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VOLUME 39, NUMBER 5 Formerly New York Sheet Music Society www.APSSinc.org FEBRUARY 2018 Tunes of the Arthur Collins, Byron Harlan, Harry accessible presentation on January 13, MacDonough, and Ada Jones, Edison’s Rawlins was joined by his wife Nancy Twenties, And record company continued to make a on piano, John McClernan, who played All That respectable showing on the hit charts tuba, Franny Smith on the banjo, while until 1912. A year earlier, a young adding a vintage clarinet and a soprano By Jerry Osterberg sensation by the name of Sophie Tucker, saxophone, which he played admirably recorded her seventh and best known for “Whispering.” During the course of Although Thomas the delightful program,

w vocals were sung by

Edison deserves credit o l r for creating the first a Nancy and Franny, both h C of whom enriched the

working model of a n e l classics with new phonograph in 1877, he G

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b vitality. put the work aside in o t order to prefect his most o “Ain’t Misbehavin’ h important invention, the P written by Fats Waller in incandescent light bulb, 1929, apparently drew before resuming the attention of a rather development of the notorious sector of the phonograph a decade community. While he later. By then, other was appearing at a well- inventors and scientists known Chicago hotel, such as Alexander Waller was kidnapped Graham Bell, had long one evening by a quartet been working to improve of thugs who spirted him it. away to nearby East Originally, Edison had not song for Edison “Some of These Days,” Cicero. Although the 25 year old singer envisioned that his device would be used a tune which soon became her anthem. feared that he was about to meet an for recording music, but rather as a As it so happens, “Some of These untimely end, this was not to be the case. business dictating machine. He utilized Days” is one of the more than 200 songs Instead, the gun-toting gangsters had a rotating cylinder with a vertically cut profiled by Robert Rawlins in his decided to surprise their boss, Al th groove which ran along the outside, Capone, for his 30 birthday. The while Edison’s competitors found unscheduled gig lasted three days, it less expensive and more efficient after which Waller was delivered to utilize a disc on which a spiral back to the hotel, now richer by groove ran from the outside to the $3,000. center. The primary practitioners of One of the most successful th this method, Columbia and Victor, tunes of the 19 Century was “On began producing the discs as early the Banks of the Wabash, Far as 1901. Although Edison Away,” written by Paul Dresser in 1897. While many believe that continued to make improvements Sophie Tucker Fats Waller to his cylinders, his product “Back Home Again in Indiana,” remained uncompetitive. But the composed in 1917, is the state Edison Records label did well enough for magnificent treatise Tunes of the song, it’s actually the earlier tune to a while, producing 12 of the 30 best- Twenties, a volume certain to become a which the honor belongs. By 1900, sheet selling records in 1900. Due to the must-have resource in every music music sales of Dresser’s creation reached popularity of stars such as Billy Murray, research library. In a warm and Continued on page 3 PAGE 2 AMERICAN POPULAR SONG SOCIETY FEBRUARY, 2018 President’s Message... American Popular Linda Amiel Burns, President Song Society Board Of Directors: The new year, 2018, got off to a great start with a wonderful program Linda Amiel Burns given by Robert Rawlins based on his book, “Tunes of the Twenties.” What President a treat it was to have a four piece band playing some of the iconic songs of Joan Adams the past, songs that we still know today. Jerry Osterberg, our editor-in-chief, has written the lead Sandi Durell story, and you can read all about our January show in this issue. Many thanks to everyone 1st Vice Presidents involved in making this informative and entertaining event happen. Sandi Durell Sandy Marrone I will be away this month on a much-needed vacation, so Marilyn Lester will take over the 2nd Vice Presidents hosting duties on February 10th for a Program that I am certain will be absolutely amazing. Glen Charlow Two of our esteemed Board Members, Michael Lavine and Tom Toce (both of whom have Treasurer & Membership presented great shows for us in the past) will tell you about the contemporary animation music Marilyn Lester of Disney. This promises to be a fascinating afternoon. Michael is a renowned sheet music Secretary

