sign in sign up
<<
Home , Auto Towners, Barber, Barbershop music, Barbershop quartet, Bartlesville Barflies, Bar Wizards

Heritage of

,Edited by Val Hicks

' oaie', for 'qe Preaervaiion and . Inaouragemeni of l ar~er ' qOp t uarie' ' inging in l meriaa Heritage of Harmony

Edited by Val Hicks

~ooie'J ,for ibe ~relervaUon and Inoouragemeni Qf ~arber ~bo, tuariei ~inging in imerioa

Harmony Hall, Kenosha, Wisconsin Heritage of Harmony

Copyright 1988, S.P.E.B.S.Q.S.A" Inc.

International Ollice 6315 Third Avenue Kenosha, Wisconsin 53140 First Edition June 1988 All Rights Reserved

Publishing Services, New Past Press, Inc., Friendship, Wisconsin 53934.

Cover Design, Sandhill Studio, Green Lake, Wisconsin 54941.

Printing, Action Printing, Fond du Lac, Wisconsin 54935.

PRINTED IN THE OF AMERICA

Library oj Congress Cataloging in Publication Data

Heritage oj Harmony. Discography, p. Bibliography, p. Includes Index. 1. Society jor the Preservation and Encouragement oj Barber Shop in America-History. 1. Hicks, Val, 1933· II. Society jor the Preservation and Encouragement oj Barber Shop Quartet Singing in America. M127.U5S664 1988 784.5 88·17928 ISBN 0·938627·04·X (pbk.)

ii Contents

Introduction: Heritage of Harmony v Preface: Only in America vi Chapter 1 The Golden Age of (1890 - 1920) 1 Chapter 2 Jazzin' It Up (1920s - 1930s) 8 Chapter 3 The Dream of 0. C. Cash () 14 Chapter 4 Here Come the Judges 28 Chapter 5 The Teen Years () 38 Chapter 6 Coming of Age (1960s) 57 Chapter 7 Growing Sophistication (1970s - 1980s) 69 Chapter 8 The Second Half-Century 80 Editor's Epilogue 87

Historical Material and References 89 District Boundaries Through the Years 90 Logopedics Contributions 91 Membership Growth: Statistics and Graphs 92 Conventions Through the Years 94 International Presidents 102 International Secretaries and Executive Directors 103 Brief Histories of B.A.B.S. and SN.O.B.S. 107 International Contest and Judging Chairmen Through the Years 113 The Harmonizer and Its Editors 113 Society Programs and Musical Growth 114 The International Staff: Past and Present 118 Recommended Listening: Recordings 132 Bibliography 134 Index 136

iii Contributors Don Amos Jack Baird Bob Bisio Don Donahue Don Flom Val Hicks Hugh Ingraham Grady Kerr Joe Liles Lou Perry Dean Snyder Wilbur Sparks

Acknowledgments

Thanks are due to our loyal typists: Sunny West Carol Nielsen and Shirley Werner; our advisors, Robb Ollett and Dee Paris; Ruth Perry for proofreading; and most especially to historian and editor Dr. Val Hicks, whose contribution far exceeds any ordinary call to duty. Twelve historians contributed to this book. Some rewriting and editing occurred to minimize differences in style, language, format content and tense. It is hoped that the stylistic variety still found in the various chapters will add interest to your reading.

iv Introduction: Heritage of Harmony

America does, indeed, have a Heritage of Harmony. Starting with the Hutchinson Family Singers (ca.1B40) and stretching up to the second generation of Osmond Brothers, it is a legacy of which we can be proud. This book details the American musical movement called "Barbershop Harmony" and the organization which initially (yes, I'm punning) saved it from extinction the SP.E.B.S.Q.5A We hope we're not just tooting our organizational pitch pipe, however. We desire to give an historical perspective along with the evolutionary meanderings of the style through the years. For Barbershop has not remained static. Art forms change with each generation. The best way to sample these changes is to listen to various recordings through the decades. The written word can't do it. You've got to hear the evolving sounds and interpretations to complete the puzzle. (Please note the Recommended Listening section under Dr_ Val Hicks Historical Material and References.) This 50th-anniversary book of the founding of the S.P.E.B.S.Q.S.A. is dedicated to those early quartet men who loved four-part singing and left us their Heritage of Harmony.

v Preface: Only in America

"Only in America." You've heard the stagecoach. They had to create their expression many times. "Only in own entertainment. America could it happen." Is that true Remember the Broadway and film about Barbershop harmony? Possibly. hit ? Maybe quartetting Certainly it has been established as a began like that. One man started to native American art form. Why then. hum or sing the melody of a song only in America? learned from sheet music or from a There are many theories. I'm no travelling and three musicologist, but let me add mine. Not others joined in Singing by ear and that I'm adding anything particularly improvising the harmony as they went new. along. Geography. That's why I think But that was yesterday. What of Barbershop harmony started in today? Why does it maintain its hold on America, or should I say, the United so many people? Why a Society for the States. (There's lots of Barbershop Preservation and Encouragement of harmony in , but I tend to think Barber Shop Quartet Singing in this was yet another United States import America? Why do forty thousand men as far as Canadians are concemed. This in the United States and Canada meet is not to say that quartetting wasn't each week to sing this particular type around in Canada's early days, but you of harmony? Not only that, but these don't find the musical benchmarks that harmonic seeds are being exported to you do in the United States.) the British Isles, Europe, , Back to my theory. Geography. Our and , where they pioneers, especially in the sparsely are finding fertile ground. populated heartland of the country, Again. I have my theories. First and were isolated. No TV. No radio. No foremost, I think it answers a basic telephones. Not in those days. There was human need, the need to create. little long-line transportation except by Between radio, TV videotapes and river and maybe an occasional what not, we have become a nation of

vi observers rather than participants. barbershopper can perform anywhere Singing in a quartet or chorus gives us with a minimum of expense on his part. a chance to participate, to perform He doesn't have to purchase anything before a live audience, to put but a pitch pipe. something of ourselves into the One of the most widely read and presentation and interpretation of a influential books of the past decade is song. John Naisbitt's Megatrends. He coined Second, you don't have to be a the term "high tech/high touch." Naisbitt trained singer to participate. Or a soloist. is saying that in this era of high Indeed, one of the joys of quartetting is technology it's vital to meet our spiritual that the sum (the unit sound of the four needs as well. The barbershopper finds voices) is so much greater than the four this fulfillment in his music, his Singing individual voices. Meredith Willson, who companions, and in service through created The Music Man, put it this way: song. " singing is four guys Philosophy and theory aside, the tasting the holy essence of four fact is that Barbershop harmony is alive individual mechanisms coming into and well in 1988. For that we can thank complete agreement." the men who had the vision to push for Third, in this era of specialists, there's the perpetuation of this art form through room for the amateur. The ear singer the formation of SPE.B.S.Q.5.A. Thank sings in the same quartet with the sight you, 0. C. Cash. Thank you, Rupert 1 Hall. reader. The man who doesn't read a Would that you were here to join in note of music can learn even singing "Happy Birthday" to your baby complicated arrangements either by on its 50th. rote or. more likely, by listening to his part on a tape recording. Fourth and I sometimes think we Hugh Ingraham, CAE tend to overlook the importance of this, Executive Director, you carry your own instrument. The S.P.E.B.S.Q.SA

vii

One The Golden Age of Quartets (1890·1920)

The male quartet is still the surest source of entertainment on the vaudeville stage or in the theatres and motion picture houses of America. But it is inevitably the amateur who gets the most fun out of close harmony. Sigmund Spaeth

BarbershoP singing was one of the way to "sol to sol" construction such as ways young, 19th-century America "After the Ball" and "My Wild Irish Rose." asserted its independence. After relying Songs whose melodies range from "mi upon European music for decades, we to mi" or "sol to sol" are easier to Sing broke away from the rigid continental harmony to. They gave the a traditions and created improvisatory flowing, natural vocal line, and allowed styles such as , and the more tonal space in which to Barbershop harmony. The Jeffersonian operate. Thus, as America approached ideals of freedom stimulated our the new, exciting 20th century, her burgeoning nation. New inventions songs became more conducive to spawned industrial growth. Two extemporaneous harmonizing, which is features of this exploding industrialism now called "woodshedding." that accelerated music as a popular pastime were the availability of inexpensive sheet music and the The "Talking Machine" affordability of the parlor which became a household item in America. Spurred along by parlor and America became a singing nation. new songs, a third influence entered the In those days before TV and radio, scene: Thomas Alva Edison's "Talking families gathered in the parlor for Machine." First conceived as a business impromptu sing-alongs and harmony or office invention, Edison soon saw the sessions, for the songs of the 1890s were potential of his recording device as a easy to harmonize by ear. In the last player of music. His cylinders and discs, years of the 19th century along with those of Victor, Columbia tunesmiths began writing songs different and others soon brought new sounds in structure from those tunes of previous and voices into American parlors. decades. The so-called "do to do" songs , Billy Murray and Ada which have a simple folk sound gave Jones were some of the most popular and "I Want a Girl" sold millions of copies. Gaslight lamp-posts, parlors, front II porches, kitchens and barbershops were places where this newfangled four-part harmony was heard. Olde England

No one knows for sure when, where or how Barbershop singing started. In 1583 Phillip Stubbs wrote of barbering: "You shall have fragrant waters for your face ... your muzick again and pleasant harmony." Thomas Morley (1557-1602) claimed: "You keep not time ... you Sing you know not what. It would seem that you came lately from a barber's shop." Samuel Pepys (1633-1702) penned: "After supper my Lord called for the lieutenant's cittem and with two candlesticks with money in them for symballs (cymbals) we made barber's music." Cervantes in his Don Quixote (1604) stated "Master Nicholas, the barber ... most of all that family are players on the guitar and song makers." One of the characters in Ben Jonson's Silent Woman (1609) exclaims: "That cursed barber! I have married his cHtem." According to William Andrews in his book, At the Sign of the Barber's Pole, "His shop was the gathering place for the idle gallants ... the cittem, or guitar, lay on the counter and this was played by a customer to pass the time away until his turn came to have his ... starched, his mustachios curled." The Town Barbershop The "talking early recording artists. Among the well­ machine" brought known recording artists were singing In 19th-century America the idle the sound of groups-male quartets, to be specific. gallants were replaced by small-town quartets into the The Manhassett Quartet, the Diamond working men who, lacking a men's family home. Comedy Four, the American Quartet, club or recreation center, used the local (Courtesy of the the and the Haydn barbershop as a gathering place. They State Historical Quartet were counted in that first were welcome as long as they could hit Society of generation of great recording quartets. the spittoon with accuracy and tolerate Wisconsin.) American men, inspired by the four­ impromptu music. In those days, part harmony of these and other drinking at the saloon was a pastime for quartets, soon formed groups of their the less-cultured men; the more own. By thousands of local respectable and genteel citizens foursomes were singing for their own relaxed at the tonsorial salon rather amusement and amazement. There than the saloon. Regular customers kept were lodge, fraternity, grange, their own gilt-lettered mugs company, corporation, college, church, sitting on a nearby shelf. Someone neighborhood and family foursomes. would start a tune, maybe even the The hunger for harmony was insatiable. barber himself, and two or three Close-harmony songs such as "Sweet customers might join in, not singing the Adeline," "Let Me Call You Sweetheart" melody, but vocalizing tones that

2 harmonized with the melody. The Minstrel Show This type of self-entertainment came easy in 19th-century America. The long As minstrel shows grew in popularity distances between towns and semi­ in the l840s and l850s, there developed isolation in the various states naturally a tradition of four men stepping forward incubated parlor music and impromptu from the seated minstrel troupe to be songfests. introduced grandiloquently by the At the beginning of the 20th century, interlocutor and present a popular this style was not called Barbershop ballad of the day. These first minstrel singing, but was known as "curbstone foursomes were casually organized harmony," "lamp-post harmony," or without the usual trappings associated simply "close harmony." In 1911, there with professional foursomes. They had came along a song which declared no special costumes, names, nor "Mister Jefferson Lord, play that manager. They were just four guys who Barbershop chord." The term could blend their voices together. The Hutchinson "Barbershop" caught on and has been E. B. Marks, in his book They All Sang, Family Singers were widely used ever since. recalls " ... the minstrel quartet was a among the first This, then, is the classical theory pleasant tradition in which each popular performing propounded by old songs experts member felt mutual responsibilities and groups in the Sigmund Spaeth and Deac Martin on no envy." About the same time, United States to the origins of this vocal style. It makes quartetting received a stimulus from the feature four-part good media copy and stimulates the public tours of the Tyrolese minstrel harmony. Their Hollywood stereotype of hats, foursome known as the Rainer Family tours in the 1840s mustaches and bright blazer jackets. (ca. 1839). The members, Margetta, to 1 860s sparked However, the roots of Barbershop Ellena, Lewis and Semir, appearing in an interest in vocal singing are neither glamorous nor native costume, had bolstered the harmony that led to simplistic. There are at least four other aspirations of an American family later development areas of historical influence in addition group known as the Hutchinson Family of barbershop to this classical theory of barber's music: (ca. 1842). Sisters Abby and Rhoda quartets. (Courtesy the minstrel show, black singers, the "sol Hutchinson and their three brothers of Lynn, to sol" song, and the early recording went on to achieve considerable fame. Massachusetts quartets. Along with the Rainer Family, the Historical Society.)

3 Hutchinson Family and the Continental typical close-harmony songs of the day. Singers, there followed, in later decades, Chautauqua tent quartets who also An Age of Innocence helped stimulate quartet interest around The development of the "sol to sol" the nation. song, with its circle-of-fifths chromaticism Black Singers was the most important influence in the evolution of this vocal style. From 1900 The slaves on Southem plantations to 1930 was the golden age of sang to make their life more bearable, Barbershop harmony song, and to worship and to give vent to their hundreds of these close-harmony tunes feelings and moods. Their vocal were sung by quartets and by families were "ear" harmonies for gathered 'round the parlor piano. The they did not use the printed musical songs told of mother, home, Dixie, page. After emancipation, blacks automobiles, girls, courtShip, and of first maintained this singing tradition, so that, hellos and last goodbyes. This was as James Weldon Johnson tells us in a America's age of innocence. The songs 1929 article in MentoI: "Indeed, it may be aimed at the heart with simple, said that all male Negro youth in the homespun messages. United States is divided into America wore its affection close to quartets ... Pick up four colored boys or the surface, and surface it did. In songs young men anywhere and the about babies, childhood, aging, death, chances are ninety-nine out of a songs of seasons, cities, rivers, the Tin Pan hundred that you have a quartet." E. B. Alley greats such as Harry von Tilzer, Marks relates in They All Sang that George M. Cohan, Gus Edwards, Emest black quartet men would come to his BalL Al Piantadosi, and Tin Pan Alley office to plug songs and "cranked them out" by the thousands seek work. They could harmonize and people bought them and sang skillfully, singing any voice part that was them by the millions. needed. Thus, according to these two men who are reliable sources, indeed, The Early Recording Quartets blacks were active and talented Thomas Edison created the quartet singers. recording industry in the late 1880s and The "Sol to Sol" Song early 1890s. In September 1891 the Manhassett Quartet recorded more Many of the popular songs from 1830 than a dozen songs, thus becoming the to 1895 were of "do to do" melodic first vocal group to record. construction; that is, they tended to Soon the Haydn Quartet, the begin and end on the low key note Diamond Comedy Four, the American (tonic or "do") of the scale. This kind of Quartet and the Peerless Quartet were song crowds the bass singer off his being heard on the newfangled rightful voice register, forcing him to sing cylinders and wind-up Victrolas. These too far down in the tonal cellar. Toward quartet men were some of the best and the end of the 19th century "sol to sol" most versatile vocalists of the day, and songs arrived, opening up room for the harmony-hungry American men, using bass and top tenor to function. You see, these quartets as models, formed the "do to do" songs were usually sung foursomes on their own. in glee club style with the melody carried by the first tenor, but the Before the Microphone Was newfound popularity of the "sol to sol" Invented song allowed the second tenor or a high to present the melody, with the These early quartet men were top tenor floating above, the bass sturdy, intrepid singers, belting forth their rendering his foundation tones of roots harmonies into homs. Second tenor and fifths, and the baritone ranging soloist J. S. "Harry" MacDonough, one of above and below the melody while the pioneer recording artists, describes filling in the harmonies with his essential the process. "At my first session, I made fourth tone. "Sweet Rosie O'Grady" (1896) twelve selections, for which I received and "My Wild Irish Rose" (1899) were nine dollars. The regular rate at that

4 time was one dollar per song, but being The Professionals In 1896, when a beginner, I was supposed to be "Annie Rooney," satisfied with anything they chose to Victor, Edison and Columbia, along "After The Ball," pay me and, as a matter·of·fact I was. with lesser labels, had quartets under "Maggie Murphy's That nine dollars seemed pretty big for contract. A survey of the 1913 Victor Home" and "Two the afternoon, and I had no complaint. Record Catalogue (the black, purple Little Girls in Blue" However, shortly after that they paid me and blue labels) reveals the following were among the the regular rate of one dollar per 'round: distribution, nation's favorite as it was described in those days. Category Number of Artists songs, the Clapp "Each morning or afternoon session Brothers were consisted of thirty 'rounds' of five or six Sopranos 30 singing them in songs, selected from the repertoire on Boy sopranos 2 four-part harmony. the list in proportion to their selling Contraltos 12 The quartet broke qualities. Sometimes it would be 'The 57 up in 1898 during Holy City' ten times; 'Mid the Green 28 the Spanish­ Fields of Virginia' five times, with the Basses 11 American War. The other 15 divided up among the songs of Comedians 37 brothers were, L to which they needed additional masters. Comediennes 14 r., Ralph, lead; "At that time they made five masters Whistlers 5 Randall, bass; at each performance of a song and Yodelers 7 Albert, tenor, and from each master they could make Male Quartets 11 Arch, bari. In later from 25 to 75 duplicates before the Female Quartets years, all four men master wore out. 'The Holy City' was the other singing groups 17 became members of outstanding seller and had to be done Total 232 S.P.E.B.S.Q.S.A. in over more than any other selection. It the paid my rent for many years." area. The three decades from 1900 to 1930 were America's quartet age. There were hundreds of professional foursomes such as lyceum singers, Chautauqua groups, The Vaudeville Foursomes vaudeville and recording quartets. There were thousands of amateur The concert quartets such as the quartets ranging from the slick'polished Stellar Quartet had the best voices, the company foursomes already recording foursomes were the most mentioned (which usually got paid a versatile, but the vaudeville groups, fee to sing in public) to the clumsy but such as the Avon Comedy Four, sincere efforts of family, school and provided the entertainment. Here is a neighborhood quartets. sample of quartet names from that era.

5 Circa comedy groups, Frequently absent were the handle-bar mustaches, the derbies or straw hats, and the bright The Knickerbocker Four 1905 blazer jackets. Tuxedos were the vogue That Quartet (There was also a female 1907 because the singers viewed themselves quartet by that name) not as mere entertainers-they were Monarch Comedy Four 1910 artists. They used very little The Four Baldwins 1913 choreographed movement at least in The Hippodrome Four 1914 the early years, but in the 1920s and The Jolly Rovers Quartette 1915 1930s the quartets used dance steps The Howard Comedy Four 1919 such as clog waltzes or even sprinkled The Avon Comedy Four 1921 sand on the stage for soft-shoe routines, The Runaway Four 1923 The Pacific Comedy Four 1926 Quartets Disappear The Quixy Four 1927 Quartetting, as a pastime or The Dictators of Harmony 1929 profession, waned in the late 1920s as The Maple City Four (a radio quartet) 1930 songs changed and the pace of life quickened, Jazz was catching on, and The vaudeville comedy quartets the radio was pulling people away usually dressed the top tenor in some from the parlor piano, The automobile ridiculous garb such as red socks with got Americans out of the cities and into pegged-top trousers-cuffs four inches the countryside, The electric micro­ above his shoes-and non-fitting, bright phone (ca, 1925) created crooners garish other adornments, Or, perhaps he such as Gene Austin, and was in a yellow dress, red cupid-bow , The minor-seventh-chord lips, and a curly, blond , Somehow songs of the 1930s were difficult to it was traditional for the baritone to be woodshed and lacked the homespun a Dutch or German comic, slow-witted, sentimentality of earlier songs, As a with a heavy accent. The bass was nation we were moving away from often portrayed as a broken-down legit musical participation, By 1938 there were Singer or actor-singer, The lead was the few lingering professional foursomes normal guy-the straight-man, A typical and only several hundred amateur vaudeville quartet entrance was: quartets left. Baritone (Running on stage, yelling) "Keep him away from me or I'll kill him!." New Sounds Lead (Entering, shouting) "Water, water! Give me water." Since made their Ed Bass (Casually throws a bucket of water Sullivan Show debut a quarter of a in the lead's face.) century ago, young Americans have Another opening consisted of a been enthralled with rock bands, The simulated rehearsal with the tenor Beatles spawned a generation of guitar dressed as a newsboy, the baritone as and drum players, What junior high a bootblack, the bass as a messenger school or high school does not have its boy, and the lead in a "straight" outfit share of rock bands? It has been the "in" more stylish and classy. thing, just as 40, 50 or 60 years ago the Then the lead says: "Hey, fellas, vocal quartet was in vogue, Come here, I got us a job tonight. That The quartet age continued into the banker I told you about is giving a party 1950s with other styles, The Four and he'll pay us to sing. How about it? Freshmen, the Hi-Los, the Four Lads, the Let's rehearse right now," Four Aces and the Chordettes (female Then they would begin a street song quartet) were among the most popular like "Roll Dem Bones" or perhaps a and, of course, Southern medley, continued their stage and recording Probably the most unusual of all work. By the way, the father of the Mills quartets was the Chung Hwa Chinese Brothers sang in a barbers' quartet in Four, or how about the Thousand Ohio in the 1920s, The folk Singing Pounds of Harmony, sometimes known movement (ca. 1960) created many trios as the Big Four? Many of the quartets and brought mass dressed as concert artists, except for the amplification, This doomed America's

6 quartet age except for the S,P,E,B,S,Q,SA, are not slick professionals-just four folks Sweet Adelines and Harmony seeking solace from 20th·century Incorporated quartets plus the pressures in the age·old tradition of occasional gospel foursome singing a raising their voices in song, and long cappella, may it be so, Today, as back then, most quartets

In the years following the barbershop quartet era, other styles of singing evolved. In the 1950s the Hi­ Los were a popular quartet who sang "modern" harmonies. In this photo, taken in 1 959, the quartet consisted of Gene Puerling, Clark Burroughs, Bob Morse and Dan Shelton.

7 Two Jazzin' It Up (1920s-1930s)

But the mood of America was changing, the Tin Pan Alley style had lost its freshness and cutting edge. Charles Hamm

In the second decade of the 20th Kansas City, Vaudeville Hub century, Tin Pan Alley was still publishing sentimental ballads about There were many Singing societies home, mother, sheltered virtue and in cities around the country where four respectability. With the proliferation of men could lend their voices in harmony music halls such as Rector's, Murray's, to the songs of the day. Chautauquas Shanley's, and Koster & Bial's, singing often featured quartets as a part of the waiters would often get together for a entertainment. Vaudeville, which did little close harmony. They not only not die until the late '20s, afforded entertained the paying customers, but another opportunity. From the five to they helped plug the publisher's songs eight acts usually comprising the bill, into hits of the day. Nationwide, dozens there were often four "song and dance" of professional quartets were still men who discovered that their voices popularizing these songs on stage and blended. The general meeting place on recordings. Ring Lardner, famous was the lobby of the Muehlebach Hotel sportswriter-author of the period, tells of in Kansas City, because it was more or a fictional quartet with the Tigers less central to the Keith-Albee, Loew's, that affected the performance of the Erlanger and Pantages vaudeville team. It seems that the quartet's star circuits. The men would woodshed tenor had to be traded. In desperation, together until a satisfactory "filler" could the lead scouted the farm teams for a be added to the bill. replacement. He came up with a good tenor, inadvertently giving the team the Changing Ways best-hitting outfielder it ever had. It is of interest to note that the quartet's The Roaring '20s arrived with designation for a swipe (a series of flappers who bobbed their , wore harmonies to fill out the end of a phrase) short skirts and "scanties," and smoked was a "wallop." in public. The men were called sheiks,

8 lounge lizards or cake-eaters, and they new music spawned in The lobby of the used expressions like "cat's meow," "so's was coming up the river to Chicago Muehlebach Hotel your old man," "for crying out loud;' and and the east. It became known as in Kansas City, "twenty-three skidoo!" It was the age of jazz and incorporated the because of its bathing beauty contests, the syncopations of ragtime with the central location in land boom, marathon dancing and harmonic color of the blues, a style of the United States, prosperity. Henry Ford had mass­ music emanating mostly from Kansas became a popular produced the "Tin Lizzie," an City. This was new music, and it was meeting place for automobile most people could afford to indigenous to this country. entertainers buy. Together with interurban trains, traveling around travel away from the old home town American Music the country on was greatly facilitated. vaudeville circuits. Most of alL the '20s marked the Tin Pan Alley, which hitherto had While at the hotel, beginning of the , as it was been influenced to a large extent by quartet men called. The syncopated ragtime of Scott operettas and other music of European worked out new Joplin, "Jelly Roll" Morton and James origin, began to produce revues and arrangements to Scott had been introduced much musical comedies with American add to their earlier, but it was not considered characters and settings. Berlin wrote for repertoires_ respectable until the success of Irving the Music Box Revues; Gershwin for Berlin's "Alexander's Ragtime Band," George White's Vanities; and Kern, which was not ragtime at all but served Youmans, Rodgers & Hart, and Cole to popularize the expression. Porter for many of the Ziegfeld Follies. In addition the original and exciting Most of the songs were written to fit

9 Entertainer Eddie specific situations in the musicals, and what act was playing in what city by Cantor held a as a result, did not reach the popularity the sheet music sales of a certain song. framed certificate of the songs produced by Tin Pan Alley. Inasmuch as a song's popularity was identifying him as a At first the musicals consisted of judged by the sale of sheet music, member of the vaudeville acts, strung loosely together vaudeville performers were offered Tulsa, around a banal love story. They inducements of cash, jewelry, race Chapter as he sang capitalized to a large degree on the horses, or, in the case of Al Jolson, a "Hail, Hail, the display of the female form in various percentage of the royalties by adding Gang's All Here," degrees of undress, and on the talents his name to the sheet music. Most often with the Okie of performers like Nora Bayes, George it was the performer who made songs Four. Quartet Jesse!, Will Rogers, Eddie Cantor, Fannie into hits, but sometimes the song made members were, Brice, Bums & Allen, Jimmy Durante and the performer a star. The top vaudeville from left, ,. Al Jolson, who had already made house was The Palace, at 47th and "Millionaire" Frank names for themselves in vaudeville. Broadway in City. Every Rice, lead; Fred Later on, however, the musicals vaudeville act aspired to "play the Graves, bass; developed and matured, with books on Palace," as the epitome of a career. A Owen C. Cash; serious subjects, reflecting the current well-known quartet featured in and Bill Dowling, American scene. vaudeville was the Avon Comedy Four tenor. Standing who could hold their own on any bill. behind Cantor was Songs and Stars Happy Fenton. Talking Machines Songs traveled the vaudeville circuits from coast to coast, sometimes From 1890 to 1920, most every home taking as much as a year or more to could afford an upright piano, and complete the circuit. Publishers could tell people played and sang around the

10 piano; but by the end of the second Jazz decade, phonograph records had taken over. There was a handcranked was crowned the Victrola in the parlor, with room for the "." Although many of the heavy shellac records beneath. The individual sidemen in the orchestra quality of reproduction was vastly went on to become great jazz figures, improved over the first cylinders, and the orchestra itself was not a jazz songs became hits in this medium with orchestra. The vocal trio with them, The performers like Jolson, Cantor, Paul Rhythm Boys, did perform what might Whiteman, Frank Crumit & Julia be called jazz singing. The trio was Sanderson, Gene Austin, Gallagher & made up of , and Sheen, the Happiness Boys-Emie Hare Bing Crosby, and their most popular and Billy Jones, and many popular records were "From Monday On," and quartets. "." The real jazz bands were smaller combos, usually consisting of four Radio rhythm instruments and a front line of clarinet trumpet and trombone, the And then came radio! Every home standard Dixieland setup. The most in the early twenties had a crystal set famous were fronted by star performers, and many late nights were spent trying for example King Oliver, Louis to add to the number of stations heard. Armstrong, , Earl Hines, Neighborhoods had contests to see who and Fats Waller. The best­ received stations farthest away. In 1926, known blues singers of the time were the first network, NBC, was in operation Mamie and , Ma Rainey, and heard from coast to coast! Guinan, and the "Last of the Red­ Performers climbed on the bandwagon, Hot Mamas," Sophie Tucker. They and by the end of the '20s, record sales performed mostly in speakeasies, illegal had plummeted. They enjoyed an results of the passage of the Volstead upsurge in the '30s however, when Act, the 18th Amendment to the records were featured on the radio. The Constitution passed in January 1919, that Mills Brothers, who got started in prohibited the sale and consumption of vaudeville, began to record, and alcoholic beverages. gained so much popularity that their Sound Movies records sold in the millions. John, the father who sang bass until he died, was Along with the microphone and a barber by trade. crooning came the most far-reaching Other singing groups of the decade development in musical entertainment who became famous via records and "talkies," in 1927. Lee DeForest had radio were the Rhythm Boys (Bing invented phonofilms (music recorded Crosby's original group), the Revelers, on film) in 1922, and had improved the , and the invention by 1925 to the point where Andrews Sisters, who reached the studios incorporated it on "one-reelers." height of popularity in the 1940s. Hollywood was skeptical at first since it required extensive and expensive Dancing overhauling of theatres; but in 1927 they did start adding scores to the films, With the advent of jazz, dancing taking the place of the piano player really became the craze in the '20s. It who had customarily accompanied the had been started earlier, during World "silents." War L with the fox trot and tango In October of that year, Wamer danced by the Castles. Tea dances in Brothers released The Jazz Singer, with the afternoon were popular at the best Al Jolson, and the picture grossed hotels. Jazz was stimulating and $3 million. It revolutionized exciting, and spawned the Charleston, industry much as "After the Ball" had the Shimmy and the Black Bottom. The revolutionized the music publishing dancers expressed themselves apart industry in the 1890s. The Singing Fool, from each other on the dance floor, released in 1929, grossed $4 million, much like the disco dancers of today. with tickets at the hitherto unheard price

11 of $3! In the same year, the musical implied more sophisticated harmonies Broadway Melody was released, with than the sentimental ballads of the past, singing, talking and dancing. Herb but also melodic rhythms more suited to Brown and Arthur Freed had written dancing than singing. Simple old music specifically for the movie, and dominant chords gave way to ninths, song writers like Gershwin, Berlin, elevenths, thirteenths, minor sevenths, Donaldson, Kem, Arlen and Sammy altered chords, and non-chord melody Fain were off to Hollywood to do the notes. same for the flood of musicals that inundated the '30s. Even non-musicals had to have a theme song, which very often was the title of the piciure. Big Bands The '30s were "hard times." Because so many musicians flocked to New York Musical Spectators City looking for work, the American Federation of Musicians was forced to The major effect of all this was that institute a rule requiring that a six-month instead of making our own musical residence be established in the city entertainment around the piano at before the necessary transfer of union home, we became a nation of listeners. cards could be effected. Low pay and We had the radio and records at home, the abundant supply of musicians the movie theatre just around the made bigger and bigger bands comer, and jazz bands to dance to economically feasible. Thus the era of every Saturday night. There was just not big-band swing came into being, using much reason to raise our voices in song. all the elements of jazz developed by And then came calamity on the Dixieland bands and adding the October 29th, 1929. The bottom dropped sophisticated harmonies made by the out of the stock market, causing it to increased size. close for three days. Prosperity went out Small jazz combos still flourished in the door and unemployment and soup the night clubs, but the main demand kitchens came in. The movies flourished, of the dancers was for the big swinging however, because they afforded an sound. The bands of , Ben escape from the grim reality of the times. Pollack, Fletcher Henderson, Chick And jazz became truly respectable, Webb, Jimmy Lunceford and the Casa despite dire predictions from the pulpits Loma Band were in the early around the country. After alL hadn't Paul foreground, to be followed later by the Whiteman and his orchestra presented Dorsey Brothers, , and the all­ a jazz concert in sacred Aeolian Hall? time record-setting . Jitterbugging became the new craze, followed by such variations as truckin' and peckin'. The most famous dance New Chords halls in New York were Birdland downtown and the Savoy uptown. With the proliferation of dance halls, The sedate house bands used bands became larger. Where once mostly in hotel ballrooms still used the three-part harmonies satisfied the crooners, but jazz bands demanded jazz requirements of the standard three­ singers: Mildred Bailey, Billie Holliday, voice sections (two trumpets and a , Joe Williams, and the trombone in the brass section, and two incomparable . altos and a tenor in the reeds), voices Swinging jazz is a unique style of were added to the sections, both to fill music, very difficult to perform, and the dance halls with sound and to successfully accomplished by relatively satisfy the needs of the dancers, who few musicians. The analogy might be were demanding more and more made with Barbershop harmony, also a exciting rhythms, syncopation and unique style of music, very difficult to harmony. This meant that the perform. The element both have in , who always "write to the common is the physical and emotional times" if they want to stay in business, joy of performance. Good jazz and good not only had to write melodies that Barbershop make people happy!

12 To summarize, with the demise of harmony. The golden age of quartets vaudeville, music halls and the was quickly coming to an end. What Chautauqua; the invention of the could be done to save this noble automobile and the radio; the tradition? With war tensions building in development of good quality records; Europe and America struggling to get the proliferation of talking/singing/ out of the Depression, were American dancing movies and the popularity of men interested in a vocal art that was the big bands, there was little motivation apparently falling out of vogue? to get into the act by singing together in

13 Three The Dream of O.C. Cash (1940s)

Men who had been suppressed for years poured out volume rather than quality. They were comparable to horses who'd been stabled so long that they had to prance and get the tickle out of their feet . .. Deac Martin

A person of uncommon talents closed . Here is how Co­ was needed to awaken quartetting in Founder Hall later described it in a America. Owen C. Cash was that man. taped oral history interview: A public relations genius, organizer and "We were sitting there just passing inspirer of men, it was his dream in 1938 the time of day. And Owen suggested to revive and perpetuate the singing of that he liked Barbershop quartet old familiar songs in the Barbershop singing. And I said I knew a bit about style. He, and the early pioneers of it and loved it myself. And he said, 'Let's S.P.E.B.S.Q.SA, succeeded so well that 50 you and I repose to the bar and hit years later some 40,000 members of one' ... and we harmonized a couple of "The Society" meet regularly in the soft ones very quietly and Owen said, United States and Canada in more than 'It's just too bad that we can't invite a 800 locations. Beyond that, Barbershop couple of other fellows so that we could singing, in greater or lesser degree, has have a quartet.'" spread to the British Isles, Scandinavia, And so they did. Legend has it that Holland, New Zealand and Australia. Cash tipped the bellboy a quarter to What began as the Society's theme round up two other singers in the lobby song, "Keep America Singing," has now to make up that first foursome. become "Keep the Whole World The Rupert Hall interview now Singing." continues with a question: "Was that The story of the genesis of your original thought-as you sat there S.P.E.B.S.Q.SA goes like this: In the talking and harmonizing-to get a beginning there were two Tulsa society started, or even a local club in businessmen-Owen Cash and Rupert Tulsa ... ?" Hall. In the lobby of the Muehlebach To this, Hall replied: "Cash's original Hotel in Kansas City these two men had idea was to have a directory of men in a chance meeting-both grounded Tulsa who like quartet singing. So I ovemight by bad weather that had suggested that (back in Tulsa) we'd get

14 together and invite five or ten other men, , ,just for our own fun." The Society's beginning was as simple as that. Owen Cash's dream was a modest one. Cash's Youth Where do dreams come from? Do they relate the past or foretell the future? In biblical times they were regarded as prophetic pronouncements. Surely Owen Cash had no such prophecy in mind-surely not the "explosion" of public interest and acceptance which followed news accounts of those first few Tulsa meetings. Rather it can be assumed that he looked back in fond remembrance to his youth and wished to recapture some of it for he was the product of small town life in a frontier setting. His sister relates that, "the Cash family arrived in the Cherokee Indian Territory, of what later became Oklahoma, by covered wagon in 1897 when Owen was five years old." Cash often referred back to those early years. Writing in The Harmonizer of December 1943, he pointed out that Barbershop quartet singing was "in vogue" when he was a boy. In another issue he speaks of his own quartet in 1910 (he was then age 18) consisting of four players on the local baseball team who would gather 'round the home plate and sing. In addition to quartet singing, young Cash played in his hometown band, known as the Blue Jacket (Oklahoma) founded in nostalgia for an earlier day. Owen C. Cash, an "Silver Comet Band." His wife reported But undoubtedly in 1938 there were other attorney from Tulsa, that he also played the violin in factors, also. Oklahoma, founded younger years-a fact never mentioned In 1921 Geoffrey O'Hara arranged the Society for the in earlier biographical accounts of the and had printed by the Music Preservation and founder. Company "A Little Close Harmony" of Encouragement of which "The Old Songs" is the Thus the earlier environment of 0. C. Barber Shop Quartet introduction. In 1925 Sigmund Spaeth Cash was both neighborly and musical. Singing in America, had written a well-publicized book He was at heart a country boy, Inc. in 1938_ He (later revised in 1940), Barbershop believing in the simple virtues and was not an Ballads and How to Sing Them. In the pleasures of life so typical of the authority on the middle '30s there had been magazine American of his day. At one point he subject of four-part articles-for example, both Sigmund wrote in The Harmonizer, "There is harmony, but was a Spaeth and Deac Martin (later to be our nothing wrong with our form of public relations first international historian) wrote for government that the good old­ genius who loved Esquire magazine. Deac Martin also fashioned Gay '90s idea of thrift, pride, singing and good published a book, A Handbook for honesty, energy and neighborliness will fellowship. Adeline Addicts with this explanation: not cure." ". , ,which delves into barbershopping, Pre-1938 Influences that strange phenomenon, and touches up American balladry in spots that The dream of 0. C. Cash to bring have been missed." back Barbershop harmony was In "A Little Close Harmony," for the

15 carrying the melody-just as Barbershop arrangements have always done. In the 1930s Ozzie Westley and Ed Smalle were arranging close harmony style for male radio quartets as reflected in publications by the M. M. Cole Company in Chicago and the Paul· Pioneer Company in New York. And in the 1930s no radio group was better known than the King's Men, all of whom later became members of S.P.E.B.S.Q.SA and were honored with a two·page biographical spread in an early edition of The Harmonizer. And so Barbershop harmony, usually known as "close harmony," was being sung in an organized way through written arrangements prior to the birth of the Society. But there was also another side to the story. The foregoing should take no credit away from those in the early years of the century who were strictly ear·singers, or "woodshedders." There is plenty of evidence in the testimony of Deac Martin, "Molly" Reagan, Joe Stern, Cy Perkins, Glenn Howard and a host of other pioneers that this was the way was made, by many Rupert I. Hall, an first time in the literature, the term quartets and in many places. But shortly investment broker "swipe" is used by O'Hara in a footnote before his death in 1984, George in Tulsa, happened to the music: "This arrangement for McCaslin of the first quartet champions, to meet Owen C. men's voices is frankly intended to The , wrote as follows: Cash in the faithfully reproduce and preserve that "0. C. Cash knowingly set out to tell the Muehlebach Hotel quaint American invention known as world that we never used ar· in Kansas City. the 'swipe'-Barbershop harmony." rangements. We enjoyed playing this There, they O'Hara assumed the singers knew that game with him ... but it was all a hoax." discovered that a "swipe" is a series of chord Well, it was and it wasn't. Consider Deac both of them were progressions on a word or syllable to fill Martin in his excellent book Musical quartet enthusiasts. in the rhythmic space in lieu of Americana. He writes: "The typical Their conversation accompaniment. The O'Hara barbershopper couldn't read notes-but eventually led to arrangement did have a piano part but most of his clan had their own ideas composition of a it was clearly marked "for rehearsal about the right chord and adding letter that was sent only." swipes ... " Glenn Howard, the one to Tulsa , Society member who has never missed an annual competition, and a inviting them to the Written Arrangements first meeting at the competitor in the first seven of them, Tulsa Club of a In the early 1920s, in addition to agrees with Deac. proposed O'Hara, George Botsford of Remick Whatever the legend and tradition, Barbershop quartet Music was arranging an the Society itself began to publish its organization. series of 22 Popular Songs tor Male own Barbershop arrangements as early Quartet in octavo size, including the as 1941. And so it is that the Society must ever·popular "Carolina in the Moming." accept both ear·singers and note· Other publishers were not far behind­ readers in its historical tradition. Shapiro·Bernstein, Irving Berlin, and Mills Music. In these arrangements, designed Early Contests for unaccompanied quartets, the second·tenor part was known as "lead," And then in the 1930s Barbershop

16 quartet competitions were sponsored by the Park Department by the Oglebay State Park (West Virginia), by the American Legion in Oklahoma, and by the well-known Illinois Barbershop Association of six com­ munities, of which the Society's well­ known pioneer member, Glenn Howard, was state president. Founder Cash must have known at least some of the foregoing facts. And so the idea for a Tulsa group to carry on the Barbershop tradition was not totally an innovation. Owen's flair for publicity and his love for people created the initial momentum. It was, however, fortunate that some of the earliest Society members were skilled leaders, vigorous administrators and talented musicians. What is so startling-looking back over half a century-is that the dream survived at all. Amazing that a meeting of 26 men in the Roof Garden of the Tulsa Club on April lL 1938 captured the imagination of so many people in so many places, so rapidly, and so extensively. It was a happy accident. The time was right and the foundations were in place. Fortune no officers except for the local Tulsa group Boston Music smiled and a dream came true. who met regularly at the Alvin Hotel. Company published There is not sufficient time or space, At the first convention in June 1939 Geoffrey O'Hara's in this 50th-anniversary commemorative it was decided to elect officers. Rupert "A Little Close volume to go into great detail Hall was made national president Harmony" in 1921. conceming the Society's early years. On aided by a secretary-treasurer, a master The first four the 10th anniversary in 1948 a splendid of ceremonies, and seven vice­ measures of that book of 140 pages was published under presidents. An appointed board of composition are the Society auspices, entitled Keep America directors was formed and Founder Cash "Old Songs" theme Singing. Written in vivid and would accept no title other than of the Barbershop entertaining style by Deac Martin, it "Permanent Third Assistant Temporary harmony society. captures the history of that formative Vice-Chairman." Born in , period in great detail. Seven states and 17 cities were O'Hara became a The remainder of this chapter will represented. About 150 men attended, quartet singer and attempt to reconstruct only a few paying the registration fee of $3, a arranger for the highlights and features of the first hundred of them from out of town. But Lew Dockstader decade of the youthful organization. without formal organization the Society Minstrels, which had been operating, as Deac Martin brought him to the Early Organization, Or Lack of It wrote, " ... in various states of confusion." United States. He After the 1939 Tulsa convention this published more From the first meeting on AprillL 1938 began to change. than 500 songs and until the first contest and convention, 1 2 operettas in his June 2-3, 1939, there was no formal The First Quartet Contest lifetime. He was a national organization, although on July The publicity conceming the Society charter member 6, 1938, the Society was incorporated had aroused interest in widely scattered and first president under Oklahoma law. During that time places. However, holding a contest to of the Society's Cash and Hall had membership cards select "The World Champion Quartet" Manhattan, New and certificates printed at their own was a gamble. But Cash and the Tulsa York Chapter. expense. Anyone who wrote to inquire group boldly invited "all comers" for was made a member by return mail. Friday and Saturday, June 2-3, 1939. A But there was no budget and there were little more than one year had passed

17 since the beginning, hometowns as revivalists for Barbershop A letterhead and a brochure were harmony." prepared and circulated The idea was "to hold a convention and contest and The First Midwinter Meeting tell the world how good we are," There were no judging rules, no certified The Society's first midwinter meeting judges as known today, and no score was in St. Louis on January 20. 1940. Hall sheets, So the total of participating presided and said, "The principal quartets is not known, Some organized purpose was to meet the boys and do groups came from out of town but "any some singing," Another reason was to four registered delegates could form a make plans for a second annual competing quartet," according to Cash, convention and contest as a feature of without being from the same locality. the World's Fair being held in New York Some delegates never got to . City. Dr. Norman Rathert of St. Louis first Huck Sinclair. later to sing baritone with came into prominence at this meeting the 1943 champions, Four Harmonizers, and was to become successor to Rupert came to the convention but had so Hall as second national president. At this much fun harmonizing in the hotel meeting the Society's first formal minutes lobby that he never went across the were recorded and the first chapter street to the high school auditorium chorus sang under Doc Rathert's where the contest was held direction, Quartets came from The 1939 contest was a great success, Oklahoma, Missouri, Michigan and The Bartlesville Barflies won first place Kansas, and a prize of $50. The Capitol City Four Second Championship Contest of Springfield, Illinois, came in second after a sing-off of an extra number by The 1940 New York World's Fair in the top two quartets to assist the judges New York City was an occasion to in determining the winner. broaden the scope of the Society. which When the contest was over, Deac heretofore had been regarded more as Martin reported that the outsiders who a regional phenomenon centered came to Tulsa all "returned to their principally in the Southwest. Much C. T. "Deac" Martin added publicity resulted. Maurice was born in Iowa in Reagan and Phil Embury, later to 1 890 and sang become respected Society leaders, close harmony in a were among those attending a Society boys' quartet in function for the first time. There were four 1905~ In 1932, he preliminary contests. The final contest wrote and was won by the Flat Foot Four. a published a uniformed police quartet from Handbook for Oklahoma City. Sigmund Spaeth was Adeline Addicts, a master of ceremonies in the outdoor book that delved pavilion where the contests were held. into barbershopping. Once more, as in the preceding year, Martin was also the judging was on an informaL author of numerous unstructured basis. Former Governor Al magazine articles Smith (known for his rendition of "The and a second book, Sidewalks of New York" on the pOlitical Deac Martin's Book stump) was one of the judges. He was of Musical overheard by competitor Glenn Americana, in 1970. Howard whispering to one of his fellow He wrote an early judges, "They all sound good to me. history of Which one shall I vote for?" S.P.E.B.S.Q.S.A. At the Society's business meeting entitled Keep held in a midtown New York hotel each America Singing, self-appointed attending "delegate" published in 1948, had one vote. The St. Louis contingent of and was the 35 barbershoppers had come to New Society's first York on a specially chartered railway historian. car and had enough votes to make

18 their candidate, Dr. Norman Rathert our available and were later published The Society's second national president. St. Louis was with the new constitution and other second national also selected as the site for the third Society information by Joe Wodicka, president, Norman annual convention and contest to be newly elected as national secretary· F. Rathert, right held the next year. treasurer. At that time the official list of foreground, chapters included 86 cities, representing directed the st. The Second Midwinter 29 states. Eighteen other cities had Louis Chapter Board Meeting charter applications pending. chorus at the Mayfair Hotel in N aUonal officers and board Third Convention and January 1940. This members convened in St. Louis at the Contest-1941 was the first mass Hotel Coronado on January 18, 1941. barbershopping Plans were laid for the upcoming June The home city of President Rathert, ever heard by the convention. But the principal subject St. Louis, was the site of the third annual national board. was discussion and adoption of a draft convention, July 3·5, 1941. The registration constitution which had been prepared fee was $4 for men and $3 for women, by Carroll Adams of Detroit whose star who were for the first time, Officially as a Society luminary was just invited to a major SOciety function beginning to rise. A code of ethics was heretofore reserved for men. Four deemed necessary and a committee quartet elimination contests were held. was appointed to prepare it. An annual The final contest took place at the per capita tax of 50 cents per member Municipal Opera House and was was agreed to, despite strong argument broadcast by the local CBS radio station. that it never could be collected. Phil Embury was chairman of the judges Precise minutes of this meeting are who still compiled their scores on an

19 Adams and Hal Staab. The lives of both these men were linked, beginning in their high school days in Northampton, Massachusetts, where they sang in a quartet. Adams first became a member of the Society in late 1939 and soon thereafter he enlisted the membership of his old friend, Hal Staab, who subsequently came on the national board of directors in January 1941 to represent the New England states.

