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Bell & Howell Information and Leaming 300 North Zdeb Road, Ann Arbor, Ml 48106-1346 USA UMI 800-521-0600

AN HISTORICAL PERSPECTIVE OF INTERNATIONAL CHAMPION QUARTETS OF THE SOCIETY FOR THE PRESERVATION AND ENCOURAGEMENT OF BARBER SHOP QUARTET SINGING IN AMERICA. 1939-1963

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Benjamin Charles Ayling II, B.M., M.M.

*****

The Ohio State University 2000

Dissertation Committee: Approved by Professor Patricia J. Flowers, Adviser

Professor R. J. David Frego AtJi^iser Professor James Gallagher Music Graduate Plrogiam UMI Number. 9962373

Copyright 2000 by Ayling, Benjamin Charles,

All rights reserved.

UMI*

UMI Microform9962373 Copyright 2000 by Bell & Howell Information and Leaming Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.

Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 AnnArbor, Ml 48106-1346 Copyright by

Benjamin Charles Ayling II 2000 ABSTRACT

The barbershop quartet has been a musical phenomenon in the United States since

the late 19* Century. The purpose of this dissertation is to codify and document this

unique American art form.

The first 25 championship quartets of the Society for the Preservation and

Encouragement of Barber Shop Quartet Singing in America (1939-1963) were studied.

A history of the style itself prefaces a list of terms unique to the barbershop singing

community and used in this study. Each individual quartet was researched through the

study of newspaper accounts, periodicals, personal papers and other archives. In addition, a survey instrument was developed and sent to living members of these ensembles. Along with inquiry into the history of these quartets, each singer was asked

to respond as to what method(s) he employed while leaming performance music.

Additionally, each singer was asked to report on his sight-reading abilities and methods used for sight-reading both at the time of winning the championship as well as today.

A history of each group was written from its inception through retirement.

Included was information on the musical background of each quartet member as well as the performance practices employed by each group. Anecdotal accounts were included with much of this material having never before been published. Each quartet’s sound was compared to that of other contemporary quartets in the study. This was

ii accomplished through an analysis of style traits evidenced in recorded performances.

Appendices include a discography and repertoire list for each quartet and the survey instrument

Results of this study indicate that barbershop quartets over this 25-year time span changed from group to group and that there was a considerable amount of influence by earlier quartets upon later winners of the Barbershop Society’s championship. With the growth of the Barbershop Society has come a diversification of influences outside of the genre. These influences have placed the preservation of the barbershop style in question as their inclusion into contest acceptability by the Barbershop Society indicate an evolution of the style over that which has been traditionally preserved.

Ill Dedicated to my wife

Mary Ann Ayling

IV ACKNOWLEDGMENTS

I wish to thank my adviser, Patricia J. Flowers, for guidance and inspiration as well as the members of my committee, R.J. David Frego and James Gallagher, who were accessible at all times.

I am grateful to Ruth Blazina-Joyce for creating an incredible resource in the

Heritage Hall Museum and for guidance in research techniques. Darryl Rinn and the staff at Harmony Hall are also to be commended for their assistance.

I thank the historians of the Barbershop Society including Grady Kerr, James R.

McDonnell, Wilber Sparks, Bob Maurus and Dean Snyder who set about creating a record of artifacts in barbershop singing.

I also wish to thank Hank and Ginny Hammer for both their inspiration and their home. I am grateful too for Kevin Gorman's and Teresa Blower’s continued support while I wrote this work.

I thank Mary Ann Ayling for inspiration and fortitude as well as René Greenberg and Dave Ayling for their help in proofreading. Thank you also to Meredith Loesch for aid in data synthesis.

I am grateful to the men of The Ritz quartet for their patience and their contributions toward the realization of a dream that inspired this work. The members of the Association of International Champions are also to be thanked for their support. V I thank all of the countless barbeishoppers who willingly contributed to this work.

And, finally, I thank Wallace DePue and Richard Mathey who encouraged and inspired me to make this work a reality.