collector/music director and Tom is a prolific composer and show producer. They have also told Bill Boggs me that their pre-show “Rising Star” will be an exciting new talent. Will Friedwald Michael Lavine Judy Stewart The “Member Exchange” has proven to be very popular, and we hope that our members will ------continue to bring sheet music, books, CD’s and other memorabilia for the table. Please Publicist Marilyn Lester encourage people to donate; it always upsets me when people throw away something they [email protected] consider “old stuff” while to others it might be a treasure. It is also good to make room and clear out some of your collections. Members tell me that they love browsing through the table, as Programs & Special Events Elliott Ames you never know what you might find. And, remember: the price is right ...... FREE! Sandi Durell Tom Toce I look forward to seeing you on March 10 th for a terrific program that I am calling “An APSS Official Photographer: Afternoon with Sidney Myer.” Sidney is a fabulous entertainer, and is the man who has been Rose Billings booking cabaret shows at Don’t Tell Mama for many years. I’ll miss you all in February but will be on the beach in beautiful Puerto Vallerta, Mexico, Graphic Designer, Website Glen Charlow and out of this cold weather! Yay! N E W S L E T T E R Linda Editor/Publisher: Jerry Osterberg Photos by Rose Billings [email protected] Contributing Editor: Marilyn Lester [email protected] Associate Editor: Joan Adams [email protected] Graphic Designer: Glen Charlow [email protected]

Membership Mailing Address: American Popular Song Society P.O. Box 5856 Pikesville, MD 21282 [email protected] (212) 315-3500 (Linda A. Burns)

Elliott Ames holds up the goodies on Top: Linda Amiel Burns, Elliott Ames, Franny Smith & John McClernan. sale after the program Bottom: Robert & Nancy Rawlins.

MEETING LOCATION: Local 802 – Musicians’ Hall 322 West 48th Street. Program: 1:45 – 3:30PM. Come early to look thru Sheet Music & CD’s & stuff, all FREE. Photos by Rose Billings FEBRUARY, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 3 Twenties... and Jazz Ragtime Band,” the most successful notably by Billie Holiday with Teddy Continued from page 1 recording of 1911. One year earlier, a Wilson, and Lena Horne with Bill song by the name of “Alexander and His Robinson. As recently as three years ago, $100,000, the modern equivalent of Clarionet,” the lyrics by Berlin, the Tony Bennett and Lady Gaga included it almost $3,000,000. But, the success of music by Ted Snyder, flopped. Berlin in a Grammy Award-winning album the recording of “Back Home Again in decided to replace the music with his Cheek to Cheek. Indiana,” with “Darktown Strutters’ own and struck gold. The sheet music In spite of its title – Tunes of the Ball” on the flipside, helped to make the sold 1,000,000 copies in the first year. Twenties – Robert Rawlins’ welcome