A~trationofCarronAdams In early years, the official term of office began September 1. When Adams took over on that date in 194L the Society had, at last a written constitution. But finances were in shambles and the records, both of members and chapter charters, were woefully incomplete. The Society had only $105.47 in its treasury, reported Joe Stern of Kansas City, who was elected national secretary-treasurer to serve with President Adams. Years later, as part of the Society's oral history project Adams reminisced concerning his aims, paraphrased as follows: First to get the public and our own membership to take us seriously; then to become business-minded about Carroll P. Adams of overall basis (category scoring was to our new chapters, new members, our Detroit was elected come later). Whereas at the first two finances, and "we had to produce good national president annual contests the process of judging music." for the 1941-42 had been highly informaL at St. Louis The dream of 0. C. Cash was term. Adams had there was a suggested scoring pattern beginning to take form and shape, been active in as follows: Harmony Accuracy and whereas before, the idea had been forming the Blending-50 per cent; Song Selection something of a will-o'-the-wisp, a Michigan State and Originality-25 per cent; 'Stage happenstance struggling for reality. Association, the Presence-25 per cent. Now, under Carroll Adams the Society Society's first move First place went to the was coming fully awake. Later, Deac toward the of Tulsa, Oklahoma, wearing colorful Martin, in his ten-year history, Keep organization of western attire-a popular choice of both America Singing, used these terms to districts. He later the judges and the audience. Carroll describe this period: "Putting the house was named the Adams of Detroit was elected the new in order," and "fun on a business basis." Society's first full­ national president. He was an The Chicago midwinter meeting in time executive experienced organization man and his January 1942 had an agenda of 37 secretary. coming into office would mark a items. Plans were laid for the June turning point in the growth and convention in Grand Rapids, Michigan. development of the Society. Much attention was given to an analysis of contest judging prepared by The Important Years-1941·42, Hal Staab which ended with this 1942·43, 1943·44 pregnant advice: "The basis of grading is not so important as the selection of As historical events unfold, there is competent judges." The national per often a period of time which, in capita annual dues were raised to $2, retrospect takes on a special despite strong opposition. significance. Such were the years 1941·44 Later, at the June convention in during the presidential terms of Carroll Grand Rapids the of

20 Chicago became national champions. Hal Staab, elected Hal Staab was unanimously elected president in 1942, national president and he accepted on believed that condition that Carroll Adams remain in members would office as executive secretary-at first to actually have more be a part time job at $50 per month. fun if the Society were run in a businesslike way_ A Hal Staab as President sales executive, he was described as Staab and Adams were cast in the having the "rare same mold. Their wise, energetic and ability of keeping stern application of organizational one eye upon principles helped the Society survive details as fine as a and emerge permanently strong. Now, petunia seed." for the first time, there were accurate membership statistics. In 1942-43 there were 55 chapters and L802 members. In 1943-44 (Staab's second term) the SOciety claimed 96 chapters and 4,490 members-a viable organization, but not large in size, Hal Staab was not a man to stand still. He drew upon his business The Second Two-Tenn President experience, upon his membership in Kiwanis, and upon his instinctive drive Phil Embury, 1944-46 international for accomplishment. He never president combined great musical competed in an organized quartet or talent with vigorous and effective chorus, but he was a man of music with administrative leadership. He first met a gift for song composition, Staab was 0. C. Cash in 1939 and later attended his often master of ceremonies, explaining first convention at New York City in 1940 the Barbershop style to audiences in and was named to the national board understandable terms. of directors, Embury made the first Staab was the first long-range written Barbershop quartet arrangement planner, with a nine-point program for published by the Society in November the future of the Society published in Re­ Chordings (predecessor to The Harmonizer) in September 1942. During his second term, the Society became Phil Embury of internationaL with the chartering of the Warsaw, New York, Windsor, Ontario Chapter in March 1944, was chairman of When he retired in June 1944, Staab judges at the 1941 became the first occupant of a newly convention and created office, "Immediate Past contest. He was International President." He was truly a involved in the great early leader. early growth of the A way of summarizing the Adams­ Society and became Staab era is a quotation from a 1944 international letter to the board of directors from president in 1944. Founder 0. C. Cash: "I know it's not Although he had no necessary to remind the members of the formal music praiseworthy performance of Hal Staab education, he began and Carroll Adams. If we hadn't found arranging these two guys, our SOciety probably Barbershop songs would have died long ago." This was and in 1958 was a the prevailing sentiment as the Society member of the turned over the leadership role to Phil organization's first Embury of Warsaw, New York-the fifth College of president. Arrangers.

21 1941. Thereafter he served as chairman Full·Time Executive Secretary of song arrangements, chairman of judges, and as the Society's national During the Embury years Carroll vice-president for three successive terms. Adams became full-time executive Following his election, President secretary, operating from a three-room Embury outlined the following program: office in Detroit at a salary of $500 per 1) To double the number of chapters, month. He was aided by a staff of two 2) To encourage inter-chapter relations, stenographers and his boast was that 3) To spread the story of S.P.E.B.S.Q.SA every incoming letter was answered through good publicity, 4) To amend within 24 hours of receipt. As a help to and improve the Society's constitution, chapters the SOCiety published and 5) To perfect the judging procedure, 6) distributed a comprehensive three-ring To develop an achievement award loose-leaf "operations manual." Other system, 7) To guide chapters in ethical printed literature gave advice about the behavior, 8) To strengthen Society organization of new chapters. Loose-leaf financial management 9) To song arrangements were released at an encourage better chapter programs, average of one each month. and 10) To participate in community During this period The Harmonizer In 1 946 the board service and patriotic events. became an even greater asset in placed Frank H. The foregoing program was an binding the Society closer to the Thorne of Chicago ambitious one. At the end of two years individual membership, reaching a at the helm. A vice most projects had been accomplished. high of 54 pages in size. The magazine president of a But in later years Phil Embury looked contained a wide array of quartet chemical company, back with special pride on one element chapter and district information, and he provided the of his success-the increase in historical and craft articles by well­ Society with membership strength from 4,490 to known SOCiety leaders such as 0. C. executive talent. He 12,056 and in chapter charters from 96 Cash, Sigmund Spaeth, Joe Stern, Frank had also sung bass to 239. Today this record stands forth as Thorne, Deac Martin, George O'Brien, in the Elastic Four, the greatest percentage increase for a and Charles Merrill. 1 942 international two-year period in the Society's long W orId War II now over, the Society champions. history. continued to grow and kept using its wartime motto "Keep America Singing." In 1945, while on a postwar trip to his home in Kansas City, President Harry S Truman visited a local chapter meeting and accepted Society membership. The nation was at peace and happy times contributed to more music of all kinds­ the Barbershop style included. At the close of his two-year term in June 1946 at the Cleveland convention, President Embury gave his valedictory. He asked for closer supervision in establishing and chartering new chapters. President Embury called for more members, but based recruitment policy on quality rather than quantity. He further emphasized that "the ultimate success for our chapters depends largely on local leadership" and on obedience to the Code of Ethics.

Frank H. Thorne- An Extraordinary Leader There are three types of elite status in the S.P.E.B.S.Q.S.A. There are international quartet champions, intemational champion chorus directors

22 and international presidents. Frank Upon Thorne's election as president. Thorne, elected president in June 1946, The Harmonizer for August 1946 called is one of four men who qualifies in two him " ... responsible for laying many of these categories. (Lou Laurel, Bill foundation stones in the structure of Busby and Fred King are the other S.P.E.B.S.Q.SA He has brilliantly chaired three.) He was organizer. arranger. and such committees as Laws and key man for the Elastic Four, who won Regulations, Ethics, Song Arrangements, gold medals in 1942. And in 1946·47 he and, since its inception, the C & J distinguished himself in presidential Committee." This record continued leadership for the Society. Thorne's during the Thorne presidency and for name is legend in early SOCiety history. many years thereafter until his death in When Thorne joined the Society in October 1956. late 1940 he was already a highly Frank Thorne did not suffer fools successful business executive in gladly, but did have a sense of humor Chicago who was to put all of his and loved people. As he left the administrative talent to work in a new presidency, his final words were, "Let us hobby. Soon thereafter he was be determined ... to spread good nominated to serve on the board of fellowship within, as well as without. our directors and then for two years to serve great Society." as a vice president. On the board and Approaching the executive committee he was a vigorous Attorney Charles M. spokesman-accustomed to having his 10th Anniversary Merrill of Reno was views prevail. And his instincts and Charles M. Merrill became the elected to head the recommendations were usually right on Society's president·elect unanimously at Society for the the mark. Milwaukee in 1947. He was a man of 1947-48 term. At Frank Thorne's musical talents were musical ability-a quartet man, an age 40, he was one many. A friend from his university days arranger. a musical researcher through of the younger of (Illinois, 1914) remembers his skill on the The Harmonizer column, "Barbershop the early guitar, banjo, mandolin, and violin­ Bafflers." Merrill was founder of the Reno, presidents. In later with lesser abilities on piano, cornet. Nevada Chapter, coming onto the years, he was trombone, saxophone, and trap drums. board of directors in 1944, then later appointed federal Truly he was a one·man band. becoming vice president in the Thorne appeals court judge These musical abilities, great as they administration. in San Francisco. were, must give way to Thorne's impact on the Society's administrative development. Early on, he was chapter president and chorus director. His column for The Harmonizer, "Spark Plugs," made many suggestions for chapter improvement during the 1940s. As international president he encouraged and directed a broad range of volunteer activities through a structure of 20 committees. District organizations were encouraged; The Harmonizer was placed on a subscription basis with direct mailing to the membership, and the international headquarters staff in Detroit was greatly strengthened. But perhaps his greatest administrative role was to lead in clarifying and making more precise our contest and judging procedure. With his great friend and fellow musician from college days, Maurice "Molly" Reagan, Thorne conducted the first training schools for judges at the Cleveland convention in 1946 and again at Milwaukee in 1947.

23 President Merrill's column in The Harmonizer emphasized the importance of choosing chapter officers who were "conscientious, hard·working men," and avoiding selections merely on a popularity basis, "Good old Joe," he said, "is not always good officer material."

More Improvements In advance of the 1948 contests, judging rules were again given prominence, There were to be two judges for each category, as follows: Harmony Accuracy-total of 600 points; Voice Expression-600 points; Arrangement-600 points; Stage Presence and Enunciation-200 points, A massed chorus sing·out on the steps of the Oklahoma State Capitol was planned-a new first for the convention week. The program also provided for an increased schedule of seminars and training sessions for membership information and improvement. in willis A. Diekema, When elected, President Merrill was addition to the contest sessions, These an international forty years old-already a prominent included: judges' conference, song board member, Reno lawyer, later to be elected to the leaders' class, chapter officers' composed the song Nevada Supreme Court, Still later he conference, members' information that became one of received a federal appointment as session on judging procedures, and a the Society's Judge of the Ninth U.S, Circuit Court of class for chorus directors, Education and themes, "Keep Appeals sitting in San Francisco, In his training opportunities were thus added America Singing." judicial robes, Charles M. Merrill was to the general fellowship and quartet The song was probably the most distinguished Society listening pleasure of the convention introduced at the member in public life, He also has week. These early sessions, however, international another distinction as one of two were quite informal and unstructured as convention in brothers, both of whom rose to occupy compared with later developments in Milwaukee in 1947. the intemational president's chair in Barbershop craft. But quartet singing still S,P,E,B,S,Q,S,A. (His brother, Art. was predominated. After the 1948 convention president in 1957.) it was estimated that the audience for As the Merrill term began, the the combined semi·final and finals convention attendees in Milwaukee contest had listened to 24,000 separate heard for the first time Bill Diekema's chords, "No wonder I am tired," said one stirring song, "Keep America Singing," of the judges, The Society now had 352 chapters and 18,800 members, Winding Up the 1940s­ All eyes were now fixed on the 10th· President O. H. "King" Cole anniversary convention to meet the next year in Oklahoma City, In years prior to his intemational Preparation of a commemorative presidency, no man had more anniversary history book was under missionary zeal in starting new way, edited by Deac Martin, An Old Barbershop chapters than King Cole, In Songs Library had been proposed, his oral history interview (July 1969) he Some early attempts at organizing and explained how he organized eight coaching high school quartets were Wisconsin chapters, including evident and Intemational Chairman of Sheboygan and Manitowoc, of which Judges Reagan promised to present he was simultaneously the chapter such a group at the next convention, president.

24 President Cole was a big man­ impressive both in size and personality. King Cole was congenial and gregarious-instantly likeable. He came on the international board in 1946 and was soon assigned to the Committee on Extension, where his business talents and sales experience could be made applicable to Society growth and development. Serving one term as vice president in 1947-48, he was the obvious choice for international president in 1948. Then followed his election to a second term at the Buffalo convention in 1949. These two years were happy ones for the Society. In musical terms the tempo was upbeat. By 1950, when President Cole retired, our membership reached a peak of 26,900 with 661 chapters. It would take more than six years to top this high point for in the early 1950s the Society was to suffer a severe membership decline. Among other notable events in the Cole presidency, these may be mentioned: 1) The DECREPITS (past international board members) organized and became active as a most effective in advancing Society o. H. "King" Cole of subsidiary group meeting annually at goals. Volunteer services were Sheboygan, convention time; 2) Armed Forces unsubsidized and at a high level. The Wisconsin was Collaboration was adopted as a Society was in good hands. elected to steer the Society program with active Society through its cooperation and the publication of eleventh year. quartet training materials and song The 1950 Midwinter Meeting When he assumed arrangements by the military; the office, the 3) Overseas tours to military bases by King Cole presided at a well· Society had 23,783 Society quartets began; 4) Chapter attended, four· day gathering of the members in 480 chorus activity came to life in many international officers and board, and chapters. places; 5) District chorus contests began many Society members from the to appear, although there was to be no eastern and midwestern states, held in international chorus recognition for the nation's capital city, Washington, several more years; 6) Following the D. C. The midwinter meeting was long Buffalo convention in 1949 the relative thereafter remembered for its musical scores of contest quartets were made and administrative accomplishments. available. Judging was no longer a The District of Columbia Chapter, 175 secret process. members strong, was the host. A first·time In his writing and in his talks, feature of the meeting was an President Cole argued eloquently his internationally conducted quartet desire for a permanent headquarters clinic-and, by contrast a "Harmony home or "shrine" as he called it. Gala" produced and staged entirely Fulfillment of this dream was, however, with local chapter talent. The D. C. years away. Another Cole proposal was Chapter was known as a "guild of for a lengthened convention week to quartet singers." At the Society's annual give time for more membership midwinter convention concert there information and training sessions. appeared not one, but two separate During the Cole regime annual chapter choral groups, handsomely dues were still at $3, including The uniformed in red coats and green coats. Harmonizer subscription. The There were also 14 chapter quartets in headquarters staff remained small but performance on stage at Constitution

25 27e Association 0/ Discarded ana'Decrepit Past Members 01' SPEBS.QSA. Board 01 Directors Without \Oice add Without Portfolio. NOT INC.

The DECREPITS, an Hall, and an elite small chorus known informal and varied. But the 1941 booklet organization of past as The Precisionists. Society officials had did give these suggestions, condensed international board never before seen such an artistic in part: members of the display from a single chapter and they "Choose a meeting place where no Society, was responded with great enthusiasm and one would hesitate to attend, such as a organized in 1949. approval. schooL church halL community halL or The decade of the 1940s was now popular hotel. Select a place where rapidly drawing to a close. As the June lunch and refreshments can be served convention in Omaha approached, and privacy can be had. Avoid President Cole recognized the end of an connections with saloons and liquor era and wrote in a closing article of The parlors ... Hold about two regular Harmonizer: "There is nothing in the meetings monthly ... Strive to invite as world, absolutely nothing, quite like entertainment features some local S.P.E.B.S.QSA What a debt we owe to the Singing celebrities, musicians, quartets, Society that makes all this pleasure or a neighboring chapter ... Make it a possible ... In harmony we have point to introduce guests and tactfully something the world needs. We practice invite them to become members ... " it in our singing. We should practice it in There were no chorus directors as our everyday life. If we do, we can be known today. Rather at every chapter a great inspiration for good in our meeting it was customary to have up respective communities ... " front an energetic member as master of Before concluding this historical ceremonies. He would start off leading review of the Society's beginning and the group in the theme song, "The Old the decade of the 1940s, there are Songs," followed by gang Singing of Old, several topics which should be familiar Barbershop favorites. A chapter mentioned. member would call out, "Let's sing 'Dear Old Girl''' and away they would go. This Chapter Meetings in the 1940s was ear Singing at its best-informal group harmony without the benefit of From 1938 on, under the stimulus of the printed Society arrangements which the 0. C. Cash dream, and before the came in later years. national (later international) or· After half an hour or more of this ganization took definite form and activity the MC would call up quartets shape, local groups of men were or local musical celebrities to entertain. meeting regularly to Sing Barbershop Often four men would Slip away from songs under Society auspices. Following the main meeting as an impromptu the first two contests (1939 and 1940) and quartet to rehearse in a back room and the January 1941 midwinter meeting in later sing for the group. At some point St. Louis, the Society published its first there would be a break for refreshments printed informational and historical and informal SOCializing and joke booklet. Listed therein were 73 chapter telling. The business session (if any) was locations in 29 states, plus 18 chapter brief. applications pending. At each meeting in the early years At that time and for some years there was apt to be a lot of spirited following, chapter meetings were quite horseplay and tail·twisting-all in the

26 spirit of good fun. Barbershoppers of that his early efforts with Co·Founder Rupert In the late 1940s generation were gregarious and prone Hall to gain favorable publicity for what the Society's Armed to sing with or without an invitation. Mid· many thought was only a passing Forces Collaboration point in a meeting (to quote again the joke-that twelve years later, "the Program was Society's 1941 booklet), " ... the boys will Society with the funny name" would adopted. The be raring to break up into quartets, have 26,900 members throughout the program reached its quintets, octets and other groups for free· United States and Canada. high point in June, for·alL catch·as·catch·can harmonizing, But it happened. It happened 1953 when U. S. Air here, there and everywhere." because fortune smiled, publicity Force area The Society and World War II blossomed, and the times were right. conferences in the More than that it happened because so continental United During the early 1940s the nation many men of stature, the early leaders, States and overseas was at war. The typical early believed in the O. C. Cash dream and commands barbershopper was beyond the draft helped to make it an acceptable and sponsored the first age and there were few young men eventually respectable style of music. World Wide Air remaining on the home front to be Even so, many of these early years can Force Barbershop recruited as members. Under best be described as "happy accidents Quartet Contest. encouragement from S.P.E.B.S.Q.S.A., with unanticipated good results." Winners were the President Hal Staab and his board of The Scottish writer Thomas Carlyle Rip Chords of directors, chapters were strongly urged said, "History is chiefly biography." Warren Air Force to engage in patriotic activities, such as People make history. And so this Base in Cheyenne, providing entertainment at nearby chapter has emphasized early Wyoming. Members military camps, and at war bond rallies. personalities and a few selected of the Rip Chords There is some evidence of Barbershop highlights of what happened in those were, from left, Bill activity in troop units, such as the early years. No attempt has been made Lovins, tenor; chartered chapter at Fort Benning, to delve deeply into many facets of Marvin Swenson, Georgia, as reported in The Harmonizer organizational life-the minutiae of lead; Don Coughlin, for March 1944. But the real effort to brtng many decisions (and some mistakes) bari, and Robert Barbershop music to the military made by officers and boards of Walkley, bass. services did not come until the late 1940s directors. Those interested should consult with the adoption of the Society's Armed our official minutes of board meetings, Forces Collaboration Program and the the pages of The Harmonizer, the sending of Society championship transcrtpts of the oral history project and quartets overseas to entertain and Keep America Singing. demonstrate the Barbershop style of Rather, the pages of this chapter are harmony to military units on active duty. an unretouched snapshot of our formative years, minus many Conclusion background details. If this chapter needs a dedication, it Founder O. C. Cash never imagined is to the elder statesmen who made the in his wildest flights of fancy-or amidst dream of 0. C. Cash come true.

27 Four Here Come the Judges

The basis of grading is not so important as the selection of competent judges. Hal Staab

DUring the 1950s the Society's notes, conferred briefly backstage, had musical quality improved and matured two leading contestants sing an extra and the contest and judging system song and then announced a winner, played a major role in the process. the Bartlesville Barflies! (A list of This musical adjudication system, Intemational Championship Quartets developed over the years, has been and Choruses is included in the one of the comerstones of the Society. It reference section.) The second contest has resulted in a striving of quartets and at the New York World's Fair in 1940, was choruses to sing better and has led to judged in the same manner. Categories the increased proficiency so evident and score sheets were unknown. today. While organized Barbershop quartet competitions are only about 50 First Categories years old, the competitiveness of the As recounted by Frank Thorne, the average American goes back much judges at the Michigan State Contest in further. Thus, it is not surprising that Grand Rapids in March 1941 consisted of Barbershop contests would quickly himself, Phil Embury, Cy Perkins and follow the beginning of the Society. "Molly" Reagan. Over dinner preceding However, even before the founding of that contest they settled on a pattern of the S.P.E.B.S.Q.SA there were quartet scoring: Musical Arrangement-30 per contests in New York City, Illinois, cent Harmony Accuracy-30 per cent Oklahoma and West Virginia. Voice Expression-30 per cent and Early Contests Stage Presence-IO per cent. Costume was completely ignored, since very few The first Society contests were held quartets attempted to have any; singing with few rules. Knowledgeable was the primary objective. The one members chosen as judges scored each specific rule for that contest was quartet on "all points from appearance formulated by Carroll Adams: "No to harmony effects." At the first annual quartet may sing longer than six contest in Tulsa in 1939 the judges made minutes."

28 The Society's first international quartet champions, the Bartlesville Barflies, were winners of a contest held in Tulsa, Oklahoma in 1939_ Quartet members were, I.to r., George McCaslin, tenor; Harry Hall, lead; Bob Durand, bari, and Herman Kaiser, bass.

At the national contest in St. Louis in board approved 24 members for such 1941 the judges scored on the basis of 50 duty. The "certification" of judges was per cent Barbershop Harmony and started in 1949. Blend, 25 per cent Song Selection and Originality, and 25 per cent Stage Presence. The introduction of that system Scoring Systems­ has been attributed to Dr. Norman "The Slide Rule" Rathert who was president of the The weighting system of 1943 was Society at that time. Only quartets also short-lived and in 1944 at Detroit a competed; chorus contests were not to new system was developed in which appear until much later. (However, an Harmony Accuracy was allotted 300 organized chorus, under the direction of points per judge, Voice Expression Dr. Rathert performed at the St. Louis (including blend, attack and release, midwinter in 1940.) The weighting of shading, time, rhythm, and enunciation) categories used at St. Louis was short­ was allotted 300 points, Musical lived. In 1942 at Grand Rapids the Arrangement was allotted 300 points, quartets were judged on the basis of 25 and Stage Presence was allotted 100 per cent Harmony Accuracy, 25 per points. Interestingly, this was the same cent Song Arrangement 30 per cent weighting which had been used earlier Voice Expression, 10 per cent Song by Thorne, Embury, Perkins and Reagan Selection, and 10 per cent Stage in early 1941. In 1944, however, the eight Presence, including costuming. chosen judges were given specifiC Certification assignments, two to each category. Based on a conversation with Joe The same system was used in 1943 at Wodicka, one of the eight judges, the the contest in Chicago but as recounted procedure was very informal. by International Historian Dean Snyder, As Wodicka recalled, "The first a new wrinkle was added: a judges' quartet in that contest sang only 1lI2 scorecard was printed for the first time. minutes and sang well with few Joe Wodicka was one of mistakes. The (adjudged judges at the contest and he reported the winners) sang for six minutes ... In that they sat two seats apart in the those days there were no time limits, so balcony of the theatre and each judge Maurice Reagan, who was a judge and marked all categories. The number of also an engineer, took out his slide rule qualified judges available for contest and all scores were mathematically work was growing; in 1943 the national adjusted to the six-minute level."

29 Prelims Some of the background has been provided by International Historian The first printed brochure of Contest Dean Snyder. as follows. & Judging Rules was a four-by-eight­ "The story goes back to the 1942 inch pamphlet of six pages, published contest and to a correspondence file in advance of the 1945 contest. This was provided by Tom Masengale, who sang the first year in which preliminary bass with the Chord Busters, a very sectional contests were held (now popular champion with a large called Intemational Preliminaries). At repertoire (gold medalists at St. Louis in each of four sectionals that year the 1941). Carroll Adams, then the Society's same panel of judges was used. At the president urged the Chord Busters to re­ conclusion of all sectionals a composite compete at Grand Rapids in 1942, listing of all scores was made and the despite the experience of the Flat Foot twelve quartets scoring highest (no Four, 1940 winners in New York, in not matter which sectional contest they had being able (rumor has it they were not entered) were the final competitors at permitted) to re-compete at St. Louis the the contest held for a second year in following year. The Chord Busters Detroit and won by the . declined Adams' invitation, but agreed to come to Grand Rapids as non­ competitors to receive championship Champs Don't Compete Again audience recognition and to 'sing up a Maurice E. "Molly" In the very early days of the Society, storm' in the hotel lobbies. The Elastic Reagan of the champions were allowed to defend Four won at Grand Rapids and was their title. For example, the Bartlesville subsequently Frank Thorne reported in chairman of Barflies competed again in New York in a letter to Masengale that the Elastics international judges 1940. However, they lost first place by the had voted to emulate the Chord Busters from 1 942 until narrow margin of one point to the Flat and to attend the next convention, but 1 948. Starting in Foot Four. The policy soon changed to, not as competitors. 1946, he held a "Once a champion, always a "Following the example set by the judging school at champion, or, intemational champions Chord Busters and the Elastics, ever each international never compete again under the same since 1942 a quartet champion, once convention. name and with the same personnel." crowned as such, was never to be dethroned. They would always remain champions. However, some individual members of champion foursomes have subsequently sung with other-named quartets and sometimes have won again the coveted gold." In the late 1970s an informal survey of past champions was taken by the International Contest and Judging Committee to determine whether or not they (the champions) wished to re­ compete. The response was unanimously, "no," thus reinforcing the original policy initiated voluntarily by the Chord Busters and the Elastic Four. The system of judging used in 1944 prevailed until 1948. In that year enunciation was given to the Stage Presence judge and blend was added to the duties of the Harmony Accuracy judge. Jean Boardman, Washington, D.C. attorney, insisted on heretofore secret scores being made public and he codified the various rules into a manageable booklet.

30 Outside the District commented at the end of a grueling The Chord Busters, international contest, "The only ones 1 941 international In the early regional and district who agree with the judges are the champs, declined an contests (e.g., in 1948) one judge was winners, and they're outnumbered." invitation to assigned to each category (i.e., a single The contest rules in 1948, most of compete in 1942, panel) and judges were always which are still in effect today, were as establishing the selected from outside that particular follows: tradition that district. In the international contest two 1. The duration of singing time in champions would judges and an alternate were assigned each performance must fall within four not compete again to each category (Le., a double panel) and five minutes. and therefore, once with the alternate's score being used 2. Religious and patriotic numbers crowned, could when a quartet was from the same area may not be used. never be dethroned_ as one of the regular judges. Apparently 3. A member may not sing in more Members of the it was recognized very early that every than one quartet in a contest. quartet were, from attempt should be made to achieve 4. All members of competing left: "Doc" Enmeier, strict impartiality in judging. This quartets must be members in good tenor; Bob philosophy is still adhered to, sometimes standing and non-professionals as a Holbrook, lead; at considerable financial expense to quartet i.e., deriving less than half of Bobby Greer, bari, some districts, but the principle of their income from occupations in the and Tom Masengale, fairness to all contestants far outweighs field of music. bass. other considerations. Fortunately, the 5. Penalties are incurred for current training, certification, and re­ excessive use of sixth, seventh, ninth or training of judges, together with diminished seventh chords, i.e., evaluation of each judge's "modern" harmony. performance in every major contest 6. Each song must end on a major provides added assurance that or tonic chord consisting of do-mi-sol contestants are being judged on their tone combinations. true merits at any given time. 7. Entrance and exit from the stage In spite of these safeguards, not counts in Stage Presence scoring. everyone agrees with the contest results 8. The original melody of a song on every occasion, even to this day. As may be altered by one or two tones but Arrangement judge Maurice Reagan only to obtain a desirable chord

31 sequence. Refining the Rules 9.Small differences in dress uniformity can draw penalties. In 1955 the Chorus Contest rules were 10. A quartet does not gain points by revised: 1) A limit of one chorus per writing its own songs. district 2) Directors must be Society 11. A chord structure with the seventh members, 3) No director may direct tone in the bass is permissible only as a more than one chorus and no member passing chord. may sing in more than one chorus, 4) 12. An occasional chord may be The minimum number of men in a used with the tenor below the melody. chorus shall be 20, including the 13. The presentation, when the director. In the original chorus contest melody is carried by the lead while the rules, the international champion accompanying harmony is hummed, is chorus had to remain out of competition permissible. for three years before being allowed to 14. Period costumes do not win points re-compete. In 1958, this stipulation was over uniform dress. changed to two years, the rule currently 15. The relative ratings per song shall in effect. be made available to the contestants Contest rules for both quartets and after the contest. choruses changed only slightly during the late 1950s. Some were clarified or Chorus Contests given added emphasis, e.g., potential disqualification (by majority vote of the By 1952, a new facet in Barbershop panel) for modern harmony. Service competition was gaining steam-chorus quartets were no longer allowed to contests. In the summer of 1952, both the appear in Society contests in military Land 0' Lakes District and the Johnny dress. The definition of sacred or Appleseed District held chorus contests religious songs was clarified and with more than LOOO barbershoppers examples given, thanks to Harold "Bud" and members of their families attending Arberg. Bob Fraser helped bring an each. These were not the first chorus awareness of vocal quality in Balance contests in those districts but they were and Blend and Harmony Accuracy. indications of the growing enthusiasm. The International Contest and Others of the 14 districts had chorus Judging (C & J) Committee was contests scheduled for the late summer expanded in 1958 to include the District and early fall months. The first Michigan C & J Committee Chairmen. This District chorus contest was held in July created a closer liaison with the of 1952 with nine choruses competing International Contest and Judging and roughly 2,100 barbershoppers and Committee and also expedited the their families attending. training and graduation of judge The first international chorus contest candidates. was held in Detroit at the 1953 An important change was also convention. The winners, the Great made in 1958 in the method of Lakes Chorus of Grand Rapids, elimination at international contests. Michigan, were acclaimed the "1953 Forty quartets would compete in the Intemational Convention Championship quarter-finals, then the top 20 in the Chorus." Fifteen other choruses semi-finals, and, of these, the top 10 competed and the affair was would sing in the finals contest. considered a big success. It was an More Quartets experiment to test the popularity of the chorus contest idea, but not all districts The number of quartets competing were represented so it was not until 1954 in the international contest was 40 for in Washington D.c' that the winning a number of years. In 1945 this was chorus, the Singing Capital Chorus of the increased to 41 for one year only, to host chapter, could be crowned the accommodate a population increase in "S.P.E.B.S.Q.S.A. International Chorus the Ontario District. In 1961 the number Champions." Some 889 men in 23 was increased to 45. Each district was choruses were involved in that contest automatically given one "free" quartet which from then on became an official with the remaining quotas determined part of the annual convention program. on the basis of membership totals. In 1976

32 the number was increased to a Arrangement and Voice Expression. The first chorus maximum of 49 with the additional four Changes in these categories were contest held at an quartets coming from those districts approved by the intemational board in international having medalist quartets of the previous early 1970 and these took effect in the convention was year, providing those medalist quartets fall of 1971. Basically, the C & J program won by the Great competed again and qualified. was revised so that the Arrangement Lakes Chorus of In many of the early contests, the judge would be responsible for a Grand Rapids, chairman of the panel also acted as musical analysis of the arrangement Michigan, under judge in one of the categories. being sung rather than how it was direction of Bob Beginning with the fall contests of 1962, being sung. In other words, the Weaver in 1953. the intemational board required that all Arrangement judges were charged The contest was district and intemational preliminary with being guardians of the Barbershop held in Detroit and contests be chaired by a qualified style. The scoring for the Arrangement 15 choruses judge who would act solely as Category was changed from the 100 competed; however, chairman of the panel and be points per song to plus-or-minus 20. not all districts responsible to the Intemational C & J Minus points (up to 20) were given for were represented. Committee for conduct of the contest. deviation from the Barbershop style and Also in 1962, the board added to the plus points (up to 20) were awarded for chorus contest rules a provision that "no artistic employment of embellishments members of an eliminated chorus may consistent with the Barbershop style. The be permitted to compete at higher level net total points were then added to, or with a chorus which won the subtracted from, the total of the other elimination contest." four categories. The result was that an Arrangement score of zero could be Category Revisions considered a good score. This concept in itself took a little getting used to on the Beginning in 1967 an intensive study part of many contestants! More was initiated to define more clearly the significantly, it at any time, a minus concepts underlying some of the score of 20 was accumUlated, the judging categories, particularly arrangement was automatically

33 Along with the inception of the new Arrangement and Interpretation Categories, the concept of "refresher seminars" for current judges was initiated and this was begun in 1972. These category schools are still in effect and every certified judge must now attend a Society-sponsored school in his category at least once every four years in order to remain certified.

More Categories In 1972 another important rule was reiterated: a judge could be certified in only one category. In 1979, when the Chairman of Judges Category was initiated, this rule was modified to allow a judge in another category to be a chairman of judges also. The year 1972 also brought the beginning of plans to replace or combine the Harmony Accuracy and Balance and Blend Categories. These plans went forward and in 1975 a Howard Mesecher disqualified. A disqualified song, or category description for the new Sound was instrumental in arrangement would receive zero points Category was adopted by the planning major in all musical categories. It would not international board of directors. The first changes in the affect the score of the other song and the school for this category, involving 58 contest judging contestant would receive a full Stage men, was held preceding the 1975 categories that Presence score for both songs. This international convention in went into effect in revised procedure for judging Indianapolis and the category went 1971. One result of Arrangement is still in effect at the time into effect in the fall of that year. these changes was of this writing. Instrumental in planning The essentials of the Sound Category that the the changes were Howard Mesecher were developed by a committee Arrangement and Burt Szabo. consisting of Don Clause, Emmett Category judge Bossing, Billy Ball, Hank Vomacka and became the More Revisions Don Flom, and assisted by Jim Richards, guardian of the Mac Huff and Bob Johnson. Barbershop style. Because of the change in the Also in 1972, plans were started to Working with Arrangement Category, the pre­ review and possibly revise the Stage Mesecher in sentation factor was shifted to a new Presence Category. Under the effecting these category called "Interpretation." The leadership of Jack Hines and Ray Glynn changes was Burt new category also included all the this effort resulted in the placing of more Szabo. components of the existing Voice emphasis on song presentation, i.e., Expression Category except attacks visual interpretation, relative to other and releases. Thus, the Interpretation aspects of Stage Presence such as attire, judges were charged with adjudicating entrance, exit, and pitch pipe the artistic presentation of the song, technique. The importance of visually including tempo, rhythm, phrasing, selling the message in a believable dynamics and diction. Errors because of manner is foremost and changes in the improper attacks and releases were to rules to support this concept were be handled in the Balance and Blend officially instituted in 1980. In 1984 rules Category. Again, the Interpretation were adopted relaxing some of the Category, as instituted in 1971, is still in earlier, long-standing prohibitions. For effect today. Howard Mesecher, Ken example, singing entrances and exits Williams and Phil Winston were were no longer prohibited and a chorus responsible for developing the director no longer had to remain in full Interpretation Category. view of the judges and audience at all

34 times. On the other hand, verbal major component of stage presence is comments and entrance/exit violations song presentation. This requires the became causes for disqualification sensitive, artistic application of all the rather than merely forfeiture of Stage visual techniques available to the Presence scores. performers, from pathos to comedy, and Most of the suggestions for rule is limited only by the scope of the changes are submitted within the performers' imagination. This accounts Intemational C & J Committee and then for 85 per cent. Non-singing time, which submitted to the board for approval. covers entrances and exits, how the However, some changes are brought on audience is greeted, applause by extemal pressures when a loophole acceptance, and pitch pipe technique, or vagueness is discovered in the rules. makes up 9 per cent of the score; attire Sometimes rules are changed because accounts for the remaining 6 per cent. of concem for the Society's image. Examples of the latter are prohibitions The Guardian against use of blackface (1979) and As stated earlier, the Arrangement female impersonations (1982). Category is the guardian of the At this point it may be well to Barbershop style of music. In this context summarize the basic elements of each the judge determines whether the song of the categories as they exist. is in good taste and is free from patriotic Expanded Sound or religious connotations. He assesses the adaptability of the song to the The Sound Category is concemed Barbershop style, and the degree to with the degree of achievement of which the arrangement supports the "expanded" sound, with good song's lyric, melody and rhythm, and expansion resulting from the whether it is faithful to the harmonic reinforcement of consonant overtones. progressions implied by the song's The main contributors to expanded melody. It is the duty of the sound are 1) accurate intonation, Arrangement judge to disqualify 2) uniform word sounds in good quality, unacceptable songs and arrangements 3) proper volume relationships, i.e., as well as to reward artistic use of balance, and 4) precise attacks, embellishments. releases and synchronization of word sounds. The Workhorses of the C & J System Mood Creation Category involves the The Interpretation Category is bookkeeping aspects of contest concemed with the degree of artistic operation. Much of the work of the transformation of a song into an secretary is done before the contest emotional performance. The judge such as preparation of forms, bases his score on the continuity and communicating the needs of the panel intensity of moods appropriate to the to the convention chairman, instructing song. The development of mood timekeepers, and generally aSSisting the depends upon features of the song such chairman of judges. During the contest as lyric, melody, harmony, rhythm and he collects, checks, tabulates, totals and meter as well as on the use of validates the scores tumed in by the interpretive musical devices such as scoring judges. Having ascertained that tempo, tempo changes, phrasing, these are correct he then prepares the dynamics, word inflection and diction. Official Scoring Summary for distribution. The latter is usually done following the Visual Enhancement contest so it is clear that the secretary must often put in long hours at his job The Stage Presence Category is while others are enjoying wood­ concemed with the visual projection of shedding and afterglows._ the theme of the song or medley. If this The newest category (1978), that of is done in an understandable, Chairman of Judges, is concemed with convinCing and enjoyable manner, the the smooth and orderly operation of the overall presence is enhanced. The contest. As in the case of the secretary,

35 Judges for the 1968 the chairman of the judges has many steady improvement in the consistency International duties to perform, both before and after of the judging process. The performance Quartet Contest in the contest. He must correspond with the of every judge is monitored closely by Cincinnati posed on convention chairman regarding analysis of his scoring relative to other the risers. Panel physical requirements at the contest site, scores in the same category. For members were: must brief the panel and contestants, example, if two judges in each of the back row Dan keep a running total of scores for Sound and Interpretation Categories Waselchuk, VE; Burt comparison with those of the secretary, are ten points or more apart in the Szabo, Arr; Loran and is ultimately responsible for the scoring of a song, they must submit a Bogart, SP; Jack accuracy of the published scoring discrepancy report to their respective Hines, SP; Ron Ball, summary. Not incidentally, the category specialists. Similarly, two Stage Sec; Steve chairman of judges must also constantly Presence judges must do the same if Dickinson, Arr; evaluate the judges and judge their scores are nine points or more middle row: Billy candidates working under him and apart for a given song performance. In Ball, B&B; Ed must submit reports on their the case of Arrangement a discrepancy Duplaga, Timer; performance. report must be submitted for Burt Staffen, Arr; With the advent of the four scoring discrepancies of five or more points per Marvin Yerkey, B&B; categories in 1975, the distribution of song. Don Flom, HA; Sev available points per performance In addition to this check on their Severance, Sec; Bob became 200 each for Sound, scoring, all judges are required to submit Shoenhoff, Chmn. of Interpretation, and Stage Presence, and a tape of an Analysis and Secs; front row: plus-or-minus 20 for Arrangement. There Recommendation (A & R) Session Hap Bailey, VE; has been much discussion of whether or (generally three quartets and three Emmett Bossing, not this is the most equitable weighting choruses) at least once annually. As a Ass't. Chmn. of of the categories. A widely distributed result of increased consistency, it is now Judges; Howard questionnaire in 1977 addressed this possible to draw from a larger pool of Mesecher, Chmn.·of point as well as others, and the results judges each year to judge the Judges; Oz indicated that the weighting adopted in international contest. To promote this Newgard, B&B; 1975 was generally favored by the process even further, the international Chuck Abernethy, majority of those responding. board approved a rule in 1981 requiring SP; Bob Dunning, that a judge in an international contest HA. Missing from not serve on that panel again for the the picture were Scoring Discrepancies next two years, unless he is the category Ken Williams, VE; specialist. That rule went into effect in With the increased training of judge Bob Loose, HA; and 1982. candidates and the mandated periodic Toby Groves, Timer. recertification of judges has come a

36 The Corps 01 Judges Latest Developments The "proof of the pudding," of course, In 1985 the intemational board voted lies in the caliber of the quartet and to invite one quartet each from the chorus champions chosen and British Association of Barbershop Singers certainly on the international leveL this (BAB.S.) and from the Society of Nordic has been consistently high. This is not Barbershop Singers (S.N.O.B.S.) to only a credit to the talent perseverance, compete in the 1986 international and hard work of the winning contest. This increased the potential contestants but also an indication of the number of quartets for that contest to 51. credibility of the contest and judging For several years there has been system. More and more members are discussion of an entertainment contest being drawn to the C & J ranks; in 1985 allowing a wider latitude in song there were 260 active certified judges presentation, in addition to the current and 100 candidates. contest format. Perhaps the most exciting concept of all is the Seniors Quartet Contest started at the midwinter meeting at Tucson in 1986. The possibilities that such a contest presents The Computer for the future are exciting to contemplate. Further innovations are either in the Competition has been a healthy works or are being considered. Instant and integral part of our Society's growth. computerized scoring summaries, Without it we would be just another initiated in 1982, allow the contestants singing society with occasional musical and audience to leam the full outcome events. It is fervently hoped that this of the contest immediately-sometimes important aspect, competition, will before leaving the contest hall. continue to be nurtured and developed.

