Crow, 80x 443, Norton, Kan­sas (Secretary)

BargainBasement

We buy and sell vintage phonographs withhorns, out of print LPs, 45s and 78s, bar·bershop albums, jazz, shoet music, piano rolls.Don and Lou Donahue, The Old Tyme MusicSceno, 915 Main St., Boonton, N. J. 07005.Closed Mon., Tues. Open rest ofwee. (201)335·5040. If you're in town on Tuesdayyou get to sing with Dapper Dans of Har·many. Othor days, M, "0" will probablylecturo you on why you should have a chap·tor bulletin, or the advantages of singing bari·tone with the Notewits ... (tho advantagebeing Ed Keller's family dinners).

FOR SALE - 48 ginger After Six Tuxedos,complate including coat, vest, ruffled shirt,bow tie, and pants. Assorted sizes, asking $30but price is negotiable. Color photograph onrequest. Contact: James Berry, R.R, 1, Lewis,Iowa 61544. Tel. (712) 769-2412 evenings.

International ConventionMinneapolis Registration

$

DATE

RECEIVEO

FOR OFFICE USE

t~OTES

o cc 0 CASH 0 CHECK

VENTION OFFICE

TOTAL AMOUNTRATEQUANTITY

, hereby order registrations as follows:

INSTRUCTIONSADULT @ $50.00 $

JR.UNDER @ $25.00 $

Fill out order form and mail with( 19 ) payment to: SPEBSaSA, 6315 -

3'd Ave., Kenosha, WI 53140·<lIf-TOTAl TOTAL .....

$ US FUNDS 5199. Registration fe. includesAEGISTRATIONS PAYMENT

roserved soat " ," contest 50S-

TICKETS AND BROCHURES MAY BE SENT VIA UPS; THEREFORE A STREET ADDRESS 510n5, registration badge (ldontUI·

IS PREFERABLE- IF UPS 1$ NOT CONVENIENT FOR YOU. PLEASE CHECK HERE [J cation " ," official events) and

souvenir program.

CHAPTER NO. MEMBERSHIP NO

NAME Registration Iickels and event tnrormatlon will

STREETbe senl In the fllst weeks 01 Aprit prIor to lheconvention. '" lh. rnea'ltimc. please keepreceIpt ror your recordS

CITY. STATE. P~~~~L " your add/ess changes belole convention.please send a speClill nOllce 10 SPEBSOSA CON·

1985 CONVENTION ONLY

40

Make checks payable to "SPEBSaSA."Registrations are transferrable but not redeemable.

Add These Albums To Your Collection ...

Though there are no real boundaries for true lovers ofthe unique artform of barbershop harmony. the appearanceon a Canadian stage of the six-time champion Louisville,Kentucky "Thoroughbreds" chorus. the 1978 champion"Bluegrass Student Union" quartet (also from Louisville)and the two-time champion Scarborough, Ontario "Dukesof Harmony" chorus was an historic first. These winnersmade the stage a singing battlefield in their attempts towin the audience.

You'll get a feel for the kind of excitement that pre­vailed all evening as the "Thoroughbreds" and "Dukes"perform in such songs as Put Your Arms Around MeHoney, Danny Boy and together in the finale, the song,Anything You Can Do I Can Do 8eller.

We know you'll enjoy these special song arrangementsand fine presentations as these singing champions eachproudly claim their part of the "Winners' Circle."

Remember the 1982 Pittsburgh Convention?

Bring back the sounds of competition with the

1982 Quartet, Chorus, A.I.C. and Saturday

Night Show live recordings.

Saturday Night Show features: A.I.C. Show features:

The Thoroughbreds - '81 Chorus ChampsVocal Majority - '82 Chorus Champs5 Medalist quartets.

Now available in casseHe lapes - same price as albums.

••••••••• ***

WINNER'S CIRCLE LP. - No. 4882 55.50 U. S.58.25 CanadaWINNER'S CIRCLE Cassette - No. 4881 55.50 U. S.58.25 Canada

1982 Quartet Album - 2 Record Set OnlyStock No. 485058.95 U.S.i 512.95 Canada1982 Chorus Album - 2 Record Set OnlyStock No. 4851 58.95 U.S.; 512.95 Canada1982 Association of International Champions LP OnlyStock No. 4932 S5.95 U.S.; SIO,95 Canada1982 Saturday Night Show LPOnlyStock No. 485255.95 U.S.; 510,95 Canada1982 Quartet CassetteStock No. 485358.95 U.S.; 512.95 Canada1982 Chorus CassetleSiock No. 4854 S8.95 U.S.; S12.95 Canada1982 Association of International Champions CassetteStock No. 485555,95 U.S.; 510.95 Canada1982 Saturday Night Show CassetteStock No. 485655.95 U.S.; 510.95 Canada

Indianapolis. Ind.Detroit, Mich.Rochester, N.Y.Salt Lake CIty, UtahOakvllle,Ont.

FriendsSound SyndicateFriends of YesterdayThe Four HenchmenEmpire ExpressSound Revival

Schmitt BrothersHappiness EmporiumBluegrass Student UnionGrandma's BoysBoston CommonChicago News

Providence, R.1.Kansas City. Mo.Research Triangle Park, N.C.Burnaby, B. C.Orlando, Fla.

139th Street QuartetThe RapscallionsTin Pan AlliesSound AssociationCalifornia FeverRemember WhenCurtain Call

Chorus Album features:Dallas Metro, Tex.Western Hills IClnelnnatl), O.Alexandria. Va.Lombard. III.Peninsula, Cal.Minneapolis, Minn.

Quartet Album features:Classic CollectionCenter StageSide Street RamblersGrand TraditionVaudevilleRoaring 20'sHarrington Brothers