Photos by Rose Billings newer song better known. In spite of the Among the other tunes discussed by expansion to our knowledge of classic fact that “Indiana” was said to be our guest were “Bei Mir Bist Du Schon,” American popular music, not all of the seriously derivative of “Wabash,” it’s “Poor Butterfly,” “Rosetta,” songs came about in the second decade. “Indiana” which became the unofficial “Whispering,” “Smile,” and “I Can’t Indeed, in the ten or so presented in his signature song of the state. It’s also a Give You Anything But Love,” written program for APSS, there’s only three; the favorite of jazz musicians, placing it in a by Jimmy McHugh and Dorothy Fields rest going back to 1910 and running up prominent place in American popular for Blackbirds of 1928, which featured to 1937. Rawlins’ explained: “The music. an all-black cast, including Bill Robinson title…is true, but not to be taken literally. Encouraged by having published his and Adelaide Hall, and ran for over 500 It refers to a style, an attitude, and a first song in 1907, Irving Berlin performances. Although the song was mindset, not necessarily a decade.” He embarked upon the first of his many not well received in an earlier revue, it went on to say “Many songs of the ‘20s prolific periods, publishing 110 songs was the major hit of the Broadway are no longer remembered, and a list of over four years, of the four or five he was production, and catapulted the budding the top hits of the decade would look far writing each night. Ten of these career of the young Fields to a great different from the contents of the present contained the word “rag” or “ragtime” in height. At least three versions of the tune volume.” the title, among them “Yiddle on Your placed among the top songs that year. It’s It’s interesting to note that people Fiddle, Play Some Ragtime,” “That been recorded countless times, most who are invested in the music of the Opera Rag,” “That Lovin’ period in one way or Rag,” “Oh, That Beautiful TUNES OF THE TWENTIES another, often refer to the Rag,” and “Sweet Marie, music of the ‘20s and ‘30s Make a Rag-A-Time-A in one breath, performers Dance With Me.” Two of such as Vince Giordano, these made the charts, who, with his band The including “Oh, That Nighthawks, has been Beautiful Rag,” by Arthur enriching our musical lives Collins, and “That Lovin’ for decades. One of the Rag,” Sophie Tucker the most striking take-a-ways singer. It would pale in of Rawlins’ diverting comparison to Berlin’s first JUST DOODLING, I’M SURE, but I found this “doodle” by APSS Member Judy Densky to treatment is that it perhaps huge success, “Alexander’s be “right on”. Continued on page 8 PAGE 4 AMERICAN POPULAR SONG SOCIETY FEBRUARY, 2018 THE GREATEST TRIO YOU NEVER HEARD OF – By Paul Chiten one of the first examples of they should keep on doing it. recordings (into those horns) Part II using the newly developed With the experience gleaned in 1925. By the time they got electronic microphone for from touring and consistent to their main body of work, ROLL ON, MISSISSPPI, maximum effect. This gave radio work, it was time to starting in 1931, the electronic ROLL ON - By 1929 the the trio an important move to New York, where the microphone was firmly Boswell Sisters were New component of their signature jazz scene was in full swing. established as the new Orleans favorites. But if they sound. It was 1930 and the Boswell standard. wanted a higher level of While doing radio shows Sisters were getting ready to Like today’s Internet, success, they needed to play in California, a letter came take on the world. with the popularity of venues further from home. So into the station with a scathing THE MUSIC GOES Facebook, YouTube, Twitter, the young ladies hit the road, review. It was Martha who ROUND & ROUND - The Instagram––the sisters performing in an unglamorous opened it. The listener wrote: Boswell Sisters came along at embraced the technologies of sector of the Vaudeville “Get rid of those awful the right time. Vaudeville was their day: radio, records and circuit. Their show featured Boswell Sisters––they’re giving way to that new films. These burgeoning playing instruments––Martha media marvels allowed them on piano, Connie on sax, Vet to reach a far wider audience on banjo (and some tap than was ever possible dancing), doing popular songs through live shows alone. And of the day. Oh…and a little the New York scene is where singing was pitched in. the sisters would find the At their first out-of-town success they worked so hard gig, in a small, dingy theatre for. in Chicago, the trio was Records in the 1930s suddenly stricken at show meant a live studio time with a serious case of performance. There was no stage fright. They were so tape, overdubbing, or editing. nervous that they left their Each take was recorded in instruments backstage––all mono onto a wax disc–– they could manage to do was worlds away from modern sing to Martha’s piano digital recording. There was accompaniment. When they no concept of “fix it in the finished, the stage manager, mix.” The performance had to noticing their discarded be good or the “waxie” was instruments backstage, tossed. The Bozzies went asked: “Don’t you girls do through a lot of “waxies” anything but sing?” Ah, but before they were satisfied fate was tampering with those with a record. slot machine tumblers––it was always changing the melody, invention––radio––which In the studio, they were through their singing that they and whenever they come on grew rapidly from a curiosity fortunate to work with some would create a musical the radio, me and my friends to a widely accepted form of great musicians of the day, sensation. turn them off.” It closed with entertainment. Recorded many of whom later became Their tour ended up in a bristling coda: “We call music was also going through well known: Glenn Miller Los Angeles, where the radio them the savage chanters.” a seismic transformation. (trombone and arranger), work was. One day Connie Martha was so upset at Early recording technology Tommy Dorsey (trombone), showed up for a live broadcast this harsh critique that she used a crude horn to channel Jimmy Dorsey (alto sax), with a bad cold. She broke down in tears. She was the sound. By 1925 the Benny Goodman (clarinet), suggested the songs be about to rip up the letter when electronic microphone finally Artie Shaw (clarinet), Bunny transposed down “an octave Connie snatched it from her made it possible to capture Berigan (trumpet), Manny or two,” and sing soft and hand. Connie said it was proof nuances never heard in a Klein (trumpet), Joe Tarto close into the microphone. that the trio