37 Five The Teen Years (1950s)

The first blush of enthusiasm for the new toy had waned, replaced now by a more mature approach to our music, position and conduct. Will Cook

ChronolOgiCallY, the 1950s were, members, and saw more singers come indeed, the teen years of the Society, for to the competition stage than 0. C. Cash, 1950 was its 12th birthday and began a who died during the decade, and series of maturing years that make this Rupert Hall had ever envisioned. term, in retrospect an appropriate one. Finally, a long-felt Society need was Because the Society faced (and found realized in the 1950s, acquiring and some solutions for) serious problems, moving into a magnificent head­ they might also be called the anxious quarters, Harmony Hall, and starting the years. And since, by the end of this process of placing in this building a decade the Society had experienced skilled staff which was to serve more exciting singing by a much members in diverse ways. With a greater number of members than ever musical staffer working for the member­ before, they can even be called years ship, and many others to follow, the of discovery. decade ended with a feeling of ac­ For it was in the 1950s that Society complishment and anticipation of the members heard the most exciting years ahead. champion to date-the quartet that The quartets that remain in a publicized our hobby more than any barbershopper's memory do so for other in history-the . The specific, not always obvious reasons. It longest-lived quartet champion may be their sound, repertoire, appeared-the and the longevity, or their visual appearance. youngest champions, the , With the champions, it is likely to be a thrilled barbershoppers everywhere. combination of these. And this decade saw, also, the beginning and the growth, interrupted The Buffalo Bills only by a brief threat of our amazing international chorus contest. It brought The 1950s dawned with a about a new and different brand of champion quartet that, in retrospect singing which required knowledge of may be said to have Signaled a new singing technique by great numbers of era of Barbershop harmony. For there

38 was something different about the Buffalo Bills, and as the years went by, their big sound, combined with the work of several talented arrangers, gave them a popularity not yet achieved by other Society quartets. A stroke of luck in 1957 made this popularity even more lasting. It all began on September 20, 1947, in Hershel Smith's living room. "Hersh," the barL and Al Shea, the lead, were members of the Society chapter in Kenmore, New York, a suburb of Buffalo. However, Vem Reed, the tenor, and Bill Spangenberg, the bass, who had been invited over to do some singing, were not yet even Society members. Nevertheless, the four had an invitation to sing a week later during a ladies' night to be staged by the chapter, and when the evening was over, it was decided to accept the invitation. But they had no name for their new quartet. To remedy this, they attempted to register, first as the Town Criers and then as the Four Tune Tellers but were tumed down by Carroll Adams, the Society's executive secretary, because other "quartets had already chosen these names. During a succession of appearances for the Buffalo Quar· terback Club they finally advised the master of ceremonies, Jim Wells, that they were nameless. Alert to the PR potential in tying them to their home medals were hung around their necks, The Buffalo Bills cut city, he introduced them as the Buffalo and numerous invitations to Sing on a transcription for Bills, and the name stuck. chapter shows began to arrive. The radio station WEBR Though the quartet members felt importance of their arranger, Past in the late 1940s. from the outset that their voices International President Phil Embury, at Quartet members matched perfectly, they were not this point in their career cannot be were, Lto r.: Vernon immediately successful in competition. over·emphasized. Reed, tenor; Albert Placing 16th in the international contest In addition to travels resulting from Shea, lead; Hershel in Oklahoma City in the summer of 1948, these invitations, the Armed Forces Smith, bari, and they did, however, win the Collaboration Program brought requests William championship of their own district that for them to Sing before military Spangenberg, bass. fall. Their next attempt in international audiences, and soon they were touring competition was in their home town in military posts in , , 1949, when they finished sixth. At this Austria, Japan, Korea and other far·off point Hershel Smith decided to leave locales. the quartet because of the travel requirement and Dick Grapes replaced The Music Man him. But in 1950, at Omaha, dressed in And then, in 1957, came the lucky natty new rust·colored jackets, green break that changed their lives. A gabardine slacks and brown and white famous conductor and radio oxfords, they sang such songs (later to personality, Meredith Willson, had been be favorites) as "Goodbye, Old Dixie, playing their records on his radio show Goodbye," "Goin' South," "Roses of and had called them his favorite Picardy," and "My Gal Sal." The gold quartet. When Willson decided to write

39 A second version of the Buffalo Bills won the Society's international championship in Omaha in 1950. Shown with the championship trophy are the Bills with Dick Grapes, third from left, as baritone.

a stage musical about his home town, As everyone knows, The Music Man Mason City, Iowa, he put a quartet into was a great success and ran for many the plot that was patterned after the years on Broadway and (using other Rusty Hinges,an actual quartet recalled quartets) on tour. A motion picture was from his boyhood. His first meeting with made, featuring the Bills in the same the Bills came while appearing for a roles and the film is still popular on lecture date in Buffalo. television today. It was after the filming And so it was that in 1957 the was completed that Jim Jones joined producer of the emerging musicaL The the quartet as a result of Bill Music Man, suggested that they come Spangenberg's illness. to New York and audition for the role of the Iowa quartet. The audition was a Busy Performers rousing success, and the part was theirs. But joining the musical meant The third phase of this popular leaving Buffalo and moving to New quarters career-personal appearances­ York After much thought Dick Grapes then began and lasted about five years. decided to stay behind and "Scotty" There was an overlap with the second Ward, formerly of the Great Scots quartet phase, for many such appearances in Ohio, joined them for the adventure. had been made while they were in The With their move to New York, new Music Man, and they had never career opportunities were presented. stopped singing on Society chapter They joined the radio shows. The Bills were featured on and television shows and there met virtually every kind of stage during this Walter Latzko, a talented CBS staff period. When the curtain rang down on arranger who was to provide hundreds their career, they left behind a record of musical arrangements for recordings that may never be topped in the quartet and personal appearances during the world-728 concerts, 216 television shows, next ten years. Later becoming a L510 performances on the legitimate barbershopper, Latzko was certified as stage, 626 conventions, 675 radio and an Arrangement judge and became television shows, 672 night club and well known as a Society arranger. hotel appearances, 137 state fair

40 Another change was made in the quartet that became stars of The Music Man Broadway show as Wayne "Scotty" Ward stepped in as baritone.

Following completion of The Music Man movie, Jim Jones, right, replaced Bill Spangenberg as bass of the Buffalo Bills due to Spangenberg's illness.

41 The Schmitt Brothers, Jim, lead; Joe, tenor; Paul, bari, and Fran, bass, put Two Rivers, Wisconsin on the map when they won the international quartet championship in Toledo in 1951.

performances, and a major motion give them a great deal of help during picture. Their 15 record are their career. Milt Detgen was the another permanent record of their great chapter chorus director and arranged singing. Their last show was at the many of their songs. John Means was a Waldorf-Astoria Hotel in New York on chapter member who knew music and May 24, 1967, booked by "an avid became one of their early coaches. (He barbershopper from Chicago." also became president of the Society in 1953-54.) The Schmitt Brothers In 1950 the quartet entered their first The Schmitt Brothers, Joe, Jim, Paul contest, competing for the district and Fran, started singing together as a championship in Marquette, Michigan. quartet in their mother's home in They sang four of Detgen's ar­ September 1949, in Two Rivers, rangements and were crowned Land Wisconsin. They found they enjoyed this 0' Lakes champions. "At this point," Joe idiom and decided to continue. Two Schmitt later was to write, "the quartet months later, the brothers sang at a had really not performed more than women's club meeting in nearby five times." Manitowoc. A local business man, 0. H. They next chose the goal of "King" Cole, heard them from the competing in the 1951 international adjacent lobby. He invited them to visit contest. Their own Manitowoc Chapter the Manitowoc Chapter of the Society, was hosting the regional preliminary which he had organized, and as a result contest for qualification to this contest. the brothers became members a few While they were preparing for the days later. preliminary, they met a "peddler" (in Joe's words) named Rudy Hart, who John Means, Milt Detgen and became their coach and arranger and Rudy Hart who, 25 years later, was said by Joe to be "the man whose friendship most At their first chapter meeting they influenced the quartet," who gave their met two barbershoppers who would singing "the soul ... that gave their

42 singing warmth." their 36th year of frequent appearances The contest came, the quartet was before local and national audiences ready, and they were selected as one when, on January 23,1985, Joe Schmitt of the four LOL quartets to go to Toledo died. It is doubtful that the Society will for the intemational contest just one ever have another champion quite like month later. During that "fastest month "the brothers from Two Rivers." of our lives," they rehearsed at least once a day, met with Means three times The Four Teens a week, and learned two more songs. Travelling by train to Toledo with The most spectacular example of their wives, the quartet followed their collaboration between the armed coaches' admonitions. There was no forces and the Society occurred in 1951. singing on the train. The singing was to The Four Teens, an Air Force quartet occur almost entirely at the contest and came to the attention of the Society and they were not to burn themselves out. At various levels of the Air Force while their Toledo hotel, they lived separately stationed at Scott Air Force Base in from their wives, streSSing the unity of the Belleville, Illinois. This quartet had quartet. originated in the Eau Claire, Wisconsin The brothers made the cut and then Chapter in September 1949. Three of another cut qualifying for the finals. them-Jim Chinnock, Don Lamont, Singing such songs, later to be audience Gene Rehberg-were high school favorites, as "Shine," " Tuck Me to Sleep students, and the fourth, John Steinmetz, in My Old 'Tucky Home'," and "Great had graduated and was working. Smoky Mountains in Dixie," they were crowned as international champions. Military Quartet For this amazing young quartet it was the end of the beginning! On January 8, 1951, the four young The quartet's championship year men plus friend Mike Egan enlisted in was, perhaps, one of the most active in the Air Force. Egan later said that Society history. They sang 110 Steinmetz was the first to decide that it performances, including the Ed Sullivan would be best that they enlist as a television show, the Arthur Godfrey group, and that he and Egan radio show with the Chordettes, and convinced the other three to do this. several shows featuring famous SOCiety Following enlistment the five were champions. sent to Lackland Air Force Base, Texas, for "boot camp." Gene Rehberg, the 40 Schmitts on Stage bass, was found to have a foot problem and was given a medical discharge. It Each year they sang on the show looked like curtains for the quartet. They staged by the Association of were scheduled to appear on a base International Champions at the show built around . On the international convention. The high point night before this show, they found a new of these annual appearances was bass, Dan Cahall, from Cincinnati, who undoubtedly the 1966 convention in seemed to fill the bill. Chicago. For 15 years they had been They went ahead to sing on the telling their families about these show and thus came to the attention of conventions, and this year they decided Dr. Norman Rathert from Ye Olde to take them all along. The four brothers Tymers Chapter #1, St. Louis, Missouri, rented a bus and loaded their wives who was helping one of the generals at and 32 children aboard. Few people at Scott Air Force Base to stage shows for the convention knew this had occurred soldier entertainment. (In 1941 Dr. Rathert until the curtains parted at the AIC show had served as the third president of the and there they were-all 40 of them! Society.) The song they sang: "These Will Be the Rathert and Joe Wodicka, a Society Good Old Days, Twenty Years From veteran in the chapter, started coaching Now!" the quartet, giving them arrangements Unlike many other international and building their confidence. At champions to date, the Schmitt Brothers Rathert's behest the general in charge did not retire. They were in the midst of of Special Services at Scott Air Force

43 Base assigned them to Special Services, quartet ever to reach the top spot. making it possible for them to rehearse Chinnock was 19 and the other three six to eight hours each day. Rathert's were 20. The editor of The Harmonizer own confidence rose, and he took them asked what would become of the to the 1951 intemational convention in quartet's name when Chinnock, a few Toledo, where he persuaded James F. months thence, tumed 20. Knipe, then president of the Society, to With the recognition of an Air Force let them sing on the Jamboree. With the quartet it was clear to both the Society enthusiastic reaction they got from the and the Air Force that many chapters crowd, the boys' confidence soared. would be asking for the Four Teens to The next step for them was the 1951 sing on their shows. The quartet fall district contest staged by the Central members, as military personneL would States District in Great Bend, Kansas. not ordinarily be allowed the necessary They won, finishing ahead of 23 other weekend leave to fulfill this obligation, quartets. Requests for performances on and they could not profit from the chapter shows and at other Air Force quartet's appearances. A unique and bases started coming in, and Dr. Rathert little-known agreement was reached. A boasted to a friend, Ed Fahnestock, that memorandum of understanding, signed the Teens would win the Society by Col. B. E. Nowotny, of Headquarters, championship in 1952. USAF, and by Carroll Adams for the Society was executed on July 23, 1952. Youngest Champs Under the terms of this document booking the quartet on chapter shows The end of the story is plain. In June was to be handled by the intemational 1952 they were crowned Society secretary of the SOCiety and the champions in Kansas City, the youngest commanding general of the Air Force,

When the Four Teens became international quartet champions in 1952 they had never before competed in an international contest. Members of the quartet were, 1. to r., John Steinmetz, tenor; Jim Chinnock, lead; Don Lamont, bari, and Don Cahall, bass. Three of the Teens were actually 20 years old at the time they won. Chinnock was 19.

44 , George Evans, tenor; Dave LaBonte, lead; Bill Busby, bari, and Wally Singleton, bass were international champions in 1956. With their accumulated involvement in Society activities, the quartet represented a past district president, a past district secretary, three past chapter presidents, a past chapter vice president, a past chapter secretary and two chorus directors.

or their designated representatives, for the quartet and chorus director for jointly. The international secretary was the chapter. From the beginning, the to receive and dispense travel and per quartet went "" on the show circuit diem funds, sent from the booking and in competition, Many of their chapter and the Air Force, to the arrangements came from well-known manager-secretary of the quartet, Mike Society arrangers, such as S, K. Grundy, Egan. This agreement was properly Ozzie Westley, "Skeet" Bolds, and a witnessed, and during the championship Sweet Adeline whose fame was starting year of the Four Teens, these books were to spread, Renee Limberg, later Craig, scrupulously handled by all parties, Bill Busby also furnished some of their The Four Teens sang many chapter best arrangements, shows under this arrangement. During In 1954 the Confederates qualified for their post-championship year, 1953-54, the international contest in Washington, they toured military posts in the United D,C., and finished 31st. By the following States and many foreign bases with the year, in Miami, they had come up to all Air Force show, "Tops in Blue," second place, and in 1956 they took home the whole bag of marbles-the international championship, Save Your Confederate Money The quartet's songs became known all over the Society. Examples are The Confederates, our 1956 "Chloe," "Down Where the South champions, were organized in Begins," "Red Head," "South Rampart Memphis, Tennessee, in September 1953, Street Parade," and "A Nightingale Sang Composed of George Evans, tenor; Dave in Berkeley Square," which were copied La Bonte, lead; Bill Busby, barb and and imitated by many other quartets at Wally Singleton, bass, none was a every level. trained musician, Busby was the most Whether this quartet was on the knowledgeable, and acted as arranger show stage or the competition stage,

45 their Southern costumes caught the were regularly printed. fancy and chuckles of the crowds. They On September L 1948, the Society presented themselves either as issued its first training material for authentic gray soldiers, complete with chapter choruses-a l2-page section for dress swords, or as Southern gentlemen the Chapter Reference ManuaL of the white-haired, and published by the International Chapter attired in black frock coats. Coupled Methods Committee and sent to all with many Southern songs, they always chapters. It defined a Barbershop chorus made a hit. as any group of men who rehearse for public performance under a capable Creating Musical Moods director, singing four-part harmony, and in which membership is closed to "all Many veterans still think that it was but regular chorus members." It detailed this quartet, the Confederates, who first possible solutions to problems of truly applied these volume and tempo organization, financing and repertOire, changes-called shading in the old suggested auditions and apprenticeship Voice Expression Category-to such periods for prospective members, and songs as "The Sunshine of Your Smile," warned that salaries might be required "To Think You've Chosen Me," and "A for some chorus directors. Nightingale Sang in Berkeley Square" in a manner that raised the neck- Song Folio and created what Interpretation judges now call mood. The Harmonizer spoke It was not surprising, therefore, that of the "excitement of (their) sincere early in the 1950s the International mood." They used louds and soits, Committee on Chapter Choruses changes of tempo within phrases, and undertook to solve a long-felt need-the effective diction in a manner seldom publication of a folio of songs suitable matched by earlier quartets. This is what for chorus singing. It drew into this made the Confederates a memorable program the chairman of the quartet. International Song Arrangements Committee, Frank H. Thorne, who Chorus Development provided eight arrangements of the 33 The year had been 1939, and the in the folio and also supervised the place was a hotel in St. Louis. Owen production of the entire book. The Cash was making his first visit to a group arrangements provided in this book, organized by Dr. Norman Rathert as the according to the announcement to the third chapter in the SOCiety. Rathert Society, were chosen and designed to wasted no time in bringing up the answer the earlier criticism that many subject of Barbershop chorus singing: "If arrangements for quartets were too you get a group of men together difficult for choruses to attempt! A wide and ... teach them to sing their variety of songs was used­ parts ... look how many quartets you religious,"Rock of Ages"; patriotic, "Star­ are bringing into being, real fast." Cash Spangled Banner"; traditionaL"Carry Me was interested, and when the Society Back to Old Virginny." It was a first step, held its first midwinter meeting in St. but it showed that the Society was Louis in 1940, Rathert directed his chorus, consciously going into a new age of the first in Society history, for all to enjoy. chorus Singing. While many chapters of the 1940s International Level engaged only in quartet singing, interest in Barbershop choruses at the chapter The next step by the International level grew steadily during that decade. Chorus Committee was a chorus contest The Harmonizer carried pictures of at the international level. Said The pioneer choruses in Bloomington, Illinois Harmonizer, "this contest was in no way (March 1943); Wilmington, Delaware intended to detract from the primary (May 1943); Evansville, purpose of holding an international (February 1945); Schenectady, New York quartet contest, but merely to serve as (February 1946); and London, Ontario an added for convention­ (August 1946). Reports by chapters and goers, and to provide further recognition districts dealing with chorus activity to the commendable contributions

46 chapter choruses have made to the The winner was the Great Lakes The first chorus to advancement of barbershopping," Chorus, Grand Rapids, Michigan, with hold the title of Entrants were limited to two per district, the Q Suburban Chorus, La Grange, international required to have at least 20 members, Illinois, second, and East York, Ontario, champion was the and might or might not include the third, The singing was met with great Singing Capital current chorus champion of the district enthusiasm, Chorus of according to the decision of the district Washington, D.C. president. (Some districts had not yet The contest was started to hold chorus contests,) Since it First Intemational Chorus Contest held in Washington was clear they would not all arrive via in 1954; the chorus the contest route, the winner was to be In the fall of 1953, therefore, all districts was directed by called only the "The 1953 International held contests to select up to two Lew Sims. The 72 Convention Championship Chorus," representatives each to the first men were dressed This was not an "international" chorus international chorus contest which was in black trousers contest. That came a year later, to be held in Washington, D,C., in June and red jackets with The contest in Detroit brought 16 1954, black lapels and choruses as entrants, with six districts There is no doubt that the First black bow ties. sending two, and four sending just one International Chorus Contest was a chorus, Four of the more distant districts grand success, All districts except Far (Far Western, Southwestern, Northeastern Western, Land 0' Lakes, Southwestern and Dixie) were not represented. Over and Ontario sent the two choruses they two thousand conventioneers attended, were permitted, and these four sent one and the contest was held, not in the chorus each, The first international headquarters hotel ballroom as chorus champion, chosen at this planned, but in the Masonic Temple, the convention, was the Singing Capital site of the quartet contest. Chorus, from the District of Columbia

47 Chapter; the remaining top choruses in May 1956, the matter was again were, second-Michigan City, Indiana; considered, and it was decided to third-Middletown, Ohio; fourth-Q recommend to the House of Delegates Suburban of La Grange, Illinois; and that the chorus contest be continued in fifth-East York, Ontario. The new trophy its then current form. made and donated by Benny Landino At the House of Delegates meeting and his chapter in Grosse Pointe, in Minneapolis, there was spirited Michigan, was presented to the winner. discussion from all sides. Some who At Miami. 1955, a new custom was attended now believe that Frank established at the convention when the Thorne, who had much influence 1954 international champion, the because of his record in the top levels Singing Capital Chorus of the District of of the Society (international president, Columbia Chapter, appeared to gold medal winner with the Elastic Four, entertain and to relinquish their well-known contest judge), turned the championship trophy. They entertained tide in favor of continued chorus at several business meetings and competition with an eloquent address performed at the chorus contest while to the body. The motion to discontinue the scores were being tabulated and the international chorus contest failed. checked. During the appearance It is clear now that if it had passed, the following the international chorus destiny of the Society might have been contest they demonstrated, for the first drastically changed. (The Harmonizer time in Society history, the use of stage reported that when this decision was movement to enhance their songs. They announced at a contest session, "great performed song specialties such as "Big shouts of joy" went up.) Chorus singing Bass Viol," "Sam, the Accordion Man," was certainly on the way. and "Dust 011 That Old Pianna."

No Chorus Contests? But at Miami. in 1955, only ten of the fourteen districts entered choruses in the Barbershop Craft contest. Central States, Michigan, Far Western and Evergreen Districts were In the S.P.E.B.S.Q.SA of 1988, the not represented. At the meetings and in concept of "Barbershop craft" is taught informal gatherings, as reported by The in SOCiety schools at the international HarmonizeL the "whys and wherefores" and district levels. Manuals describing of this situation were discussed. The high craft have been published by the cost of sending an entry and the Society, and many articles in The feasibility of holding a district Harmonizer on the subject have flowed elimination contest were given most from the typewriters of many authors. frequently as reasons for the problems. Today craft is divided into many sub­ Some said that in the larger districts, only groups, and the body of knowledge chapters near the contest city entered developed by teaching and theory choruses in the elimination contest, specialists seems almost limitless. making it questionable that the best In the Society of the 1940s, few choruses were selected to represent the trained music teachers were district at the next following encountered. The first serious teaching international contest. During the of probably came from midwinter meeting of the House of Maurice E. Reagan, whose four-part Delegates, the question came up again. series of articles, "The Mechanics of A motion was made to abolish the Barbershop Harmony," was published in international chorus contest, but failed. Barber Shop Re-Chordings (predecessor The motion required unanimity of The Harmonizer), and in The because it had not been circulated 30 Harmonizer in 1942-43. But in this days in advance. It was decided to organization stressing "ear" singing, have the same body consider the same improvisation (woodshedding) and motion at the 1956 convention in rough-and-ready gang-singing, most Minneapolis. classically trained musicians could find At the executive committee meeting little appeal.

48 Dr. Harold W. Arberg Dr. Harold "Bud" Arberg was a And so the charm and skill of Dr. member of the Harold W. "Bud" Arberg, chorus director Society's first of the in College of Alexandria, Virginia, had much appeal Arrangers. He was a for Dean Snyder, the new international graduate of board member from the Mid-Atlantic Princeton University District when they met in 1951. Snyder with a doctorate in was also the chairman of the Armed education from Forces Collaboration Committee, then in Columbia. He had the midst of a campaign promoting written more than Barbershop quartet singing among 1 00 Barbershop soldiers stationed on military posts. quartet Serving at this time as chief of the arrangements that music unit in the Adjutant General's were included in Office, Arberg already was issuing the Armed Forces Song Armed Forces Song Folio, a soldier­ Folios. singing publication in which he was to publish more than 150 Barbershop arrangements during the next 11 years. Although Arberg had been directing the Alexandria Chapter values and its relation to other musical chorus for only a few months, he styles. already perceived a desire on the part Arberg was introduced by Snyder to of the members of this small suburban leaders of the Mid-Atlantic District and chapter to learn the "whys" of at their invitation unveiled his Barbershop harmony. The members integrated presentation at Wilmington, were looking for (as he later put it) "the Delaware, during a meeting of the ABCs and the 2-plus-2s" of the district board of directors in November Barbershop style. His musical 1952. Illustrating chord construction on background told him that the uniquely the blackboard and at the piano satisfying sound of a beautiful ringing keyboard, he used the ear, as well as chord was to be explained in terms of the eye, in his teaching method. This, the the laws of physics. He knew, as a first craft demonstration outside the working musician, that Barbershop was Alexandria Chapter, was a resounding "special" because of the harmonization success. Arberg was invited to several and voicing that entered into the Mid-Atlantic District chapters, enabling construction of Barbershop arrangements, him to polish his methods. As a result he whether written or woodshedded. gave the same type of demonstration As a classically trained music during a special event at the 1953 teacher, Arberg knew that teaching midwinter meeting in Boston, just two through participation by the students, months after the Wilmington beginning. with demonstrations for others who The success of the Boston wished to learn, would be the most demonstration brought about the effective technique. He started to give appointment of the first International such demonstrations to the Alexandria Committee on Barbershop Craft with Chapter members. It was into one of Arberg as chairman. Dr. Paul these sessions that Dean Snyder, who McFatridge (Pasadena, ) and had founded the Alexandria Chapter in Eddie Hotton (Auburn, Washington) 1948, arrived one evening on a visit. were also members of this pioneer At Snyder's instigation, Arberg committee. developed his chapter demonstrations into an integrated presentation on The Harmonizer Column "Barbershop craft" a term he invented. In the future he would define this as the The first assignment of the collective principles, practices and Barbershop Craft Committee was to techniques of the Barbershop style of provide material for the "Swipe Swap singing, with emphasis on its musical Shop," a department in The Harmonizer

49 Bud Arberg spoke and to use it as a forum for questions Northeastem section of the United States, at a Barbershop and answers on this subject. With the with the Merry Notes quartet. It was craft session at the assistance of Phil Embury, Arberg apparently the first meeting of the two 1954 international conducted the first Barbershop craft groups, Many more would occur in convention in session at an international convention future years, ultimately bringing about Washington, D.C. at Detroit in 1953, His technique there was the inclusion (starting in the early 1970s) to compare the melody and lyrics of of the "Barbershop quartet" as an event songs to which the Barbershop style in state music festivals, Arberg seated his could easily be adapted with songs that audience of educators according to would not adapt so easily. voice part and illustrated the differences In June 1954 the Barbershop Craft between Barbershop harmony and Committee composed and published glee club harmony. an extensive "Barbershop Glossary" in As the 1950s rolled by, other able The Harmonizer, defining standard musicians succeeded Arberg as musical terms, as well as terms chairman of the Barbershop Craft especially used in the idiom, such as Committee and adopted different "Barbershop 7th," "bending" a chord, techniques for teaching "craft." Dick "woodshedding," the clock system, Svanoe, Pete De Paolis and James Ewin "locking in" a chord, parade, patter, a all used The Harmonizer as a vehicle to "ringing" chord; and "swipe," (The latest reach many barbershoppers in successor to this glossary, using some of carrying out their mission of teaching, the same definitions, is contained in the Diverse subjects, such as woodshedding present-day Contest and Judging Hand­ and sight singing, were explored by book,) With the June 1954 issue of The these later chairmen, and that giant Harmonizer, the "Swipe Swap Shop" Maurice Reagan, wrote definitive series department's name was changed to on arranging, The Harmonizer articles "Barbershop Craft." remained the principal teaching In June 1955 the Barbershop Craft vehicle in use by the Society until the Committee participated in an historic arrival of the Harmony Education meeting of the Music Educators Program schools of the 1960s to teach National Conference in Boston, barbershoppers in a much more Massachusetts, Arberg appeared at this thorough manner, though reaching regional meeting of the MENC, smaller numbers, A new era had composed of music educators in the arrived,

50 Harmony Heritage Songs Octavo Music In 1955 Jean Boardman, a past One important part of Boardman's international vice president of the proposal was that the Society depart Society, proposed that the Society from its style of publishing songs in folios, undertake a new project-the and change to "octavo" dimensions, publication of a continuing series of 6% x 10 Y-l. One copy of each song public domain songs, arranged in published was to be fumished to each Barbershop style, which would be Society member without charge, but an called "Harmony Heritage Songs." Prior additional supply would be printed for to this time, the Society, beginning in sale. Boardman submitted the design for 1942, had undertaken to get Barbershop a cover page for each published song, arrangements into the hands of its which was still in use by the Society 30 members by providing commercial years later. He was authorized to spend music publishers with arrangements, up to $500 for the printing of the first made by Society members, of song in the series, and the new copyrighted songs. Beginning in 1948, the committee was asked to begin the Society published songs not protected selection of additional songs to be by copyright (in most cases composed published when authorized. by members) or still under copyright but The new Harmony Heritage published with the permission of the Committee was comprised of Past copyright owners. President Phil Embury, Past President By 1955 the commercial publishers Frank Thome, J. George O'Brien (author had lost interest in folios, and the Society of the regular column on old songs in music publication program was The Harmonizer-"Do You Remember?"), contained in an annual collection, and Past First Vice President Dean Songs for Men, which consisted largely Snyder. At the outset Embury, Thome of songs composed by Society members and Boardman provided valuable who permitted their publication without musical arrangements. In later years, payment of royalty. With a few Boardman was to give special credit to exceptions, these songs were no longer Snyder for encouraging him, time after catching the interest of Society quartets time, to continue this project even when and choruses. discouraged and doubtful. Boardman, a Washington, D.C. In January 1956 Boardman attomey who had founded the District announced plans for the initial program ----- ot_Columbia Chapter in 1945, had respectable musical capability, and his Jean M. Boardman, knowledge of copyright law made him a Washington, D.C. invaluable in identifying public attorney and domain songs. professor of lavv at On August 25, 1955, Boardman sent National University, a 13-page proposal for a Harmony served as Heritage Series to Intemational President international vice Arthur Merrill, wherein he listed 38 songs president from composed before 1899 which he felt 1947 to 1956. He would be quickly identified as made many major "harmony" songs. Boardman pointed and lasting out that there were many, many more contributions to the like them, and that on January 1 of each Society's music year, many more would come into the program and to "public domain." Because of his hobby contest and judging of researching old songs, he would be procedures. able to supply the titles of appropriate songs as they became available. (In 1955 the United States copyright law provided 28 -year protection, plus 28 additional years when renewed. Thus the songs copyrighted in 1899 were coming into the public domain.)

51 and asked the international board for fine public domain songs find their way approval. The first six releases would be into this music series each year, and, "When You Were Sweet Sixteen," from those who will remember him, a mailed with dues notices, "Mandy Lee," fervent cheer goes up for Jean "Story of the Rose," "Asleep in the Deep," Boardman. "Gypsy Love Song," and "The Rosary" (later changed to "Honey That I Love So Long-Range Planning Well"). He announced that though there Throughout the 1940s the Society's had been some disagreement with his growth was never in doubt. While the proposal to publish in octavo form, a available records for the early years are small majority favored this format and probably incomplete, what is available the entire committee agreed, so shows that Society membership grew publication would be carried out as first from 1,802 members (55 chapters) in proposed. The board agreed, and the 1942-43 to 26,901 members (661 chapters) project was on the way. in 1949-50. Songs For Men In the following year, 1950-51, this constant increase in members and As long as Jean Boardman lived, he chapters ceased. Membership dropped continued to show great pride in this to 25,123 members (627 chapters), and in brainchild, the Harmony Heritage Series. 1951-52 the drop continued to 24,132 (608 As he expected, the Society reo chapters). In 1952-53 there was a very examined publication of its collection, slight increase in members, but in 1953-54 Songs tor Men, which had been so the drop resumed, with the Society important in the early 1950s. (The reaching a low point of 22,609 members Schmitt Brothers and the Four Teens had (592 chapters). taken most of their contest songs from The natural result of this process was those folios.) In 1961 the annual collection deep concern on the part of the top was dropped. Ultimately, a series of leadership of the Society. The growth agreements with copyright owners had seemed automatic, and now, it was allowed the Society to start a new series, feared, the reversal could not be Dean Snyder of the also called Songs tor Men, published in stemmed. Initial discussions of the Alexandria, Virginia octavo form, where popular songs still problem centered around membership Chapter began protected by copyright could be campaigns. Several leaders felt strongly, singing in published. The Harmony Heritage songs however, that the real need was to Barbershop quartets published today are fewer in number bring about a forward movement of the in the early 1920s because Songs tor Men has largely whole Society-its aims, its activities, its and was a charter replaced them. Nevertheless, several training and goals. Given a long-term lift member of the in these, they argued, the membership Society's District of problem would solve itself. columbia Chapter when it was Dean Snyder organized in 1945. Snyder founded the Following the midwinter meeting in Alexandria Chapter January 1952 President James F. Knipe in 1948. He was received a recommendation from chairman of the Dean Snyder, then intemational board Armed Forces member, that the next international Collaboration president appoint a committee on long­ Committee from range planning. When this action was 1948 to 1952 and taken, Snyder was made the new com­ became a member mittee chairman. Snyder, a U.S. govern­ of the international ment official who was to become an board in 1 951 , influential "thinker" and "mover" in the serving as vice Society, was joined by a number of president from longtime Society leaders: 0. C. Cash, 1953 to 1955. In George Chamblin, Roland Davis, Phil 1962 he was Embury, Robert Irvine, Lloyd LeBaron, named international C. T. "Deac" Martin, Charles MerrilL historian. Berney Simner, C. A. Ward and 1. S.

52 "Hank" Wright. having been "prepared by the Early in its deliberations, the chairman with the concurrence of the committee looked ahead to project the committee." These proposals ranged growth and development of the Society widely in character, stress and detail. over a five-to-ten year period, and stated Some were general (develop a Closer the goals which would guide this bond between members and their development. It also proposed actions chapters), while some were quite which might lead to achieving these specific (prepare a restatement of the goals, and later reported on the Society's aims and objectives for wide reasoning behind its recommendations. circulation among members and non­ These principles stood as precedents members). Some had been discussed in and were, in fact used as guidance by the past but still were revolutionary later committees. (embark upon a program of leadership training). Many have been fulfilled, but First Keynote Address still stand as wise reminders (strengthen and enlarge its headquarters staft and The first Society-wide report dealing improve its district organization as a with long-range planning came at the means for stimulation and leadership of Detroit convention in June 1953. chapters). Examples of specific actions President Edwin S. Smith selected Dean which might be taken were often given, Snyder to give a "keynote address," the and detailed instructions were provided first in the history of the Society. For the to help meet each goal. The paper was most part succeeding presidents invaluable for years and may still continued this practice at least provide guidance in many areas. annually. He spoke to the House of The "Twenty Proposals" was Delegates on "Our Dimensions and Our received with praise all over the Society. Opportunities." In June 1952 an amendment to the Society's bylaws was adopted by the House of Delegates, establishing the Long-Range Planning = LRP Long-Range Planning Committee as a In January 1954 at Minneapolis the permanent and continuing Society unit. first district presidents conference on In December 1954 International long-range planning consumed an Secretary Bob Hafer listed each entire day during the midwinter proposal and showed what progress meeting. Acting as moderator, Dean toward its achievement had occurred. Snyder led 13 district presidents and five The pioneering was finished, and the past intemational preSidents in a free­ Society's long-range planning was flowing, wide-ranging examination of established as a day-to-day operation. LRP strategies. Of 14 discussion areas proposed, the greatest attention was A Home for the SOCiety given to better area organization, higher membership quality, and more The Society of the early days skillful management. It was clear that thought seldom, if ever, of a Snyder and his pioneer LRP colleagues headquarters building of its own. It had were winning the Society's attention. few records, little financial plan, and The Twenty LRP Proposals virtually no need for storage space. Legend says Joseph Wodicka, national At the same midwinter meeting, the secretary in 1941, received the Society Long-Range Planning Committee files in a "shoebox" from his predecessor, submitted a landmark report to the 0. P. Erickson. House of Delegates. Titled, "Looking It was not very long before more Ahead in S.P.E.B.S.Q.S.A.," it had a paper business-like methods were in use. The attached, "Twenty Proposals," which Society budget for 1942-43 authorized became the LRP bible for the Society National Secretary Carroll Adams to set leadership during the next several up a Society office in his home in Detroit. years. Most of these proposals were Beginning in 1944, the Society ultimately adopted by the Society. "headquarters" occupied a series of The "Twenty Proposals," 13 single­ three store-front spaces on, successively, spaced pages in length, was shown as Grand River Boulevard and Fenkell

53 0' Lakes District. At the summer convention that same year, the Chicago Number One Chapter contributed S1,OOO to this fund. The drive was underway, and other chapters, and some quartets, including the 1945 champions, the Misfits, followed with contributions. Succeeding adm.inistrations continued to recognize the need for a headquarters and to scratch the "itch" by taking various steps to advance the fund. In 1951 President James F. Knipe, directed by the board of directors, formed a new committee, headed by First Vice President Edwin Smith, to prepare for this building process when the emergency restrictions resulting from the Korean War were lifted. Drawings of a proposed headquarters building, prepared by an architect under the supervision of the committee, were published to show Society progress and to generate member contributions. They showed a one-story, 14-room This store on Grand Avenue in Detroit. One by one, a staff structure that resembled a small River Boulevard in was hired and the need for space grew. eiementary school. Detroit served as And so it was that, in the late 1940s The slow progress of the fund was the headquarters and early 1950s a series of Society next given impetus in 1952 by the office for the leaders began and continued to dream Building Committee, under Chairman Society in the about a building, owned by the Society, "King" Cole, through a direct solicitation 1940s. The of suitable size and appropriate quality to all chapters and registered quartets. postman reported to serve as an international The committee concluded that this slow the office received headquarters. In 1949,0. H. "King" Cole, progress was due to the members' more mail than any the international president, asked other desire to learn what their contributions other place on his barbershoppers to gaze with him into a were going to buy. To meet this need, route. crystal ball and contemplate his vision experiments in communications to of how the Society's home would look members were tried, but it was not until in the future. He described the images June 1955 that a lengthy specification of offices for an efficient staft classrooms report was provided to the international for a judges' schooL a studio where board, detailing the need in terms of Barbershop recordings were made, a number of rooms, square footage of with a magnificent collection of building, location and financing. Tulsa, sheet music, and a printing plant for Oklahoma, was recommended as the publications, music and educational location. books. To achieve this goaL Cole By this time, the building fund proposed that a building fund be campaign had grown to some degree, established. but it still had accumulated only S19283.85 in cash and S9,153.50 in Headquarters Fund pledges. It was disappOinting that only 113 chapters had made contributions. 70 As Jerry Beeler later put it, Cole's per cent of the Society's 500-plus idea "created an itch" in the Society. In chapters had ignored the solicitations January 1950 the international board of by the committee. The need to "sell" the directors authorized the establishment of project to all members was still clear. a Headquarters Fund, and the first The committee called for a new fund­ contribution to the fund (SlOO) came raising campaign with a goal of immediately from the Sheboygan, S185,000 and recommended that a Wisconsin Chapter in Cole's own Land brochure explaining it be sent to every

54 member. to search for a building in the area Before the 1956 midwinter meeting occupied by the members, respectively, was convened in , President Art of each group. Merrill issued a call to those interested in having the Society locate its The Alford Mansion headquarters in their area, them an opportunity to appear Suddenly, the completely unexpected describe the advantages of making this happened. A subcommittee member, move. Nine communities were James Martin, discovered an unusual represented at the meeting. The board piece of real estate in Kenosha, voted, nine to five, that the new Wisconsin-a mansion on the shores of headquarters should be in "the Chicago Lake Michigan with 18,000 square feet area," and in the process discarded a of space. Constructed of imported proposal that an old schoolhouse found Belgian stone, inch-thick slate roof, in La Grange, Illinois by the building terrazzo, stone and oak flooring, copper committee be acquired. ducts and window framing, and During the next few months, stained-glass windows, the baronial Chairman Cole decided that he had style and sturdy construction of the served his purpose in this campaign, Alford mansion seemed certain to give and at the next convention in June 1956, stature and prestige to the Society in the In January 1957 the he resigned as chairman, but promised world of music. Built in 1933 at a cost of international board to give full support to the next chairman. over $500,000, it was now offered to voted to purchase Past President Jerry Beeler was the Society for $75,000. the Alford mansion appointed to head the committee, As each member of the committee in Kenosha, which decided to move carefully, but as inspected the Alford mansion, he was Wisconsin, for the rapidly as possible. Its first action was to smitten with the beauty of the property Society's permanent reject Jean Boardman's plea that the and the bargain offered to the Society. home. The building new building be located in a bucolic Unanimously, the committee decided to was situated on two setting in Harmony, Indiana, rather than submit the proposal to the board at its acres of landscaped in "the Chicago area." It then authorized 1957, midwinter meeting in Pittsburgh grounds sloping Secretary Bob Hafer to seek a temporary (then only a few weeks away), toward the shore of location in Detroit. Since the lease on the provided that the property, located in a Lake Michigan. It Fenkell Avenue office was about to Class A residential neighborhood, could contained 1 8,000 expire, he was to find quarters to allow be rezoned by the time of the meeting. square feet, Society operations to continue in Detroit The plan to obtain a five-year lease in including a full for up to five years. The committee was Detroit was dropped, and Bob Hafer was basement, two main organized by Beeler into subcommittees authorized to stay in the present office floors and an attic.

55 location on a month-to-month basis. The Harmony Hall favorable zoning decision was received in Pittsburgh on January 24, 1957, while On June 3, 1957, some of the Society the board was in the midst of its meeting. staff and all its Fenkell Avenue office To obtain agreement from the equipment were moved into "Harmony board of directors, several important Hall." The Expansion Fund campaign steps were taken. King Cole provided a was well underway. A total of magnificent set of photographs of the S260,000 was being sought from property, later used in a brochure that chapters, quartets and members. With was published in The Harmonizer and this amount the mortgage could be sent to prospective donors. He also retired and the way would be open to borrowed the owner's plans of the expanded services, field assistance, and property, which were valued at an enlarged program of public S50,000. The photographs and the relations. By the end of 1957, a total of plans were displayed at the board S95,000 had been pledged, of which meeting. S49,000 had been paid. Seventy chapters had pledged their quota of SlO or more per member, but 314 of the 610 chapters had not responded at all. The The Expansion Fund campaign went on and gradually progress was made. The question of Society finances had At the midwinter meeting in to be answered. At a special meeting, January 1959, the subject was carefully President Davis and a small group reviewed by Curt Hockett of the charged with financial responsibility headquarters staff. Board members and worked out the idea of an "Expansion district preSidents were advised that Fund," which would bring about with the receipt of about S40,000 in the "expanded services" through additions next five months, various commitments to the staft as well as purchase of the chargeable to the Expansion Fund property, and would at the same time could be paid. prohibit the use of Society reserves. The goal was reached on time. On Acceptance of the proposal could not the stage of the Civic Opera House in jeopardize the Society's finances. Chicago on July 4, 1959, President At the board meeting the proposal Clarence Jalving and others was unanimously adopted. Beeler was participated in the long-awaited authorized to acquire the Alford event-the buming of the mortgage on Mansion, "provided suitable financing Harmony Hall. The Society had found and legal arrangements (could) be and now owned its home. The vision of made." "King" Cole was finally fulfilled.

56 Six Coming of Age (1960s)

Tempora mutantur. (The times are changing .. .) Ancient Latin

For over 20 years the Society 300 per cent! Singing sometimes operated on a meager dues structure. stopped as the pros and cons of the MBP First at 50 cents a year per man, it were debated. Some districts held miraculously scraped by. Then every formal debates in front of their few years the dues inched up, until in delegates. Emotions ran hot and heavy, 1960 they were $5.50 per member. The with a pitch pipe and song sometimes "Expansion Fund" (which bought intervening to cool things down a bit. Harmony Hall and hired Floyd Connett The MBP did not win, but fortunately as the first "field man") sputtered along an alternate plan did, shortly with chapters and individuals not able afterwards, and the Society was finally to catch the spirit of growth and able to support and field Bob Johnson, progress. and then later Dave Stevens, Mac Huft Lloyd Steinkamp, Chet Fox and a whole array of talented musical and Member Benefit Program administrative field men. It became apparent as the 1960s Robert D. "Bob" Johnson arrived that if the Society was to assume its place as a mature, vital Singing For seven years Bob Johnson was organization, a drastic dues increase the sole music man at Kenosha. He ran was needed. Under the leadership of the Harmony Education Program (HEP) Lou LaureL John Cullen and Bob Hafer, schools, met with music educators, executive director, the Member Bene­ taught chorus directors, coordinated the fit Program (MBP) was formulated as song arrangement program, and visited a proposal to the international board chapters and districts. Johnson had based on expanded staff services. It been a high school and college music called for new field men, music men, teacher prior to his moving to Kenosha and a full-time, professional public and gained fame by directing the relations man. These services would Chorus of the Chesapeake to its 1961 necessitate a dues increase of almost international championship at

57 Bob Johnson, that the men were often prima donnas director of the 1 961 and no one wanted to do the week-to­ international week work of the chapter such as champion Chorus of writing letters, paying bills, setting up the Chesapeake chairs and fixing coffee. from Dundalk, Maryland, became Harmony Foundation the Society's director The Harmony Foundation (founded of musical activities 1959) moved into full gear during the in January 1962. He 1960s. Providing funding for special had been chairman projects, charities, scholarships and such of the music it also financed the Old Songs Library at department at Harmony Hall. The library houses one of Patterson High the world's largest collections of School in Baltimore American popular songs and many and was deeply books about American music. It has involved in Society proven to be a great resource for musical activities. arrangers who can obtain official permission to arrange and make available, for a nominal fee, copies of music for quartets and choruses. The Foundation pays a full-time librarian who willingly answers the numerous queries about songs and maintains an Philadelphia. The 157 men he put on accurate file of the holdings. stage required additionaL special risers because most choruses back then had The Frank Thorne Chapter only 50 to 60 men. Johnson, a former Navy man, ran a tight ship. He For many years men whose jobs demanded a lot from his volunteer HEP demanded geographical remoteness faculty and the choralists under his or swing-shift hours had no recourse command. They could stand up under other than absentee membership in a the rigors of a Johnson HEP School chapter. The Frank Thome Chapter, because of his love for music and high named after one of the Society's great educational standards. And the students leaders of the 1940s, allowed men to join were learning better Barbershop an "itinerant" chapter. Thus, they could harmony. maintain full membership without having to attend a chapter regularly Picked Choruses because certain chapters demand a minimum amount of attendance from Another question debated in the a man in order to vote and participate. 1960s was "Should we have picked Some men, because of job hours or choruses?" The Society was attracting location became disenfranchised from chorus directors who were insisting on barbershopping. The Frank Thome rigorous auditions so that weak singers Chapter alleviated this problem and to could be weeded out during the this day continues to provide a special application process. Many felt that a service to those men who need to love of harmony was all that a man affiliate. needed in order to qualify. Others felt that the Society could never become a The Field Men respected singing Society by making mediocre vocal sounds. Bob Johnson The field men from Harmony Hall­ often spoke out fervently for Joe both musicians and administrators­ Barbershopper and tried to discourage were hardy, intrepid souls. Logging exclusivity in favor of inclusivity. Most hundreds of thousands of miles each choruses opted in favor of some year in the Society vehicles, they drove minimum, but not too rigorous, audition to the four comers of the United States standards. Several chapters tried the and Canada. Neither storm nor fatigue "picked chorus" route but soon found prevented them from helping the

58 hundreds of small, sometimes struggling but Joe Barbershopper never quite got chapters. They were expected to have the message. More than one field man a cure for every chapter and chorus literally wore himself out trying to cope problem, an unwritten job description with the rigors of the road. A complete required them to know and teach list of these great barbershoppers is about 50 tags and swipes and to sing included, and a more complete until the chapter's officers went home. description of the staff is included in the Actually, the international office at Historical Material and Reference Kenosha discouraged this sort of thing, section.