VI VITA

November 11,1954 ...... Bom - San Diego, California, USA

1980 ...... B.M. Music Education,

Bowling Green State University

1989 ...... M.M. Music Education, Bowling Green State

University

1978, Spring ...... Choral Conductor,

Bowling Green Stale University

1980 - Present ...... Director of Choral Activities,

Northview High School, Sylvania, Ohio, USA

1984 - 1985 ...... Adjunct Faculty Member/Choral Conductor,

Bowling Green State University

1988 -1989 ...... Graduate/Undergraduate Instructor and Choral

Conductor, Bowling Green State University

1994 -1995 ...... Graduate/Undergraduate Instructor and Choral

Conductor, The Ohio State University

1997, Summer ...... Graduate Instructor and Assistant Professor,

Bowling Green State University

VII HELDS OF STUDY

Major Field: Music

Vlli TABLE OF CONTENTS

Abstract...... "

Acknowledgments ...... v

Vita ...... vii

Table of Contents ...... ix

List of Illustrations ...... xii

Chapter I ...... I

Introduction ...... 1

Background ...... 4

Birth of the Barbershop Society ...... 8

Chapter 2 ...... 12

Purpose and method of the study ...... 12

Definition of terms ...... 15

Chapters ...... 21

Questionnaires and results ...... 21

Chapter 4 ...... 27

Description and musical analysis of champion quartets, 1939-1963 ...... 27

1939, Bartlesville Barflies ...... 27

1940, Flat Foot Four ...... 36

1941, Chord Busters ...... 42

1942, Elastic Four ...... 53 ix 1943, Four Harmonizers ...... 65

1944, Harmony Halls ...... 75

1945, Misfits ...... 81

1946, Garden State Quartet ...... 91

1947, Doctors of Harmony ...... 97

1948, Pittsburghers ...... 105

1949, Mid-States Four ...... 115

1950, Buffalo Bills ...... 127

1951, Schmitt Brothers ...... 146

1952, Four Teens ...... 155

1953, Vikings ...... 164

1954, Orphans ...... 173

1955, Four Hearsemen ...... 182

1956, Confederates ...... 190

1957, Lads of Enchantment ...... 197

1958, Gaynotes ...... 203

1959, Four Pitchikers ...... 214

1960, Evans Quartet ...... 222

1961, Suntones ...... 232

1962, Gala Lads ...... 244

1963, Town & Country Four ...... 252

Chapter 5 ...... 263

Discussion, conclusions and recommendations for further study ...... 263

Summary of champion quartets ...... 263

X Observations ...... 268

Ancillary comments and opinions ...... 274

Recommendations for further study ...... 278

Appendix A ...... 281 AIC Questionnaires ...... 281 AIC Questionnaire, part 1 ...... 282 AIC Questionnaire, part 2 ...... 291 AIC Deceased quartet questionnaire ...... 292 Appendix B ...... 299

Champion quartet repertoire and discography ...... 299

References...... 373

XI UST OF ILLUSTRATIONS

Figure 1; Answers that were given to questions 25 through 30 regarding music leaming styles used at the time of the respondent’s championship win and at present time. .24

Appendix A, AIC Questionnaires ...... 281

Appendix B, Champion Quartet Repertoire And Discography, 1939-1963 ...... 299

XU CHAPTER 1

INTRODUCTION AND BACKGROUND

An introduction and historical background of the barbershop quartet

and the Barbershop Society

Introduction

The barbershop style of music is a unique American art form. This style of

singing was a product of social and musical phenomena occurring around the turn of the

Twentieth Century that resulted in an organization dedicated toward the singing and or

preservation of the style. People had a need to make music as a form of entertainment.

With radio being the only real source of live media entertainment, the pastime of making

one’s own music served many individuals and communities alike. With barbershop

music, one needed only an imaginative ear and three other singers to create sounds that

were as enjoyable for the vocalist to sing as for the listener to hear. The end result of this

popular music making activity was the inception and immediate popularity of a

Barbershop Society.

A review of literature finds a limited amount of reference material on the

barbershop style of singing as compared to other American musical art forms such as jazz. The need for further study and the preservation of historic material in the

barbershop style is prudent. Little is chronicled on the beginnings of male quartets and

their repertoire. It would seem reasonable to begin with historical documentation of the

1 earliest acclaimed purveyors of the style. In this document, the quartet champions of the

Society for the Preservation and Encouragement of Barber Shop Quartet Singing in

America (SPEBSQSA or Society) will be studied.^ This historical work will center on the documentation of the social and musical circumstances surrounding the first twenty-five international champion quartets of SPEBSQSA. The first twenty-five quartets ranged from the years 1939 through 1963 and

had no repeated individuals as champions, thus yielding a population of 100 men.