was indeed doing recording before. The Bozzies (bass/tuba), This close-mike technique is something different, and that made their first few (guitar), Dick McDonough FEBRUARY, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 5 (guitar), Carl Kress (guitar), sound. She said when people Every time I hear this never forget the (violin), Victor heard them for the first time, track, a jolt of electricity arrangement.” Onstage, Young (violin) and Stan King they couldn’t believe they shoots up my spine. The vocal Martha played piano (drums). They also worked were sisters, because “no histrionics are as energetically accompaniment (and on most with the orchestras of Jimmy family could have 3 sisters wild as they are highly of their recordings). Connie Grier, Victor Young and Paul who could sing like this.” At disciplined. Connie even sat next to her on the piano Whiteman. the same time, they HAD to “gulls” (a technique of bench and Vet stood behind, So how could three white be sisters, because “no 3 extreme glottal stops) in the resting one hand on each middle-class southern gals voices could possibly blend middle of everything. Hey, if sister’s shoulder, come to sound like a sassy trio this well without being from this doesn’t get you to sit up choreographing the trios’ of soulful jazz singers? Most the same family.” and take notice, you’re in a movements. people who heard them Their father, A.C., a musical coma. The sisters The fact that these without seeing them, assumed former Vaudevillian and created all their own beautiful and talented young they were black. Their Barbershop singer, taught arrangements, working women become so successful influences included gospel, them a language he called collectively, each sparking off in a world dominated by men– jazz, blues and “race” records. “gibberish.” It’s a zany, word- the other. But just how did –at a time when women had Connie was a fan of early morphing, pig-Latinish kind they come up with these only fairly recently been given blues vocalists Bessie Smith, the right to vote––is testimony and especially Mamie Smith– of their sense of –whom she patterned her style empowerment as females. after. Her other two major They went on the road with no influences were a disparate chaperones, managed their pair: hot-jazzer Louis own business, and charted Armstrong and operatic tenor their own destinies. The Enrico Caruso. Bozzies were also in control, The Bozzies’ vocal sound and responsible for, their is a curious combination. musical creations. Rare for Martha and Connie were recording artists at that time. contraltos, while Vet was a Their unique musicality, mezzo-soprano with an uncanny skill, playful hearts exceptional range. The typical and wistfully “witchy” vocal registers were thrown soulfulness kept them leagues out the window, because they ahead of any competition. had the uncanny ability to Editor’s Note: Paul shift parts at will, creating Chiten is a Los Angeles-based ever-morphing three- songwriter, composer, dimensional sonic shapes. producer, musician, singer Martha called this “blending.” and artist. His songs have Connie referred to it as earned him multi-platinum “passing harmony.” Whatever and gold records. His you call it, it meant that the of thing––and the girls loved wildly inventive sound compositions and productions melody could continually it. This “gibberish” shows up canvasses? have won Telly, Aurora and move between the three in a number of their Connie provided some Emmy Awards. He has voices. The shuffling of parts, recordings. A variation on insight in a 1932 interview: worked with Michael the rapid tempo changes, the “gibberish” is heard on the “The method we use is rather Jackson, Anita Baker, Tina modulations and continual re- second section of “Everybody quaint, and I know will amuse Turner, Donna Summer, harmonization––indeed rising Loves My Baby,” which you when you hear about it–– Cyndi Lauper and countless to the level of re- features nonsense sounds we learn our songs others. This article originally composition––make that sung at an insanely fast backwards! …That is to say, appeared in the AFM Local unmistakable Boswell Sound. tempo, performed with perfect we start at the end of the 424 News, and re-printed with Nobody had done music this diction in astonishingly chorus and work back to the the permission of the author. way before. Or since. precise 3-part harmony––a beginning. None of our In a 1965 interview, typical Bozzie Dazzle arrangements are written out. To be continued… Connie reflected on the trio’s Moment. Once we learn a song we PAGE 6 AMERICAN POPULAR SONG SOCIETY FEBRUARY, 2018 Vintage Disney: (1946), a live-action and animated feature, Thirty Years of Original that Disney struck gold Music, 1929-1959 again with a certifiable hit song, “Zip-A-Dee- By Marilyn Lester Doo-Dah” (Allie From the beginning of sound in film, Walt Disney Studios Wurbel/Ray Gilbert), has always had an appreciation for the power of music in its which won the 1947 work. The first Mickey Mouse short, 1928’s Steamboat Willie , Oscar for Best Song, was also the first Disney cartoon produced with synchronized There are nine sound, featuring the tune, “Turkey in the Straw.” Subsequent numbers in the film, Mickey Mouse shorts were produced with music, such as “In which were composed, the Shade of the Old Apple Tree,” “St. Louis Blues,” “Runnin’ by different songwriting teams, a first for Disney. Wild,” “Maple Leaf Rag,” and classical numbers, such as The 1950s closed out the classic period of Disney animated “William Tell Overture” and the quartet from Rigoletto . In features, with Cinderella (1950), Peter Pan (1953), Lady and 1933, Disney commissioned an original song, “Who’s Afraid of the Tramp (1955) and Sleeping Beauty (1959), each producing the Big Bad Wolf?” (Frank Churchill/additional lyrics by Ann memorable tunes. Songwriters for Cinderella were originally Ronell) for the short, Three Little Pigs . The tune was a huge hit Charles Walcott and Larry Morey; their output was never used, in the 1930s and is still one of the most recognizable of Disney and instead, songwriters Mack David, Jerry Livingston and Al songs. Hoffman wrote the soundtrack songs. Peter Pan underwent a Disney’s initial animated similar musical trajectory. Frank Churchill wrote several songs output was centered in for the proposed film in the early 1940s; Charles Walcott wrote short films, mainly the additional songs in 1941 and Eliot Daniel composed more Silly Symphonies songs in 1944. Peter Pan was shelved, and when the studio was and Mickey Mouse ready to resume work on it, none of these original songs were series. The used. Instead, several