Field Representatives Through the Years Floyd Connett* September 1958-May 1960 Hugh Ingraham * * July 1962-1963 Chet Fox December 1963-1972 Lloyd Steinkamp March 1966-1977 Sam Kennedy September 1972-1976 Tom Cogan June 1974-1984 Joe Jenkins July 1976-1979 Ron Rockwell August 1980-Present

*Fie1d Representative, but specialized in music. * * later, Public Relations Director, Director of Communications, and Executive Director.

Music Men Through the Years Bob Johnson January 1962-November 1982 (retired) Dave Stevens May 1969-May 1985 (retired) Mac Huff August 1969-June 1978 Joe Liles* September 1975-January 1988 Dave LaBar January 1979-February 1985 Lyle Pettigrew July 1980-April 1983 Burt Szabo July 1983-Present Bob Mucha September 1983-August 1985 Tom Gentry February 1985-Present Jim DeBusman June 1985-Present Bill Myers July 1985-Present Mel Knight October 1985-Present Bill Rash1eigh June 1987-Present

* later, Executive Director.

59 began arranging: Mike Senter, Don Musical Trends of the 1960s­ Gray, Greg Lyne, Bob Brock, Fred King, More Emphasis on Choruses Russ Foris and Tom Gentry were some of these new arrangers. Historically, Barbershop chapters In 1969 the Society hired Dave have moved from gang singing, Stevens to head up its music publication quartetting and woodshedding to a efforts. Dave, an experienced arranger, choral organization environment. studio singer, quartet man and chorus During the '60s there was more: 1) Re­ director brought a conservative hearsing on risers, 2) Memorization for influence to the publishing program. He public performance, 3) Strict rehearsal and Bob Johnson insisted on keeping it discipline, 4) Lofty performance stan­ Barbershop, pure and simple. Stevens dards, 5) Members as choralists, not worked for the Society for 16 years quartettists, 6) Coaches used to augment teaching, arranging, chorus directing, in the chorus director's work. addition to handling his publishing duties. His most enduring contribution New Songs Wanted was in the area of stylistic preservation. He developed through the years a most In their attempt to discover fresh, educational and entertaining one-hour unfamiliar songs, Barbershop arrangers presentation for the chapters, entitled, would sometimes dredge up songs "What Are We Preserving?" He and Burt which probably should have stayed in Szabo edited the Arrangers Manual in the musical graveyard. Although the 1970s. occasionally Lou Perry, Buzz Haeger, S. K. Grundy or Val Hicks might "luck Choreography and Stage out" and find a musical gem, such Movement chances were remote. Too often, the so­ called new songs were either trite, Little choreography was utilized in maudlin or just plain comy. Searches chorus and quartet contests during the unfulfilled may have led to some good first 20 years of S.P.E.B.S.QSA In the 1940s original songs being written. Society there were some rudimentary hat and members Gene Cokeroft, Mike Senter, cane and soft shoe moves, but during Bob Godfrey, Fred Carter, S. K. Grundy, the 1950s, for some reason, the as well as Sweet Adeline Renee Craig competitors were a bit more staid. The composed some notable 1960s Barber­ , 1960 champs, using shop songs. vaudeville-type moves, paved the way for modern-day choreography. Their "Revised Revisions" dad had sung in a professional foursome, The Elgin Four and the Evans' Arrangements have a way of precision moves set the standard for traveling and in the process alterations years to come. occur in the harmony, the melody, and The scoring weight of Stage the rhythm. This problem abounds Presence has increased through the when inexperienced people "take a years. From 10 per cent in the 1940s, it song off" a recording. As the has become the most influential of all arrangements move around the categories, today exerting about 35 per country the song elements get more cent weight. The skewing in favor of blurred as well-meaning barbershoppers Stage Presence provides motivation for make changes. Soon the original competitors to strive for points for their song/arrangement has been altered so visual presentation. extensively that it becomes Television has also made us more mongrelized. aware of the visual. Barbershoppers are During the 1960s Val Hicks, Dave truly products of this TV age with their Stevens, and Burt Szabo taught many bright costuming, flashy moves and arranging workshops, bringing a almost military precision. smoother style of , adherence to composer's melody and Coaches and Coaching maintenance of implied harmony. In this era of HEP (Harmony Education Lem Childers was probably the first Program) many young, talented men coach/arranger to guide a quartet

60 The Evans Quartet of Salt Lake City, utah, 1960 international champions, was one of the first quartets to make extensive use of choreographed movement in their performance. Their precise moves led to increased emphasis on stage presence for competing groups. At a show in Tacoma, Washington the quartet consisted of, I. to r., Turk Evans, tenor; Pres Evans, lead; Gene Smith, bari, and Jack Evans, bass. toward a gold medal (Chord Busters Songs and Arrangements Quartet, Tulsa, 1941). John Means and Rudy Hart helped the Schmitt Brothers in 1951. Some other notable coaches were Three problems have concerned S. K. Grundy (The Four Pitchikers, the Society in the area of songs and Spring1ield, Missouri, 1959). Floyd Connett arrangements: 1) Unauthorized copying. (who coached many groups, especially 2) Faithfulness to the composer's idea. the Evans Quartet, 1960 champs), Lyle 3) Songs written by barbershoppers. Pilcher and Ed Gentry. Articles, letters and speeches were As the 1960s passed and coaches written advising members to avoid became more in vogue, a problem unauthorized photocopying. This slowly arose. Most of the good coaches education process which gained were also judges. This situation had momentum during the 1960s made complications. Should the coaches be barbershoppers aware of the copyright allowed to adjudicate their own laws and possible infringements. groups? Was it fair for a judge to score Quartets, choruses and arrangers made a chorus or quartet he had been an honest effort to stay within the law. priming for the contest? Some The Society's music men and field men competitors and judges were bothered preached the hazards of infringement, by this. Finally, in the 1970s the and this, too, assisted the copyright judges/coaches were given a 30-day education program. rule. (A judge cannot do any coaching Since Barbershop harmony began 30 days prior to the contest to which he as an improvised vocal art, some is assigned if he has been coaching one arrangers saw nothing wrong with of the competitors in that contest.) altering a song's melody, harmony or Coaches (judge and non-judge) rhythm for the sake of solid chords. They continue to play a vital role in our music felt this was part of the tradition. During and choreography. They help at the '60s the Arrangement Category led weekend retreats and at regular by Val Hicks, Sam Stahl and Burt Szabo, rehearsals with their creativity, energy pushed toward adherence to the and love. composer's intent. Judges began

61 Floyd Connett was Arrangement judges trained in song­ employed as the writing skills, There were some SOCiety Society's first field song writers, however, whose songs representative in could hardly be distinguished from the 1 957. His quartet Tin Pan Alley tunes, Mike Senter, Gene arrangements Col(eroft, and Bob Godfrey are three included many of notable Society composers. those in the lust Plain Barbershop The Hit Parade Syndrome song book, a At contests it was not uncommon to primer for Society members. hear the same song/arrangement performed four, five, six or more times, Groups would choose a high-scoring song/arrangement in the hope that it would serve them as well as it did the champs, There's always a gap between intent and execution of the plan. A difficult, tricky arrangement sung well by a medalist or champion does not necessarily produce a championship sound when sung by lesser groups,

Floyd Connett penalizing alterations in melodies, harmonies and rhythms, This concem is Floyd Connett performed wonders still present today in the Society's during his brief tenure. He awakened publications and adjudication system. the Society to the advantages of From Hal Staab in the early 1940s, up traveling music men, full-time to the current year, barbershoppers professionals who specialized in continue to write and perform original musical and chapter problem solving, songs, Some of these songs are excellent: Floyd Connett, first music man in the bouncy, tunefuL fun or tenderly field, a barber from Peoria, Illinois, sentimentaL Others, however, lack developed a fine musical reputation in clarity of form, harmonic inventiveness, the 1950s as a chorus director, arranger melodic originality, and lyric and coach. He grew in musical stature cohesiveness, They probably should not during that decade to such an extent be performed in public, but they that the Society hired him in January sometimes are, The Society's music staff 1958 as a full-time musical field and Harmony College arrangers representative, the first one, He was a frequently help aspiring song writers traveling music man in the best sense refine their art, In the 1960s Val Hicks, of the words, Connett drove a Society Dave Stevens, and Burt Szabo assisted vehicle, a Dodge Sierra station wagon, song writers to make their songs more visiting hundreds of chapters in the singable, Gene Cokeroft, Bob Godfrey, United States and Canada, He Joe Liles and Mike Senter are song counseled them in the manifold writers who grew in musical stature problems of running local clubs, during the 1960s emerging as great especially assisting with musical Barbershop song writers in the 1970s, problems, Floyd was a wizard at improving the Amateur Night vocal sound of choruses and quartets, His forte was a quartet craft session or Competitors and/or their arrangers coaching workshop, where, in the would write original songs in the style, course of 45 minutes, he would However, the songs sometimes lacked revolutionize the sound of an organized melodic substance, harmonic and foursome, His most lasting legacy was to rhythmic interest and the lyrics sounded edit Just Plain Barbershop, a song amateurish, The Contest and Judging collection which became the most rules had no effective mechanism for widely used book in Society history. It dealing with original songs, nor were gave the S.P,E.B.S,Q.SA, for the first time,

62 a common repertoire. This created more president and head of the Musical frequent spontaneous singing, for it Activities Committee, knew it was time offered short, easy arrangements and for a Society-wide music school. He allowed four men from widely helped organize the first chorus divergent areas to instantly harmonize. director's school. Held at the new After more than a quarter of a century, headquarters, Harmony HalL in August Just Plain Barbershop, thanks to Connett 1958, this seminar proved so successful is still serving the Society well. that in 1960 at Ripon College, Wisconsin, Connett also produced, even before a three-district music school was he became a Society employee, a craft presented with curriculum expanded audio tape called, "The Barbershopper beyond that for chorus directors. and His Voice" with more than 60 Finally, in August 196L at St. Mary's recorded examples. In addition to his College at Winona, Minnesota, Hart led quartet coaching specialty, he also the first Harmony Education Program taught in his travels, craft chorus (HEP). His faculty included: Joe Schmitt directing and administrative training Quartet Promotion; Bob Johnson, Chorus classes. Development; Chuck Snyder, MENC The Society's first music man Program; Bob Meyer, Arranging and resigned in May, 1960 to return to Peoria Publishing; John Peterson, Barbershop to spend more time with wife Maxine, Craft Dan Waselchuk, Physical daughter Linda and son Steve. He then Arrangements for the School; Wilbur became a field representative for Sweet Sparks, Script Writing. Adelines, Inc., helping them reorganize One of Bob Johnson's first tasks, after their judging system and categories. assuming the directorship of the He was concurrently a certified Society's musical activities program in judge in all five categories: Harmony 1962, was to request instead of one HEP Accuracy, Balance and Blend, Voice SchooL five! His request was granted Expression, Arrangement and Stage and a Society-wide HEP operation was Presence. Floyd had a chronic heart soon reaching out to all areas of our condition, making him an insurance organization. Throughout the 1960s the risk, and his physician warned him HEP continued growing and its many times to ease up on bar­ curriculum expanded to include: public bershopping activities. He couldn't relations, stage craft lighting, physics of slow down, so deep was his devotion to sound, judging categories and voice his chosen art form. Connett died in techniques. September 1963, at the age of 48, literally In the 1970s, Johnson found it hard giving his life for men and women to recruit faculty for the multiple Barbershop Singers. schools-men who might be away from home four or five weekends a year. HEP and Harmony College Then too, because the HEP Schools were Maurice Reagan gave Barbershop weekend affairs, they lacked a craft lectures at the conventions in the prolonged approach to subject matter. 1940s, but Barbershop craft got its formal In 1970 at Dominican College in Racine, start in the Alexandria, Virginia Chapter Wisconsin, Bob Johnson became in the late 1940s and early 1950s. Dean "dean" of the first Harmony College, a Snyder and Dr. Harold "Bud" Arberg week-long, total immersion in were the moving forces behind Barbershop. organizing periodic classes in music During the 1980s, under the fundamentals. This craft program leadership of Joe Liles, the Harmony gained momentum and by the mid­ College curriculum kept expanding to '50s there was an International more than 50 courses. Each summer, Barbershop Craft Committee and a professional music educators visited the column in The Harmonizer by Dr. Harold campus of Harmony College and were "Bud" Arberg devoted to demystifying enthralled by the high level of faculty the intricacies of music and the teaching talent. The intensity of student Barbershop style. motivation was a never-ending source Barbershop music education grew of amazement to the visitor as was the at the chapter and district levels and by kaleidoscopic array of courses 1958 Rudy Hart international vice available.

63 Thanks are due to Maurice Reagan, Barbershop harmony for high school Dean Snyder, Dr. Harold Arberg, Rudy kids was worth investigating. Hart, Bob Johnson and Joe Liles for their With permission from Dr. Drake to devotion, courage and foresight to carry the project one step further, Gould know the power of knowledge. set out to see how local high school Barbershoppers are better singers and music teachers would react to the idea. musicians today because of the Not only was he successful in finding contributions of these men. interested high school music directors, but the men he found were interested Young Men in Harmony enough to want to use some of their precious free time (Saturday, Sunday Abe Gould found Barbershop and after school) to form chorus groups singing late in life. His singing voice was and work with quartets. quite average, but his love for his musical hobby more than compensated for a scratchy lead voice. Community Leaders Gould was extra-dependable, a great guest bringer, and what a ticket seller! Gould then moved his enthusiasm He was a one-man chorus when it for the project in the direction of the came to nailing down paid program community's leaders. For assistance in ads for his Alhambra, California Music this department he called on a personal Men Chapter in the 1960s. Perhaps he friend, Warner Jenkins, editor and tried to make up for his vocal publisher of the Alhambra Free Press, weaknesses by trying extra hard in who thought the Young Men in these other areas. When Abe got an Harmony project was a great idea and idea, it stuck with him and he with it. A pledged his complete support. With the born salesman, he couldn't be shaken superintendent of schools and the local loose from a notion. He converted men paper on his side, lining up the rest of the by sheer love and enthusiasm. Abe had community was relatively easy. a dream and he knew that an idea, like Influential people, such as Mayor a young tree, has very little stability until Norma Yokum, City Manager Leland it gets its roots down. A tree draws its Gunn, Parks and Recreation nourishment from the sun and water Superintendent Neiland McCrummen and from the quality of the earth in and Chamber of Commerce President which it is planted. An idea draws its Dr. Norman Schrifter, agreed to act as a strength from the persistence of its steering committee for the new Singing creator and the interest which it arouses project. in a community. After several months of careful Good ideas, like strong trees, seem to planning, during which Gould solicited survive. the help of barbershoppers in the area Gould's idea, the introduction of (Reseda, Pasadena, Arcadia, West Barbershop harmony into San Gabriel Covina, Whittier, Downey, South Bay, Valley, California high schools, was San Gabriel, Pomona), the first show was really not new. Other chapters had tried staged on May 13, 1967, with four schools it. Abe's former chapter, San Gabriel, participating, supporied by four Society had, for years, been giving music quartets. It was a creditable show and scholarships to deserving high school even though it didn't draw as large an boys. It was Abe Gould's intensity of audience as was hoped for, carried its energy and devotion that created the own weight; left over was "Young Men in Harmony" program, placed in a scholarship fund for the now more than 22 years old. It came boys. The roots were now beginning to about when Gould was having a spread. casual conversation with Dr. Maylon Drake, Superintendent of the Alhambra Scholarship Show school system. Gould, insisting that Barbershop harmony was much too Gould realized that if the harmony vital a music form to be relegated to a "tree" was to continue to flourish, it lot of old fossils reminiscing in the would have to receive additional moonlight, convinced Dr. Drake that nourishment. New committees were

64 appointed to carry on the project with something that has never been A quartet of high an annual show for 1968 as the big attempted at the local level. Some of our school students target. The momentum generated planning is so unique that it has never from Don Bosco during 1967 involved new people who been attempted at any level. The eyes Technical Institute became friends of the Young Men in and ears of the Barbershop world, and prepared for a Harmony. Additional schools now certainly the educational world, are Young Men in wanted to take up the cause of upon us. We've given birth to a lively Harmony program Barbershop harmony for their boys. The baby, and now it's up to us to nurse him, developed by Abe result of their cooperative efforts came guide him, direct him and help in every Gould, standing at about in the form of their second annual way possible ... " left. The original Barbershop show on April 5th of that This, then, is how Young Men in project, begun in year. The enthusiasm displayed by the Harmony was born in Southern 1967, involved six music directors, students, area California in the mid- and late-1960s. high schools in the barbershoppers and the community The Society's international board of San Gabriel Valley. (including city officials, Chamber of directors started studying this program In 1972, Young Commerce, news media, business in 1970, and at its January, 1972 Men in Harmony people) made the 1968 show a much midwinter meeting in Seattle, approved was accepted by greater success than their first venture. the launching of a similar Barbershop the international Because the show was a financial high school quartet program to board as a Society success, a special scholarship commence in September of that year. activity. Seated in committee was named to distribute, in front of Gould is equal amounts, scholarships to all Approved by MENC Reverend Thomas participating schools. Prendeville, "Not only do we want to establish principal of Don the common language of Barbershop It soon became obvious that if any Bosco School. harmony in all our local schools," Gould program to introduce Barbershop said, "but we also hope to set up a full harmony to high school youths were to scholarship program. We're dOing be successful, it would have to receive

65 the blessing of the Music Educators singing as being distinctive. In National Conference (MENC). At a November of 1971, MENC invited the meeting with MENC President Dr. Francis Society to present a demonstration and Andrews and Executive Director Dr. explanation of this style of singing at Charles Gary on June 2, 1971, Immediate their biennial convention at Atlanta in Past International President Wilbur D. March 1972. Sparks submitted a Young Men In The Atlanta demonstration Harmony proposal. It was stated clearly consisted of a group of boys from at that time, and has been reiterated Ridgeville, Georgia High School (who many times since, that the program had never sung Barbershop harmony would never be used as a new member before) demonstrating various aspects recruitment device. Basically, it of Barbershop singing under the consisted of including a new category direction of SOCiety Director of Music for Barbershop quartets in the long­ Education and Services Bob Johnson. established MENC music festival The demonstration was a complete program. Contestants would not only be success. high school young men, but could also Generally speaking, it was at the include some junior high students. The Atlanta meeting that many music proposal received favorable response educators noticed the SOCiety was quite at that time, but had to be presented to serious about improving its singing. Song books, MENC's state organizations at their Many Barbershop techniques were learning tapes and National Assembly in August 1971. readily accepted and would be used in A Syllabus on At their August meeting, MENC the future by those in attendance. Barbershop approved "the inclusion of a Bob Johnson appeared at the Harmony for Music Barbershop quartet category in invitation of music educators at state, Educators were competitive festivals in states where national and provincial levels in 49 developed for the such a category is desired." This was states and six provinces. Young Men in tantamount to acceptance by the top The general format for all these Harmony Program. legislative group of MENC of our style of meetings was basically the same­ explaining Barbershop harmony as a style, the Barbershop approach to learning a song and how to rehearse and interpret Barbershop harmony. In each case the audience sang as a chorus and participated in a workshop experience. At many of the meetings boys were used as a workshop group. They usually were newcomers to the field of Barbershop harmony and served well to demonstrate the style. The meetings were designed, generally, to recruit, from the ranks of music educators, a large number of supporters of the Barbershop style.

Spreading the Word During his tenure, Johnson (who by this time had two honorary doctorates) appeared before MENC groups at both state and regional levels on numerous occasions. He included some of the top quartets and choruses to tell the story and purpose of Barbershop singing. Since his appearances at these meetings started, quartet contests have been included in music festivals in

66 many states. We now have thousands MENC convention and meetings in of boys singing Barbershop in quartets Anaheim, Califomia, and choruses throughout North quartet demonstrated the art form, and America. at the 1987 ACDA national meeting in Several high schools have had San Antonio, the boys' Barbershop choruses for years. For presented an outstanding 90-minute example, the Bloomington, Illinois High concert at one of the major sessions. School Barbershop Chorus, under the So Abe Gould's dream continues to direction of barbershopper/teacher gain momentum. There is a new Young Sam Anliker, made a six-day trip to Men in Harmony Songbook to introduce Atlanta, Georgia, in 1978, where they high school boys to the art form. In sang before a national convention of addition, there are other YMIH materials the American Association of School available for the high school teacher Administrators. They also appeared, and the students. More high school boys along with the Sibley High CSt. Paul, are singing Barbershop at concerts and Minnesota) and the junior high chorus festivals and Abe would be pleased to from Hinsdale, Illinois, before the MENC know that the roots he planted 22 years in Chicago in 1978. Rounding out the ago are firmly and vigorously growing. The Barberpole Cat Barbershop harmony demonstration, Program, formulated by which was called "Barbershop Quartet What'll We Sing? Day in Chicago," were the 1975 International President Ralph champions, ; the There was no "common repertoire" Ribble, provided a 1976 champions, ; medalists, during our first two decades. Many men simple, common Roaring '20s, and the Illinois District's could perform "Coney Island Baby," repertoire for Chords Unlimited. The Sibley High Boys' "Shine On Me," or "After Dark" and that barbershoppers. Chorus, under the direction of St. Paul was about the extent of it. barbershopper Gar Lockrem, recorded Floyd Connett arranged and edited the Young Men in Harmony songbook Just Plain Barbershop in the late 1950s, and leaming cassettes. providing, for the first time, a body of fun, simple songs, arranged in Barbershop YMIH Syllabus style. Today, after 30 years, chapters are still using many of the songs for gang­ An educational tool developed by singing and impromptu quartetting. Johnson, A Syllabus on Barbershop In 1971 Ralph Ribble, intemational Harmony for Music Educators, was president and Mac Huff, music man introduced in May of 1978. The syllabus from the Society's staft formulated the was available to barbershoppers, but it still-popular Barberpole Cat Program. was intended to encourage music This initially consisted of a member's educators to consider Barbershop leaming six songs to demonstrate his harmony as an added dimension to prowess. The songs were, "My Wild Irish their present school Rose," "Down Our Way," "Shine On Me," offerings. "We Sing That They Shall Speak," "Wait By offering boys an opportunity to 'Til the Sun Shines Nellie" and "I'll Take sing Barbershop music, it was hoped You Home Again, Kathleen." that they may be attracted to the In later years the Barberpole Cat school's vocal music program. This kind idea was expanded to include more of exposure to Barbershop harmony Singers and more songs. It's not early in their lives may ultimately lead infrequent nowadays to hear four men them to become participants in their at Harmony College or at the adult life in chapters throughout the intemational convention-from far off Society. places and total strangers-harmonize After Bob Johnson's retirement his skillfully songs from a common efforts were continued by Joe Liles who repertoire. Thanks to Floyd Connett became the Society's representative on Ralph Ribble, and Mac Huff, the American Choral Directors barbershoppers no longer have to Association Committee. Liles involved quibble over song choice and ask such eminent chorus directors as Dr. "Wham we sing?" They just blow a pitch Greg Lyne and champion choruses and pipe, somebody starts a song, and off quartets to assist him. At the 1986 biennial they go on a four-part-harmony joumey.

67 Revisions 01 By the 1960s many choruses (as part Judging Categories of the chapter evening format) were doing vowel exercises, vocal warm-ups, As the 1960s wound down there was sight reading practice and physical considerable overlapping and warm-up movement. Gone was the redundancy in some of the categories casualness of former days. Public as mentioned in the chapter "Here performance was taken seriously. Many Come the Judges." Howard Mesecher, chorus directors were now aca­ international contest and judging demically trained and this revealed chairman, embarked on a course to itself in better voice production, more revitalize scoring methods and rigid choral discipline and smoother, less invigorate a sagging system with new interruptive musical interpretations. blood. Barbershop was losing its rough edge The Contest and Judging Handbook and becoming "mainlined" into with its category explanations, rules, American and Canadian music. and policies is updated frequently. The Large choruses became popular judge training program is a demanding with 80, 90 or 100 or more men on the one and those men certified are among risers. The traditional "chapter the most dedicated and talented in the atmosphere" of gang-singing, quartetting entire Society. and wisecracking was giving way to a more streamlined, more musically Emphasis on Choruses efficient system where the member was basically a choralist, and woodshedding It became evident after the Society's and tag singing were for the few, hardy first two or three years that gang-sing­ souls who remained after the choralists ing, impromptu quartetting, and went home. woodshedding would not be sufficient This choral emphasis paid oft resources to sustain chapters week after however, in several ways: week, year after year. Casually Music educators started giving organized activities of this type did not Barbershop music a second listen, which attract nor hold talented singers. Good paved the way for MENC's acceptance musicians wanted more than loud of Young Men in Harmony in the 1970s. musical outpourings, no matter how The Society attracted younger, better sincere and spontaneous the efforts. singers and men who wanted the chapter meeting night to be musically Printed Music fruitful. Choruses were becoming respected Frank Thorne, Norm Rathert and musical forces in communities. Music John Hanson organized choruses which critics were writing favorable reviews actually used (Heaven forbid) printed and radio and television professionals music. Many early barbershoppers felt were airing Barbershop performances. that Barbershop was strictly ear singing The homespun, folk nature of the and were insulted by the use of printed style was giving way to more musical music. 0. C. Cash openly encouraged renditions and many old timers were chorus singing, and this, coupled with complaining, "It just ain't the way it used the success of the first choruses in to be." Missouri and Illinois, gradually broke The new-found musical techniques­ down barriers to the use of printed taught by judges and others-gave the music. For many, the "ear singing" style a smoother, more refined sound. rationale was merely a smoke screen to Formerly rough-hewn, Barbershop hide their fear of admitting they couldn't harmony in the 1960s became more read music. It took at least a decade or musicaL but sophistication peeked in to more to overcome this trepidation. As say hello and in the process became a the Barbershop craft movement gained member of the household, a permanent momentum in the 1950s, barbershoppers guest. found out that the mysteries of the printed page were not that hard to decipher. They actually enjoyed "reading music."

68 Seven Growing Sophistication (1970s and 1980s)

It seems that everything we do in our lives demands we do it better than the 'next guy.' Why does this attitude, then, have to permeate our recreation as well? Ken Simmons

T he weekly Barbershop harmony Much to Bob Johnson's credit he get-together used to be called the refused to get caught up in the morass "chapter meeting," but in recent years of fancy techniques. He knew full well it has become increasingly known as that many technical devices required the "chorus rehearsal." Whereas the extensive experience to teach them chapter meeting format provided the effectively and then, too, was Joe amenities of gang-singing, quartetting Barbershopper ready for an array of and woodshedding, the chorus fancy choral techniques? He wondered rehearsal sometimes became the also if the style was ready to absorb chapter meeting. such non-traditional esoterica. In his Successful chapters found a schools Johnson emphasized more balance and prospered. Chapters not so down-to-earth, practical devices and fortunate floundered. The most notable action pattems. The judges sometimes of all 1970s-1980s trends was probably thought otherwise, however, and this leaning toward choralism. Chapters winning quartets and choruses are were hiring formally trained choral influential. Barbershoppers tend toward directors with their bag of techniques hero worship and emUlate, they did. and methodology, and judges with this Soon lesser choruses and quartets were same academic background were copying the medalists and champs, being certified. This trend showed up in with technique poking through instead quartet and chorus performances via of being subjugated or hidden. matching vowels, connected word This trend was slowed in 1980 with sounds, more legit voice production, the crowning of the as and staggered breathing-to name a quartet gold medalists. Their mentor, few of the tools. advisor and arranger was Lou Perry,

69 A recognized tempo and volume, and stage authority on the flashiness all crept into the musical subject of four-part house when released from the bag. The harmony, Lou Barbershop style was no longer Perry, brought to homemade with that slightly rough barbershopping a edge. In the '70s and '80s it often lost its background as a ingenuous quality and its spontaneity trumpeter and through excessive application of arranger for jazz technique. Many long· time bar· groups and dance bershoppers had lived through both bands. He then eras and they preferred the more received an traditional approach. Ultimately, education in music membership figures and retention rates theory and will be the arbiters along with audience composition before reaction as revealed in sales. being bitten by the Perhaps, as the Society moves toward Barbershop bug in the 21st century, its singing style and 1 951. He is well musical tastes will be forced to go along known as a coach with the changing times. Only the future for top quartets, will tell. including the Four whose philosophy could be encapsuled Rascals, the Four thusly: Harmony College Statesmen and the "There's a prevailing materialistic Boston Common. notion that fullness of life and happiness The previous chapter told how rest in man's mastery over the physical Harmony College evolved from HEP world. Since many people view a song schools. From the original six course as a physical entity (sound , et curriculum of the first HEP there is now cetera), a song is there to be conquered a curriculum feast of more than 50 or subdued. We subdue it by applying course offerings. Here is the Harmony our own personal ideas to it. Egoism College curriculum for 1987: exerts itself and we force ourselves upon the song. We have to be careful that How to Choose Music for Your Group song degradation and mal· How to Teach Songs interpretation do not occur. A song is a How to be an Effective Motivator spiritual entity which has its own life, How to be a Great Lead message and sphere of freedom which How to be a Section Leader we are not entitled to invade. We should How to Promote Young Men in Harmony strive for a naturaL unaffected How to Warm Up a Chorus approach to performing without a lot of How to Promote Quartets effects. Let the song speak for itself. A Woodshedding good song will do just that." Function and Care of the Those who attended the Vocal Mechanism intemational contest in Salt Lake City in Tag Singing 1980 saw and heard the Perry Stage Lighting philosophy in action when the Boston Song Leading Common sang Lou's arrangement of Costuming and Makeup Bob Godfrey's "That Old Quartet of How to Handle Stage Fright Mine." They just stood and sang and let New Barberpole Cat Program the song speak for itself. It was one of the Marketing for Membership and Money great moments in quartet contest history. Repertoire One man and one quartet INT·ARR·ACTION however, could not stem the tide toward Master of Ceremonies sophistication. The Society became Audio-Visual Techniques caught up in choraL vocaL visual and The Music Leadership Team arranging devices. The smart coaches How to Audition and Analyze Voices and directors developed their bag of Soft Shoe/Waltz Clog Dancing tricks from which they drew the ones Educational and Archive Videos appropriate for a particular contest or The Scoring Categories show. Virtuosity of voice, impetuosity of Stage Craft

70 Script Writing the other side of the musical fence. For The Artistry of Interpretation 35 or 40 years the Society has coped The Devices of Musical Interpretation with singers who aren't content with Vocal Techniques major and minor triads and Barbershop Singing Man's History of the Society 7th Chords. These vocalists get their The Successful Performance musical kicks from an occasional bit of Show Administration stylistic sinning. They enjoy the major Show Production 7ths, 9ths, 6ths and 13ths found in more Saturday Night Live contemporary songs. Fundamentals of Music I & II Bob Johnson and Dave Stevens Theory of Barbershop Harmony waged vigorous "Keep It Barbershop" Four Levels of Arranging campaigns during the 70s and '80s. Sight Singing/Sight Reading Sometimes past champion quartets Introduction to Coaching were the biggest offenders as they Advanced Quartet Coaching traveled doing shows. The international Fundamentals of Chorus Directing board even got into the "musical Advanced Chorus Directing marshal" role by suggesting in 1976 that Chorus Director's Seminar at least 75 per cent of the songs Creative Stage Presence performed by all quartets and choruses Physics of Sound be Barbershop in nature. This edict did How to Teach What You Know not sit well with some quartets. Quartets Songwriting are naturally independent and the ruling made them a bit uneasy. The In addition to the ever·popular ruling was modified to eliminate any Harmony College, frequent mini· suggestion of "percentage," but urged Harmony Colleges are held at the quartets and choruses to sing district level. Each year, thousands of Barbershop harmony in all barbershoppers attend music schools performances. The Society still urges the and most of the men pay their own Association of International Champions expenses. The annual August trek to (AIC) quartets and others to moderate Missouri Western State College for their repertoire, but ultimately, supply Harmony College has become an and demand takes charge. Some exciting educational event as are also chapters will hire them with their the smaller, less glamorous schools. "modern" harmonies, but all chapters Barbershoppers have discovered prize the artistic freedom of choosing that it's always fun to see and hear whom they wish to headline their show. Barbershop music education in action, The musical market place will do the but it's even more enjoyable to be there rest. as part of the process. Vocal Synergism "Modern" Harmony With the passing of the Harmony The grass is sometimes greener on Accuracy and Balance and Blend More than 300 singing students learned nine new arrangements during the first week-long Harmony College seminar, held at Dominican College in Racine, Wisconsin in August 1970. The students consumed 1 60 gallons of ice cream to establish a Harmony College tradition.

71 Categories, came the new Sound several chapters have men certified in Category. Based on the fact that all the judging categories to advise acoustical phenomena occur when them, thus becoming the envy of many harmonize, the Sound other chapters. Coaches are now Category draws a parallel with the encouraged to develop a coaching world of chemistry. A synergistic methodology and philosophy. reaction is when two or more compounds unite to cause an effect Three Championship Quartets greater than any single chemical or compound could have evoked. An One often hears the comment more explosion is a synergistic reaction. from non-barbershoppers, that "all Single pitches sung and sustained quartets sound alike." There may be a create overtones. Two voices germ of truth in this statement when harmonizing not only have their applied to many quartets. However, it is individual overtones, the interval itself (a doubtful that the comment has ever 3rd, 4th, 5th, et cetera) creates at that been made about most intemational same moment additional effects such as championship quartets and certainly summation tones and difference tones. not about , Dealer's Choice, The four voices intermesh and and Boston Common. Each of these intertwine between and among the three had a uniqueness of style that set various intervals of the chord to get an them apart from the general quartet expanded sound, a vocal synergistic population. For the same reason that reaction. Matched word sounds, proper one could not confuse the sound of Bing volume levels, and exact pitches are Crosby's voice with that of 's, the prerequisites for the creation of this one could not mistake the sound of any expansion. of the three quartets just mentioned. Today's Sound judges are trained to Even if it were in the lobby of a crowded detect and appraise the presence or convention hotel, with dozens of absence of these phenomena and quartets singing at once, one could audiences, not worrying about such readily pick out the sound of the technicalities, just sit back to be thrilled Suntones, Dealer's ChOice, or Boston by the quartets and choruses. Common without bothering to look. As is usually the case with topnotch Coaches and Specialists quartets, the promise of fame came early. One might even say In the early years, most quartets and "telegraphed" by earlier ac­ choruses rehearsed on their own complishments of individuals. For without importing special musical example, in the late 1950s there was a assistance. In recent years, coaches fine quartet called the Memory Four have become a dominant force in from Florida appearing in contest with Barbershop music Some chorus an outstanding tenor, Gene Cokeroft. It directors no longer make basic was clear that a tenor of his quality interpretive decisions. They merely do would become a champion, if not in his what a visiting "expert" tells them to do. present quartet, then certainly in In faimess, though, it should be noted another. As it tumed out Gene became that most coaches and specialists are the tenor of the Suntones, the only native there to augment but not supplant Southerner in that quartet incidentally. existing teams or individuals. Similarly, in the Northeastern District Don Clause, Lyle Pilcher, Ed Gentry, in the 1960s there was an excellent and Lloyd Steinkamp are four well­ district championship quartet called the known coaches of the 70s and '80s. Cross Countrymen who had a low, Using a combination of Barbershop resonant bass by the name of Terry wisdom, great talent and much Clarke. One just knew that some day charisma, they and the other fine Terry would sing in an international coaches elicit exciting and beautiful championship quartet. And so he did, in performances from the singers. the Boston Common. Some chapters have such a strong A final example of this "promise for array of talent they seldom have need the future" could be cited in the person to import guest coaches. For instance, of Brian Beck, a barbershopper who

72 could sing all four parts with equal ease. contrary. The Suntones from Brian won contests with amazing In her article in The Harmonizer of Miami and West regularity singing in such quartets as the January/February 1981, Ruth Perry wrote: Palm Beach, Florida DooDads. Brian became the baritone of "By definition, a lead singer sings won the Society's the Dealer's Choice and then melody and leads the quartet gold medal in compounded that achievement by supported by three harmony parts. Philadelphia in singing lead in another intemational Imagine, if you wilL four leads forming 1961. Members of champion, the . In a quartet. This four·lead·hitch found all the quartet were the latter quartet he took over from Bill the roads going in four directions at Harlan Wilson, bari, Thornton, who had been lead in the once, roads to interpretation of a song. left; Bill Cain, bass, Dealer's Choice. Confusing? Not really Quite possibly, nobody could coach top; Gene Cokeroft, when you realize the ability, drive and them. Nobody ever did. Lou Perry (Ruth's tenor, bottom, and versatility of each of these men. husband), their father·in·music, Bob Franklin, lead, Does this mean that the Suntones, compared his position to that of his right. Dealer's Choice, and Boston Common mother·in· law babysitting his sons, not were one·man quartets? No, far from it. as caretaker but as witness, referee and Each contained four superb singers, all impartial arbiter. Rehearsals were of whom contributed to making the contests, with consensus reluctantly composite sound, interpretation, and achieved when the song came to life. visual presentation greater than the "With this strongly individualistic sum of the partS-Which incidentally is quartet the music had to win. They not a bad definition of correct knew they could make music together barbershopping. In each of the three that none of them could make alone. championship quartets mentioned, it is Sounds simple, but many talented probable that each singer felt fortunate people never admit that even to be singing with the other three men, privately." Ruth hit the nail on the head the exact opposite of the attitudes so with the foregoing statement. There are often evident in many lesser quartets. no "wimps" in a championship quartet. This does not mean that the members One of the characteristics common of the three quartets under discussion to the Suntones, Dealer's Choice, and were not strong·willed men. Quite the Boston Common was that once formed,

73 they all developed quickly to top performance. Some of their other great drawer status. The Suntones won the numbers in that contest were "Mighty international three years after Lak A Rose" and "Bye, Bye, Blues." organizing and the Dealer's Choice Following their winning of the won after only two years. It took the championship, the Suntones became a Boston Common ten years, but this is busy quartet. By June of 1962 they had deceiving since only one year after sung in 144 parades of quartets, most of organizing they were knocking on the them during their championship year. international door with a superb 12th They also adopted a truly show business place finish at the 1971 contest in New approach, pioneering the use of four Orleans. Another explanation could be individual microphones and a high the weather and high humidity in the stool for each singer. Along with this northeastern part of the country. A activity, they continued to contribute to barbershopper from that region was the Society in other ways such as once heard to exclaim, "How can they participating in the first Society HEP expect us to win any championships schooL in Winona, Minnesota and in when we have to sing under water most work with choruses, Cokeroft directing of the time!" Be that as it may, the Miamians and Wilson the Palm championship quality shines through Beach County Coastmen. The distinctive quickly and this was certainly the case sound of the Suntones was heard with all three quartets. throughout the land well into the 1980s, Some of the facts surrounding the more than 20 years after winning the formation of these great quartets bear gold medals. recounting. The Dealer's Choice burst upon the Bob Franklin, a lead transplant from international scene in an even more New York City, and Bill Cain, a bass from sudden manner than the Suntones. In Hammond, Indiana, joined Gene the spring of 1973 there was increasing Cokeroft (originally from Alabama) in talk about an excellent quartet from 1958 to form the Suntones-along with Bill who had won the Southwestern Wyatt the original baritone. Wyatt sang District championship in 1972, but with the quartet for 1Y2 years. When he beyond that they were relatively found it necessary to bow out the unknown in other parts of the country. remaining three found a handsome Al Kvanli, the tenor, was the only baritone by the name of Harlan Wilson member of the quartet who was not a (a native Michigander) in West Palm native of Texas, having been brought Beach (75 miles away) eager to join in. up in the colder climes of Minnesota. Al Helped by Bill Hall a fine tenor in his own was also the only one of the four who right the Suntones were soon on their did not have formal musical training. way. They placed eighth in the This did not prevent him from singing intemationals in Dallas in 1960 and then some of the finest tenor ever to come jumped to first place in Philadelphia in down the pike. Bill Thornton, the lead, 1961. They led all three sessions and won had studied music with the thought of by a comfortable margin. going into opera. It was opera's loss and There is a benchmark by which barbershopping's gain when Bill superior quartets can be measured, at decided to concentrate on the latter. least in the eyes of other Brian Beck, a professional jingle singer, barbershoppers. It is the number of other was the quartet's baritone. His overall quartets who try to sing the same songs musical background and leadership set and arrangements, hoping perhaps the early tone (on pitch) for the quartet's that the magic of the champions will development. Gary Parker, the bass, somehow rub off. In the case of the was the youngest member of the Suntones this was evidenced by the quartet but he was no stranger to number of quartets who sang "It's Just singing, having been a soprano soloist a Little Street Where Old Friends Meet" with the Texas Boys' at the age of all through the 1960s and into the 1970s. ten! Add to all of this musical talent in Unfortunately, no other quartet has sung the Dealer's Choice the inspired that song in quite the same way as the coaching of Don Clause and one can Suntones did at Philadelphia in 1961. In see why they soon became great. And the memory of many, it is still their finest it wasn't just the talent and coaching

74 alone; the Dealer's Choice rehearsed at Take My Place When I'm GoneT As The Dealer's Choice least 30 minutes a day, seven days a might be expected, many quartets startled barber­ week, for three months prior to the 1973 have sung that song since; none has shoppers in July international competition. produced the effect of the Dealer's 1 973 by winning However, even with all of this Choice in Portland. Many people still the international meticulous preparation, no one regard that quartet as a singer's singing championship in expected that quartet to win the quartet. their first international championship in their While the Dealer's Choice were competition. very first outing in that contest, but the winning their gold medals in Portland, Members of the Dealer's Choice did, in Portland, Oregon, the Boston Common were steadily Dallas, Texas, July 1973. It was a thrilling experience for improving their standing in competition foursome are, I. to all concerned, quartets, judges, and fans and in the hearts of countless fans. r., Al Kvanli, tenor; alike. Initially, the quartet consisted of Kent Gary Parker, bass; The striking characteristic of the Martin, tenor; Rich Knapp, lead; Wally Bill Thornton, lead; Dealer's Choice was their attention to Cluett, baritone, and Terry Clarke, bass. and Brian Beck, bari. detail and the overall quality of In 1972 Larry Tully replaced Cluett in the performance which resulted from that baritone spot and it was that attention. Every vowel and singable combination which took one fifth place consonant which had potential for medal, three fourth place medals, two expanded sound was exploited to the third place medals, and one second utmost. Every pause which could give place medal over the next eight years an added interpretive effect was used, (they chose not to compete in 1976). All causing the listener to lean forward just of this effort culminated with the Boston a bit further in anticipation of what was Common grabbing the top spot coming next. Perhaps the best example convincingly in Salt Lake City in 1980. of this was their performance of Greg Can anyone there forget their final Lyne's superb arrangement of "Who'll performance when they sang "That Old

7S Quartet of Mine," one of the highlights more than anyone else to destroy the in quartet competition? myth that "all Barbershop quartets The Boston Common had several sound alike." They produced consistent characteristics which set them apart high quality, vocal music on a par with from other quartets. The first was a full· any groups in the world. Each in their bodied sound quite unlike that of any unique way contributed enormously to quartet preceding or following them. the progress of barbershopping. Some would describe it as "dark," yet it Note-The editor realizes there have been had a richness of quality which was dozens of gIeat champion quartets. These three captivating. Second, the quartet were selected because of their historical uniqueness. Space does not permit tributes to possessed a disciplined free spirit for all of the gIeat quartets. lack of a better term, which allowed them to focus on the end product of a Other Trends- performance. They had an uncanny Decline of Community Singing knack for setting a tempo and sticking The Boston with it until they had driven home the Community singing (audience Common won the message of the song. Finally, more than gang-singing) was a standard event at gold medal in Salt any other championship quartet the the 1940s parades of quartets. Geoffrey Lake City in 1980 Boston Common "kept it Barbershop." O'Hara, Tom Needham, John Hanson, after having won They sang the same songs on shows George Campbell and Art Baker were silver or bronze that they did on the contest stage and some of the great song leaders. Then in medals for each of made sure that those songs were the 1950s and 1960s there came Paul the previous seven equally entertaining in both Schmitt Mo Rector, Bill Busby, Web years. Quartet environments. Luebtow, Tom O'Malley, Forrest Haynes, members were Kent There you have it-three very and Fred King. It was a fun way to Martin, tenor; different championship quartets: involve the audience and to revive the Richard Knapp, Suntones, Dealer's Choice and Boston old songs. Many chapters gave up this lead; Terry Clarke, Common, each of whom established tradition. Finally, to shorten contest bass, and Larry new standards and set new marks for sessions, the executive committee in 1986 Tully, bari. others to follow. Collectively, they did put stringent limitations on community

76 singing at the international contests. It's and chapters who wanted more fun George Campbell becoming more difficult with each from their hobby. Their dream involved led the audience in passing year for audiences to recall the the competition aspect of Society life. a community sing oldies in song. Without a strong program Many devoted themselves to singing in at the 1947 to save community singing at our quartets, others were determined to international events, this tradition will die. work toward chorus gold medalS-just convention in to share the victory with others in the Milwaukee. Musical Upgrading of Choruses group. Although it's difficult to pay tribute to The vocal skills of some ALL chorus champions, there are those chapters/ choruses may be too widely chapters that remain in the limelight, divergent or too minimal to satisfy the those that are recognized as competitors more talented members, so they form in the spirit of good wilL and appear new chapters and choruses or rebuild several times on the international old ones with more demanding contest stage for their moment in golden standards and regulations. It boils down glory. to the same old question, "ShOUld they Probably most noted in this category be inclusive or exclusive?" Generally, is the Louisville Thoroughbreds. As chapters are allowed sufficient freedom seven-time champions, few have been to choose for themselves the kind of able to achieve their level of awareness. chorus they want. There are good Yet, those seven victories were picked arguments on both sides of the issue. It from 13 trips to the international contest must be noted that picked choruses are from 1961 to the present. Credit to their becoming more common even though excellence stems from their numerous officially they're not encouraged. quartets competing at the international Commitment to Excellence level (two obtaining gold medals) and the stability and solidity in their music In the course of the Society's program. Men achieving the chapter's existence, there have been individuals music respect include Ed Gentry, Joe

77 Wise, Ed Hackett Fritz Dryborough and singing attracts good singers" and a the directing talents of Bill Benner and heavy emphasis on perfecting the Jim Miller. To date, five men remain in singing basics allowed this group to soar the chapter who have eamed all seven among top choruses in the Society's gold medals. history, as well as remammg Two early powerhouses in the unequalled in precision singing. chorus competition were the Pekin Forming in 1971, the Vocal Majority Chorus from Pekin, Illinois, and the began their winning ways after a 1972 Dapper Dans of Harmony from district second-place finish. From there, Livingston, New Jersey. Under the they never lost a district contest and, musical direction of Jim Moses, Pekin with six trips to the intemational level joumeyed to the intemational contest competition, they achieved four gold six times and was awarded gold medals (1975, 1979, 1982 and 1985). medals on three of those trips-1959, 1963 This group is also credited with and 1968. The Dapper Dans (under Dave fostering and fine-tuning the "Good Mittelstadt and Bob Osbom's directing Time Show" concept a cabaret-style influence) traveled four times with two performance. In their 15 year history, victories-1967 and 1970. there have been many highlights-two Two recognizable groups hail from quartet gold medalists, entertaining at Canada. In the early '50s and early major conventions and major cities, '60s, the East York Barbershoppers from producing seven record albums, , Ontario, were always performing three times with the Mormon threatening by placing third, fourth or and three fifth in their six trips to an intemational performances for the Vice President and contest. In the late '70s and throughout President of the United States. the '80s, the Scarborough, Ontario, The credit for their success can be Dukes of Harmony were the traced to the talent and dedication of representatives-and gold medal music and administrative leadership­ winners (the first in Canada) in 1977 and music directors Jim Clancy, Brian Beck 1980 out of seven ventures to the stage. and Charlie White; the Dealer's Choice With their The names George Shields, Al Shields, quartet (1973 international quartet championship in Ray Danley and Ron Whiteside were champions comprised of Al Kvanli, Bill 1984 the always associated with the Ontario Thomton, Brian Beck and Gary Parker) Thoroughbreds Singing contingent. bringing Harmony College training chorus from OveralL the '70s brought an back to the chapter; Ken McKee for Louisville, , emphasis in singing excellence. The stage and show production expertise; had won the top most respected group in this vein, and and charter member Bob Arnold, to international award a relative newcomer to the stage, is the name a few. an unprecedented Dallas Metropolitan Chapter chorus, the Two other chapters in this era seven times. Vocal Majority. The lofty goal of "good proved that they could slip into gold

78 medal ranks-the Phoenicians and the founder Dean Snyder and administrator Harmonizers. The Phoenicians from Wilbur Sparks provided their drive for Phoenix, Arizona, competed inter­ competition honors. nationally eight times and won three The most visible group has traveled times (1972, 1976 and 1983). The Har­ to conventions 15 times. They were monizers from Alexandria, Virginia, always in the top five choruses, yet have were five-times international com­ been champions only once. The petitors and won in 1986. Both groups Southern Gateway chorus from Western boast of their creative music leader­ Hills (Cincinnati) Ohio has threatened ship and vast talents. For Phoenix, the many competitors in their long history. directing of Lou Laurel (who saw his Musical talents of Tom GentiL Don Gray first international victory with the El Paso and Bob Mucha, with staging genius Chapter in 1964), the arranging talents Ron Riegler. focused this group on the of and assistance of Lloyd international competition trail. Steinkamp with son Gary, and quartet All of these groups credit their suc­ gold medalist Paul Graham round out cess to the devotion of their music dir­ their music leadership. For Alexandria, ectors and music staffs. Each group directors "Bud" Arberg, Oz Newgard, has its special people. All admit that, arrangers/directors Scott Werner (who regardless of the leadership, none took them to their championship) and would have succeeded if the drive and John Hohl, quartet activists Vaudeville enthusiasm of each singer during (Scott Werner, Bill Cody, John Hohl, chapter meetings, chorus rehearsals, Harold Nantz) and Nova Chords (Scott performances, and money-raising Werner, John Hohl, John Adams, Dick drives had not provided the extra effort Whitehouse) and expertise from to make it happen.