Currently, there are 41 surviving champions from this group of 100 male vocalists. Six

quartets have only one remaining survivor and singers from eight quartets are completely deceased. It is important and vital to the music community that the historical significance of these men’s accomplishments and impact upon the barbershop style are annotated.

This information can best be presented by including a combination of historic and anecdotal accounts in this study.

The work will be presented in five chapters as follows:

Chapter 1 Introduction and Background

Chapter II Purpose and Method of the Study

Chapter 111 Questionnaires and Results

Chapter IV Description and Musical Analysis of Champion Quartets,

1939-1963

Chapter V Discussion, Conclusions and Recommendations for Further Study

Appendices Questionnaires and Repertoire of Champion Quartets, 1939-1963

Chapter One, Introduction and Background, will focus around the literature that is available on early barbershop quartet singing and the Society. Little historical information on the first 25 quartet champions exists as there is no collective work on

^ This work is limited to nude bubersbop qtuutets. To dus day, the Barbersbop Society allows only male singers into its membership. these influential performers. The need to collect historical information was emphasized

by the death of Tom Masengale, the last surviving member of the third championship quartet. ‘The Chord Busters,” prior to his returning the questionnaire for this study. This chapter will contain an overview of the Society along with social and musical events that

led up to its creation and early development Early influences on barbershop singing, including the barber's music of 17th and 18th Century England, will be presented as well as arguments that support this musical genre as a unique American art form.

Chapter Two, Purpose and Method of the Study, will state the intended purpose of the study and include the survey instruments used in obtaining first-hand information from the champions themselves. Information will include anecdotal accounts on each quartet as well as its repertoire and recorded materials. Questions on sight-reading abilities both prior to and after winning the championship will also be covered.

Information on deceased quartet members will be obtained as well as information on the family members of the deceased. A questionnaire on deceased quartet members will be developed in an attempt to glean information from the contemporaries and surviving family members of these men. This chapter will also contain a section of defined terms used in the study.

Chapter Three, Questionnaires and Results will include observations and comparisons of the answered questions on music reading trends and abilities both pre­ championship and post-championship. Influences of these quartets upon one another as well as coaching trends will be compared. The travel habits of later groups will be compared with earlier groups along with a comparison of the fees charged for performances. The amount of repertoire and recording by these groups will also be analyzed and assessed as to the historic climate, i.e., war time vs. peace time. The comparative background of quartet members in instrumental and vocal training will also be discussed.

3 Chapter Four, Description and Musical Analysis of Champion Quartets, 1939-

1963, will embody the main thrust of the work. This chapter will be divided into 25

sections, one for each quartet Each section will have a history of the quartet to include dates of inception, winning the championship and retirement. All names used by the quartet will be represented as well as the names of its members. Musical background

information on each member including musical instruments played, education in music as well as music arranging and reading abilities will be presented when available.

Anecdotal information, much of which has never been published, will be included. Well-known people with which each quartet shared the stage will be mentioned as well as travel and personal highlights of the group in an effort to provide a working knowledge of each group's performance practices. A description of the sound created by each quartet as well as comparative analysis with other championship quartets will also be included.

Chapter V, Discussion, Conclusions and Recommendations for Further Study

Observations of interpretive, tonal and style trends through the 25-year span of this study will be presented in a summary of the quartets. Observations as well as ancillary comments and opinions based upon the findings from this research will be presented.

The appendices will include the survey insutiments (questionnaires) and a song list of all researched repertoire for each of the 25 quartets studied. This list contains over

1,600 entries. Alphabetized by quartet and then by song title, each entry will include the recording title (if recorded) on which it appears as well as the recording company’s label information.

Background

Prior to the proliferation of singing quartets in 19th Century America, there was a barbershop music tradition in England (Carlson, 1969; Hicks, 1988, p. 2; Malafarina,

4 1983; Riedler, 1992). While this tradition included some singing, it appeared to be more

instrumental in nature compared to the latter day vocal barbershop music in America

(Carlson 1969). The English barber would often have a viol or other such instrumentes)

available for patron use. Post-revolutionary America displayed independence in many

ways including this American bom style of singing in the barbershop. Barbershop groups

were known as early as 1843 when Dan Emmit's Virginia Minstrels were popular. Others

that followed included the Sable Harmonizers, Ethiopian Serenaders and the

Harmoniums. By 1880, professional barbershop quartets were regularly performing in

minstrel shows all over North America.