different songwriting teams were hired, studio’s first including Sammy Cahn and Sammy Fain, who wrote, “The feature-length Second Star to the Right,” “You Can Fly!” and “Your Mother animated picture and Mine,” among others. Lady and the Tramp ’s songs were was Snow White mostly (and famously) written by Sonny Burke and Peggy Lee, and the Seven who performed many of them. Lee voiced Darling, the human Dwarfs (1937) — mother, and Si and Am the Siamese cats, as well as Peg, a stray the first-ever film Pekinese with a released with a soundtrack Brooklyn accent. recording. It was a smash, and a Finally, in Sleeping consistently high-earner for the company. Frank Churchill and Beauty , the original Larry Morey composed the songs, producing hits such as composer, Walter “Some Day My Prince Will Come,” “Whistle While You Work” Schumann, left the and “Heigh-Ho.” Following the success of Snow White and the production due to Seven Dwarfs , Disney plunged into animated feature films with creative differences. He gusto, making, in quick succession, Pinocchio (1940), Dumbo was replaced by several (1941) and Bambi (1942). Pinocchio featured songs composed tunesmiths: George by Leigh Harline, with lyrics by Ned Washington. One of the Bruns, Sammy Fain and most popular and identifiable songs of all time, the Jiminy Jack Lawrence, with Cricket solo, “When You Wish Upon a Star,” ultimately became Winston Hibler, Tom Adair, Erdman Penna and Ted Sears the theme song of the Walt Disney company. writing lyrics. Dumbo , at 64 minutes in length, was essentially a “quick As the animated films of the 1960s and beyond came and dirty” feature made to recoup the financial losses of rolling out of Disney, the studio also began to increase its live Disney’s classically based flop, Fantasia . The musical action feature output. The music continued to flow, adding new numbers, by Frank Curchill and Ned Washington, aren’t terribly tunes to the American Songbook. Mary Poppins not only memorable, yet Dumbo won the 1941 Academy Award for produced several memorable musical numbers, such as “A Original Music Score and for Best Song (“Baby Mine”). Spoonful of Sugar” and “Chim Chim Cheree,” but also ushered Bambi ’s score, composed by Churchill and Edward Plumb, also in a new era for Disney, with the Sherman Brothers at the produced no real hit numbers. It wasn’t until Song of the South songwriting forefront. FEBRUARY, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 7 examine more deeply, songs you’ve always wanted to work on or indeed song you are working on. Memorization is not required. In any case we shall, as the Member workshop’s title suggests, do our best to make sure that the SONG is in YOU News... and, more importantly, YOU are in the SONG! Steve – Some further thoughts: This is not a class in vocal instruction. You do not have to be a professional singer to participate but you will have to have a If you have any member news, or other items you would like to have basic knowledge of singing. – The fee is $75 in cash or check made out to Steve considered for this newsletter, please send it by e-mail to the co- Ross to be collected by Dena at the door on the day of. – If you decide to join edito r, Jerry Osterbergg : [email protected]. It will be subject to in on this musical adventure, please indicate which session(s) you’d like to editing, depending on size and content, and please remember that attend. We all know things can come up so it is requested that a cancellation we try to go to press two weeks before each monthly meeting. We be made at least 24 hours before your scheduled session. The atmosphere will often get very good items that get to us after the newsletter has been be relaxed and collaborative. I’m eager to make some good music with you! printed and mailed. Paul & Rochelle Chamlin celebrate the release of their new CD The First Ten Linda Amiel Burns, APSS President, is celebrating four decades of The Singing Years. The CD features favorites from their first decade, and then some, of Experience. A number of APSS members have taken this workshop, some more making music together . The release will be marked by a show at the Laurie than once. For those of us who have, we can assure you that you’ll feel like a Beechman Theatre, downstairs at the West Bank Café, on Saturday, February pro by the night of the performance. Although many students have never sung 10 @ 2:00 PM. There’s a $20 cover charge and a $20 minimum per person. in public before, the supportive environment has prepared them well for their Discount code: 10YEARS. 407 West 42 nd Street, between Ninth & Tenth debut. Call Linda at 212-315-3500 to sign up. The Singing Experience Cable Avenues. TV show continues on MNN Time Warner: Channel 56 or RCN: Channel 111. The program broadcasts are every Sunday at 5:00 PM. You can also see your APSS Board member Tom Toce has recorded a studio version of his successful fellow NYSMS members on YouTube at any time. MAC Award nominated cabaret show Songwriter in the House at the Metropolitan Room last year. The recently released CD is different than Tom’s Midday Jazz Midtown continues on Wednesdays (1:00 PM to 2:00 PM) at Saint earlier album. It features his singer-songwriter songs and his vocals throughout. Peter’s Church (East 54 Street (entrance) @ Lexington Ave), NYC, Hosted by Backing Tom are Jon Burr – bass, Sean Harkness – guitar, Justin McEllroy & Ronny Whyte. Programs: February 7, Harold Mabern-piano; February 21, Peter Millrose – vocals. The CD is available on CD Baby. Danny Bacher – singer/saxophonist, Alan Farnham – piano, Dean Johnson – https://www.cdbaby.com/cd/tomtoce . bass; February 28, Russ Kassoff Big Band, featuring Catherine Dupuis – singer. Suggested donation: $10. Parking: Icon Parking, East 51 St, between Third Carol J. Binkowski’s new book, Opening Carnegie Hall: The Creation and First and Lexington Ave. $15 including tax for five hours with Performances of America’s Premier Concert Stage was just published by validation@SaintPeter’sReceptionDesk.www.ronnywhyte.com McFarland & Co. www.caroljbinkowski.com . www.saintpeters.org/jazz/midtownjazz.htm . Hilary Kole’s newest CD: The Judy Garland Project (Miranda Music) is now on- Board member Will Friedwald will present the latest edition of his monthly Clip sale. The remarkable performer conjures the spirit and beauty of Judy Garland nd Joint program at the 92 Street Y on Friday, February 2 @ 12:00 PM. Tickets in stunning arrangements of songs made famous by the legendary singer, from $29. www.92y.org/event/will-friedwald-s-clip-joint.aspx including “The Trolley Song,” “The Man That Got Away,” “Over the Rainbow.”