79 Eight The Second Half-Century

You have to go fetch the future, it's not coming toward you, it's running away. A Zulu proverb

Yes, the past shapes the future, the its members throughout the world by the ever-elusive future. The years gone by formation of local chapters and districts have provided invaluable lessons to composed of members interested in the guide the present generation of purposes of this corporation/' barbershoppers. The ancient Latins had 2."To hold annuaL locaL district state, a saying, "Vires acuirit eundo." (It gains national and international contests in strength as it goes.) If the SOCiety has quartet and chorus singing/' acquired knowledge, skilL and 3. "To encourage and promote the efficiency along with greater education of its members and the musicianship, it is because the public in music appreciation, and" organization has strived to fetch the 4."To promote public appreciation of future. Barbershop quartet and chorus singing The first five decades have taught by publication and dissemination several vital lessons. First of alL it thereof/' becomes evident that Society members 5. "To initiate, promote and par­ have not yet fully caught the vision of ticipate in charitable projects and to service and public awareness establish and maintain music schol­ contained in Article II of the Society arships and charitable foundations," Bylaws. Perhaps barbershoppers have 6. "To initiate and maintain a broad indulged their bent toward self­ program of musical education, entertainment at the expense of the particularly in the field of vocal greater, outside world of public harmony and the allied arts." awareness and service. The broad scope of these purposes It would be useful to review these and powers is a challenge to chapters purposes and powers found in Article II. and districts to get beyond self­ 1. "To perpetuate the old American entertainment and musical self­ institution, the Barbershop quartet and indulgence. Albert Einstein said, "The to promote and encourage vocal value of a man should be seen in what harmony and good fellowship among he gives and not what he is able to

80 receive." By more "giving" and less Barbershop, risk the hazard of second­ "taking" barbershoppers can help solve rate performances. Dixieland bands problems that the future may hold for don't attempt rock or country and the Society. Western. The listener can immediately detect the lack of genuineness. Four studio musicians or four opera singers Myopia WOUldn't try to perform a Barbershop quartet arrangement. It is just as A second lesson from the past is to ludicrous to us as it is to them when we avoid musical myopia. Barbershop try to cross over. Few, if any Society harmony is not the only musical act in groups can sing other styles town, or the world, for that matter. This convincingly. view of Barbershop as the "only" music There are some members caught in closes the door to giving and learning. the snare of thinking the Barbershop It is selfish, limiting and naive. The world style is simplistic, narrow and lacks of music is vast and Barbershop is just general appeal. Of course the same one of hundreds of styles. thing could be said about madrigals, Much of this musical myopia has to Dixieland, bluegrass and other styles. do with a lack of awareness of other Strict stylistic parameters don't impede great a cappella organizations. For musicians who are loyal to a chosen instance, the Swedish Radio Choir is style. Stylistic integrity calls for this unsurpassed in musicality and sound. mastery and they forge ahead to learn There are choral organizations in the elements that make those styles colleges, universities and high schools wonderful and individualistic. that achieve greatness in their own Some chapters and quartets realm. To give account of the choral abandon the uniqueness of Barbershop musicians who are working with pure style. Perhaps they are trying to be all (just) intonation, would provide material things to all people. But this also reveals for volumes of books. The Society is a lack of trust in what has truly become among the world's leaders in the study an American art form, Barbershop of just intonation and expanded sound. harmony. but there are many great choral Barbershop is a strong and worthy conductors, teachers, voice coaches style when properly performed. Few and researchers out there, beyond people can be unimpressed when they barbershopping. hear good Barbershop. In 1986 there It is true that many musicians can were 200 quartets of young men who learn from Barbershop singing the joy of sang in the Wisconsin Public School expanded sound, but the Society is not Music Festival program. A survey of the the only group teaching this skill and repertoire shows that every quartet song art. Musical narrow-mindedness can be was a solid example of Barbershop boring and isolating. The cure is harmony. awareness, cooperation and an In the summer of 1986 the Side Street openness for new ideas. Barbershoppers Ramblers quartet represented the can continue to give others the benefit Society at the convention of the Inter­ of their experience, research and national Society for Music Education discoveries with this wonderful in Innsbruck, Austria. They received synergistic singing. three standing ovations from an audience comprised of sophisticated, A Musical Mistress on the Side trained musicians from throughout the world. Since then the international office Past errors give insight to offer at Kenosha has received orders for another caution, a third lesson of the music from young men in Europe who past. There has been occasional have become interested in Barbershop. musical infidelity, courting a musical They recognize a musical art form mistress or two on the side. Granted, which challenges them, and if chapters other styles are attractive and perhaps and quartets will continue to perfect it certain members tire of the same style interest will spread. The harmonic week after week. Those who roam structure of Barbershop chord vOicings, outside the style, under the guise of when coupled with matched vowel

81 Evergreen District's sounds and proper volumes, is the secret expense in preparing sing-along sheets Cascade Chorus, of the style. It deserves protection, for audiences. Here, indeed, is a heritage under direction of propagation and additional research. of harmony to give the world. Joe Liles, gave a (perhaps in future years barbershoppers But people must be coaxed out of demonstration of will be more faithful to their first love, being spectators. They must experience Barbershop Barbershop harmony.) the joy of group singing along with the harmony at a Some other mistakes during the first togetherness it creates. Maybe the conference of the five decades were undervaluing Society should consider developing International Society membership and failing to songbooks to be used in the elementary Society for Music educate new members about and primary grades in schools. They Education at Barbershop history, traditions and could be written to be sung in unison Eugene, Oregon in musical expectations. With better with optional two- or three-part 1984. Appearing on membership programs now available, harmony. Some titles for such a the program with some of these problems can be solved. compilation might be Almost the chorus were the However, it is time to leave the past and Barbershop, The Good Old Songs or 1977 champion find the future that is elusively near-a Heritage of Harmony. future which brings with it problems of Parents and grandparents can and the Side Street the electronic age. The first concern for expose the young to melodies, Ramblers, 1983 the coming years is the decline in wholesome lyrics and harmony by champion quartet. musical participation. sharing the heritage, teaching it, singing it, and involving the community. Spectatoritis Decline of School Choral Music One almost never hears community singing anymore. Some churches seem In the past few years school boards to do fairly well with hymn singing, but have felt the crunch of financial the general public has fallen into a problems. One of the first curricular nonparticipant lethargy. programs to go is choral music. Since Songs written in the '30s and '40s there has been reluctance to do away were more difficult for the average with football programs, bands have person to harmonize, but at least there fared a little better. were many memorable melodies that As an organization interested in could be sung in unison. From the '50s singing and, in particular, male singing, on, there have been fewer melodies the Society can help unite communities that lend themselves to community to support vocal music in the school, sing-alongs. including Barbershop harmony. It is part A challenge for the future is to get of the Society's purpose. young and old everywhere to join in 11 there are no vocal music singing. With so many songs coming programs in the vicinity, the challenge into public domain, there are few is still there to help create some copyright problems and very little programs and teach children and

82 youth in the community. The will be elderly. By 2020 the average encouragement and support of age will be extended 19 years longer personnel to develop boy is vital, than it is now and with the early thus teaching young men that it is retirement there may be 30 masculine and rewarding to sing. The years of life after retirement. Society can provide leadership in vocal There is a great future ahead. What music education and all the while still a pool of people to organize as singers! protect and preserve its own unique They will have time to practice together contribution, Barbershop harmony. and socialize over a song. Maybe there will be retirement centers for Song Degradation barbershoppers. The historical trend toward increased leisure time will give A modern-day attitude and many men the opportunity to sing as a philosophy has found its way into some hobby. Over 90 per cent of American of the Society's arrangements and men don't know of S.P.E.B.S.Q.S.A., so performances. It is a mistake that, as there's a vast field, ready for musical explained in the Lou Perry quote in the planting and harvesting. chapter "Growing Sophistication," There is, however, much more happiness and excitement comes from competition for a person's time. mastering and/or acquiring things Organizations have sprung up to take physical. Those who believe that a song a man's mind from singing and is something physical and therefore harmonizing. Barbershop singing has to must be manipulated and brought into withstand competition from community submission, are in error. organizations and events, or it deserves In many ways, this false philosophy to lose. Chapter meetings have to be leads to over-sophistication, a type of fun, rewarding and worthy of a man's manipulation which can be the demise time in order to attract and maintain of an art form. Excessive concentration members. on technique and virtuosic display draws attention away from the music. Over-arranged songs, frantic tempos I Can Do Anything You Can and engineered, manhandled Do ... Better interpretations bring about the degradation of songs. It is safe to say that musical contests Songs should be considered spiritual have been one of the activities which entities. Let them have their say with have helped refine the Barbershop style their message and mood. Fine and develop outstanding performers. examples of this philosophy are found Some of the side effects have been in arrangements by Lou Perry, Earl unfortunate, however. Moon and Dave Stevens. Their Overkill on a few songs, with endless arrangements do not get in the way, but extra rehearsal hours, has taken its toll enhance the message of the song on patience, enjoyment and self through simplicity. It is encouraging that esteem. Chapters have split apart to many other arrangers are becoming form super groups intent on winning a sensitive and aware, respecting the gold medal, often reducing the talent rights of songs. Fred Waring, a great pool in the area. entertainer and choral leader of this Henri Bergson noted that true century, said, "The song's the thing." The superiority lies not in being better than future can bring a striving together someone else. It lies in being superior to toward an honest rendering of songs, one's former self. refraining from excesses which cloud Only one chorus each year can win the song's message and hide its basic a gold medal. More emphasis can be elements. placed on competing against one's former score, reaching a singing goal and trying to maintain or surpass it. Coming Of Age There can be a positive attitude and enjoyment in hearing other groups It is predicted that at the tum of the perform Barbershop songs and century 20 per cent of the population cheering them on as brothers in music.

83 , Mirror on the Wall 3) visitations to other choirs; 4) sharing our printed music with community choral There is no single standard of vocal groups; 5) lending voices occasionally prowess in the Society's more than 800 to assist other community choirs and chapters, Choruses have differing levels ventures; 6) craft demonstrations; of expectations, depending on talent 7) student body assembly programs and available, community standards and community concerts, tradition, There is a need to accept and support the various levels of singing Tag proficiency. However, that doesn't mean mediocrity should be forced on listeners, During its first half-century the The Society's image is severely S,P.E.B,S,QSA achieved much, Its contest tamished by quartets and choruses that and judging program is among the sing with poor quality or badly out of world's finest adjudication systems, and tune, A disceming listening public will the Society's ways of organizing and be repelled by poor singing, so before training choral groups are the envy of quartets and choruses perform in public, many musicians, Its educational they should get someone-a musically programs, such as Harmony College, experienced friend-to determine have received acclaim from educators, readiness. It is vital to develop minimal and the training materials, such as tapes standards and adhere to them. and manuals, are first-class by any standards, Channel Overload The Society's altruistic musical performances each year number in the A quick survey of the radio dial will tens of thousands, with choruses and reveal the proliferation of rock music quartets providing service through song and country and West em, They are at hospitals, rest homes and countless abundant and lure young people into other venues, The Institute of Logopedics a commercial trap", a channel has been given about $8 million since overload, Appreciation of so many it became the Society's Unified Service other wonderful styles is stunted and Project. reduced to practically zero, In generaL Medalist and champion quartets young people are simply not exposed and choruses are gaining world class to anything else, There are dozens of recognition by concertizing before wonderful styles in art, music, pop music, leaders of the Music Educators National folk music and sacred music. The Conference, the American Choral seduction of pop styles stands in the Directors Association, the International way of wider musical experiences, Society for Music Education and other Educational institutions that provide groups, In 1984 Val Hicks delivered an broad programs of music education academic paper on the origins of and teach and develop other styles of Barbershop harmony to 80 music music are appreciated, The Society scholars gathered at Keele University in supports and encourages the various England. Bob Johnson and Joe Liles, school and community music programs using quartets and choruses, have available, Barbershoppers can be demonstrated Barbershop harmony to known for their love of music and the music educators in the United States, arts, Canada and England. It is a challenge to develop the best Individual barbershoppers, such as quartets and choruses possible to sing Lou Perry, Dave Stevens, Eric Jackson Barbershop harmony at school and and Greg Lyne possess teaching skills of community functions, This is an such a remarkably high level that they excellent way to promote the hobby could be esteemed lecturers on any and style, The SP.E.B,S,QSA enjoys many campus in the world. Some great musical friends and encourages other educational moments occur at musical organizations as they promote Harmony College and other schools their styles of music, The potential for and seminars, thanks to a corps of musical cooperation is vast: 1) joint experts who offer their time and talents programs to confirm interest and to the Society. support: 2) invitational choral festivals; The Barbershop harmony move-

84 ment has much to give to the amateur borders were redrawn, and peasants and the professional. Yet Barbershop tilled, but life continued with little researchers have barely tapped the alteration of ways. In the 20th century, possibilities of vocal synergism, voice however, change has become the placement blending techniques, vowel dominant feature of the age. production, and voice care, to name a Technology and materialism thrive on few areas. the creation of obsolescence. Products Self-entertainment will always be a are designed to quickly go out of date. strong appeal in attracting and holding Contemporary "pop" music, one of members, but as the Society matures, its these modem products, changes so fast local chapters and members will that last year's styles are already become less self-centered. Bar­ becoming passe. bershoppers will reach out in more Can the Society, an organization creative ways to give service and which fights musical change, survive in spread their art form through planned the 21st century? Can the style be performances. The world can be the preserved basically intact for the next audience! generation? Or, another even more It is hoped that the Society can probing thought: Should the style avoid musical fads and shun methods remain constant? Can musical built around charismatic personalities. evolution be slowed, or can the Faddism and "cult of personality" geometric pace of modem change be methods have little lasting value. steered away from the Barbershop Musical techniques are more durable style? Can the style remain healthy and and effective when grounded upon vibrant in a hothouse museum solid research and established leaming. atmosphere? Quartet coaching, chorus directing, These questions will not be voice training and adjudication should answered in 1988. Only the coming all have firm basis in proven principles. decades will provide the unveiling of solutions. Youthful Barbershoppers of constancy 'Midst Change? today will help answer these questions, for the quandaries posed are among In past centuries change came the most vital in the noble 50-year slowly. Kings died, armies marched, history of the S.P.E.B.S.Q.SA

85 86 Editor's Epilogue

Now, in closing this Heritage of long-suffering, beautiful people-our Harmony book, we say thanks to all the wives and sweethearts. Thank you, givers in the Society, especially to those ladies, for your encouragement, legions of quiet, unassuming, faithful cooperation and love. volunteers. Every chapter has its share. Finally, we would be nothing They set up chairs, brew the coffee, without composers, lyricists and their clean up, put away the risers. The list songs. The world would be a cold, goes on and on. dreary place with no music. Ultimately We must reiterate our gratitude to our Heritage of Harmony is founded on the pioneers who provided the songs: foundations upon which we have built. If we have been able to look ahead it's Songs which recall those days never to because we have stood on giant be shoulders. When we were much younger and life How can we fully thank the great was so free. quartets of the Society for their legacies Yes, life was so free then when love was of musical memories? Then, there are the game, the coaches, arrangers, judges, chorus And everyone dreamed of new fortune directors and competitive groups who and fame. have given their time and talents for Ah fortune and fame so elusively gone, better singing. But songs take us back so that mem 'ries To those elected and appointed live on. officers and committeemen at the locaL district and international leveL we offer Live on thru the magical message they our sincere respect and gratitude. bring, Maybe writing, meetings, and It's always been true, lad, The Song Is phone calls were worth it after all. The Thing. Speaking of letters, meetings, and -Dr. Val Hicks phone calls, we must acknowledge the talented, dedicated staff at Harmony So, thank you, songwriters. Your HalL both past and present. They're the creative gifts enrich enliven and greatest! temper our lives. Through your craft we No list of kudos would be complete can continue to Keep America and the without a mention of those patient, often Whole World Singing.

87 88 Historical Material and References

89 District Boundaries Through the Years

S.P.E.B.S.Q.S.A. District Boundaries May 1948

District Boundaries 1988 The Sixteen Districts of S.P.E.B.S.Q.S.A.

-'--.-.-.~ i i -.-.-/ ;-._.-. -· ..... ·-·1 . i "\ L_. .,.._. __ 1 \. i '-. .-., \...._._._. Rocky iMountain t·- .-.-.-.~\ -r-__-i' j ji centrallI States r=-=~--1._...J

'. ";;'

90 Logo edics Contri

Total District Contributions to Institute of Logopedics

Per Year Accumulated

July 1,1 964-1965 $49,523.04 1966 $86,543.94 1967 $108,380.99 1968 $119,192.29 1969 $114,709.29 1970 $125,320.71 1971 $169,612.00 1972 $174,767.00 1973 $175,578.00 First Million 1974 $216,562.00 1975 $257,864.27 1976 $317,213.23 Second Million 1977 $283,044.10 1978 $406,568.61 1979 $419,805.31 Third Million 5 1980 $466,551.01 1981 $519,679.15 1982 $592,897.60 1983 $611,263.41 Fourth Million 1984 $625,164.34 Fifth Million 1985 $626,979.33 Sixth Million 4

District Contributions to Logopedics Millions of Dollars 3

2

(Figures represent district contributions only, not annual convention raffle or outside contributions. Doesn't affect million dollar milestones, however. Source: The Harmonizer.)

91 Membership rowth: Statistics and Graphs

Number of Chapters Versus Members Years Chapters Members Years Chapters Members

1938 5 150 1970 720 32,100 1939 10 250 1971 715 32,900 1940 15 500 1972 715 34,250 1941 20 750 1973 725 35,100 1942 30 1,000 1974 740 35,500 1943 51 1,500 1975 755 37,550 1944 98 4,000 1976 765 37,750 1945 200 8,200 1977 770 37,300 1946 299 13,000 1978 760 36,250 1947 390 19,500 1979 765 36,700 1948 500 21,771 1980 770 36,800 1949 660 26,078 1981 785 37,200 1950 620 26,901 1982 795 37,300 1951 600 25,123 1983 805 38,100 1952 595 24,132 1984 810 37,900 1953 590 24,680 1985 813 37,600 1954 580 22,604 1986 816 37,345 1955 595 25,065 1987 819 36,850 1956 610 26,050 1988-2000 Projected 1957 625 26,000 1988 825P 37,100P 1958 620 25,200 1989 830P 37,350P 1959 640 25,900 1990 835P 37,600P 1960 645 27,750 1991 840P 37,850P 1961 670 29,750 1992 845P 38,100P 1962 665 28,750 1993 850P 38,350P 1963 690 30,100 1994 855P 38,600P 1964 685 30,000 1995 860P 38,850P 1965 695 30,400 1996 865P 39,100P 1966 699 30,750 1997 870P 39,350P 1967 715 31,790 1998 875P 39,600P 1968 720 32,750 1999 880P 39,850P 1969 730 31,900 2000 890P 40,350P

Note: P = Projected Numbers

92 S.P.E.B.S.Q.S.A. Membership Growth

35,000

30,000

25,000

20,000

15,000

10,000

5,000

2,500

1938 '45 '50 '55 '60 '65 '70 '75 'SO 'S5 'SS April 8-36 men meet with Owen Cash

S.P.E.B.S.Q.S.A. Number of Chapters SOO

700

600

500

400

300

200

100

50

1938 '45 '50 '55 '60 '65 '70 '75 'SO 'S5 'SS

93 Conventions Through the Years

International Quartet Medalists

*Number of quartets competing.

1939-Tuisa 23* 1943-Chicago 48* Bartlesville Barflies Four Harmonizers Bartlesville, OK Chicago, IL Capitol City Four Kansas City Barberpole Cats Springfield, IL Kansas City, MO Shell Quartet M ainstreeters City, KS Tulsa, OK Flat Foot Four Aristocrats Oklahoma City, OK St. Louis, MO State Journal Quartet Harmony Halls Topeka, KS Grand Rapids, MI

1940-New York City 50* 1944-Detroit 58* Flat Foot Four Harmony Halls (MICH) Oklahoma City, OK Grand Rapids, MI Bartlesville Barflies Misfits (ILL) Bartlesville, OK Chicago, IL Commuters Westinghouse Quartet New York City, NY Pittsburgh, PA Kansas City Pohce Quartet Gipps·Amberhn Four (ILL) Kansas City, MO Bloomington, IL New York City Pohce Quartet New York City, NY Jersey City, NJ

1941-St. Louis 54 * 1945-Detroit 15* Chord Busters Misfits (ILL) Tulsa, OK Chicago, IL Kansas City Barberpole Cats Westinghouse Quartet Kansas City, MO Pittsburgh, PA Phillips 66 Barflies Continentals (MICH) Bartlesville, OK Muskegon, MI Harmony Kings Lamphghters (OHIO) Springfield, IL Cleveland, OH Capitol City Four Doctors of Harmony (INO) Springfield, IL Elkhart, IN

1942-Grand Rapids 43* 1946-Cleveland 31 * Elastic Four Garden State Quartet (MAD) Chicago,IL Jersey City, NJ Kansas City Barberpole Cats Kansas City Serenaders (CSO) Kansas City, MO Kansas City, MO Phillips 66 Barflies Doctors of Harmony (INO) Bartlesville, OK Elkhart, IN Harmony Kings Chordohers (ILL) Springfield, IL Rock Island, IL Misfits Hi·Los (LOL) Chicago, IL Milwaukee, WI

94 1947-Milwaukee 30* 1952-Kansas City 40* Doctors of Harmony (IND/KY) Four Teens (CSD) Elkhart, IN Belleville, IL Lions Club Serenaders (CSD) Vikings (ILL) Kansas City, MO Rock Island, IL Mid-States Four (ILL) Four Chorders (ONT) Chicago, IL Hamilton, ON Chordoliers (ILL) Serenaders (FWD) Rock Island, IL San Diego, CA Westinghouse ·Quartet Keystone Quads (lAD) Pittsburgh, PA Sharon, PA 1948-0klahoma City 40* 1953-Detroit 40* (OHIO/SW PENN) Vikings (ILL) Pittsburgh, PA Rock Island, IL Mid-States Four (ILL) Four Chorders (ONT) Chicago,IL Hamilton, ON Clef Dwellers (MICH) Sing-Copates (LOL) Oakland County, MI Appleton, WI Westinghouse Quartet (OHIO/SW PENN) Antlers (OIX) Pittsburgh, PA Miami, FL Four Shades of Harmony (IND/KY) Sacramento Statesmen (FWD) Terre Haute, IN Sacramento, CA

1949-Buffalo 40* 1954-Washington, D. C. 40* Mid-States Four (ILL) (CSD) Chicago, IL Wichita, KS Clef Dwellers (MICH) Four Hearsemen (SWD) Oakland County, MI Amarillo, TX Antlers (MICH) Toronto Rhythmaires (ONT) Flint, MI Toronto, ON Songmasters (MICH) Lytle Brothers (lAD) Lansing, MI Sharon, PA Varsity Four (IND/KY) Sacramento Statesmen (FWD) Lafayette, IN Sacramento, CA

1950-0maha 40* 1955-Miami 40* Buffalo Bills (CENT IW NY) Four Hearsemen (SWD) Buffalo, NY Amarillo, TX Clef Dwellers (MICH) Confederates (OIX) Oakland County, MI Memphis, TN Antlers (MICH) Four-Tissimos (ILL) Flint, MI Skokie,IL Four Chorders (ONT) Air Fours (ILL) Hamilton, ON Belleville, IL Note Blenders (MICH) Toronto Rhythmaires (ONT) Oakland County, MI Toronto, ON

1951-Toledo 40* 1956-Minneapolis 40* Schmitt Brothers (LOL) Confederates (OIX) Manitowoc, WI Memphis, TN Keystone Quads (lAD) Playtonics (MAD) Sharon, PA Teaneck, NJ Clef Dwellers (MI) (SWD) Oakland County, MI Albuquerque, NM Four Chorders (ONT) Four Pitchikers (CSD) London, ON Springfield, MO Antlers (OIX) Easternaires (MAD) Miami, FL Jersey City, NJ

95 1957-Los Angeles 41* 1962-Kansas City 45* Lads of Enchantment (SWD) (FWD) Albuquerque, NM Alhambra, CA West Coasters (FWD) Town & Country Four (lAD) San Gabriel, CA Pittsburgh, PA (SWD) (ILL) Tulsa, OK Skokie Valley, IL & Gary, IN Four Pitchikers (CSD) Nighthawks (ONT) Springfield, MO London, ON Play tonics (MAD) (FWD) Teaneck, NJ Riverside, CA 1958-Columbus 40* 1963-Toronto 45* Gay Notes (SWD) Town & Country Four (lAD) Tulsa, OK Pittsburgh, PA Four Pitchikers (CSD) Nighthawks (ONT) Springfield, MO London, ON Hometown Quartet (MAD) Sidewinders (FWD) Lodi, NJ Riverside, CA West Coasters (FWD) Four Renegades (ILL) San Gabriel, CA La Grange, IL Evans Quartet (FWD) Four Rascals (MED) Salt Lake City & Ogden, UT Marblehead, MA

1959-Chicago 40* 1964-San Antonio 45* Four Pitchikers (CSD) Sidewinders (FWD) Springfield, MO RiverSide, CA Evans Quartet (FWD) Four Renegades (ILL) Salt Lake City & Ogden, UT Skokie, Oak Park, IL & Gary, IN Town & Country Four (lAD) Nighthawks (ONT) Pittsburgh, PA London, ON Easternaires (MAD) Four Rascals (MED) Jersey City, NJ Marblehead, MA Short Cuts (SUN) Imposters (ILL) Miami, FL Skokie Valley & County Line, IL

1960-DaUas 40* 1965-Boston 45* Evans Quartet (FWD) Four Renegades (ILL) Salt Lake City UT Skokie, Oak Park, IL & Gary, IN Town & Country Four (lAD) Four Rascals (MED) Pittsburgh, PA Marblehead, MA Colonials (lAD) Imposters (ILL) East Liverpool, OH Skokie & West Towns, IL Bay Town Four (FWD) (PIO) Berkeley, CA Dearborn, MI Saints (FWD) (MED) South Bay, CA RI, NH, CT & MA

1961-Philadelphia 45* 1966-Chicago 45* Sun tones (SUN) Auto Towners (PIO) Miami, FL Dearborn, MI Town & Country Four (lAD) Four Rascals (MED) Pittsburgh, PA Marblehead, MA Nighthawks (ONT) Four Statesmen (MED) London, ON RI, NH, CT & MA Bay Town Four (FWD) (FWD) Marin & Berkeley, CA Arcadia, CA Saints (FWD) Sundowners (ILL) South Bay & Alhambra, CA South Cook, IL

96 1967-Los Angeles 45* 1972-Atlanta 45* Four Statesmen (MED) Golden Staters (FWD) RI, NH, CT & MA Arcadia, CA (FWD) Pacificaires (FWD) Phoenix, AZ Reseda, CA Mark IV (SWD) (MAD) San Antonio, TX Wilmington, DE Sundowners (ILL) Far Westerners (FWD) South Cook, IL Whittier & Riverside, CA Golden Staters (FWD) Boston Common (NED) Arcadia, CA Boston, MA

1968-Cincinnati 45* 1973-Portland 45* Western Continentals (FWD) Dealer's Choice (SWD) Phoenix, AZ Dallas Metropolitan, TX Mark IV (SWD) Pacificaires (FWD) San Antonio, TX Reseda, CA Golden Stat9rs (FWD) Regents (MAD) Arcadia, CA Wilmington, DE Sundowners (ILL) Boston Common (NED) South Cook, IL Boston, MA A vant Garde (ILL) Far Westerners (FWD) Skokie Valley, IL Whittier & Riverside, CA

1969-St. Louis 45* 1974-Kansas City 45* Mark IV (SWD) Regents (MAD) San Antonio, TX DE, PA & NJ Golden Staters (FWD) Pacificaires (FWD) Arcadia, CA Reseda, CA Sundowners (ILL) Boston Common (NED) IL, CT & OH Boston, MA (lAD) Innsiders (SWD) Dundalk, MD Houston, TX A vant Garde (ILL) Soundtracks (ILL) Skokie Valley, IL Arlington Heights, IL

1970-Atlantic City 45* 1975-IndianapoIis 45* Oriole Four (lAD) Happiness Emporium (LOL) Dundalk, MD st. Paul & Minneapolis, MN Sundowners (ILL) Innsiders (SWD) IL, CT & OH Houston, TX Pacificaires (FWD) Grandma's Boys (ILL) Reseda, CA North Shore, IL Gentlemen's Agreement (PIO) Boston Common (NED) Dearborn, Wayne & Monroe, MI Boston, MA Easternaires (MAD) Vagabonds (PIO) livingston & Jersey City, NJ Oakland County & Lansing, MI 1971-New Orleans 45* 1976-San Francisco 48* Gentlemen's Agreement (PIO) Innsiders (SWD) Detroit & Monroe, MI Houston, TX Sundowners (ILL) Vagabonds (PIO) IL, CT & OH Oakland County, Detroit #1 & Lansing, MI Golden Staters (FWD) Nova Chords (MAD) Arcadia, CA Alexandria, VA Pacificaires (FWD) (CARD) Reseda, CA Louisville, KY Far Westerners (FWD) Roaring '20s (lAD) Whittier & Riverside, CA Cincinnati-Western Hills, OH

97 1977-Philadelphia 49* 1982-Pittsburgh 49* Most Happy FeJlows (EVE) Classic CoJlection (RMD) Lake Washington & Tacoma, WA Denver, CO 139th Street Quartet (FWD) Center Stage (PIO) Whittier & Indian Wells Valley, CA Oakland County & Huron Valley, MI Vagabonds (PIO) Side Street Ramblers (SWD) Oakland County, Detroit & Lansing, MI Dallas Metropolitan, TX Boston Common (NED) Grand Tradition (FWD) Boston, MA EI Cajon, Long Beach, Whittier Roaring '20s (fAD) & Crescenta Valley, CA Cincinnati-Western Hills, OH Vaudevj}]e (MAD) Alexandria, VA 1978-Cincinnati 48* Bluegrass Student Union (CARD) 1983-Seattle 49* Louisville, KY Grandma's Boys (ILL) Side Street Ramblers (SWD) North Shore, IL Dallas Metropolitan, TX Boston Common (NED) Center Stage (PIO) Boston, MA Oakland County & Huron Valley, MI Roaring '20s (fAD) VaudevjlJe (MAD) Cincinnati-Western Hills, OH Alexandria, VA Nova Chords (MAD) Grand Tradition (FWD) Alexandria, VA EI Cajon, Long Beach, San Diego & Whittier, CA 1979-Minneapolis 48* Roaring '20s (fAD) Grandma's Boys (ILL) Cincinnati-Western Hills, OH North Shore & Arlington Heights, IL Boston Common (NED) Boston, MA 1984-St. Louis 48* B & 0 Connection (MAD) Rapscallions (fAD) Anne Arundel & Dundalk, MD Cincinnati-Western Hills, Maumee valley Roaring '20s (fAD) & Wayne County, OH Cincinnati-Western Hills, OH Center Stage (PIO) 139th Street Quartet (FWD) Oakland County & Huron Valley, MI Whittier, Arcadia & Indian Wells Valley, CA Vaudeville (MAD) Alexandria, VA 1980-Salt Lake City 48* Harrington Brothers (CARD) Boston Common (NED) Louisville, KY Boston & Beverly, MA Cincinnati Kids (fAD) (ILL) Cincinnati-Western Hills, OH Arlington Heights & Chicago #1, IL Roaring '20s (fAD) Cincinnati-Western Hills, OH 1985-Minneapolis 49* Grand Tradition (FWD) New Tradition (FWD) San Diego, EI Cajon & Crescenta Valley, CA South Bay & San Fernando Valley, CA Classic coJlection (RMD) Vaudeville (MAD) Denver, CO Alexandria, VA (CARD) 1981-Detroit 48* Louisville, KY Chicago News (ILL) Harrington Brothers (CARD) Chicago, IL Louisville, KY Classic CoJlection (RMD) (CSD) Denver, CO Kansas City, MO Side Street Ramblers (SWD) Dallas Metropolitan, TX Center Stage (PIO) Oakland County & Huron Valley, MI Roaring '20s (fAD) Cincinnati-Western Hills, OH

98 1986-Salt Lake City 50* 1987-Hartford 49* Rural Route 4 (CSD) Interstate Rivals (CARD) Kansas City, MO Louisville, KY Interstate Rivals (CARD) (CARD) Louisville, KY Louisville, KY Vaudeville (MAD) Chiefs of Staff (ILL) Alexandria, VA Oak Lawn, Lombard & Arlington Heights, IL Cincinnati Kids (lAD) 139th Street Quartet (FWD) Cincinnati-Western Hills, Dayton Metropolitan Whittier & Indian Wells Valley, CA & Cincinnati, OH Chicago Chord of Trade (ILL) Chiefs of Staff (ILL) Northbrook, IL Oak Lawn, Lombard & Arlington Heights, IL

99 International Chorus Medalists

*Number of choruses competing. **1953 was not recognized as an international contest.

1953-Detroit** 16* 1960-Dallas 15* 1967-Los Angeles 15* Grand Rapids, MI (MICH) San Antonio, TX (SWD) Livingston, Nf (MAD) La Grange, IL (ILL) Berkeley, CA (FWD) Gary, IN (CARD) East York, ON (aNT) East York, ON (aNT) Phoenix, AZ (FWD) Eugene·Springfield, OR (EVG) Bloomington, IL (ILL) London, ON (aNT) Spencer, IA (CSD) Fairfax, VA (MAD) San Antonio, TX (SWD)

1954-Washington, D. C. 23* 1961-Philadelphia 15* 1968-Cincinnati 15* Washington, D.C. (MAD) Dundalk, MD (MAD) Pekin, IL (ILL) Michigan City, IN (IND·KY) Louisvi11e, KY (IND-KY) Gary, IN (CARD) Middletown, OH (fAD) Downey, CA (FWD) Phoenix, AZ (FWD) La Grange, IL (ILL) Muskegon, MI (MICH) London, ON (aNT) East York, ON (aNT) Lombard, IL (ILL) Cedar Rapids, IA (CSD)

1955-Miami 10* 1962-Kansas City 14* 1969-St. Louis 15* fanesvi11e, WI (LOL) Louisvi11e, KY (CARD) Louisvi11e, KY (CARD) Michigan City, IN (IND-KY) Pekin, IL (ILL) Houston, TX (SWD) East York, ON (aNT) El Paso, TX (SWD) Cincinnati-Western HjJJs, OH (fAD) Oak Park, IL (ILL) Downey, CA (FWD) Atlanta, GA (DIX) Warren, OH (fAD) Minneapolis, MN (LOL) Riverside, CA (FWD)

1956-Minneapolis 14* 1963-Toronto 15* 1970-Atlantic City 15* Michigan City, IN (IND-KY) Pekin, IL (ILL) Livingston, Nf (MAD) Eugene, Springfield, OR (EVG) Gary, IN (CARD) Phoenix, AZ (FWD) Pekin, IL (ILL) Berkeley, CA (FWD) Cincinnati-Western Hi11s, OH (fAD) East York, ON (aNT) San Antonio, TX (SWD) Houston, TX (SWD) El Paso, TX (SWD) East York, ON (aNT) Hobart, IN (CARD)

1957-Los Angeles 11 * 1964-San Antonio 15* 1971-NewOrleans 15* Berkeley, CA (FWD) El Paso, TX (SWD) Dundalk, MD (MAD) Lake Washington, WA (EVG) Miami, FL (SUN) San Diego, CA (FWD) Bloomington, IL (ILL) Gary, IN (CARD) Cincinnati-Western Hi11s, OH (fAD) Memphis, TN (DIX) Knoxvi11e, TN (DIX) San Antonio, TX (SWD) Gary, IN (IND-KY) Riverside, CA (FWD) Hobart, IN (CARD)

1958-Columbus 13* 1965-Boston 15* 1972-Atlanta 15* Memphis, TN (DIX) Miami, FL (SUN) Phoenix, AZ (FWD) Pekin, IL (ILL) Louisvi11e, KY (CARD) Cincinnati-Western Hi11s, OH (fAD) Columbus, OH (fAD) East York, ON (aNT) Louisvi11e, KY (CARD) London, ON (aNT) Livingston, Nf (MAD) San Antonio, TX (SWD) DaJlas, TX (SWD) Knoxvi11e, TN (DIX) St. foseph, MO (CSD)

1959-Chicago 14* 1966-Chicago 15* 1973-Portland 15* Pekin, IL (ILL) LouisvjJJe, KY (CARD) Cincinnati-Western Hills, OH (fAD) San Antonio, TX (SWD) Livingston, Nf (MAD) Louisvi11e, KY (CARD) Cedar Rapids, IA (CSD) San Antonio, TX (SWD) Houston, TX (SWD) Muskegon, MI (MICH) West Palm Beach, FL (SUN) San Diego, CA (FWD) Middletown, OH (fAD) San Diego, CA (FWD) Arlington Heights, IL (ILL)

100 1974-Kansas City 15* 1981-Detroit 16* Louisville, KY (CARD) Louisville, KY (CARD) Peninsula, CA (FWD) Cincinnati-Western Hills, OH (fAD) Dallas Metropolitan, TX (SWD) Phoenix, AZ (FWD) Montclair, Nf (MAD) Houston, TX (SWD) Arlington Heights, IL (ILL) Cherry Hill, Nf (MAD)

1975-lndianapolis 15* 1982-Pittsburgh 16* Dallas Metropolitan, TX (SWD) Dallas Metropolitan, TX (SWD) Phoenix, AZ (FWD) Cincinnati-Western Hills, OH (fAD) Livingston, Nf (MAD) Alexandria, VA (MAD) Elyria, OH (fAD) Lombard, IL (ILL) Arlington Heights, IL (ILL) Peninsula, CA (FWD)

1976-San Francisco 15* 1983-Seattle 16* Phoenix, AZ (FWD) Phoenix, AZ (FWD) Scarborough, ON (ONT) Scarborough, ON (ONT) Cincinnati-Western Hills, OH (fAD) Lombard, IL (ILL) Houston, TX (SWD) Houston, TX (SWD) Montclair, Nf (MAD) Cincinnati-Western Hills, OH (fAD)

1977-Philadelphia 15* 1984-St. Louis 16* Scarborough, ON (ONT) Louisville, KY (CARD) Louisville, KY (CARD) Lombard, IL (ILL) San Diego, CA (FWD) Manhattan, NY (MAD) Cincinnati-Western Hills, OH (fAD) Scarborough, ON (ONT) Livingston, Nf (MAD) Houston, TX (SWD)

1978-Cincinnati 16* 1985-Minneapolis 16* Louisville, KY (CARD) Dallas Metropolitan, TX (SWD) Dallas Metropolitan, TX (SWD) Lombard, IL (ILL) Cincinnati-Western Hills, OH (fAD) Manhattan, NY (MAD) Alexandria, VA (MAD) Cincinnati-Western HjJls, OH (fAD) Minneapolis, MN (LOL) Scarborough, ON (ONT)

1979-Minneapolis 16* 1986-Salt Lake City 16* Dallas Metropolitan, TX (SWD) Alexandria, VA (MAD) Alexandria, VA (MAD) Lombard, IL (ILL) Minneapolis, MN (LOL) Cincinnati-Western HjJls, OH (fAD) Phoenix, AZ (FWD) Phoenix, AZ (FWD) Cincinnati-Western Hills, OH (fAD) Research Triangle Park, NC (DIX)

1980-SaIt Lake City 16* 1987-Hartford 16* Scarborough, ON (ONT) Lombard, IL (ILL) Alexandria, VA (MAD) Manhattan, NY (MAD) Peninsula, CA (FWD) Louisville, KY (CARD) Minneapolis, MN (LOL) Scarborough, ON (ONT) Houston, TX (SWD) Cincinnati-Western Hills, OH (fAD)

101 International Presidents 1939 Rupert Hall Tulsa, Oklahoma 1940 Norman Rathert st. Louis, Missouri 1941 Carroll Adams Detroit, Michigan 1942 Harold "Hal" Staab Northampton, Massachusetts 1943 Harold "Hal" Staab Northampton, Massachusetts 1944 Phil Embury Warsaw, New York 1945 Phil Embury Warsaw, New York 1946 Frank Thorne Chicago, Illinois 1947 Charles Merrill Reno, Nevada 1948 O. H. "King" Cole Manitowoc, Wisconsin 1949 O. H. "King" Cole Manitowoc, Wisconsin 1950 Jerry Beeler Evansville, Indiana 1951 James Knipe Cleveland, Ohio 1952 Edwin Smith Wayne, Michigan 1953 John Means Manitowoc, Wisconsin 1954 Berney Simner St. Louis, Missouri 1955 Arthur Merrill Schenectady, New York 1956 Roland Davis New York, New York 1957 Joseph E. Lewis Dallas, Texas 1958 Joseph E. Lewis Dallas, Texas 1959 Clarence Jalving Holland, Michigan 1960 Clarence Jalving Holland, Michigan 1961 John P. Cullen Chevy Chase, Maryland 1962 Louis Laurel El Paso, Texas 1963 S. Wayne Foor Rochester, New York 1964 Dan Waselchuk Green Bay, Wisconsin 1965 Albert L. Smith, Jr. Fort Worth, Texas 1966 Reedie Wright Los Angeles, California 1967 James Steedman Kenmore, New York 1968 Wesly R. Meier San Diego, California 1969 Robert Gall Independence, Missouri 1970 Wilbur Sparks Arlington, Virginia 1971 Ralph Ribble Dallas, Texas 1972 Richard deMontmollin Columbia, South Carolina 1973 Charles Abernethy Ponca City, Oklahoma 1974 Leon Avakian Asbury Park, New Jersey 1975 Richard Ellenberger Schenectady, New York 1976 plummer Collins Warren, 1977 Samuel Aramian Glendale, Arizona 1978 Roger Thomas Racine, Wisconsin 1979 Ernie Hills Medford, Oklahoma 1980 Les Hesketh Clifton, Virginia 1981 Burt Huish Twin Falls, Idaho 1982 Merritt Auman Reading, Pennsylvania 1983 Dr. Hank Vomacka Sarasota, Florida 1984 John T. Gillespie Kalamazoo, Michigan 1985 Gil Lefholz Kansas City, Missouri 1986 Bill Park (dec.) Mendenhall, Pennsylvania Gil Lefholz Kansas City, Missouri 1987 Darryl Flinn Canton, Ohio 1988 James Warner Memphis, Tennessee

102 International Secretaries and Executive Directors

Deac Martin, standing at left, was acting as editor of The Harmonizer at the Detroit headquarters office in 1 947. National Secretary Carroll Adams, seated, kept track of who organized what chapter, who the chapter officers were and how the chapter was getting along. Looking over his shoulder was W. L. "Bill" Otto, former board member, who served as Adams' associate. At right was Mrs. Aleta Sutherland, secretary and bookkeeper.

Carroll P. Adams National President, National Secretary and International Executive Secretary (1941-1953) In the ten-year history, Keep of music which they liked best. America Singing, Deac Martin pointed Adams brought something different. out that the election of Carroll Adams to He had a sound musical background. the Society's presidency in 1941 brought His 16 years as president and secretary "a new type of experience" to the of the Orpheus Club of Detroit and his administration of the Society's affairs. secretaryship of the Michigan Male Cash and Hall offered enthusiasm, Chorus Association section of the devotion and effort to get something Associated Male Choruses of America, started, and Wodicka (the Society's had prepared him well for Society second secretary) worked to bring into leadership. He knew how other musical perspective a picture whose only clear organizations functioned. He had been element was the national desire of full-time executive secretary of the harmony-minded men to revive a type University of Michigan Alumni Club-a

103 vocation which was to provide him with chapters'), but we discovered we had many skills and much knowledge to be only 24." used for the Society's welfare. Deac Martin reported that on the last When he accepted the presidency day of 1941, President Adams mailed the of this fascinating new organization, agenda for the midwinter meeting in Adams knew he would be lucky if, Chicago. It contained 37 items. "The during one short year, he could uncover Society," concluded Martin, "was in the approximate scope of its transition from hope-and-pray to order­ membership. Probably this was to be his and-method." most important task during that year­ During Adams' term as president to discover the existing chapters (for many memorable events occurred: there were no national secretary Geoffrey O'Hara's "The Old Songs" was records until 1941), to tabulate them, and adopted as the Society's theme; a to weave them together. resolution was adopted urging all Five days after he became members to refrain from trying to president Adams told the Chicago pronounce "SPEBSQSA"; medallions Chapter, "Up to now we have contented were first awarded to the top five ourselves with good times among quartets in the national contest; the first ourselves ... the country now looks to us song folio was published by Mills Music, to do things in the way of community Inc., and the Society dues were raised service ... we must have leadership, with foreboding from 50 cents to $2 per money and more chapters ... money year. will take care of itself through increase When his term concluded in 1942, in membership and possibly a Adams was elected national secretary. necessary increase in (our dues) ... " He Almost immediately the new president believed that by the end of his Hal Staab, began urging the administration the Society's finances employment of Adams as our first full­ would allow the launching of a time employee. But this was not to be. In national quarterly magazine for 1942-43, with a total Society budget of members and the employment of a full­ $3,900, it became possible for the board time secretary at a national of directors to direct that Adams set up headquarters. Said Adams, "We must an office in his Detroit home, and he catch the vision and get to work." and Mrs. Adams devoted nights, The vision included revision of the Sundays and holidays to S.P.E.B.S.Q.SA Society's constitution, written by him and matters. Deac Martin remarked that approved by the board only a few they carried out this activity on "a part­ months earlier, to meet new conditions time secretarial allowance that made and to furnish a broader pattern for the a grass cutter's income magnificent by Society than could have been comparison." In 1944, when the Society's conceived originally. It encompassed budget soared to $5,500, Adams magazine articles, radio programs, agreed to devote his entire time to the widely distributed song arrangements, secretaryship. Later that year, he was a roster of chapters, plans for the 1942 installed in the Society's first convention and contest (to be held in headquarters on Grand River Avenue Grand Rapids, Michigan) and a in Detroit. According to Martin, the only of activities through change this brought in Adams' life was committees wrestling with development that now he could get some sleep! and organization. Formerly, it was said, he had worked Six years later, reviewing the events full-time for the Society at night! of 1941 with Deac Martin during As the years went by, Adams' preparations of the history, Adams said, experience and past associations "We were handicapped by not served the Society on many occasions. knowing the chapters we had, who the In 1947 the first recognition of officers were, or how many members S.P.E.B.S.Q.S.A. by another national the Society had. Secretary-Treasurer Joe organization was received when Stem did a valiant job in trying to sift the Secretary Adams was named to the information. The secretary was Arrangements Committee of the supposed to have 100 chartered National Federation of Music Clubs. At chapters (some paid, some 'just the Federation's national convention, a

104 full hour of Society quartetting was Carroll P. Adams died at the age of featured. In 1948 he was invited to join 81 in Montpelier, Vermont on December the Bohemians, made up largely of 19, 1973. He had been a member of the professional musicians from the Detroit Society since attending the third Symphony Orchestra. meeting of the Detroit, Michigan S.P.E.B.S.Q.SA and its members owe Chapter in 1939. to Carroll Adams a debt which today The Society owes much to the men we simply cannot measure. No doubt of an earlier day who saw in it the his discharge of responsibilities as charm, fellowship and striving for president, secretary and international excellence which makes the singing of secretary included mistakes. But neither Barbershop harmony satisfying. Some is there any doubt that this man was were "giants" and Carroll Adams can personally responsible for some of the be counted among this select group of most important steps taken by the pioneer leaders of the Society. Society during its early years.

Robert G. Hafer Executive Director (1953-1963)

Bob Hafer joined S.P.E.B.S.Q.SA in Detroit to Kenosha, and Harmony HalL Canton, Ohio, became chapter in 1957. Hafer was known for his president, and sang in the Memory remarkable memory for names, dates Laners quartet before coming to the and places. He could meet a international office (then in Detroit), as barbershopper once and a year later Robert G. "Bob" associate secretary in January of 1950. recall the man's name. He was a skilled Hafer of Canton, Two years later he became business administrator and a specialist in human Ohio became manager of The Harmonizer and then relations. national secretary was appointed secretary (before the title He resigned as executive director in in 1953 when became executive director) when 1963 and moved to Florida where he still Carroll Adams Carroll Adams retired in May of 1953. lives. For many years he was a member retired. Probably the major event in Bob's of the Frank H. Thorne Chapter but is tenure as executive director was the now inactive, primarily due to ill health. move of the international office from

Barrie Best Executive Director (1963-1977)

Barrie joined the SOciety in Canada, He was appointed executive in the Winnipeg, Manitoba Chapter, but director of S.P.E.B.S.Q.SA at the Toronto moved to the United States and convention in 1963 and served in that California in 1954. (The story goes that he capacity until his resignation in the became involved in a woodshedding spring of 1977. Following his resignation session at the Minneapolis midwinter in he and his family moved to Columbus, 1954 and was talked by some of his Ohio, then to the Los Angeles area. He Barrie Best joined fellow singers into moving west.) A fine currently lives outside Portland, Oregon, the Society in tenor, he sang with the second·place where he remains active in Winnipeg, Manitoba medalist West Coasters (also Far barbershopping, serving as chorus and moved to Westem District champs) before moving director of two chapters. California in 1954. into the administrative end of things Barrie is best remembered for the and becoming president of the Far energy and enthusiasm which he Western District in 1962. brought to his position. He traveled

105 throughout the United States, Canada barbershopping in England in 1971 prior and England, and barbershoppers still to the formation of BAB.S. and also recall his smile, handshake, and helped encourage the growth of the readiness to sing. He played an "Young Men in Harmony" program. important role in publicizing

Hugh A. Ingraham Executive Director (1977-1987) Hugh A. Ingraham served as he held chapter memberships in executive director of the Society, in Winnipeg, Manitoba; Columbus, Ohio charge of the day-to-day operation of (Buckeye), and Kenosha, Wisconsin. He the 38,000 member organization and has sung tenor, lead or baritone in four its 40-member office staff in Kenosha, quartets. Another Canadian, Wisconsin. Ingraham's pre-Barbershop career Hugh A. Ingraham, Appointed as executive director in included agency work, public relations was appointed 1977, Ingraham served the SOciety as and radio. A Certified Association executive director administrative field representative, Executive (CAE) and accredited by the in 1977 and served public relations director and director of Public Relations Society of America, he until 1987 when he communications. He first joined the was graduated from Acadia University took an extended Society in 1949 in , Alberta and with a bachelor of arts degree in English medical leave. served as area counselor, district and history. Married to Kath, they have secretary, and international board four children and five grandchildren. member before joining the Ingraham lists his hobbies as tennis, intemational staff in 1962. sailing, swimming and scuba diving. In addition to the Calgary Chapter,

Joe Liles Executive Director (1988- ) At the midwinter meeting of the Johnson. intemational board of directors in 1988 Prior to his employment with the Joe Liles was named executive director Society, Liles served as minister of music of the Society. He had been serving as for the First Baptist Church of Abilene, acting executive director since the Texas where he organized and directed previous July when Hugh Ingraham the largest church choir music program Joe E_ Liles went on extended medical leave. in the world. The program involved became director of A Society member since 1967, his more than 800 members in 18 separate music education barbershopping experience was great. choral groups, a full orchestra, a string and services for the Liles had been a certified judge in the choir, handbell choirs and two brass society in 1979 and Arrangement Category. As a chorus choirs. executive director director, he took the San Antonio At the time of his appOintment as in 1988. Chordsmen to fourth-place finishes in executive director, Liles was a member intemational competition. He enjoyed of the American Choral Directors quartet Singing and his early quartet Association (ACDA), the Music arrangements were sung by the 1969 Educators National Conference (MENC) International Champion Mark IV. and the American SOCiety of Asso­ Joe Liles became a member of the ciation Executives (ASAE), among other music department staff in 1975 and organizations. He is a lifetime member moved to Kenosha with his wife, Kay of the Nashville Songwriters Association and three of his four children. In 1982 he and has been listed in Who's Who in became Director of Music Education Music. and Services upon the retirement of Bob

106 Brief Histories of B.A.B.S. and S.N.O.B.S.

The British Association of Barbershop Singers (B.A.B.S.) At the annual Harry Danser, of Crawley, Sussex British Barbershop (near London), was an Englishman who convention in 1975 loved to harmonize and to hear others an agreement was harmonize. Before World War I he heard signed by such English music hall quartets as the representatives of Gotham Quartet and the Hedges S.P.E.B.S.Q.S.A., Inc. Brothers sing American songs on the and the British English stage, and took these songs with Association of him to the local pub for harmonizing Barbershop Singers with his friends. The three Danser affiliating the two children learned such harmony songs bodies. as soon as they could sing. In 1958 Harry and his wife, Bessie, visited in New York City and, as a part of their vacation, did what many others were doing. They saw Robert Preston and the Buffalo Bills in The Music Man, flight had been booked, including two and were entranced with the quartet. for Bob and Betty Johnson from Society Before they left Manhattan, they bought headquarters. Bob had agreed to act as every Barbershop record they could the tour's master of harmony and song find (only 12) and wondered why there leader. were not more. On the return voyage, At about this same time, Harry and they met a barbershopper (a member Bessie Danser were planning another of the Easternaires), who gave them a trip to the United States and Canada, copy of The Harmonizer, which and communicated with the SOCiety. disclosed the existence of S.P.E.B.S.Q.SA They told of their long-standing interest Through this Society magazine and in Barbershop harmony and indicated other information they received a deep desire to attend a chapter show, subsequently from our headquarters giving their itinerary. The immediate office, the Danser family began to learn reply from the headquarters office about this North American hobby with showed that they could make a stop its many activities and institutions. The between New York and Toronto to first result, in 1960, was the formation in attend a show to be staged by the Crawley of a quartet, the Barbershop Rochester, New York Chapter, featuring Four (John and Tony Danser, Bob the Hometowners, a well-known Witherington and David Steele), which Canadian quartet, and with George began to give many local concerts. Shields as master of ceremonies. Danser The story now took another turn. also learned from the letter that the self Following the silver anniversary same George Shields was taking the convention of the Society in 1963, the East York Chorus to the British Isles the leaders of the East York, Ontario Chapter following September. started planning the fulfillment of a The experience of Harry and Bessie dream of many years, a "goodwill tour" Danser, with their sons, Tony and John, of the British Isles for their chorus. A as they visited in Rochester and Toronto, charter flight for September 1964 was making the acquaintance of George booked, and a tour committee was set Shields, was an important milestone in up, with George Prior and Archie Tait as the story. In Rochester they heard their its co-chairmen, and Don Godbold, first Barbershop singing by a North George Shields (the director of the East American chapter quartet, and in York Chorus), Doug Wells and Chapter Toronto they heard more top-rated President John Parkinson as members. quartet and chorus singing. As they By the spring of 1964 all 140 seats for the talked with Shields, they began to think

107 of a harmony club in Crawley. floating down the Thames River. They On September 13, 1964, 50 members sang wherever they went. of the East York Chorus, accompanied In September 1971 the executive by the Rhythm Counts (Toronto director of the Society, Barrie Best, was Chapter), relatives and other Ontario authorized by the international barbershoppers, departed for a executive committee to travel to memorable barbershopping expe· England for the purpose of publicizing rience. For 19 days they sang shows barbershopping in the hope that in Belfast, Dublin, Glasgow and London, additional clubs might be formed. His appeared on television, and met high trip was quite successful. He organized officials of their own and their host meetings of interested men in London, countries. Brighton, Newcastle, Bristol, St. Albans, In the St. Pancras Town Hall in , Liverpool and Birmingham, London they sang their final show, with met with the Crawley Club, and a coachload of folk from Crawley appeared on radio and television in seated directly in front of them. virtually every one of these cities. At Attending at the behest of the Danser least three new clubs were organized as family, they were to hear not only the a result of this trip. outstanding Canadian singers, but also In early 1973 the Ontario District sent the Barbershop Four, their hometown Past Intemational Vice President Johnny quartet which still was probably the Cairns to England for the purpose of only "strictly Barbershop" quartet in the presenting a "British Isles Harmony British Isles. Encouragement Trophy." He visited the A few days later, George Shields Crawley Club (now grown to 70 spent an evening at the Danser home members) and the three clubs formed with the Barbershop Four and several after Barrie Best's trip-Tyneside, interested friends and gave strong Bournemouth and Brighton & Hove. He encouragement to the idea that a was delighted with the progress being "Crawley Harmony Club" might be made, and called for more assistance formed. There is no doubt that this visit by our Society to the Barbershop of the East York Chorus, led by George harmony movement in England. He Shields, provided a part of the specifically suggested visits by foundation of the British Association of members of our music staff to the British Barbershop Singers (BAB.S.) 14 years clubs. The Ontario District made Cairns late r. its "Harmony Ambassador" (liaison) to On November 4, 1964, Harry Danser the British clubs, and later to BAB.S., and formed the Crawley Barbershop he made other visits, being much loved Harmony Club with 13 founding among the British clubs as the members. During the early years the movement grew. club remained small with about a In March 1973 the Four Statesmen, dozen members meeting weekly in 1967 international champions, decided Danser's home. It grew slowly, and there to visit England, celebrating their own was some effort made to interest men in ten years of existence. They hoped to other areas. There was no organized have a group of Northeastern District effort, however, to form new clubs until barbershoppers with them, but the time the early 1970s, when a series of events allowed for organization of the tour was influenced the growth of interest in too short. Nevertheless, the Four Naturals Barbershop harmony in Britain. (St. Johns, New Brunswick) and Carl In September 1970 the East York Becker (Providence, Rhode Island) Chorus, under the direction of George joined them, and with their wives, they Shields, took another overseas tour, this made the tour. Engaging a mini·bus, time of England, Wales and several they traveled to and sang for clubs in European countries. In Britain they sang Brighton and Hove, Bournemouth and in Bath, Cardiff, Coventry and London, Crawley, and in other cities as welL traveling later through Holland, appearing also on television and radio Germany, Switzerland and France. as they went. As they put it, they seemed Particularly memorable were their to stop Singing only for tea with meetings with the Crawley Club; one whatever host they had at the time. such meeting took place on a barge They made many friends for

108 barbershopping on this tour. dream of several years. It visited Ontario Organizer of the The first "national gathering" of the with side trips to St. Catherines, Ontario, Crawley Barbershop British Barbershop harmony clubs was and Monroe, Michigan. The group of 95 singers in 1965 was held at Crawley on May 26, 1973. Two of included the 35 man chorus and three Harry Danser, third the ladies' harmony clubs which had quartets. It participated in a show in from right, front been formed also participated. It was at Toronto (Ontario Place); a reception row. this first "national gathering" that a hosted by Etobicoke; a swim party at meeting was held with Don Amos West Breeze (Walter Elliot's summer (Crawley) as chairman. The clubs home on Balsam Lake); a show in present, Crawley, Bournemouth, Ottawa in that chapter's meeting hall; a Reading, Newcastle and Brighton, party hosted by the Scarborough and indicated they intended to form an Kitchener-Waterloo Chapters; two shows association to spread the gospel of in Monroe, Michigan; a party hosted by Barbershop throughout the United the Monroe, Michigan and Toledo, Ohio Kingdom by declaring to all those Chapters; and another party in London, attending a "statement of intent" which Ontario. A lot of singing in just 17 days was received with acclamation. gave this pioneer British club the The gathering was not in the nature experience of a !ifetime. of a competition, but definitely was a The final one of these history­ show with lots of woodshedding. At the making events, in May 1974, was the first evening concert Harry Danser termed Society-sponsored tour of the United the day "one that would go down in the Kingdom. was made by 193 annals of Barbershop history." A second people coming from 75 chapters in 19 gathering, which might include a states and four Canadian provinces. contest, was planned for July 1974. The trip was planned by Barrie Best, who In August 1973 the Crawley was assisted by staffman Sam Kennedy Barbershop Harmony Club fulfilled its through its 17 days' duration.

109 The Ringleaders became Britain's first national quartet champions when they won the Tyneside Trophy at the first B.A.B.S. annual convention, at Newcastle upon Tyne, in 1974. The quartet represented the Crawley and Brighton & Hove Barbershop harmony clubs; quartet members were, l. to r., Bill Little, bass; Ron Avis, bari; Bob Walker, lead, and Paul Wren, tenor.

While much sightseeing was was another important milestone which possible, the presentation of shows was led to the upcoming establishment of a major activity by the large chorus, the British Association of Barbershop directed by Bob Johnson, and by the Singers. four quartets-Four Statesmen, Good Life, In November 1973, after Crawley's Credit Chords and Staff Chords. The last successful visit to the North American of these was composed of then current continent, Don Amos wrote to the other international president, Leon Avakian four clubs then in existence proposing and Sam Kennedy, Bob Johnson and that a further meeting be arranged for Barrie Best of the international staff. the purpose of formalizing the "intent" Major shows were sung-sometimes on which had been promised at the BBC-in Brighton, Southampton, "gathering" and to create the draft rules Bournemouth, BristoL Birmingham, that were to be needed if the Stockport, Newcastle, Leeds, York and Association were to be formed. Reading. BAB.S. clubs exist in at least The historic first meeting of the seven of these ctties today. On this trip Association of British Barbershop it was the regular procedure for Sam Harmony Clubs CA.B.B.H.C.), later to be Kennedy to gain as many names of the British Association of Barbershoppers interested local men as possible while and now the British Association of a show was in progress, and schedule Barbershop Singers CBAB.S.), was held at a later meeting of these men to the Skyway Hotel, London Airport, on encourage the organization of a new February 16, 1974. group. The plan worked; in nearly all This venue was chosen to enable cases a new club was established. the Newcastle representatives to fly President Avakian was a busy down on the first available flight for an member of the traveling party. In early start to the meeting. Those present addition to engaging in the active Staff were: Don Amos, Crawley, chairman; Chords, he was frequently interviewed Bob Walker, Crawley; Eric Evans, by BBC and other television production Crawley, who took the minutes; Gerry units. The enormously successful tour Holland, Reading; Pete Powell, Reading;

110 John Booth, Newcastle; Bert Grimshaw, Society chapters do. Newcastle; George Beer, Brighton; and From small beginnings BAB.S. has Den Tyrell, Brighton. now grown to 50 clubs with its own The Rules of the Association, 25 in all, annual convention, regularly attended were ratified that day and it is worth and enjoyed by many Society noting Rule Two which stated, "The members. It has created its own contest objects for which the Association is and judging system, COT Schools and established are, to act as the national Harmony College, to which the Society governing body, to promote, encourage sends a music educator every year as and foster the growth of Barbershop part of the affiliation agreement. harmony singing by coordinating the The evolution of BAB.S. has been a interests of participants between clubs real Barbershop success story and the at a competitive and social level and Society pays tribute to the men who, the appropriate media where the from that first meeting in February 1974, public may be made more aware of believed it could be done. the Barbershop style of harmony It has also been shown that, with this singing." success, the efforts of the Society in the It was during the Society visit in May future can be directed towards bringing 1974, after regular correspondence Barbershop to the whole world. between the executive director of the Society, Barrie Best, and Don Amos, chairman of BAB.S., that a meeting was held at the Old Ship Hotel, Brighton, An agreement was England, to informally discuss the signed in 1981 affiliation which was so necessary if making S.N.C.B.S. an B.A.B.S. were to grow in stature. affiliate of the Society. Discussion was centered upon economics, music, education, etc. and after a frank exchange of views from both sides, President Avakian and Chairman Don Amos came to a mutual agreement subject to ratification by the Society executive committee. Basically, it was for the Society to provide BAB.S. with education, music, goods and services to assist with the growth of Barbershop within a framework of economics, to be renewed with amendments on a yearly basis. The agreement, which was the first for the Society, and therefore, the most difficult in terms of the basis and principles to be applied, was finally The SOCiety of Nordic agreed and signed the following year, Barbershop Singers (S.N.O.B.S.) 1975, at the RA.B.S. convention in Brighton, England, by the executive The Swedes have always been director of the Society, Barrie Best, and interested in American music and it was Don Amos, chairman of BAB.S. their interest in jazz that led to their Now, 13 years later, the basis of the pursuit of still another form of American affiliation which was signed still has music, Barbershop harmony, Indeed, relevance for other affiliations which some of the early pioneers of the have been agreed to so far with Swedish Barbershop movement were Sweden and New Zealand. accomplished jazz musicians. Olle The growth period in BAB.S. was Nyman, a fine ragtime pianist, comes extremely good in the first stages and immediately to mind. within the years 1974-76 at least 25 clubs It was Olle and his quartet that were meeting regularly every week to made the first Swedish pilgrimage to the enjoy Barbershop Singing and serving United States, attending the their communities in the same way that intemational convention in Kansas City

111 in 1974 and visiting a number of chapters are seven choruses, with interest also in afterwards, while also paying a visit to , Norway and Denmark. From a Harmony Hall. This was followed by a Society standpoint much of the credit for Swedish octet which attended the the growth and betterment of international convention in San Scandinavian barbershopping must go Francisco in 1976. A member of the octet to Robert D. Johnson, who made trips to was Hakan Akerstedt who was to the Nordic countries both while director become the moving force behind the of music education and services for Barbershop movement in Sweden. S.P.E.B.S.Q.SA and after his retirement. Hakan Akerstedt In 1979 Hakan attended both the inter­ S.N.o.B.S. has chosen to follow the was the first national convention in Minneapolis Society judging system without any president of and Harmony College in St. Joseph, modifications and at its annual S.N.O.B.S. Missouri. While at Minneapolis he held convention and contest has imported a lengthy meeting with Executive Direc­ American judges to sit on the panel with tor Hugh Ingraham, and this led to the its own certified judges. They hold both actual signing of an affiliate agreement a chorus and a quartet contest each between S.P.E.B.S.Q.SA and SN.o.B.S. in year and in 1986 one of their quartets, July of 1981 in Detroit. The agreement has The Happy Nite quartet became the first been renewed every year since. S.N.O.B.S. representative to compete at The Barbershop movement in the S.P.E.B.S.Q.SA intemational contest in Sweden has grown now to where there Salt Lake City.

The Good Time Singers were Sweden's leading quartet in 1980. They were, l.to r. Per-Arne Lindholm, lead; Olle Nyman, tenor; Lars-Erik Bonnedahl (kneeling), bass, and Gosta Jacobsson, bari.

112 International Contest and Judging Chairmen Through the Years

1942-1948 Maurice "Molly" Reagan 1963-1964 James Compton 1949-1950 Frank Thorne 1964-1967 Wesly R. Meier 1950-1951 Maurice Reagan 1968 Wesly R. Meier/Howard Mesecher 1951-1952 Edwin S. Smith (appointed mid-year) 1952-1953 John Z. Means 1968-1972 Howard Mesecher 1953-1954 Berney Simner 1972-1974 Emmett Bossing 1954-1955 Marty Mendro 1974-1976 Burt Szabo 1955-1956 Berney Simner 1976-1978 Don Flom 1956-1957 Joe Jones 1978-1980 Billy Ball 1957-1958 Marty Mendro 1980-1981 Donald J. Clause 1958-1959 Joe Jones 1981-1983 Edward Waesche 1959-1960 Marty Mendro 1983-1985 Lloyd B. Steinkamp 1960-1962 Joe Jones 1985-1987 Kenneth W. Buckner 1962-1963 John Dawson 1987-1988 William Hafley

The Harmonizer and Its Editors

1941 1954-1955 • Called Barber Shop Re-Chordings and was • Bob Breunig was editor. edited and distributed by Joe Stern as a bulletin/ newsletter. 1956-1963 • Curt Hockett was editor. 1942 • Carroll Adams edited Barber Shop 1963-1984 Re-Chordings. • Leo Fobart was editor. 1943 1984-1987 • Changed name to The Harmonizer, Editorial • Lynne Soto was editor. Committee of three: Carroll Adams, Jim Knipe and Oeac Martin. 1987-Present • Ray Heller, editor. Early 1950s • A supervising committee using contributing editors with Bob Hafer as executive. There were three temporary editors: Bob Hafer, Committee membership changed 1955, Bob Hockenbrough, 1957-58 and Robb periodically. allett, 1984.

113 Society Programs and Musical Growth

1946 • First school for judges. • The chapter reference manual, the first officer training text, approved and published. 1939 • The board agreed that districts, rather than • First quartet contest. individual states, should play a more • First "national" meeting-seven states and important role; therefore states were 1 7 cities represented. aSSigned to various districts-eleven in • Rupert Hall elected first president. number. • Sixteen members set up as a minimum size 1940 for a chapter to be chartered. • First midwinter meeting, held in St. Louis. • Bill Otto joined the international office staff. • First performance by an organized chorus, directed by Dr. Norman Rathert. 1948 • The international office staff had grown to 1941 11 under International Secretary Carroll • Barber Shop Re·Chordings published. Adams and Associate Secretaries Bill Otto • The first Society arrangement written­ and Tom Needham. "Sweet Roses of Morn" by phil Embury. • The first Songs for Men published. • First written constitution approved by the international board. 1949 • First dues approved-$.SO per member. • The first official certification of contest • First district organized-Michigan. judges. • First "definition" of Barbershop harmony attempted by Joe Stern. 1950 • The Armed Forces Collaboration Program 1942 adopted. • Carroll Adams became first Society • The first organized quartet training session. employee (part·time) with title of • The first quartet manual. international secretary. • The Harmonizer magazine started. 1951 • Code of Ethics adopted. • Chorus manual published. • First judging by category. • Chorus directors' workshop held at • First arrangement prepared and distributed international convention. by the Society's Song Arrangement Committee. 1952 • The concept of "Barbershop craft" 1943 originated by Bud Arberg. • International board approved 24 members • The Singing Capital Chorus of Washington, as qualified judges. D. C. sang with the National Symphony Orchestra. 1944 • Bob Hafer joined the international staff. • First Canadian chapter-Windsor, Ontario. • Society emblem adopted. 1953 • Carroll Adams became the Society's first • The first internationally sponsored chorus full· time employee with the title of contest. international secretary. • A new set of bylaws adopted. • O. C. Cash turned over to the Society all • The House of Delegates born. rights concerning the name and the • The Schmitt Brothers performed before the emblem. board of the Music Educators National Conference (MENC). 1945 • Four top music educators invited to the • First regional preliminaries held. international convention in Washington.

114 1954 1961 o First international chorus contest. o International board approved a dues increase which provided for the hiring of 1955 a director of musical activities, special o The first district training program for events manager, administrative field man chapter presidents held in the Mid-Atlantic and associate Harmonizer editor; these District. men were all hired in 1962 (Johnson, o The Balance and Blend sound-slide film Snyder, Ingraham and Fobart). completed and a similar project for Voice o First full HEP school held at Winona (four Expression authorized. days in length).

1956 1962 o Harmony Heritage song series started by o The HEP program increased to five Jean Boardman. schools-Winona, Berkeley, Reading, o ABE formed-later became PROBE. Niagara Falls and Fort Worth. This program o Founder's Month declared - forerunner was to continue for a number of years (up of Harmony Week and Harmony Month. until Harmony College) with a greater or o The House of Delegates voted down lesser number of schools. resolution to discontinue chorus contests. o Film produced of The Music Man with the o Schmitt Brothers appeared before MENC Society holding Music Man contests. convention. 1963 o Curt Hockett appointed public relations o Bob Hafer resigned, Barrie Best appOinted director for the Society. new executive director. o Walter Wade song collection donated to the o First international convention held in Society-the basis for the Old Songs Canada (Toronto). Library. o Pension plan approved for the international 1964 office staff. o Institute of Logopedics adopted as SOCiety's o Frank H. Thorne Chapter'at-Large international service project. established. o Keep America Singing, Universal Studios short subject, produced at San Antonio 1957 international convention. o Harmony Hall purchased and the o East York visited the , along international office moved from Detroit. with Bob Johnson, to spread Barbershop o The Music Man starring the Buffalo Bills harmony abroad. opened on Broadway. 1965 o Floyd Connett hired. o Twenty-five-year history published, Will Cook, author. 1958 o Society, districts and chapters, became o Harmony Foundation established. 501 (c)(3) and exempt from federal income o C & J Handbook published. tax. o Woodshedders Guild established. o Membership records went on IBM punch o First international chorus directors school cards. Data Processing department. held at Harmony Hall. o First Society quartets performed at Guantanamo Bay, Cuba, under the auspices 1959 of the Navy Exchange. o First honorary memberships given to Irving o Deac Martin published article in the Music Berlin and Meredith Willson. Journal entitled, "Evolution of Barbershop o Society adopted "Statements of Policy." Harmony." o Experimental Chapter Officer Training 1960 Schools (COTS) held in Central States, Land o Floyd Connett resigned. 0' Lakes and Cardinal Districts. o Member Benefit Program (MBP) submitted-called for the hiring of nine new 1966 key people: not accepted by the Society's o Mandatory liability and property damage districts. insurance for chapters. o First District Presidents Forum held. o "Nice 'N Easy Barbershop" produced by o Harmony Education Program (HEP) Four Renegades-purchaser can fill in weekend schools started-Rudy Hart. fourth part.

115 • Logopedics concert held in Carnegie Hall. 1973 • Society added administrative assistant and .. BBC did a sixty·minute program on the second field representative. Portland international convention. • First COTS held with international trained • Adoption of master convention schedule for faculty. all districts. • Fifth man training school held in Madison, • New Honeywell computer system installed. Wisconsin. • Logopedics donations reached $1,000,000. 1967 • First merchandise manager hired (Dave • Pro·tention Program started-later to Wilt). become the Achievement Award Program. • BAB.s. held its first gathering (five • Midnight Oilers went to Vietnam. choruses and 13 quartets, but no • Life membership instituted. competition). • Bob Johnson and Val Hicks assisted in 1974 production of Fred Waring record of • First area counselor class added to COTS. Barbershop harmony. • Arrangement made with the music • Districts authorized to elect their own publishing industry to allow duplication of international board members. music/ arrangements. 1968 • Jack Baird placed all Society recordings in • The Merry Mugs went on the Society's first our library (including cylinders) on tape. USO tour of the Far East; over 30 quartets • Third administrative field man hired were later to participate. (Cogan). • Kearney Report submitted and approved • International membership survey by the international board. completed. • Massive change in international board • Senior/student membership adopted. structure and international office structure. • First national public relations program • Bob Johnson directed 200'man mass adopted (Harshe, Rotman and Druck). chorus for MENC. • BAB.s. affiliation approved. • Week·long arrangers' seminar held in Kenosha. 1975 • New Sound Category implemented. 1969 • External public relations survey completed. • International board voted for two new • Society purchased second building music men. (Sheridan Building). • Harmony College held for the first time at 1970 Missouri Western State College at st. • Young Men in Harmony started in the Far Joseph, Missouri. Western District. • Harmony Services approved by • Auditions for Admissions adopted as an international board. official Society membership program. • Additional music man hired (Liles). • Society took over recording of international • First district music educators forum held. contests. • First week·long Harmony College held at 1976 Dominican College in Racine. • Bicentennial show produced in Kennedy • Deac Martin's Musical Americana Center and distributed throughout the published by Prentice·Hall. Society. • The Four Statesmen sang with the Boston • Barbershop opera premiered in Ohio. Pops on National Educational Television. • Bob Johnson got honorary doctorate from 1971 Allegheny College. • Midwinter convention held aboard cruise • "Keep It Barbershop" policy adopted by ship to the Bahamas. international board. • New Arrangement Category instituted; Voice Expression became Interpretation. 1977 • Barberpole Cat Program instituted. • International board reaffirmed "Keep It • Young Men In Harmony approved by Barbershop" policy. MENC as part of its official festival system. • Rocky Mountain District formed. • COTS became an international expense. • Thirty·day rule adopted in coaching/judging. 1972 • Dukes of Harmony from Scarborough first • Filing of IRS Form 990 made compulsory. Canadian international champions.

116 • Hugh Ingraham appointed executive 1983 director. .. The Harmonizer celebrated 40th anniversary. 1978 .. Gary Stamm hired to run the audio-visual • Society prohibited black face on stage at department. contest. .. International board adopted new·member • Chairman of judging Category adopted. orientation program. • International board voted for fourth music man (LaBar). 1984 • Midwinter convention held in Hawaii. 1979 • Manager of data processing hired • International board authorized study to (Leisemann). have room at Harmony Hall for display of • Fred Waring became honorary member. Society memorabilia (later to become • Society study committee reaffirmed Heritage Hall). relationship with Institute of Logopedics. • New membership survey taken. • Lynne Soto hired as The Harmonizer editor. • Convention format changed to include Saturday night show. 1985 • First communications specialist appointed • B.A.BS and S.N.O.B.S. invited to send a (Robb Ollett). quartet to international starting in 1986. • Award of Harmony Program launched. • became honorary member. • Bluegrass Student Union sang for President 1980 Reagan. • International board approved formation of • Rocky Mountain District introduced Very 50th Anniversary Committee. Large Quartet Contest. • Fred Gielow wrote Love, Laughter and a • Dave Stevens retired. Barbershop Song. • Convention Format Committee • Harmonizer survey completed. recommended: elimination of Saturday • Vocal Majority sang with Mormon night show; C&j to research and develop Tabernacle Choir. "entertainment package concept"; C&j to • New Zealand Barbershop affiliation investigate chorus super finals. approved. • New membership survey completed. • Harmony Foundation granted $15,000 for • Big Apple Chorus sang in Radio City Music the purchase of audio· visual equipment and Hall. for the first time all competitors are filmed. • Music generalist hired (DeBusman). • Strictly Barbershop produced. 1986 1981 • First Seniors Quartet Contest. • S.N.O.B.s. Society affiliation approved. • Osmond Brothers made honorary • Schmitt Brothers and Bob johnson honored members. by Wisconsin Music Conference. • S.N.O.B.S. & B.A.BS quartets competed in • Direct Hit Program for obtaining and international contest for first time. training chorus directors instituted. • Music vice president position approved. • At international convention all competitors • Chorus super finals approved. provided with tapes of their performance. • Side Street Ramblers sang in Austria for • $4,200 proVided by Harmony Foundation International Society for Music Education. for equipment to make learning cassettes. • World's Largest Barbershop Chorus sang at Tucson midwinter (710 participants). 1982 • Five-year plan adopted. 1987 • Bob johnson retired. • joe Liles apPointed acting executive • Volunteer Membership Development director, july. Program instituted. • Second music generalist hired (Bill • New symphony score resulted from Rashleigh). performance of Aloha Chapter with • New Barberpole Cat Program initiated. Honolulu Symphony. • Revised Young Men In Harmony Program • Society published folio of woodshed songs. initiated. • First forum and training seminar held for • Ray Heller appointed The Harmonizer district convention managers. editor.

117 The International Staff: Past and Present

management started to pay dividends, In one of his thoughtful columns in and his part-time employment was The Harmonizer, Hugh Ingraham once changed to full-time. The Society office remarked that one of the Society's most was moved from his home, first to a important tuming points came when single room in a real estate office, and the organization, during its 1942-43 year, then to a succession of storefront decided to hire its first employee, Carroll properties in Detroit where it remained Adams. This energetic and enthusiastic until it was moved to Kenosha, man, who had a broad vision of the Wisconsin, in 1957. Society, had served as national Throughout his 11 year period as president in 1941-42 and as national secretary, Adams installed business secretary (without salary) in 1942-43. It practices and followed a personal habit was not until a year later that the of answering each piece of mail the Society had a budget ($3,900) day it arrived. sufficiently large to allow an "office" in He was very active in starting Adams' Detroit home and funds to pay chapters and many of the early districts. him for part-time work at nights and on In the Michigan (now Pioneer) District weekends. As Ingraham later wrote, the alone, he chartered 24 chapters. In 1944 Society had "gotten serious about this he helped to organize and charter the singing business!" first Canadian chapter, located in Things are quite different today. We Windsor. Ontario, which made the have a staff of 40, which occupies two Society an "intemational" organization. buildings in Kenosha, Wisconsin. This By 1953, when he retired, the Society's staff carries on extensive programs of membership had grown several-fold, music education, song publishing, the staff had been multiplied to 11 membership development. leadership members, and the daily methods of training and SOCiety operation. It also operation had a much greater manages the largest collection of resemblance to those of a business. The popular sheet music outside the Library Society owed much to Carroll Adams, of Congress. our pioneer staff member. The Society's second executive secretary was Bob Hafer, who in 1949 The Staff Leaders came from the Canton, Ohio Chapter to be associate secretary, and was named There is little doubt that the Society to succeed Carroll Adams in 1953. Later, would present a far different face today, his title was changed to executive and might not have survived at alL if a director. A family man who loved full-time staff had not been initiated and quartet singing, Hafer stressed evolved to today's proportions. When administration at the society and Carroll Adams became national chapter levels and was a pioneer in the president in 194L the length and breadth publication of training material. An of the organization-in other words, its early achievement of his (in 1953) was membership-was really unknown. The to conclude a contract with Decca society was thought to have 100 Records for the recording and chapters, but his check revealed that it marketing of LP discs featuring our top really had only 24. Contact with quartets and choruses. His fantastic chapters was only by maiL and then memory for names and faces gave him came largely at time of charter. a speaking acquaintance with a very As the SOCiety grew, Adams' past large number of SOCiety members. experience in club and association Adams and Hafer were assisted for short

118 periods of time by four men as associate Logopedics. He staged useful seminars secretary: Tom Needham, Bill Otto, Don at Harmony Hall for district presidents, Dobson and Ken Booth. the international board and various As a result of a lengthy campaign music purposes. by members, the Society acquired a The fourth person in history to head new headquarters building in Kenosha, the Society staff was Hugh Ingraham. A Wisconsin, during Hafer's term and he Canadian who grew up in Nova Scotia, was able to participate in the Hugh graduated from Acadia consequent enlargement of the staff University with a degree in English and which was a part of the "Expansion history. His activities during college Program" that helped sell this project to included dramatics, writing and singing members. He retired in 1963, gratefully in a male chorus. Following graduation, accepting a new automobile as an he worked in a radio station in Calgary, expression of love felt for him by Alberta, where in 1949 he was barbershoppers across the Society. introduced to barbershopping. He later Hafer's successor was Barrie Best became the charter president of came to the position from the San Calgary Chapter and sang with several GabrieL California Chapter. Best was registered quartets. He moved to well-known in the Society, for he had Winnipeg to enter the public relations sung tenor in the West Coasters (ranked field and became active in the Land 0' among the international medalist Lakes District as area counselor, district quartets in 1957 and 1958), and was secretary and international board serving his second term as president of member. After another move to the Far Western District when he was manage Winnipeg's first separately chosen for the international staff programmed FM radio station, he was position. Originally from the Winnipeg, selected by the Society in mid-1962 as its Manitoba Chapter, he had served as first administrative field representative chorus director and chapter president and was assigned on a test basis to the and had held many other chapter and Johnny Appleseed District. district assignments. In the midst of this test Hugh was In approaching the new job, Best returned to Kenosha when Curt Hockett used his background as a businessman, the Society's director of public relations, and in later years used knowledge resigned to take another job. His gained through training as a assignment now was to prepare the professional association executive. Both public relations campaign for the he and his successor, Hugh Ingraham, Society's forthcoming convention in were active in the American Society of Toronto. On the basis of his performance Association Executives. in this challenge, he was selected as Best assisted in the development of director of public relations. many contemporary Society programs, In 1968 Hugh became director of including the Chapter Officers Training communications for the Society, taking Schools (COTS), the use of field responsibility for The Harmonizer public representatives for chapter and district relations, events management and counseling, the public liability and member relations. Following the property insurance programs, and the resignation of Barrie Best in early 1977, he sale of merchandise by mail and in was named acting executive director, temporary shops at conventions. and after a careful period of selection Following the lead of the East York, by the Society leadership, he was Ontario Chapter, he helped in the named executive director in July, 1977. organization of early British harmony Ingraham approached this top clubs and provided some guidance in assignment in a professional manner, the affiliation of new Barbershop based on his still current training by the harmony societies in England (BAB.S.) American Society of Association and the Scandinavian countries Executives. In later years he became, as (SN.O.B.S). He enthusiastically joined a consequence, a Certified Association such pioneer Society volunteers as Executive and served as moderator of Reedie Wright of Pasadena, California panels at the annual ASAE schools. (The to build the new relationship between initials, CAE, following a person's name the Society and the Institute of are prized among association

119 professionals.) length and breadth of the Society, Ingraham's period as executive visiting each district demonstrating his director was a time of building through brand of Barbershop expertise at the the addition of many highly qualified local level. Visits often brought music men, the improvement of training barbershoppers from near and far to devices such as Harmony College (led have the "Connett experience." His by Bob Johnson and Joe Liles) and COT specialty was the Barbershop sound­ Schools, the increased collaboration matching timbre of voices, vowel with other organizations such as MENC targets and precision. As a judge, he and Sweet Adelines, Inc., and the many was able also to spread his gospel while attacks on our "membership problem," judging contests. He made a great i.e., our failure to grow (and even an contribution to the production of a occasional fall) in membership. He was pioneering Society tape and text The praised for his broad knowledge of the Barbershopper and His Voice, which Society organization and activities and showed how to match singing sounds. for his imaginative approach to the While Floyd Connett worked for the knotty problems that beset all like Society for only three years, he brought organizations in this complex age. home to many the fact that full-time He was unusually good in people could benefit us in a manner communicating to members, whether that voluntary workers, even when very verbally in a one-on-one situation, to skilled, willing and dedicated, could groups, through his writing in The never contribute. He spread a uniform Harmonizer or otherwise. "gospel" across the whole organization At the same time, he was widely and did it for far more than 40 hours a acknowledged as the most respected week. It is certain that the music and admired man ever to serve on the program of today's Society, based Society staff-popular among members heavily on traveling representatives and staffers alike. He dealt even­ who can take the SOCiety message to handedly with all when addressing staff every corner of our territory, owes much, problems and was recognized as fair. indeed, to the traveling barber of Peoria. open and aboveboard while facing the One of the most striking influences difficult challenges that go with a large on the face of the Society as it appears membership society. today was undoubtedly Bob Johnson, who in 1962 became its first director of musical activities and who headed this The Music Men department until his retirement in 1982. Bob was a music educator (bachelor of The need for a staffer with musical science in public school music, master qualifications, who could go to the field of arts in education) who was head of and teach musical skills, write texts and the music department at Patterson Park instruct musical leaders at the chapter High SchooL Baltimore, Maryland, when leveL was inherent in the Expansion (in 1956) he became the director of the Plan of 1957, which was adopted when new Society chapter in Dundalk, the Alford mansion was acquired for Maryland. In five years his chapter had our headquarters, and Floyd Connett grown to be the Society's largest. fielding was the first answer to this challenge. a 157-man chorus which won the From his home in Peoria, Illinois, he had international chorus contest. This traveled to as many as six nearby towns brought him to the attention of the each week, directing choruses in the Society leadership and gained him the burgeoning Illinois Harmony Clubs. He appointment to head the Society's directed the Bloomington, Illinois, music program. For several years he Kountry Kernels to a third place medal was a one-man department. but as the in the 1957 international chorus contest. years rolled by, the Society's philosophy A certified judge in all five and budget allowed impressive growth categories, he coached and arranged to its present eight-man complement. music for champion quartets in both our Johnson made a very large imprint Society and in Sweet Adelines. on the Society during the almost 21 years As the Society's first field before he retired in 1982. He directed the representative, Connett traveled the Harmony Education Program,

120 conceived by Rudy Hart and begun by late 1930s. He became a missionary, but Hart in 1961 as a single, one-weekend it was to bring about the "conversion" school per year. It now consists of a of singers and the entire population to week-long "college," where 30 different the joys of Barbershop harmony. There courses are taught to 600 members, is no doubt that he was an outstanding plus weekend schools held once each success at this, and that he long will be year by almost all the Society's 16 remembered and loved for that districts. The music publication program evangelism. of the Society has produced several The man who succeeded Bob distinctive manuals on arranging, Johnson as director of music education quartet coaching, chorus directing, and services in 1982 was Joe Liles, who Barbershop craft music fundamentals joined the staff as a music services and vocal technique. The music assistant in 1975. Liles had been publishing program issues new promoted to assistant director of music arrangements of 30 or more titles per education and services in 1979. year, making these Barbershop Joe holds a bachelor of arts degree arrangements by outstanding arrangers from Baylor University, a master of music available to all members and to degree from Southern (Louisville) educators everywhere. The department Seminary, and had completed 30 hours also issues recordings of annual contests toward a doctorate in music at the and other Society-sponsored per­ University of Texas when he came to the formances. Society staff. With a strong choral During Johnson's years as director of background and a sincere interest in musical activities for the Society, he sacred music, he had directed the recruited several gifted music specialists, Chordsmen of San Antonio, Texas, to a e.g., Dave Stevens, Lyle Pettigrew, fourth place medal in the international Malcolm "Mac" Huff, David LaBar, and chorus contests of 1971 and 1972. his own successor, Joe Liles. These men A prolific song writer and arranger, have made and are making a striking Liles has been a member of the contribution to "preservation and American Society of Composers, encouragement" as they discharge Authors and Publishers (AS CAP) for their daily duties. many years. He spends some time every Perhaps Johnson's most impressive day at work on melodies, lyrics or monument, however, will be his arrangements and is proud to have had remarkable strengthening of the a considerable number of songs already existing relationship between published. the Society and the Music Educators During his period as director of National Conference (MENC), the music education and services, Liles has professional organization of secondary enlarged the Society's music publishing school music teachers and directors. program, given greater variety to Through his appearances as a speaker Harmony College courses, enhanced and with outstanding adult and youth and enlarged our relationship with the Barbershop quartets and choruses at American Choral Directors Association MENC meetings, that organization and and with MENC. He also has recruited a many of its state groups have number of quite talented barbershoppers recognized "the Barbershop quartet" as to our music staff. In 1969 David M. a legitimate event in many of the music In 1969 two remarkable music Stevens of San festivals staged by state MENC services assistants joined the staff, and Francisco became organizations. The Society has each was to leave his imprint on the the first of two developed special Barbershop Society. The first was Dave Stevens, with music men to be arrangements for young voices, syllabi 20 years' experience in the commercial added to the music for educators who wish to organize and music field and an equal amount in education and train quartets and choruses for singing barbershopping. Stevens had received services Barbershop harmony at the high school a bachelor's degree in music education department. One of leveL and leaming tapes for young from DePauw University and a master's the Society's most singers. degree from Northwestem University. He popular and Bob Johnson started out to be a had served as choral director. vocalist influential medical missionary at Allegheny and vocal arranger in radio, employees, he College, Meadville, Pennsylvania in the commercial recording and television, retired in 1985.