Message from Steve Ross: I’ve decided to add several Master Class dates to Do you seek an elusive song? If you do, write APSS Board member Sandy the schedule: THE SONG IN YOU AND YOU IN THE SONG – an intimate song Marrone @ [email protected] or call 856-829-6104. You can also visit Sandy study and performance workshop.– The initial sessions will take place take in New Jersey to see thousands and thousands of sheets of music, most of place in my apartment (255 W. 84th St., Apt. 12D) on Saturday Feb. 3 (1-4), which can be yours very reasonably. She is a marvelous resource and a super- Saturday Feb. 10 (1-4), Saturday Feb. 17 (1:30-4:30), Sunday Feb. 18 (1:30- great lady! Having heard from only a few of our members over the past year 4:30), Saturday Feb. 24 (1:30-4:30), and Sunday Feb. 25 (1:30-4:30). You can or so, Sandy wants to remind you that she’s still at it, adding to her collection sign up for one or indeed more than one if there’s availability. Arrangements every day, and always willing to part with sheet music at especially fair prices are being handled by my assistant Dena Kaufman [email protected] for us. Sheet music was the reason we were founded thirty plus years ago, after 917 848 4797. all, and she’s only a phone call or e-mail away. Sandy continues to be willing to offer free appraisals with no expectation of having right of first refusal, and can Steve – I’ll be at the keyboard and shall need in advance the names of the three provide unbiased advice as to how and where to sell music. It’s not a secret, songs you’ll be asked to bring with you and their keys if known. To your session pass it on please. you’ll also bring copies of the sheet music as well as three copies of the songs’ lyrics typed in a medium-large font, double-spaced. Regarding the song choices Speaking of Sandy Marrone, our congratulations for having been featured in the – I’m most comfortable with material from the Great American Songbook and September 17 edition of the Philadelphia Inquirer, The Region. The profile, Broadway/Off-Broadway but I’m happy to prepare whatever else you might wish Lost in Song: Name That Tune. She Probably Has It, by Kevin Riordan, traces to work on. I’m also partial to 60’s and 70’s classics. You might be asked to the beginning of her 600,000 piece collection to 1975 and a fortuitous stop in scan a given song to Dena. an antiques shop. Robert Rawlins, Rowan University music-theory professor said “Her collection is amazing. I didn’t think there could be that much music Steve – The songs you bring can be ones you know well and would like to in one place. There were things I thought I would never find, and she had them.” Send Member News to [email protected] no later than the 15th of each month for the next issue. American Popular Song Society P.O. Box 5856 • PIKESVILLE, MD 21282 T