121 and had directed industrial and Cardinal District champions, commercial choral groups, He also had Huff served as a music services directed six Society choruses in assistant calling on chapters and Califomia, including the Califomians of teaching in district schools, His expertise Berkeley, Califomia, which he took to was used to greater advantage, the intemational chorus championship however, in writing manuals for quartet in 1957, singing and coaching and developing During his years on the staft Stevens widespread use of skills such as the became the "Barbershop scholar" of the syllable precision technique, Society, studying the origins of the In 1979 David LaBar joined the staff Barbershop harmony idiom and as a music services assistant and was documenting the changes and growth assigned to visit districts and chapters to of this style through the collection of re-emphasize the role of quartet singing hundreds of examples from popular as an integral part of barbershopping, songs and recordings, He was a prolific During the four preceding years, Dave arranger and spent tens of thousands of had attended West Chester (Pa,) State hours at the piano in our Old Songs College in the bachelor of science in Library, Although his name was not music education degree program and placed on the landmark collection of in 1977-78 had directed the Wilmington, arrangements published by the Society Delaware Chapter chorus, to commemorate the U.S, Bicentennial in Seven recent additions to the music 1976, the arrangements were his and will staff, all recruited by Joe Liles, must be stand as a monument to this mentioned in conclusion, Burt Szabo remarkable man in the minds and came to the staff in July 1983 from an hearts of those who know the story, academic background-doctorate in Stevens also was in charge of the music education, professor of music at Society's music publishing program and the University of Central Florida, and developed many valuable relationships composer of choraL orchestral and with publishing companies owning the chamber music, Burt has served the copyrights on songs without number Society as the principal author of the Malcolm L. .. Mac" from the era in which the Society's Arrangement Category (1970) and Huff also joined the interest lies, chairman of the Intemational Contest & Society staff in The second man was Malcolm Judging Committee, He has arranged 1969 as part of a "Mac" Huff, who joined the staff to many, many songs in the Barbershop program of specialize in quartet singing technique, idiom, and has served for 17 years on the expanded music A graduate of Indiana University, he Harmony College faculty. services. He was a was an Arrangement Category judge Bob Mucha, a 30-year teacher of member of the staff and had been an active quartet man, voice and choral activities in the public until 1978. singing bass with the Funtastic Four, 1961 schools of Middletown, Ohio, served on

From 1979 to 1985 Dr. Burt Szabo, an Bob Mucha was a Tom Gentry, a Dave LaBar served experienced music music specialist for member of the as music services educator, joined the the Society from Society since 1969, assistant. LaBar staff in 1983. 1983 to 1985, joined the inter­ became a member working in the area national staff in 1985. of the Society in of chorus 1969 when he joined development. at the age of 14.

122 the music staff for two years, beginning The Financial People in September 1983. An active coach and director for the Middletown, Ohio In 1947 a Michigan barbershopper, Chapter when that chorus participated Bill Otto, walked into the Detroit in the 1959 international chorus contest headquarters office, claiming he was Bob has also coached or directed at the "the world's greatest bass, fast Cincinnati (Western Hills), Ohio Chapter. approaching middle age, seeking a job Since February 1985, Tom Gentry has and a new career." Twenty years later, served on the music staff with with a five-year hiatus in the 1940s, he responsibility for chorus development retired, now aged 72 and still claiming and music publishing. A certified judge to be "the world's greatest bass, fast in Arrangement Tom served on that approaching middle age and seeking category's board of review in 1983-84 a new career." It was clear in 1947 that and has arranged many songs for the he had a solid business background, Society. and he was hired. Beginning in June 1985, Jim Born in the Gay '90s (naturally!), Otto DeBusman has been serving as a music was the son of a German-American generalist on the music staff. A prize­ couple in Chicago who had fostered his winning teacher of choral music in high musical interests-playing a mean schools in Eugene, Oregon, before fiddle and singing a clear high soprano. coming to the staft DeBusman has In 1942 Bill had visited a Society directed numerous SOciety choruses chapter in Pontiac, Michigan (described and has sung with high-ranked quartets. as "a group of fellows who got together Since July 1985, Bill Myers has been to sing for the fun of it"), sang himself a music specialist (quartet hoarse, and soon was immersed in development) for the Society. Coming to Barbershop affairs in the Detroit #L Bill Rashleigh the staff from the Louisville Michigan, Chapter. He served as worked in the areas Thoroughbreds, Myers served there as president of his chapter, president of the of music and assistant director and sang in the Detroit Metropolitan Association of ranking Citations quartet. Chapters, and international board membership Beginning in October 1985, Mel member. In between these assignments, development and was a faculty Knight has been a music specialist he sang with the Three Corns and a member at (chorus development) on the staff. Bunyon and the Slumber Jacks, neither Harmony College Coming from Eugene, Oregon, where quartet exactly a prize winner, but both he directed the Cascade Chorus in the solid harmonizers. and district schools_ international contests in 1983 and 1984, What were Bill Otto's accom­ He joined the international staff in Mel also sang with the Cascade plishments with the Society staff? He 1987. Connection in two international served both Carroll Adams and Bob contests. A certified Arrangement judge, he holds a master of music degree and taught instrumental and choral music at both the high school and college levels. In June 1987, Bill Rashleigh joined the staff as a music generalist assigned to forming new chapters and to helping struggling chapters establish their music and administrative programs. An ll-year member of the Society, and a certified Sound judge, Bill had directed his chapter chorus and served as division music educator in the Central States Jim DeBusman Bill Myers joined A Society member District. He had been active in college became a music the music since 1963, Mel and Society theatrical productions and generalist for the department staff in Knight became an had taught show production and Society in 1985. 1985 as a music international staff related courses at Harmony College specialist member in 1985. since 1982. responsible for He was named quartet promotion assistant director of and development. music education and services in 1987.

123 Hafer as associate international 20 years' experience in finance fields secretary, and later was controller and with one bank and several man­ assistant intemational treasurer, making ufacturing corporations in Michigan many contributions in the finance area. and Indiana. He wrote many manuals, pamphlets Lemmen was just the professional and brochures, contributed at length to the Society needed. He served on COTS The Harmonizer, filled in at times as faculties as an instructor for chapter office manager and purchasing agent, treasurers and was responsible for developed a new simplified developing the chapter treasurers' accounting system for chapters, and manual and also many of the financial Dallas Lemmen produced the annual Society financial reports used by chapters and districts. He came to the Society statement for our auditors. When the was also instrumental in developing the in 1 969 and was in headquarters office was moved to Society's program for bonding chapter charge of personnel, Kenosha, Otto was in charge of the officers. It was during his tenure that the office and property move and had the responsibility of Society began to transfer almost every management, hiring the first support staff after his phase of record keeping to computers. arrival. marketing and Building confidence in the Society's financial matters During Otto's 20 years on the staff, he finance process, this man, at the same until his death in may have leamed more about the time, built many friendships among 1983. Society and how it operated than any barbershoppers and his fellow staffers other staff member. He was a valuable and long will be remembered with love. asset. Today he is living in Florida, Lemmen's successor was Frank where (as irreverent as ever and now Santarelli, who had joined the staff as well into his 90s) he still is Singing and manager of accounting and laughing about his 45 years as a membership service in 1977. A native barbershopper. Kenoshan, he had received bachelor of For its first 30 years, the Society staff science and master of business did not include a professional finance administration degrees from Marquette man, although Otto provided valuable University in Milwaukee, and had service to Carroll Adams and Bob Hafer, become a Certified Public Accountant and both of them looked over the in 1974. He had previously worked in financial status of the Society with care. accounting, management and data In 1967 the Society, urged by Barrie processing areas for several manu· Following the death Best, engaged the services of a Chicago facturing corporations in Illinois and of Dallas Lemmen, management consulting firm, A. T. nearby Wisconsin. Frank Santarelli Keamey & Company, to examine the Although the Society has used data took over as organization of our Society, including processing equipment for more than 20 director of finance the staff, and to make recommendations years, it may truly be said that, following and administration. for any changes it felt were appropriate. Dallas Lemmen's example of using He was named One result of this study was a computer equipment for Society record manager of recommendation to organize the staff keeping, Frank Santarelli has really accounting and with three "directors" reporting to the brought its management into the membership executive director. The three areas of computer age. It was Frank who services in 1 977. responsibility covered by these men developed new uses for our existing were to be music, communications, and computer equipment, who described a finance & administration. The later generation of this equipment to the recommendation was accepted and Society leadership and, with Warren the reorganization went into effect in Leisemann, managed it when it was 1969. With minor changes, it is still in installed in 1986-87. Perhaps more than effect today. any other staffer, Frank has gained the The first director of finance and complete faith of the Society leadership administration was Robert L. W ollangk, in management through computer. who served for less than a year. He was With both feet, the Society now is well succeeded by Dallas Lemmen, who into the computer age. served in the same job until his death in 1983. Lemmen was a University of Michigan graduate with a bachelor of science in business administration. When he joined the staff, he had over

124 The Information Group task of printing each issue. Society executives Transition was underway, however. gathered for a work The first Society magazine, Barber In 1954, for a brief period, a full-time session in 1 947. Shop Re-Chordings, was edited and Harmonizer editor, Robert H. Breunig, Jr., Seated in left published in Kansas City, Missouri, by was engaged, and six issues were foreground was Joseph E. Stem, the National Secretary­ published under his guidance. It did not Joseph E. Stern, Treasurer. Volume L number 1 was little work out however, and for 18 additional editor of the first more than a four-page newsletter. Stem, months Bob Hafer and the Magazine Society publication, of course, was a volunteer, as was Committee resumed control. Barber Shop Re­ Carroll Adams, the second editor, who In mid-1956 the Society leadership Chordings. Behind took the assignment to his Detroit home (and undoubtedly Bob Hafer) got their him from the left in late 1942. From this time until Adams' wish. A young professional who was a were Carroll Adams, retirement in 1953, the masthead of the member of the Defiance, Ohio Chapter, who took over as magazine christened The Harmonizer in Curt Hockett, was engaged as editor, editor in 1942, March 1943, carried the name of Carroll and except for a two-year stint in the President Frank P. Adams as responsible for editoriaL Army, he continued with this responsibility Thorne, Vice business management and production until mid-1963. Hockett had attended President Charlie of the magazine. Wabash College and was an Merrill and During the last few years of Adams' experienced publication writer and Immediate Past time as head of the staff, he was assisted editor. He also served for several months President phil by a committee of volunteers-first as an as director of public relations during his Embury. informal group of contributors, then as later time with the Society-the first The Harmonizer Committee, and finally employee to have this staff responsibility. as the International Magazine In the meantime, a second Society Committee. Following his departure, the employee with Harmonizer responsibility, Magazine Committee (for philosophical Leo Fobart, had joined the staff as and budgetary reasons) continued with associate editor in late 1961. A charter this responsibility. Such names as Bob member of the Stevens Point Wisconsin Hockenbrough, Deac Martin, Radford Chapter, he had served as chapter Severance and Walter Jay Stephens president area counselor, and then assisted Bob Hafer in editorial matters, district treasurer and district president. and James Knipe advised in production He loved to sing, and when he moved even before his company in Cleveland, to his new job, he joined the Kenosha Martin Printing Company, assumed the Chapter and served in several of its

125 offices, including president. He sang in Mount Mary College and as membership one of the early versions of the Staff manager and publications editor for the Chords, always made up of staff Milwaukee public television stations. In members in the headquarters office. 1987, editorship of The Harmonizer was Before joining the staft Leo had taken over by Ray Heller. served as an executive of the Soo Early staff members with assignments Railroad and in a managerial capacity that included public relations, Curt with a local publishing company in Hockett (director of public relations) and Stevens Point. When Curt Hockett Hugh Ingraham (director of became director of public relations, communications) were followed in 1977 Fobart was made editor with complete by Burt Schindler, a member of the Curt Hockett was responSibility for the content production Lombard, Illinois Chapter. A graduate of editor of The and advertising operations of the Northwestern University with degrees in Harmonizer from magazine, and continued in this business administration and marketing, 1956 to 1963. capacity until his death in 1984. He also Schindler had worked for 18 years at served as secretary of PROBE, the Sears, Roebuck & Company, specializing Society's subsidiary of editors and public in marketing and sales. As director of relations officers, from 1963 to 1980. communications he held responsibility During his time as editor, Leo Fobart for public relations, publications and completed nearly 140 issues of The audio·visual department as well as Harmonizer. He was widely recognized conventions and the Society field as a loyaL conscientious and industrious program. staff member and contributed in many In 1979 Schindler had been joined by ways to the Society. Robb Ollett a member of the Dallas Fobart was succeeded in 1984 by Metropolitan, Texas Chapter. Ollett had Lynne E. Soto, who was named acquired bachelor of arts degrees in publications editor. She holds a business administration and sociology, Leo Fobart took as well as a master of arts in mass over the editorship bachelor of arts in mass communications from the University of Wisconsin· communication. He is accredited by the of The Harmonizer Public Relations Society of America and in 1963 and served Milwaukee, and a master of arts in has taught courses in journalism and in that capacity speech media from Marquette University. newspaper writing. A member of the until his death in Before joining the Society staft she had Society since 1974, he had served as 1984. worked as director of publications for editor of The Roundup, the bulletin of the Southwestern District, and subsequently sang with the Dallas Vocal Majority when it won the international chorus championship in 1979. In 1982 Ollett became director of public relations. He succeeded Schindler as director of communications, serving from 1983 until 1987.

Lynne Soto was Following Hugh Robb ClIett became The Administrative Field publications editor Ingraham and Curt a member of the Representatives from 1984 to 1987. Hockett, Burt staff in 1979 in the Schindler assumed communications public relations area. He was named The concept of reaching members duties for the director of public of our SOCiety through field Society in 1977. He relations in 1982 representatives appeared early in the held the title of and director of history of training and orientation in our director of communications the Society. It was discussed at officer communications following year, and training seminars held at international until 1983. served in the latter conventions in the 1940s and was capacity until 1987. advocated by many leaders in the 1950s. As a result Floyd Connett was engaged, first as a music teacher and

126 later as a combination representative formation. who could talk to chapter leaders not The man who joined Fox in 1966 was only about music problems but also Lloyd Steinkamp, a member of the about administrative challenges facing Phoenix and Scottsdale, Arizona chapters and districts. Chapters. Steinkamp had both The first full-time administrative field administrative and musical skills. He representative for the Society was Hugh came to the Society from a partnership Ingraham, who worked briefly in the in a successful firm of management Johnny Appleseed District in 1962. After consultants, and also was widely he was selected as director of public experienced in network TV production. relations, his successor, Chet Fox, a He is a graduate of Columbia UniverSity A member of the member of the Topeka, Kansas Chapter, with a bachelor of fine arts degree. He Society since 1949, was chosen in late 1963 to work in all had held most chapter offices, served as Chester N. "Chet" districts. Fox had been the intemational a district vice president and served as Fox became an board member from the Central States a faculty member in several COT administrative field District when he was employed by the Schools. representative in Society. Steinkamp was assigned to work in 1963 and served In his new job, Fox applied lessons the Land 0' Lakes, Central States, Illinois until his death in learned from his business background, and Michigan (now Pioneer) Districts, 1972. acquired as a marketing manager for but later worked in the West for many Beatrice Foods in Kansas and Nebraska. years. For nine years he traveled across the In 1972 the next of the administrative Society, teaching both chapter and field representatives to join the staff was district leaders how to administer the Sam Kennedy, a veteran Canadian affairs of their chapters. Other members barbershopper who had seen service of the headquarters staff (Hugh as area counselor and district vice Ingraham, Chuck Snyder) were trained president in Ontario. Coming from the at the same time to assist Fox in visits to Peterborough Chapter, he had also districts and chapters. Membership served on the international Chapter recruitment and organization of new Officers Training School (COTS) faculty. chapters were stressed, and the Between 1972 and 1976 Sam laid down In 1966, Lloyd fundamentals of good chapter an outstanding record, traveling Steinkamp joined management were brought home to through five districts, supervising training Chet Fox in the area these officers in many ways. Until a schools and organizing new chapters. of administration second administrative field In mid-1974 a new recruit from the and new chapter representative was recruited in 1966, Fox Northeastern District, Tom Cogan, joined formation. Steinkamp had Society-wide field responsibility in the staff as an administrative field was a staff member administration and new chapter representative. For the next ten years he until 1977.

A native of Nova Joe Jenkins was Tom Cogan joined Sam Kennedy was Scotia, Ron hired as the staff as an administrative Rockwell joined the administrative field administrative field field representative international staff in representative in representative in from 1972 until 1977. 1980 as 1 977, following 1974 and held that administrative field resignation of Sam post until 1984. representative_ Kennedy, and served for two years.

127 labored in these vineyards. His During the early 1960s the Society responsibilities at the outset were in the gradually started to design and buy areas of membership, extension, COTS items manufactured for its exclusive use, and officer manuals. In 1983-84 he held and these were offered not only through the responsibility for the Membership The Harmonizer and by direct mail, but Development Program, which involved also through the "Barbershoppers' an initial team of nine veteran Shop," a constantly growing collection volunteers from the Society of merchandise exhibited first at membership, working with districts intemational and district conventions, where such development was needed. and later at Harmony College. David L. Wilt was Visits to prospective chapter sites and to Responsibility for this operation was the first Society chapters which needed counseling generally centered in the financial arm professional with were made by these membership of the staff. In the 1960s, under the responsibility for counselors. supervision first of Bill Otto and later Fred merchandising. He In 1977, following the resignation of SordahL a staff of just one person was was a staff member Sam Kennedy, Joseph C. "Joe" Jenkins able to handle the filling of orders. from 1973 to 1975. joined the staff as an administrative field Today eight people are required for the representative. Jenkins had joined the merchandise function. One small Dayton, Ohio Chapter in 1966, and in this catalog which listed recordings, short span of time already had served arrangements and supplies was as program and administrative vice occasionally sent to Society members. president area counselor and division The first Society professional with vice president. He returned to Ohio two primary responsibility for merchandising years later and since then has was David L. Wilt who had been a distinguished himself in several more member successively of the Arlington, district posts. Virginia and Central Pinellas County, The most recent recruit to the Florida Chapters. A mathematics succession of administrative field graduate of Florida Presbyterian representatives serving the Society is College, Wilt jOined the staff in May 1973. Margaret York Ron Rockwell. A Canadian by birth, Ron His experience in merchandising and succeeded Dave Wilt came to the staff in July 1980, and has finance provided the basis for his as marketing worked for many chapters and districts employment as administrative assistant manager, serving across the Society in the area of chapter in the department of finance and from 1975 to 1977. counseling and extension. In 1987 he administration. He made purchase and was a specialist in the DYNAMO marketing decisions, designed advertising Program and for this purpose was for The Harmonizer and for direct mail transferred to the music staff. offerings, and was the staff for the Barbershoppers' Shop when it traveled. He initiated multiple catalogs for The Merchandise Sales recordings, music, and gift items. Specialists Wilt was succeeded by Margaret A. York in June 1975. York was a recent The Society's use of merchandise graduate in business management sales as a non-dues source of income from the University of Wisconsin­ has come about as a natural evolution. Parkside, and carried the marketing As early as May 1943 it was offering function forward. She was followed in Pat Warren served items for sale in The Harmonizer. Carroll February 1977 by Pat Warren, a member briefly as marketing Adams was advertising the landmark of the Grand Rapids, Michigan Chapter. manager in 1977, book by Sigmund Spaeth, Barbershop He came to the staff following ten years' then left the Ballads And How to Sing Them while experience as a manufacturers' Society. He returned (as the Society's first employee) he was representative and a business owner. in 1980 as an operating out of his home on While he left the staff later in 1977, Warren administrative field Gainsborough Road in Detroit. returned in August 1980 to serve as an representative, Marketers of music-related items administrative field representative. leaving again in were the first commercial advertisers in In April 1977, Warren was succeeded 1981. The Harmonizer-recording and as marketing manager by George arrangements predominated in this Drolet whose background in marketing group. As the years passed, jewelry, and in public and media relations fit clothing and souvenirs were added. him for this new responsibility. Holding

128 a bachelor of science degree in became the manager of special events, communication arts from Western taking on responsibility for the logistical Michigan University, Drolet had served aspects of not only conventions, but also in the United States Navy and worked other Society meetings as well. This as communications specialist for Bell responsibility was assigned to Robb Aerospace Textron in New Orleans, and Ollett the director of communications, in later had been employed by Clark 1987. The manager of special events Equipment Company in Buchanan, position was filled by Ken Buckner in Michigan. late 1987. Since 1980 the sale of merchandise items has continued in the department The Utility Infielders In 1977 George of finance and administration, directed Nearly every organization has a Drolet joined the first by Dallas Lemmen and then by group of staffers who, in baseball international staff as Frank Santarelli. For many years Betty parlance, are switch hitters and play marketing manager Madsen has served as the general many different positions. Two such in the department supervisor of this function in the office. members of the intemational staff have of finance and been Bob Meyer and Bill FitzGerald. administration. He The Events Managers Meyer joined the staff in 1956, when he, left the organization Bill Otto and Bob Hafer were the only in 1980. One of the urgent recommendations professionals in the office on Fenkell of the Long Range Planning Committee Avenue. His title was administrative in 1961 was that the Society acquire an assistant. Meyer was a musician who employee who would hold staff arranged for dance orchestras on the responsibility for conventions, which are side, and this qualified him, in 1962, to highly important to the Society. become coordinator of music The first such staffer was Charles publishing. With the growth of the music "Chuck" Snyder, a member of the staff under Bob Johnson, Meyer joined Lombard, Illinois Chapter. His business the membership services group in 1966 experience before joining the staff was as its manager and helped with the as traffic manager of a large installation of the first data processing transportation and warehousing facility. equipment used by the Society. He Former International His Barbershop experience was even continued as manager of this activity Vice President D. more important in his new assignment until 1977. William "Bill" for at 32 years of age, he already had Another utility staffer was Bill FitzGerald joined the served as president of a large chapter FitzGerald, who had been serving as an headquarters staff in and as intemational board member in international vice president when he 1966 as an a large and busy district. He had carried joined the staff as administrative administrative important responsibilities in several assistant in 1966. He had served assistant. In 1983 Illinois District conventions and had previously as international board he became manager been instrumental in the success of the member from the Northeastern District of special events, 1959 international convention in and was a certified Harmony Accuracy with responsibility Chicago. judge. In 1969 he became for conventions and Since the 1960s the Society's annual communications assistant under Hugh meetings, a position conventions have become increasingly Ingraham, and in 1979 he became he held until 1987. complex and important. Attendance manager of field services. In 1980 he has greatly increased and the resultant took on the additional responsibilities of income is crucial to the finances of the administrator of field services. In 1983 he Society. The staff member with became manager of special events, responsibility for housing, transportation, including conventions, in which position programs, the competitions and all he continued until 1987. other features of these conventions, therefore, has a very important role. The Audio-Visual Man In mid-1968 this role was assumed by Hugh Ingraham when he was named For at least a decade prior to 1983, the director of communications. For ten members of the Society told their years he carried this responsibility as a leaders that we needed a staff member Ken Buckner took part of his other assignments. with expertise in the audio-visual craft. over as manager of In 1983 Bill FitzGerald, a long time Outside Harmony HalL songs were special events in member of the staff in various functions, being taught with audio learning tapes, 1987.

129 and video productions of Barbershop Since that early day, there have subjects, though in their infancy, were been scores upon scores of support sta11 not uncommon. For budgetary reasons, members who have provided faithful the adoption of these tools and and effective service in our Detroit and techniques by the Society was slow. Kenosha offices. Some have been in In 1983 an unusual and talented frequent contact with barbershoppers man was added to the sta11 to fill this and were often praised by them, while void. Gary Stamm, a member of the others selflessly gave of themselves in Downey, California, Chapter, had for isolatiqn with no thought of five years been director of the appreCiation except the realization that educational division of Hanna·Barbera they were doing what was expected of When Robert J. Productions (the home of "Fred them. "Bob" Meyer came Flintstone") in Los Angeles. Before that All of them cannot be named. But to work with the Stamm had been head writer at the we thank them alL including such headquarters staff in Chanute Air Force Base Audio Visual dedicated and hard·working people, 1956 the office was Center, and during his college training who followed Frankie Adams during on Fenkell Avenue at the University of Illinois he had been the past 47 years, as Aleta Sutherland, in Detroit and he a production assistant in the moving Ethel Cronin, Christine Noie, Jody was one of only picture center. Garland, Betty Madsen, Connie Thomey, three staff members. Gary had come into barbershopping Roy Spieker, Shirley Panosian, Ruth In 1966 he became in the Champaign·Urbana, Illinois Marks, Lani Dieter, Diane Witscheber manager of the Chapter while attending college, had and Dolores Vesevick. membership services sung in a registered quartet and had The Society owes a debt of gratitude department, where been named barbershopper of the not only to the talented professionals, he remained until year. After he moved to California and but also to the talented support staff 1977. joined the Downey Chapter. the members who have served the cause designation as BOTY had come on three of Barbershop harmony during its entire more occasions. history. Stamm settled comfortably into his new assignment. He has been provided with audio·visual equipment by the Harmony Foundation, and he is making video tapes for entertainment. instructional and archival purposes. He also is making audio tapes of many songs published by the Society, arranged by barbershoppers and sung by a sta11 quartet. These learning tapes The first manager of are being widely used He has written audio-visual services several Harmony College shows and hired by the Society has video·taped them for archival was Gary Stamm, purposes. We predict a rosy future for the who joined the staff audio·visual activity at Harmony HalL in 1983. He is responsible for production of The Support Staff convention films, During all but the first three years of video tapes, audio the Society's half·century of history, a learning cassettes large corps of sta11 members has given and other educational important secretariaL clerical and other training aids. He office· related support to the also serves as professionals on our sta11. The first of show-production these, of course, was Frankie Adams, the advisor. wife of Carroll Adams, who spent her days in their Detroit home, typing letters which CarrolL who served at first as the unpaid national secretary and then as our first paid employee, had dictated during the previous evening.

130 131 Recommended Listening: Recordings Representative Discography 1902-1928

Carry Me Back To Old Virginny Sweet Cider Time When You Were Mine Haydn Q., Victor #656-1903 Peerless Q., Victor #17969-1916 When The Harvest Days Are Over My Mother's Rosary Haydn Q., Victor #3180 Avon Comedy Four #18081-1916 Goodnight My Starlight I'm Going Way Back Home And Have A Wonderful Time Haydn Q., Victor #4523 Avon Comedy Four, Victor #18088 My Wild Irish Rose Bachelor Days Haydn Q., Victor #5149 Peerless Q., Victor #18120 Down In The old Cherry Orchard Pretty Baby Haydn Q., Victor #5331 Orpheus Q., Victor #18162 Dear Old Dear Love's old Sweet Song Haydn Q., Victor #5707 Imperial Q., Victor #18169 Bring Back My Bonnie To Me Mammy's Little Coal Black Rose Criterion Q., Victor #16105-1908 Orpheus Q., Victor #18183 Where The Southern Roses Grow Keep Your Eye On The Girlie You Love Haydn Q., Victor #16167 Peerless Q., Victor #18204 The Old Oaken Bucket Along The Way To Waikiki Peerless Q., Victor #16217 Peerless Q., Victor #18326-1917 On The Mississippi I May Be Gone For A Long, Long Time American Q., Victor #16237 Shannon Q., Victor #18333 Where Is My Boy Tonight? Sailin' Away On The Henry Clay Haydn Q., Victor #16412 American Q., Victor #18353 old Folks At Home Break The News To Mother Whitney Bros. Q., Victor #16454-1909 Shannon Four #18358 Honey That I Love So Well The Dixie Volunteers Chicago Glee Club Q., Victor #16693-1911 American Q., Victor #18429 I Want A Girl Everything Is Peaches Down In Georgia American Q., Victor #16962-1911 American Q., Victor #18497-1918 Moonlight Bay Somebody's Waiting For Someone American Q., Victor #17034-1912 Peerless Q., Victor #18554 If All My Dreams Were Made Of Gold Mandy Orpheus Q., Victor #17057-1912 Shannon Four Q., Victor #18605 When I Carved Your Name On The Tree My Gal Sal Orpheus Q., Victor #17334-1913 Criterion Q., Victor #18905-1922 lust A Dream Of You, Dear Rock Me In My Swanee Cradle Haydn Q., Victor #17365-1913 Peerless Q., Victor #18908 Sailing Down The Chesapeake Bay There's A Mother Always Waiting You At Home American Q., Victor #17411-1913 Shannon Q., Victor #19266-1923 If I Had My Way Mid The Green Fields Of Virginia Peerless Q., Victor #17534-1913 Peerless Q., Victor #19390-1924 When You Wore A Tulip I Wonder What's Become of Sally American Q., Victor #17652-1914 Shannon Four Q., Victor #19415 A Perfect Day There's Yes Yes In Your Eyes Imperial Q., Victor #17832-1915 Peerless Q., Victor 19418-1925

132 Mandy Lee Shannon Q., Victor #19508 Father, Dear Father Come Home With Me Now Peerless Q., Victor #19716 Let Me Call You Sweetheart Shannon Q., Victor #19941 Sweet Adeline Peerless Q., Victor #20055-1926 wjlJ You Love Me In December As You Do In May? Shannon Q., Victor #20072 Sweet Genevieve Peerless Q., Victor #20283-1927 Down By The Old MjlJ Stream National Cavaliers Q., Victor #21399 Dear Old Girl American Singers #22387-1928 Massa's In The Cold, Cold Ground Haydn Q., Victor #118 Tenting Tonight On The Old Camp Ground Haydn Q., Victor #119 Rainbow Medley Peerless Q., Victor #5571 Liberty Bell, It's Time To Ring Again Peerless Q., Victor #18434·A I'm wild About Moonshine Columbia Colored Q., Columbia #A-3444 Oh, What A Time For The Girlies When The Boys Come Marching Home Avon Comedy Four, Columbia #A-2692 Gatta Get A Girl Quixy Four, Edison #51472-L A Street Corner Quartet National Male Q., Edison #51400-R The Farmer's Life For Me Four Wanderers, Victor #35840-8 A Little Close Harmony New York Police Q., Decca #3448-8 Mandy 'N Me American Q., Victor #18832-8 Bam Bam Bammy Shore Revelers, Victor #19848 Heart Of My Heart Maple City Four, Mercury #A-10298

133 Bibliography

Books

Andrews, William. At the Sign of The Barber's Pole. Cottingham, Yorkshire: J. R. Tutin, 1904. Cook, Will. Melodies for Millions. Kenosha, Wisconsin: S.P.E.B.S.Q.sA, 1962. Ewen, David. Panorama of American . Englewood Cliffs, New Jersey: Prentice·Hall, 1957. ___. Great Men of American Popular Song. Englewood Cliffs, New Jersey: Prentice·Hall, 1970. ___. American Musical Theatre. New York: Henry Holt Company, 1958. ___. All the Years of . Englewood Cliffs, New Jersey: Prentice'Hall, 1977. Gilbert, Douglas. American Vaudeville, Its Life and Times. New York and London: Whittlesey House, 1940. Groia, Philip. They All Sang : New York City's Rhythm and Blues Vocal Groups of the 1950s. New York: Edmundson Publishing Company, 1973. Handy, W. C. Father of the Blues. New York: Charles Scribner and Sons, 1957. Lardner, Ring. Round Up. New York: Charles Scribner and Sons, 1957. Marks, Edward B. They All Sang. New York: Viking Press, 1934. Martin, Deac "c. T." Deac Martin's Book of Musical Americana. Englewood Cliffs, New Jersey: Prentice· Hall, Inc. 1970. ___. Keep America Singing. Kenosha, Wisconsin: S.P.E.B.s.Q.sA, 1948. Mattfield, Julius. Variety Music Cavalcade 1620-1969. Englewood Cliffs, New Jersey: Prentice-Hall, 1971_ Reyher, Ferdinand. I Heard Them Sing. Boston: Little, Brown and Co., 1946. Sobel, Bernard. An Underground History of Burlesque Days. New York: Farrar and Rhinehart, 1931. Spaeth, Sigmund. Barbershop Ballads. New York: Prentice-Hall, 1925. ___. Barbershop Ballads and How To Sing Them. New York: Prentice-Hall, 1940. ___. A History of Popular Music in America. New York: Random House, 1948. Wilder, Alec. American Popular Song. New York: Oxford University Press, 1972. Willson, Meredith. But He Doesn't Know the Territory. New York: Putnam Publishing Group, 1959. Articles

Allen, Leonard. "Sweet A-a-adel-i-i-i-ine." New York Times Magazine, July 7, 1940, p_12, col. 2. Antrim, Doran K. "The Barbershop Brotherhood." Etude, November 1954, p. 11. Frank, Stanley. "You Take the High Note." Saturday Evening Post, September 9, 1944. Johnson, James Weldon. "The Origin of the 'Barber Chord.''' The Mentor, February 1929, p. 53. Lardner, Ring. "Harmony." McClure's Magazine, August 1975, pp. 20-22, 56-59. Laurie, Joe, Jr. "A Chord Please, Professor." Variety, ca. early 1946. Martin, Deac "c. T." 'The Three Eras of Barbershop Harmony." The Harmonizer, June 1955, vol. 15, no. 2, p. 2. (S.P.E.B.s.Q.s.A., POB 575, Kenosha, Wisconsin, 53140.) Marvel, Bill. "Barbershoppers: Never S.P.E.B.s_Q.SA'ed."The National Observer, September 20, 1980. ___. "George Botsford: A Harmonious Blender of Quartet Music." Metronome, xxxix-9, 1923, p. 142. O'Hara, Geoffrey. "The Delights of Barbershop Harmony." Music Journal, October 1956, vol. 14, no. 8, p. 14. Runyon, Damon. "Brighter Side." Hearst Newspapers, King Features Syndicate, ca. 1943. Walsh, Ulysses "Jim." "Favorite Pioneer Recording Artists." Hobbies Magazine, Chicago, Illinois. (For over 40 years Mr. Walsh wrote a monthly column which occasionally featured male quartets.) Thesis McCeliand, James L. Of, By and For the People: A History of Barbershop Harmony. A senior independent study thesis presented to the Department of History, College of Wooster, April 1959. Barber Shop Re-Chordings. 1942. Forerunner of The Harmonizer.

134 Articles from The Harmonizer on origins and history of the style published by the S.P.E.B.S.Q.S.A., Kenosha, Wisconsin.

Year Month Pages 1945 May 26, 27 1946 August 10, 19 1946 November 18 1947 February 22,31 1947 May 22 1947 August 29, 46 1948 February 54 1948 December 18,32 1949 March 56 1949 June 36 1949 December 28, 35, 42

Record Notes

Spaeth, Sigmund Barbershop Ballads. Decca A-703, 1940.

Many personal interviews, letters and memoranda are in the possession of the several contributors and some are found in the S.P.E.B.S.Q.S.A. archives.

135 Arrangers Manual, 60 Bogart, Loran, 36 Assistant international treasurer, 124 Bolds, "Skeet," 45 Associate secretaries, 118, 119, 123·124 Bonnedahl, Lars·Erik, 112 Association of British Barbershop Harmony Clubs, Booth, John, 110·111 Index Booth, Ken, 119 110 See also British Association of Barbershop Numbers in italics indicate illustrations. Choruses Singers Bossing, Emmett, 34, 36, 113 are indexed by name of chorus and/or name of Association of Bulletin Editors, 115 Boston Common, 69·70, 72-74, 75·76, 76, 97, 98 chapter, depending on what appears in the text. Association of International Champions, 43, 71 Boswell Sisters, 11 ABE See Association of Bulletin Editors At the Sign of the Barber's Pole (Andrews): Botsford, George, 16 Abernethy, Charles, 36, 102 quoted on barber shop music, 2 Bournemouth, England, 108, 109 Achievement awards. 22, 116 Atlanta, Georgia Chapter, 100 Breunig, Robert H., Jr., 113, 125 Adams, Carroll P., 20, 30, 39, 103, 113, 123, 125, Audio·visual department, 117 Brighton, England, 108, 109, 111 128; and constitution, 19; death, 105; executive Audio·visual material, 63, 67, 84, 115, 117, 129·130 British Association of Barbershop Singers, 37, secretary, 21, 22, 44-45, 53, 103'105, 114, 118, See also Recordings 107·111,116,117,119 130; goals, 20, 104; oral history interview, 20; Auditions, 46, 58, 116 British Association of Barbershoppers, 110 See also preSident, 20·21, 102, 103'104, 118; quoted, 28, Auditions for Admissions, 116 British Association of Barbershop Singers 104 Auman, Merritt, 102 British Isles Harmony Encouragement Trophy, 108 Adams, Frankie, 130 Auto Towners, 96 Brock, Bob, 60 Adams, John, 79 Automobile: influence on American music, 6 Buckner, Kenneth W., 113, 129, 129 Administration, 17, 18, 20'25, 52·56, 57, 103·106, Avakian, Leon, 102, 110, 111 Budget See Financial management 115 See also Financial management; Staff Avant Garde, 97 Buffalo Bills, 38·42, 39, 40, 41, 95; The Music Man, Administrative assistants, 116, 128, 129 Avis, Ron, 110 39-40, 107, 115 Administrator of field services, 129 Avon Comedy Four, 5·6, 10 Building Committee, 54·55 Affiliates, 37,107·112,116,117,119 Award of Harmony Program, 117 Building fund, 54 Busby, Bill, 23, 45, 45-46, 76 AIC See Association of International Champions B & 0 Connection, 98 Air·Fours, 95 B.A.B.5. See British Association of Barbershop Singers Akerstedt, Hakan, 112, 112 Bailey, Hap, 36 Cahall, Dan, 43-45, 44 Alexandria Harmonizers, 49, 79 Baird, Jack, 116 Cain, Bill, 73, 74 Alexandria, Virginia Chapter, 49, 52, 63, 79, 101 Baker, Art, 76 Cairns, Johnny, 108 Alford Mansion, 55, 55·56, 120 See also Harmony Hall Balance and Blend (category), 32, 34, 71 Calgary, Alberta Chapter, 106, 119 Alhambra, California Chapter (Music Men), 64 Balance and Blend (film), 115 Californians, 122 Aloha Chapter, 117 Ball, Billy, 34, 36, 113 Campbell, George, 76, 77 Alvin Hotel, 17 Bands: "big bands," 12; jazz, 9, 11, 12; rock, 6 Canada, vi; choruses, 78, 116; first chapter, 21, 114, American Choral Directors Association, 67, 84, 106, 121 Barber Shop Re·Chordings, 21, 48, 113, 114, 125 118; first convention, 115 See also individual American music: 1890·1920, 1·7; 1920·1940, 8·13; Barberpole Cat Program, 67, 116, 117 chapters blues, 9, 11; country and Western, 84; dance "Barbershop Bafflers" (Merrill), 23 Canton, Ohio Chapter, 105, 118 bands, 11, 12; Dixieland, 9; folk music, 6; history, Barbershop Ballads and How to Sing Them (Spaeth), Cantor, Eddie, 10, 10, 11 1·13; influence of automobile, 6, 9, 13; influence 15,128 Capitol City Four, 18, 94 of black Singers, 4; influence of microphone, 6; Barbershop craft, 48·51, 62·64, 84,114 Cardinal District, 90, 115 influence of movies, 11·12, 13; influence of "Barbershop Craft," 50 Carter, Fred, 60 phonograph, 1·2, 10·11; influence of piano, 1; Barbershop Four (England), 107, 108 Cascade Chorus, 82, 123 influence of radio, 6, 11, 13; jazz, 6, 9, 11, 12; "Barbershop Glossary," 50 Cascade Connection, 123 minstrel shows, 3-4; musical comedy, 9·10; Barbershop harmony: bibliographies, 133·134; Cash, Owen C, 10, 15,17,21,22,27,52,103,114; ragtime, 9; rock, 6, 84; sheet music, 1, 10; swing, definition, 114; discography, 132; early contests, and arrangements, 16, 68; and choruses, 46; 12; vaudeville, 5·6, 8, 10 16·17; expanded sound, 35, 72, 81; factors death, 38; founding of S.P.E.B.5.Q.5.A., 14·16; American Quartet, 2, 4 influencing, vi·vii, 3·4; glossaries, 50; history, 2·3; goals, 14·15; quoted, 15, 21; title, 17; youth, 15 American Society of Association Executives, 106, 119 in literature, 2; spread of, 14; printed Cedar Rapids, Iowa Chapter, 100 Amos, Don, 109, 110, 111 arrangements vs. woodshedding, 16, 68 See also Center Stage, 98 Analysis and Recommendation Sessions, 36 Barbershop style Central Pinellas County, Florida Chapter, 128 Andrews, Francis, 66 Barbershop style, 33, 35, 49, 60, 70, 71, 81·82, Central States District, 44, 48, 90, 115, 123, 127 Andrews, William, At the Sign of the Barber's Pole: 85,116 Central-Western New York District, 90 quoted on barber shop music, 2 "Barbershopper and His Voice, The," 63, 120 Certification of judges See Judges Andrews Sisters, 11 Barbershoppers Shop, 128 Cervantes, Don Quixote: quoted on barber shop Anliker, Sam, 67 Barbershops, 2·3 music: 2 Anniversaries, 24, 115, 117 Bartlesville Barflies, 16, 18, 28, 29, 94; defend title, 30 Chairman of Judges (category), 34, 35·36, 117 Antlers, 95 Bay Town Four, 96 Chamblin, George, 52 Aramian, Samuel, 102 Beck, Brian, 72-73, 75, 78 Champaign·Urbana, Illinois Chapter, 130 Arberg, Harold "Bud," 32, 49, 50, 79; and barbershop Becker, Carl, 108 Champions: choruses, 32, 47-48, 57·58, 77·79, 84, craft, 49·50, 63, 64, 114 Beeler, Jerry, 55, 56, 102; quoted, 54 100·101; lists, 94·101; policy on recompeting, 30, Arcadia, California Chapter, 64 Beer, George, 111 32; quartets, 18, 20, 28, 29, 30, 38-46, 71, 72-76, Aristocrats, 94 Benner, Bill, 78 84, 94·99 See also individual champions Arlington, Virginia Chapter, 128 Berkeley, California Chapter, 100, 122 Chapter Officer Training Schools, 115, 116, 119, 120, Arlington Heights, Illinois Chapter, 100, 101 Berlin, Irving, 4, 9, 12, 16, 115 124 Armed Forces Collaboration Committee, 49 Best, Barrie, 105, 105·106, 108, 109, 110, 111, 115, Chapter Reference Manual, 46, 114 Armed Forces Collaboration Program, 25, 27, 39, 43, 119,124 Chapters, 104, 118; charters, 22; methods and 49, 52, 114 Bibliographies, 133·134 procedures, 24, '/.6·27,46,60,68,69,114,115, Armed Forces Song Folio, 49 Big Apple Chorus, 117 124, 126·128; operations manual, 22, 114; Arnold, Bob, 78 Big Four, 6 statistiCS, 17, 19, 21, 22, 24, 25, 26, 52, 92·93, Arrangement (category), 24, 33·34, 35, 36, 61·62, Black Singers: influence on American music, 4 118 See also individual chapters 116,122 Blackface, 35, 117 Chautauquas, 4, 8 Arrangements, 1,4,16,60,61·62,82,114,116; Bloomington, Illinois Chapter, 46, 100, 120 Cherry Hill, New Jersey Chapter, 101 Barberpole Cat Program, 67; Bicentennial Bluegrass Student Union, 97, 98, 117 Chicago Chord of Trade, 99 collection, 122; octavos, 51·52; printed vs. Blues, 9, 11 Chicago, Illinois Chapter (#1), 54 woodshedding, 16, 68; published by Board of directors, 17, 35, 55·56, 116; decisions, 19, Chicago News, 98 S.P.E.B.5.Q.5.A., 21·22, 46, 51·52, 60, 104, 114, 20,25,33,37,52,54,56,65,71,104,114'117; Chiefs of Staff, 99 115,117,121,122 DECREPITS, 25, 26; members of, 21, 23, 24, 25, Childers, Lem, 60·61 Arrangers, 16, 45, 49, 60, 62, 83, 87,121,122; 49,52,106,123,127,129 Chinnock, Jim, 43-45, 44 training, 60, 62, 116 See also individual names Boardman, Jean, 30, 51·52, 55, 115 Choralism See Choruses