X February 10, 2018 E

N Michael Lavine & Tom Toce The contemporary music of Disney Animation March 10, 2018 (Cabaret Month) Linda Burns, performance by Sidney Myer April 14, 2018 (Jazz Appreciation Month) Marilyn Lester New directions in Jazz May 12, 2018 Sandi Durell, Songwriter Showcase June 9, 2018 Did you know every issue of this newsletter Richard Skipper on Cabaret and Cole is in COLOR online at www.APSSinc.org A celebration of Cole Porter on his Birthday

February Twenties... and Jazz Continued from page 3 10 gets readers thinking about how the music of the period was 2018 shaped by what was happening in society, both prior to and during, and why it morphed into the music which followed. Produced Rawlins’ music choices parallel the end of a horrible war, an by unprecedented boom period, a long and painful depression, Michael Lavine and arrival on the edge of another war, far worse than anyone & could have possibly imagined. That’s quite a backdrop. Tom Toce Our thanks to the producer, Board member Elliott Ames, for bringing the exceptional program to our attention, and to Contemporary Music of Disney Annimation Robert Rawlins and Starting with The Little Mermaid in 1989, Walt his talented band for Disney Animation Studios renewed its spending the commitment to animated feature musical films. afternoon with us in With songs by great contemporary songwriters, such an engaging these movies have attracted hundreds of millions presentation. We’ll of new fans around the world. Seven of the songs look forward to hearing what have won Academy Awards. Michael Lavine and Professor Rawlins Tom Toce will explore the best songs from these has to say about the movies, aided by a cast of great Broadway singers, rest of the 20 th and show how they’re similar to—and different Century. from—songs from earlier Disney hits.