136 Chord Busters, 20, 30,31, 61, 94; set policy for Contests (cont.) 114; seniors, 37, 117; Sweden, 112; Davis, Roland, 52, 56, 102 champions, 30, 31 Very Large Quartet, 117; youth, 66·67; 1939 Dawson, John, 113 Chordettes, 6, 43 (Tulsa), 28, 94, 114; 1940 (New York), 28, 30, 94; Dayton, ohio Chapter, 128 Chordoliers, 94, 95 1941 (St. Louis), 29, 94; 1942 (Grand Rapids), 29, Deac Martin's Book of Musical Americana See Chords Unlimited, 67 30, 94; 1943 (Chicago), 29, 94; 1944 (Detroit), 29, Musical Americana Chordsmen, 106, 121 94; 1945 (Detroit), 30, 32, 94; 1946 (Cleveland), Dealer's Choice, 72-75, 75, 78, 97 Choreography, 6, 60 94; 1947 (Milwaukee), 95; 1948 (Oklahoma City), DeBusman, Jim, 59, 117, 123, 123 chorus directors, 26, 46, 58, 63, 67, 68, 69, 72, 78, 39, 95; 1949 (Buffalo), 39, 95; 1950 (Omaha), 39, , 118 87,114,115,117 95; 1951 (Toledo), 43, 44, 95; 1952 (Kansas City), DECREPITS, 25, 26 Chorus of the Chesapeake, 57-58 44,95; 1953 (Detroit), 32, 47, 95, 100; 1954 Defiance, ohio Chapter, 125 Choruses, 18, 19,29,33,46,47,58,60,68,69,77, (Washington, D.C), 32, 45, 47-48, 95, 100; 1955 deMontmollin, Richard, 102 78, 82, 83-84, 109, 114; champions See (Miami), 45, 48, 95, 100; 1956 (Minneapolis), 45, Denmark, 112 Champions; contests, 32, 38, 46-48, 83, 100-101, 95, 100; 1957 (Los Angeles), 96, 100, 120; 1958 DePaolis, Pete, 50 114, 115, 117; defined, 46; district contests, 25, (Columbus), 96, 100; 1959 (Chicago), 96, 100; Detgen, Milt, 42 32,47,48; list of medalists, 100-101; manual 1960 (Dallas), 74, 96, 100; 1961 (philadelphia), Detroit Metropolitan Association of Chapters, 123 published, 114; mass, 24, 116, 117; number 57-58, 74, 96, 100; 1962 (Kansas City), 96, 100; Detroit, Michigan Chapter, 105, 123 competing, 100-101; youth, 64-67, 82-83 1963 (Toronto), 96, 100; 1964 (San AntoniO), 96, Detroit, Michigan office See under Offices Chronology, 113-117 100; 1965 (Boston), 96, 100; 1966 (Chicago), 96, Diamond Comedy Four, 2, 4 Chung Hwa Chinese Four, 6 100; 1967 (LOS Angeles), 97,100; 1968 Dickinson, Steve, 36 Cincinnati Kids, 98, 99 (CinCinnati), 36, 97,100; 1969 (St. Louis), 97,100; Dictators of Harmony, 6 Cincinnati, Ohio Chapter (Western Hills), 79, 100, 101, 1970 (Atlantic City), 97,100; 1971 (New Orleans), Diekema, Willis A., 24; "Keep America Singing," 24 123 74,97, 100, 121; 1972 (Atlanta), 97,100,121; Dieter, Lani, 130 Citations, 123 1973 (Portland), 75, 97, 100; 1974 (Kansas City), Direct Hit Program, 117 Clancy, Jim, 78 97,101; 1975 (Indianapolis), 97,101; 1976 (San Director of communications, 59, 106, 119, 126, 129 Clapp, Albert,S Francisco), 97, 101; 1977 (philadelphia), 98, 101; Director of finance and administration, 124 Clapp, Arch,S 1978 (Cincinnati), 98, 101; 1979 (Minneapolis), 98, Director of music education and services, 66, 106, 121 Clapp, Ralph,S 101; 1980 (Salt Lake City), 70, 75, 98, 101; 1981 Director of musical activities, 57-58, 115, 120-121 Clapp, Randall,S (Detroit), 98, 101; 1982 (Pittsburgh), 98, 101; 1983 Director of public relations, 59, 106, 115, 119, 125, Clapp Brothers, 5 (Seattle), 98, 101; 1984 (St. Louis), 98, 101; 1985 126, 127 Clarke, Terry, 72, 75, 76 (Minneapolis), 98, 101; 1986 (Salt Lake City), 99, Discography, 132 , 98 101,112,117; 1987 (Hartford), 99, 101 See also Discrepancy reports, 36 Clause, Donald J., 34, 72, 74, 113 Conventions; Judges; Judging District convention managers' forum, 117 Clef Dwellers, 95 Continental Singers, 4 District music educators' forum, 116 Cluett, Wally, 75 Continentals, 94 District of Columbia Chapter See Washington, D.C. Coaches, 60-61, 70, 72, 87; choruses, 72; Dealer's Controller, 124 Chapter Choice, 74·75; Four Teens, 43-44; Schmitt Convention Format Committee, 117 District preSidents' forums, 53, 115 Brothers, 42-43, 61; thirty-day rule, 61,116 Conventions: "Barbershoppers Shop," 128; Districts, 23, 53, 90, 114, 115, 116; chorus contests, Code of ethics, 19, 22, 114 broadcasts, 19, 116; district, 116; education at, 25,32,47, 48; convention schedule, 116; maps, Cody, Bill, 79 23, 24, 34; England, 109, 110, 111; events 90; quartet contests, 42, 44 See also individual Cogan, Tom, 59,116, 127,127-128 managers, 129; format, 117; keynote speeches, districts Cokeroft, Gene, 60, 62, 72, 73, 74 53; list of, 94-101; registration fees, 19; saturday Dixie District, 47, 90 Cole (M. M.) Company, 16 night show, 117; 1939 (Tulsa), 17, 114; 1940 Dixieland jazz, 9 Cole, O. H. "King," 25, 42; and headquarters, 25, (New York), 18; 1941 (St. Louis), 19; 1942 (Grand Dobson, Don, 119 54·56; oral history interview, 24-25; preSident, Rapids), 20-21, 104; 1946 (Cleveland), 22, 23; Doctors of Harmony, 94, 95 24-25,54, 102; quoted, 26 1947 (Milwaukee), 23, 24, 77; 1948 (Oklahoma Dominican College, 63, 71, 116 College of Arrangers, 21, 49 City), 24; 1949 (Buffalo), 25; 1950 (Omaha), 26; Don Quixote (Cervantes): quoted on barber Collins, Plummer, 102 1953 (Detroit), 50, 53; 1954 (Washington, D-C), shop music, 2 Colonials, 96 50; 1955 (Miami), 48; 1956 (Minneapolis), 48; Doo-Dads, 73 Columbus, Ohio Chapter, 100, 106 1959 (Chicago), 56, 129; 1963 (Toronto), 105, 115; Dowling, Bill, 10 Comedy quartets, 6 1964 (San Antonio), 115; 1966 (Chicago), 43; 1973 Downey, California Chapter, 64, 100, 130 Committees, 23 See also individual committee names (Portland), 116; 1974 (Kansas City), 111-112; 1975 Drake, Maylon, 64 Communications assistant, 129 (Indianapolis), 34; 1976 (San Francisco), 112; 1979 Drolet, George, 128-129, 129 Communications speCialist, 117 (Minneapolis), 112 See also Contests; Midwinter Dryborough, Fritz, 78 Community service, 22, 27, 80, 84, 91, 104, 115, meetings Dues, 19, 20, 25, 57, 104, 114, 115; seniors, 116; 116,117 Cook, Will, 115 students, 116 Community singing, 76-77, 82 Cooperation, 84, 120, 121 See also individual groups, Dukes of Harmony, 78, 116 Commuters, 94 e.g., Music Educators National Conference Dundalk, Maryland Chapter, 58, 100, 120 Competition See Contests; Judging Coordinator of music publishing, 129 Dunning, Bob, 36 Composers, 4, 9, 12, 87 Copyright, 51, 61, 116 Duplaga, Ed, 36 Compton, James, 113 Costumes, 6, 28, 29, 32, 35, 46, 60 Durand, Bob, 29 Computers See Data processing COTS See Chapter officer Training Schools DYNAMO Program, 128 Confederates, 45, 45-46, 95 Coughlin, Don, 27 Connett, Floyd, 57, 59, 61, 62, 62-63, 67,115,120, Craig, Renee (Limberg), 45, 60 East York Barbershoppers, 78 126·127 Crawley Barbershop Harmony Club, 108-110, 109 East York, Ontario Chapter, 47, 48, 78, 100, 107, Constitution & bylaws, 19, 20, 22, 53, 80-81, 104, 114 Credit Chords, 110 108,115, 119 Contest and fudging Handbook, 50, 68, 115 Cronin, Ethel, 130 Easternaires, 95, 96, 97, 107 Contest and judging procedure See Contests; Judging Cross Countrymen, 72 Eau Claire, Wisconsin Chapter, 43 Contest and fudging Rules, 30 Cullen, John, 57, 102 Edison, Thomas Alva: phonograph, 1, 4 Contests, 35-36, 84; affiliate entries, 117; American Editors See under Harmonizer Legion, 17; blackface prohibited, 35, 117; chorus, Dallas, Texas Chapter (Metropolitan), 78, 101, 126 Education, 24, 63-64, 84,114,115,116,117,119, 32, 38, 46-48, 57-58, 60, 83, 100-101, 114, 115, Dallas, Texas Chapter, 100 120; area counselors, 116; arrangers, 60, 116; 117; district, 25, 31, 32, 42, 44, 47, 48; female Dance music, 11, 12 barbershop craft, 48-51, 57, 63-64; chorus impersonation prohibited, 35; filming, 117; Illinois Danley, Ray, 78 directors, 24, 63, 114, 115, 117; choruses, 46, Barbershop Association, 17; lists, 94-101; Music Danser, Harry, 107-109, 109; quoted, 109 114; curriculum, 63, 70-71; judges, 23, 24, 30, 34, Man, 115; New York City Park Department, 17; Danser, John, 107 68, 114; leadership, 53; officers, 24, 114, 115, number of choruses, 47-48,100·101; number of Danser, Tony, 107 116, 124; quartets, 25, 114; song leaders, 24 See also quartets, 32-33, 94-99; Oglebay State Park, 17; Dapper Dans of Harmony, 78 Harmony College; Harmony Education Program pre-S.P.E.B.5.Q.5A, 16·17; preliminary, 30, 114; Data processing, 115, 116, 124, 129; in Egan, Mike, 43-45 quartet, 17-20, 28-37, 60, 94-99, 114; regional, 31, contest judging, 37 EI Paso, Texas Chapter, 79, 100 137 Elastic Four, 20-21, 22, 23, 30, 48, 94 Garland, Jody, 130 Harmony Month, 115 Elgin Four, 60 Gary, Charles, 66 Harmony Services, 116 Ellenberger, Richard, 102 Gary, Indiana Chapter, 100 Harmony Week, 115 Elliot, Walter, 109 Gay Notes, 96 Harrington Brothers, 98 Elyria, ohio Chapter, 101 Gentil, Tom, 79 Harshe, Rotman and Druck, 116 Emblems, 114 Gentlemen's Agreement, 97 Hart, Rudy, 42-43, 61, 63, 64, 115, 120-121 Embury, Phil, 18,21,50,52, 125; arranger, 39, 51, Gentry, Ed, 61, 72, 77 Haydn Quartet, 2, 4 114; goals, 22; judge, 19, 28; president, 21-22, Gentry, Tom, 59, 60, 122, 123 Haynes, Forrest, 76 102; quoted, 22 Geography: influence on American music, vi Headquarters See Harmony Hall; Offices England, 106, 107-111, 115, 119 Gielow, Fred, Love, Laughter and a Barbershop Song, 117 Headquarters Fund, 54 Enmeier, "Doc," 31 Gillespie, John T, 102 Hedges Brothers (England), 107 Erickson, 0_ Po, 53 Gipps-Amberlin Four, 94 Heller, Ray, 113, 117, 126 Eugene-Springfield, Oregon Chapter, 100, 123 Glossaries, 50 Henderson, Fletcher, 12 Evans, Eric, 110 Glynn, Ray, 34 HEP See Harmony Education Program Evans, George, 45, 45-46 Goals, 14-15, 20 Heritage Hall, 117 Evans, Jack, 61 Godbold, Don, 107 Hesketh, Les, 102 Evans, Pres, 61 Godfrey, Bob, 60, 62, 70 Hi-Los, 6, 7, 94 Evans, Turk, 61 Golden Staters, 96, 97 Hicks, Val, v, 60, 61, 62, 84, 116 Evans Quartet, 60, 61,61,96 Good Life, 110 Hills, Ernie, 102 Evansville, Indiana Chapter, 46 Good Time Singers (Sweden), 112 Hines, Jack, 34, 36 Evergreen District, 48, 82, 90 Gotham Quartet (England), 107 Hippodrome Four, 6 "Evolution of Barbershop Harmony" (Martin), 115 Gould, Abe, 64-67, 65 Historians, 18, 29, 30, 52 Ewin, James, 50 Graham, Paul, 79 Hobart, Indiana Chapter, 100 Executive Committee, 48, 111 Grand Rapids, Michigan Chapter, 32, 33, 47, 100, 128 Hockenbrough, Bob, 113, 125 Executive directors, 57, 59, 105-106, 108, 111, 112, Grand Tradition, 98 Hockett, Curt, 56, 113, 115, 119, 125, 125-126 115,117,118-120 Grandma's Boys, 97, 98 Hohl, John, 79 Executive secretaries, 20, 21, 22, 53, 55, 103-105, Grapes, Dick, 39, 40, 40 Holbrook, Bob, 31 114,118 Graves, Fred, 10 Holland, Gerry, 110 Expanded sound, 35, 72, 81 Gray, Don, 60, 79 Hometown Quartet, 96 Expansion Fund, 56, 57 Great Lakes Chorus, 32,33, 47 Hometowners, 107 Great Scots, 40 Hotton, Eddie, 49 Fahnestock, Ed, 44 Greer, Bobby, 31 House of Delegates, 48, 114 Fairfax, Virginia Chapter, 100 Grimshaw, Bert, 111 Houston, Texas Chapter, 100, 101 Far Western District, 47, 48, 90, 105, 116, 119 Grosse Pointe, Michigan Chapter, 48 Hove, England, 108 Far Westerners, 97 Group singing See Community singing Howard, Glenn, 16, 18; and Illinois Barbershop Female impersonation, 35 Groves, Toby, 36 Association, 17 Fenton, "Happy," 10 Grundy, S_ K., 45, 60, 61 Howard Comedy Four, 6 Field representatives, 57, 58-59, 62-63,116,119; Gunn, Leland, 64 Huff, Malcolm "Mac," 34, 57, 59, 67, 121, 122, 122 administrative, 59, 106, 115, 116, 119, 126-128; Huish, Burt, 102 lists of, 59; music, 57-58, 59, 62-63,116,117, Hackett, Ed, 78 Hutchinson Family Singers, v, 3, 3-4 120-123 Haeger, Buzz, 60 50th Anniversary Committee, 117 Hafer, Robert G_, 53, 55, 57, 105, 105, 113, 114, Illinois Barbershop Association, 17 Financial management, 20, 22, 54-56, 104, 123-124 115,118-119,124,125,129 Illinois District, 90, 127, 129 Finland, 112 Hafley, William, 113 Illinois Harmony Clubs, 120 FitzGerald, William, 129, 129 Hall, Bill, 74 Immediate Past International President, 21 Five-year plan, 117 Hall, Harry, 29 Imposters, 96 Flat Foot Four, 18, 30, 94 Hall, Rupert t, 16, 27, 38, 103; founding of Indiana-Kentucky District, 90 Flinn, Darryl, 102 S_P_E.BSQSA_, 14-15; goals, 14-15; oral history Ingraham, Hugh, 59, 106,106,112,115,117, Flom, Don, 34, 36, 113 interview: 14-15; president, 17, 102, 114; 119-120, 126, 127, 129; quoted, 118 Fobart, Leo, 113, 115, 125-126, 126 quoted, 14-15, 18 Ink Spots, 11 Folk music, 6 Handbook for Adeline Addicts (Martin), 15 Innsiders, 67, 97 Foor, S_ Wayne, 102 Hanson, John, 68, 76 Institute of Logopedics, 84, 91, 115, 116, 117, 119 Foris, Russ, 60 Happiness Boys, 11 Insurance, 115, 119 Fort Benning, Georgia Chapter, 27 Happiness Emporium, 67, 97 International Barbershop Craft Committee, 49, 50, 63 Founder's Month, 115 Happy Nite (Sweden), 112 International Chapter Methods Committee, 46 Four Aces, 6 Harmonizer Committee, 125 International Chorus Committee, 46 Four Baldwins, 6 Harmonizer, The, 22, 23, 46, 56, 105, 107, 114, 117, International Contest and Judging Committee, 30, 32, Four Chorders, 95 119, 124; advertiSing, 128; and barbershop craft, 35, 122; list of chairmen, 113 Four Freshmen, 6 49-50, 63; on barbershop harmony, 133; columns, International MagaZine Committee, 125 Four Harmonizers, 18, 94 23,49,50,51; editors, 103, 113, 115, 117, International offices See Offices Four Hearsemen, 95 125-126; merchandising, 128; quoted, 15,23,24, International SOCiety for Music Education, 81, 82, 84, Four Lads, 6 26,46-47,48,73,118; subjects of articles, 16, 22, 117 Four Naturals, 108 48; survey, 117 International Song Arrangements Committee, 46, 114 Four Pitchikers, 61, 95, 96 Harmonizers See Alexandria Harmonizers Interpretation (category), 34, 35, 36, 116 Four Rascals, 70, 96 Harmony Accuracy (category), 24, 28, 29, 30, 32, 34, Interstate Rivals, 98, 99 Four Renegades, 96, 115 71 Irvine, Robert, 52 Four Shades of Harmony, 95 Harmony Accuracy and Blending (category), 20, 29 Itinerant chapter See Frank H_ Thorne Chapter-at-Large Four Statesmen, 70, 96, 97,108,110,116 Harmony College, 63-64, 70-71, 71, 84, 112, 116, Four Teens, 38, 43-45, 44, 52, 95 120,121,130 Jackson, Eric, 84 Four-Tissimos, 95 Harmony Education Program, 50, 57, 60, 63, 74, Jacobsson, Gosta, 112 Fox, Chester N_ "Chet," 57, 59, 127, 127 115,120-121 Jalving, Clarence, 56, 102 Frank H_ Thorne Chapter-at-Large, 58, 115 Harmony Foundation, 58, 115, 117, 130 Janesville, Wisconsin Chapter, 100 Franklin, Bob, 73, 74 Harmony Hall, 38, 55, 55-56, 57, 63,105,112,114, Jazz, 6, 9, 11, 12 Fraser, Bob, 32 117 Jenkins, Joseph C, 59, 127, 128 Funtastic Four, 122 Harmony Halls, 29, 94 Jenkins, Warner, 64 Harmony Heritage Committee, 51 Johnny Appleseed District, 32, 90, 119, 127 Gala Lads, 96 "Harmony Heritage Songs," 51-52, 115 Johnson, Robert D_ "Bob," 34, 57-58, 58, 60, 63, 64, Gall, Robert, 102 Harmony Incorporated, 7 66,67,69,71,84,107,110,112,115,116,117, Garden State Quartet, 94 Harmony Kings, 94 120-121, 129 138 Jolly Rovers Quartette, 6 Lovins, Bill, 27 Miller, Jim, 78 Jones, Jim, 40, 41 Luebtow, Web, 76 Miller, Mitch, 117 Jones, Joe, 113 Lyne, Greg, 60, 67, 75, 84 Mills Brothers, 6, 11 Jonson, Ben, Silent Woman: quoted on barber shop Lytle Brothers, 95 Mills Music, 16 music, 2 Minneapolis, Minnesota Chapter, 100, 101 Judges, 18, 19-20, 28-29,35-37,36,69,72,87, 112, MacDonough, J. S_ "Harry," 4-5 Minstrel shows, 3-4 114; certification, 29, 34, 36, 114; chairman, 33, Madsen, Betty, 130 Misfits, 30, 54, 94 34, 35-36, 117; discrepancy reports, 36; secretary, Mainstreeters, 94 Mittlestadt, Dave, 78 35; thirty-day rule, 61, 116; training, 23, 24, 30, Manager of accounting and membership service, 124 Modern harmony, 31, 32, 71 34,68, 114 Manager of audio-visual services, 130 Monarch Comedy Four, 6 Judging, 18,20,22,23,25,28-37,61-62,84; Manager of data processing, 117 Monroe, Michigan Chapter, 109 categories, 28-29, 30, 33-36, 60, 68, 71-72, 114, Manager of field services, 129 Montclair, New Jersey Chapter, 101 116, 117; chorus rules, 32; computerized, 37; Manager of membership services, 129 Mood,46 district contests, 31; regional contests, 31; rules, Manager of special events, 129 Moon, Earl, 83 30, 31-32, 33, 34-35, 36; scoring patterns, 20, 24, Manhassett Quartet, 2, 4 Morley, Thomas: quoted on barber shop music, 2 28-29; time limits, 28, 31 Manhattan, New York Chapter, 17, 101 Moses, Jim, 78 lust Plain Barbershop, 62-63, 67 Manitowoc, Wisconsin Chapter, 24-25, 42 Most Happy Fellows, 82, 98 Maple City Four, 6 Movies, 11-12; The Music Man, 40, 107, 115 Kaiser, Herman, 29 Maps: districts, 90 Mucha, Bob, 59, 79, 122, 122-123 Kansas City Barberpole Cats, 94 Mark IV, 97, 106 Muehlebach Hotel, 8, 9, 14, 16 Kansas City, Missouri Chapter, 22 Marketing managers, 128-129 Museums, 117 Kansas City Police Quartet, 94 Marks, E. B., They All Sang, 3, 4 Music: history, 1-13; participation, vi-vii, 1-3, 6, 12, Kansas City Serenaders, 94 Marks, Ruth, 130 76-77, 82 See also American music Kearney (A. T.) & Company, 124 Martin, C. T. "Deac," 3, 18, 22, 52, 103, 113, 125; Music Educators National Conference, 50, 65-67, 68, Kearney Report, 116, 124 "Evolution of Barbershop Harmony," 115; 84,106,114,115,116,120,121 "Keep America Singing," 14, 24 Handbook for Adeline Addicts, 15, 18; Keep Music generalists, 117, 123 Keep America Singing (film), 115 America Singing, 17, 18, 20, 24,103; Musical Music Man, The, vi, 39-40,107,115 Keep America Singing (Martin), 17, 18, 20, 24, 103 Americana, 16, 18, 116; quoted, 14, 16, 18,20, Music publishers, 16 "Keep It Barbershop," 71, 116 103,104 Music publishing program See Arrangements Kenmore, New York Chapter, 39 Martin, James, 55 Music services assistants, 121-122 Kennedy, Sam, 59, 109, 110, 127,127 Martin, Kent, 75, 76 Music specialists, 123 Kenosha, Wisconsin Chapter, 106, 125-126 Martin Printing Company, 125 Music vice preSident, 117 Kenosha, Wisconsin office See Harmony Hall Masengale, Tom, 30, 31 Musical Activities Committee, 63 Keynote speeches, 53 McCaslin, George, 29; quoted, 16 Musical Americana (Martin), 16, 18, 116 Keystone Quads, 95 McCrummen, Neiland, 64 Musical Arrangement (category), 28, 29 King, Fred, 23, 60, 76 McFatridge, Paul, 49 Musical comedies, 9-10; The Music Man, 39-40, 107, 115 King's Men, 16 McKee, Ken, 78 Muskegon, Michigan Chapter, 100 KitchenerWaterloo, Ontario Chapter, 109 Means, John Z., 42-43, 61, 102, 113 Myers, Bill, 59, 123, 123 Knapp, Richard, 75, 76 "Mechanics of Barbershop Harmony, The" (Reagan), 48 Knickerbocker Four, 6 Medallions, 104 Nantz, Harold, 79 Knight, Mel, 59, 123, 123 Meier, Wesly R., 102, 113 National Federation of Music Clubs, 104-105 Knipe, James F., 44, 52, 54, 102, 113, 125 Member Benefit Program, 57, 115, 117 Needham, Tom, 76, 114, 119 Knoxville, Tennessee Chapter, 100 Membership Development Program, 128 New Member Orientation Program, 117 Kountry Kernels, 120 Membership: counselors, 128; decrease, 52, 120; New Tradition, 67, 98 Kvanli, AI, 74, 75, 78 honorary, 115, 117; life, 116; recruitment, 22, 52, New York City Police Quartet, 94 83, 116, 127; retention, 70, 82, 117; senior, 116; New Zealand, 111, 117 LaBar, David, 59,117,121,122,122 statistics, 17, 21, 22, 24, 25, 27, 52, 92-93, 106; Newcastle, England, 109, 110 LaBonte, Dave, 45, 45-46 student, 116; surveys, 116, 117 Newgard, Oz, 36, 79 Lads of Enchantment, 95, 96 Memory Four, 72 "Nice 'N Easy Barbershop," 115 La Grange, illinois Chapter, 47, 48, 100 Memory Laners, 105 Nighthawks, 96 Lake Washington, Washington Chapter, 100 Memphis, Tennessee Chapter, 45, 100 Noie, Christine, 130 Lamont, Don, 43-45, 44 Mendro, Marty, 113 Northeastern District, 47, 72, 90, 127,129 Lamplighters, 94 Merchandise manager, 116 Norway, 112 Land 0' Lakes District, 32, 42, 47, 54, 90, 115, 119, 127 Merchandising, 116, 119, 128-129 Note Blenders, 95 Landino, Ben, 48 Merrill, Arthur, 24, 51, 102 Nova Chords, 79, 97, 98 Landino trophy, 48 Merrill, Charles, 22, 23, 52, 125; president, 23-24, Nyman, Olle, 111-112,112 Latzko, Walter, 40 102; quoted, 24 Laurel, Louis, 23, 57, 79, 102 Merry Mugs, 116 Oak Park, illinois Chapter, 100 Leadership training, 53 Merry Notes, 50 O'Brien, J. George, 22, 51 LeBaron, Lloyd, 52 Mesecher, Howard, 34, 34, 36, 68, 113 Octavos, 51-52 Lefholz, Gil, 102 Meyer, Robert J., 63, 129, 130 Officers, 17-25, 87, 102; bonding, 124 See also Leisemann, Warren, 117, 124 Miami, Florida Chapter, 100 individual names Lemmen, Dallas, 124, 124, 129 Miamians, 74 Offices, 53-56; Chicago recommended, 55; Detroit, 22, Lewis, Joseph E., 102 Michigan City, Indiana Chapter, 48, 100 53-55, 54, 103, 104, 105, 118, 128; goal, 25, 54; Libraries See old Songs Library Michigan District, 32, 48, 90, 114, 118, 127 Harmony Hall, 38, 55, 55-56, 63, 105, 112, 115, Liles, Joe E, 59, 62, 63, 64, 67, 82,84, 106, 106, Michigan State Association, 20; contest, 28 117, 119; Harmony, Ind_ recommended, 55; 116,117,120,121,122 Microphone: influence on American music, 6 Kenosha, 55-56, 116 See also Harmony Hall; Lindholm, Per-Arne, 112 Mid-Atlantic District, 49, 90, 115 Sheridan Building, 116; Tulsa recommended, 54 Lions Club Serenaders, 95 Mid-Atlantic States District, 90 O'Hara, Geoffrey, 15-16, 17, 76, 104 Little, Bill, 110 Mid-States Four, 95 OhiO-Southwest Pennsylvania District, 90 Livingston, New Jersey Chapter, 78, 100, 101 Middletown, Ohio Chapter, 48, 100, 123 Okie Four, 10 Lockrem, Gar, 67 Midnight Oilers, 116 "old Songs, The" 15,17,26,104 Lombard, illinois Chapter, 100, 101, 126, 129 Midwinter meetings: 1940 (St. Louis), 18, 46, 114; Old Songs Library, 24, 58, 115 London, Ontario chapter, 46, 100, 109 1941 (St. Louis), 19; 1942 (Chicago), 20, 104; Ollett, Robb, 113, 117, 126, 126, 129 Long-Range Planning Committee, 52-53, 129 1950 (Washington, D.C), 25-26; 1953 (Boston), 49; O'Malley, Tom, 76 "Looking Ahead in S.P.E.B.S.Q.5A," 53 1954 (Minneapolis), 53; 1956 (Denver), 55; 1957 139th Street Quartet, 98, 99 Loose, Bob, 36 (Pittsburgh), 55-56; 1959 (EI Paso), 56; 1971 Ontario District, 32, 90, 108, 127 Louisville, Kentucky Chapter, 77-78, 78, 100, 101, 123 (Bahamas), 116; 1972 (Seattle), 65; 1984 (Hawaii), Opera, 116 Love, Laughter and a Barbershop Song (Gielow), 117 117; 1986 (Tucson), 37, 117 Oral history project, 14-15,20,24 139 Orchestras See Bands Radio: broadcasts of conventions, 19; influence on Senter, Mike, 60, 62 Oriole Four, 97 American music, 6, 11 Severance, Radford, 36, 125 Orphans, 95 Ragtime, 9 Shapiro· Bernstein, 16 Osborn, Bob, 78 Rainer Family, 3 Shea, Albert, 39, 39, 40, 41 Osmond Brothers, v, 117 Rapscallions, 98 Sheboygan, Wisconsin Chapter, 24·25, 54 Ottawa, Ontario Chapter, 109 Rashleigh, Bill, 59, 117, 123, 123 Sheet music, 10; influence on American music, 1 Otto, W. L. "Bill," 103,114,119,123·124,128,129 Rathert, Norman, 18, 19, 29, 43-44, 46, 68, 114; Shell Quartet, 94 "Our Dimensions and Our Opportunities," 53 president, 19, 102 Sheridan Building, 116 Overtones, 72 Reading, England, 109, 110 Shields, AI, 78 Reagan, Maurice "Molly," 16, 18, 23, 24, 30, 50, 63, Shields, George, 78, 107·108 Pacific Comedy Four, 6 64; judge, 28, 29, 31, 113; "Mechanics of Shoen hoff, Bob, 36 Pacific Northwest District, 90 Barbershop Harmony," 48; quoted, 31 Short Cuts, 96 Pacificaires, 97 Re·Chordings See Barber Shop Re·Chordings Side Street Ramblers, 73, 81, 82, 98, 117 Palm Beach County Coastmen, 74 Recordings, 116, 118; Buffalo Bills, 42; contests, 116, Sidewinders, 96 Panosian, Shirley, 130 117,121; discography, 132; early, 1·2,4·5,10·11; Silent Woman (Jonson): quoted on barber shop music, Park, Bill, 102 training tapes, 63, 67, 84, 115, 117, 120, 129·130 2 Parker, Gary, 74, 7S, 78 Rector, Mo, 76 Simner, Berney, 52, 102, 113 Parkinson, John, 107 Reed, Vernon, 39, 39, 40, 41 Sims, Lew, 47 Pasadena, California Chapter, 64 Regents, 97 Sinclair, Huck, 18 Patriotic songs: prohibited in contests, 31, 35; Rehberg, Gene, 43 Sing·Copates, 95 published by S.P.E.B.5.Q.5.A., 46 Religious songs: prohibited in contests, 31, 32, 35; Singers: black, 4; groups, 11; quartets See Quartets; Paul·Pioneer Company, 16 published by S.P.E.BSQSA., 46 soloists, 1, 4·5, 6, 10, 11, 12 See also individual Peerless Quartet, 2, 4 Remick Music, 16 names Pekin Chorus, 78 Reno, Nevada Chapter, 23 Singing Capital Chorus, 32, 47, 47-48,114 Pekin, Illinois Chapter, 78, 100 Reorganization, 116, 124 Singleton, Wally, 4S, 45-46 Peninsula, California Chapter, 101 Repertoire, 67 See also Arrangements Slumber Jacks, 123 Pension plans, 115 Research Triangle Park, North Carolina Chapter, 101 Sma lie, Ed, 16 Pepys, Samuel: quoted on barber shop music, 2 Reseda, California Chapter, 64 Smith, Albert L., jr., 102 Perkins, Cy, 16, 28 Revelers, 11 Smith, Edwin S., 53, 54, 102, 113 Perry, Lou, 60, 70, 70, 73, 83, 84; quoted, 70 Rhythm Boys, 11 Smith, Gene, 61 Perry, Ruth: quoted, 73 Rhythm Counts, 108 Smith, Hershel, 39, 39 Peterborough, Ontario Chapter, 127 Ribble, Ralph, 67, 102 S.N.O.BS See Society of Nordic Barbershop Singers Peterson, John, 63 Rice, j. Frank "Millionaire," 1° Snyder, Charles "Chuck," 63, 115, 127, 128 Pettigrew, Lyle, 59, 121 Richards, Jim, 34 Snyder, Dean, 29, 49, 51, 52, 52·53, 63, 64, 79; Phillips 66 Barflies, 94 Riegler, Ron, 79 quoted,30 Phoenicians, 79 Ringleaders (England), 110 SOCiety for the Preservation and Encouragement of Phoenix, Arizona Chapter, 79, 100, 101, 127 Rip Chords, 27 Barber Shop Quartet Singing in America: 1938·1949, Phonograph, 2; influence on American music, 1·2, 4, Ripon College, 63 14·27,90,114; 1950·1959,38·56,114·115; 10·11 RiverSide, California Chapter, 100 1960·1969,57·68,115·116; 1970·1988, 69'79, 90, Piano: influence on American music, " 10·11 Roaring '20s, 67, 97, 98 116·117; chronology, 114·117; emblems, 114; Pilcher, Lyle, 61, 72 Rochester, New York Chapter, 107 founding, 14·15, 17; future, 80·85; goals, 52·53, 80·81; Pioneer District, 90, 118, 127 Rock music, 6, 84 incorporation, 17; lists and charts, 90·113; motto, 22; Pittsburghers, 95 Rockwell, Ron, 59, 127, 128 name, 104, 114; preSidents, 17·25, 102; theme songs, Planning, 21, 52'53, 117 Rocky Mountain District, 90, 116, 117 14,17,24,26,104 See also related subjects, e.g., Play tonics, 95, 96 Roundup, The, 126 Contests; Officers; etc. Pomona, California Chapter, 64 Rules of the Association (B.A.BS), 111 Society of Nordic Barbershop Singers, 37, 111'112, Pontiac, Michigan Chapter, 123 Runaway Four, 6 117,119 Popular Songs for Male Quartet (Botsford), 16 Rural Route 4, 98, 99 Song Arrangement (category), 29 Powell, Pete, 110 Rusty Hinges, 40 Song books See under Publications Precisionists, 26 Song Selection (category), 29 Prendeville, Thomas, 65 Sacramento Statesmen, 95 Song Selection and Originality (category), 20, 29 Presidents, 17·25; list, 102 See also individual names Sacred songs See Religious songs Songmasters, 95 Prior, George, 107 St. Catherines, Ontario Chapter, 109 Songs for Men: folios, 51'52, 114; octavos, 52 PROBE See Public Relations Officers & Bulletin Editors st. joseph, Missouri Chapter, 100 Sordahl, Fred, 128 Protention Program, 116 St. Louis, Missouri Chapter, 18·19, 19, 43, 46 Soto, Lynn, 113, 117, 126,126 Public domain songs, 51·52 Saints, 96 Sound (category), 34, 35, 36, 72, 116 Public relations, 56, 57, 116 See also Publicity San Antonio, Texas Chapter, 100, 106, 121 Soundtracks, 97 Public Relations Officers & Bulletin Editors, 115, 126 San Diego, California Chapter, 100, 101 South Bay, California Chapter, 64 Publications: arrangements See Arrangements; books, San Diego Serenaders, 95 Southern Gateway Chorus, 79 17,24; bUilding fund brochure, 54; catalogs, 128; San Gabriel, California Chapter, 64, 119 Southwestern District, 47, 74, 90, 126 handbooks, 50, 115; informational booklets, 26; Santarelli, Frank, 124, 124, 129 Spaeth, Sigmund, 3, 18, 22; Barbershop BaJlads and operations manual, 22, 46, 114; rules, 30; song Scarborough, Ontario Chapter, 78, 101, 109, 116 How to Sing Them, 15, 128; quoted, 1 books, 46, 62·63, 67, 82, 104, 114; training Schenectady, New York Chapter, 46 Spangenberg, William, 39-40, 39, 40, 41 materials, 48, 60, 66, 84, 114, 120, 121, 124 See Schindler, Burt, 126, 126 "Spark Plugs" (Thorne), 23 also individual titles Schmitt, Fran, 42, 42-43 Sparks, Wilbur D., 63, 66, 79, 102 Publications editor, 126 Schmitt, Jim, 42, 42-43 S.P.E.BSQSA. See Society for the Preservation and Publicity, 17·18, 22 See also Public relations Schmitt, joe, 42, 42-43, 63; death, 43; quoted, 42-43 Encouragement of Barber Shop Quartet Singing in Schmitt, Paul, 42, 42-43, 76 America Q Suburban Chorus, 47, 48 Schmitt Brothers, 38, 42, 42-43, 52, 61, 95, 114, Special events manager, 115 Quartets, 87; black, 4; champions See Champions; 115,117 Spencer, Iowa Chapter, 100 Chautauquas, 4, 8, 13; comedy, 6; contests 5ee Scholarships, 64·65 Spieker, Roy, 130 Contests; decline, 6, 13; England, 107, 108; Schriffer, Norman, 64 Staab, Harold "Hal," 20, 21, 27, 62; long·range medalists, 94·99; medallions, 104; in minstrel Scottsdale, Arizona Chapter, 127 planning, 21; preSident, 21, 27,102,104; quoted, 20, shows, 3; modern, 6; pre·S.P.E.BSQ.5.A., 1·7; Second Edition, 99 28 professional, 2, 3-4, 5·6; radio, 16; recording, 1·2, Secretary (category), 35·36 Staff, 22, 23, 25, 38, 53, 54, 56, 57, 58·59, 62·63, 4·5, 11; Sweden, 112; training, 25, 114; Secretary /treasurers, 19, 20, 53, 103, 104, 118 See 87,103·106,114,115,116,117,118'130 See also vaudeville, 5·6, 8 See also individual quartet also Executive secretaries individual names and titles names Seneca Land District, 90 Staff Chords, 110, 126 Quixy Four, 6 Seniors Quartet Contest, 37, 117 Staffen, Burt, 36

140 Stage Presence (category), 20, 28, 29, 30, 31, 34'35, Thornton, Bill, 73, 74, 75, 78 "We Sing That They Shall Speak," 67 36, 60 Thoroughbreds, 77'78, 78, 123 Weaver, Bob, 33 Stage Presence and Enunciation (category), 24 Thousand Pounds of Harmony, 6 Wells, Doug, 107 Stahl, Sam, 61 Three Corns and a Bunion, 123 Wells, jim, 39 Stamm, Gary, 117, 130, 130 Time limits, 28, 29, 31 Werner, Scott, 79 State journal Quartet, 94 Tin Pan Alley, 1, 8, 9·10 West Coasters, 96, 105, 119 "Statements of Policy," 115 Toledo, Ohio Chapter, 109 West Covina, California Chapter, 64 Statesmen, 95 Topeka, Kansas Chapter, 127 West Palm Beach, Florida Chapter, 100 Steedman, james, 102 Toronto, Ontario Chapter, 78, 108 Western Continentals, 97 Steele, David, 107 Toronto Rhythmaires, 95 Westinghouse Quartet, 94, 95 Steinkamp, Gary, 79 Tours, 25, 39, 45, 107'110, 115, 116 Westley, Ozzie, 16, 45 Steinkamp, Lloyd B., 57, 59, 72, 79, 113, 127, 127 Town & Country Four, 96 "What Are We Preserving?," 60 Steinmetz, john, 43-45, 44 Treasurers See Secretary Itreasurers White, Charlie, 78 Stellar Quartet, 5 Trophies, 48, 108, 110 Whitehouse, Dick, 79 Stephens, Walter jay, 125 Truman, Harry 5, 22 Whiteside, Ron, 78 Stern, joseph E., 16, 20, 22, 104, 113, 114, 125, 125 Tully, Larry, 75, 76 Williams, Ken, 34,36 Stevens, David M., 57, 59, 60, 62, 71, 83, 84, 117, Tulsa Club, 16, 17 Willson, Meredith, 115; The Music Man, 39·40, 115; 121'122, 122 Tulsa, Oklahoma Chapter, 10, 14· 15, 17 quoted, vii Stevens Point, Wisconsin Chapter, 125 "Twenty Proposals," 53 Wilmington, Delaware Chapter, 46, 122 Strictly Barbershop, 117 Tyneside, England, 108 Wilson, Dan, 79 Stubbs, Phillip: quoted on barber shop music, 2 Tyrell, Den, 111 Wilson, Harlan, 73, 74 Subsidiaries: AIC, 43; DECREPITS, 25, 26; PROBE, 115, Wilt, David L, 116, 128, 128 126 Unified service project, 84, 91, 115, 116, 117 Windsor, Ontario Chapter, 21,114,118 Sun downers, 96, 97 USO tours, 116 Winnipeg, Manitoba Chapter, 105, 106, 119 Sunshine District, 90 Vagabonds, 97, 98 Winston, Phil, 34 117 Suntones, 72·75, 73, 96 Varsity Four, 95 Wisconsin Music Conference, Support staff, 130 Vaudeville, 5·6, 8, 10 Wisconsin Public School Music Festival Program, 81 Surveys: in The Harmonizer, 117; on judging, 36; Vaudeville (quartet), 79, 98, 99 Wise, joe, 77·78 membership, 116, 117; of past champions, 30; Very Large Quartet Contest, 117 Witherington, Bob, 107 public relations, 116 Vesevick, Dolores, 130 Witscheber, Diane, 130 Sutherland, Aleta, 103, 130 Vice presidents, 22, 23, 25, 51, 52, 54, 63,108,117, Wodicka, joe, 29, 43; quoted, 29; secretary/treasurer, Svanoe, Dick, 50 129 19, 53, 103 Sweet Adelines, 7, 63, 120 Victor Record Catalogue, 5 Wollank, Robert L, 124 Swenson, Marvin, 27 Viet Nam, 116 Woodshedders Guild, 115 , 12 Vikings, 95 Woodshedding, 1, 16, 68, 109 "Swipe Swap Shop," 49·50 Visual presentation See Choreography; Stage Presence World War II, 27 27 Swipes, 16 vocal Majority, 67, 78, 117, 126 World Wide Air Force Barbershop Quartet Contest, "Syllabus on Barbershop Harmony for Music Vocal performers See Quartets; Singers World's Largest Barbershop Chorus, 117 Educators, A," 66, 67 Voice Expression (category), 24, 28, 29, 33, 34, 116 Wren, Paul, 110 114, 116, 117 I. 53 Symphony appearances, Vomacka, Hank, 34, 102 Wright, S. "Hank," Szabo, Burt, 34, 36, 59, 60, 61, 62, 113, 122, 122 Wright, Reedie, 102, 119 Wade, Walter, 115 Wyatt, Bill, 74 Tait, Archie, 107 Waesche, Edward, 113 Taxation, 115, 116 Walker, Bob, 110, 110 Yerkey, Marvin, 36 Television appearances, 116 Walkley, Robert, 27 Yokum, Norma, 64 That Quartet, 6 Ward, C. A., 52 York, Margaret A., 128, 128 They All Sang (Marks), 3, 4 Ward, Wayne "Scotty," 40, 41 Young Men in Harmony, 64·67, 65, 68, 106, 116, Thirty·day rule, 61, 116 Waring, Fred, 83, 116, 117 117 Thomas, Roger, 102 Warner, james, 102 Young Men in Harmony, 67 Thorne, Frank H., 22, 30, 68, 125; arranger, 46, 51; Warren, Ohio Chapter, 100 Youth, 24, 64·67, 82'83, 84, 121 and chorus contests, 48; judge, 28, 113; president, Warren, Pat, 128, 128 22·23, 102; quoted, 23, 28 Waselchuk, Dan, 36, 63, 102 Ziegfeld Follies, 9 Thomey, Connie, 130 Washington, D.C. Chapter, 25·26, 47, 47-48, 51, 52, 100, 114

141 ' eNeUJ Po s t PT-less I ulenosh _ ' nc. F JP, Wise onSJn' S'3934 sp ' ') . 406L! ISBN O·938627·Q4·X