Hicks ( 1988, pp. 2-4) referred to the social climate that precipitated the

barbershop as a gathering place. The working class had neither the means nor the

inclination to be members of a men's club or other such expensive organization. The

saloon was a gathering place for those of less culture while the tonsorial salon

(barbershop) became the gathering place of the "more respectable and genteel citizens.”

According to Hicks, "Someone would start a tune, maybe even the barber himself, and

two or three customers might join in, not singing the melody, but vocalizing tones that

harmonized with the melody." Many family troupes started to sing during the 1880's and

1890's ((Zarlson, 1969). These groups performed many of the songs that would later

become barbershop standards such as "Dixie" and "Old Dan Tucker." Hicks also referred

to the black-slave tradition of singing by ear with harmonies that were improvised. A quartet tradition evolved and the black singeis were known to be skilled in their vocal dexterity and improvisational techniques. While this tradition may have influenced the barbershop tradition, the latter was primarily centered on white culture and participation.

According to Hicks (1988, pp. 1,4), the "Golden Age of Quartets" was during the period of 1890 through 1930. The proliferation of sheet music and the parlor piano created a singing society within the boundaries of America. Most people sang for

5 entertainment during this time, which preceded radio and television. Family members

created entertainment for other family members often singing with community members

and/or for each other. This was a time where the making of music was considered to be

as much of the entertainment as was listening to the resultant sounds.

According to Hicks (1988, p. 4-5),

Many of the popular songs from 1830 to 1895 were of “do to do" melodic construction. That is, they tended to begin and end on the low key note (tonic or “do") of the scale. This kind of song crowds the bass singer off his rightful voice register, forcing him to sing too far down in the tonal cellar. Toward the end of the 19^ Century “sol to sol” songs arrived, opening up room for the bass and top tenor to function. You see, the “do to do" songs were usually sung in glee club style with the melody carried by the first tenor, but the newfound popularity of the “sol to sol” song allowed the second tenor or a high baritone to present the melody, with the top tenor floating above, the bass rendering his foundation tones of roots and fifths, and the baritone ranging above and below the melody while filling in the harmonies with his essential fourth tone. “Sweet Rosie O’Grady” (1896) and “My Wild Irish Rose" (1899) were typical close- harmony songs of the day.

The result was more easily "woodshedded" songs and an explosion of harmony singing ensembles or quartets. This style primarily used a harmonic root movement that, once departed from the tonic, moved downward by the interval of a fifth until the harmony returned to the tonic chord. These progressions were accomplished through the prominent use of dominant seventh chords throughout the harmonizations.

The 1890's saw more songs published than any decade in prior history

(Siebenmorgan, 1983, p. 18). Sheet music covers included photographs of the artists who first performed or presented the song. Public performance of these new compositions became crucial to having them sell. The song "Sweet Adeline" did not sell particularly well until the Quaker City Four performed it while in New York in 1903. As a result, the song became one of the all-time barbershop classics. Along with increased popularization of sheet music came the "talking machine” of Thomas Alva Edison

(Hicks, 1988, pp. 1,4). With it came the opportunity to reach a wider audience than

public performances would allow and quartets soon became recording artists of new

songs. The first vocal group to record was the Manhassett Quartet, who in September,

1891, recorded more than one dozen songs. More of these earlier recording quartets

included the Avon Comedy Four (Imperial Quartet), Peerless Quartet, the Columbia-

Stellar Quartet and the Edison Quartet which became world renowned in 1896 as the

Haydn Quartet (Carlson, 1969; Siebenmorgan, 1983, p. 17).2

The barbershop quartet flourished during the early Twentieth Century and was

included in nearly every vaudeville show. These groups would stand and sing with very

little in the way of choreography added to their performances. Around 1920, they began

adding dance steps such as clogging or soft shoe routines. The comedy quartets were

another matter with slapstick and pratfalls abounding. These were the professional

offshoots from the homespun community groups sprinkled across the nation.

With the end of the 1920's came the near extinction of the barbershop quartet

(Carlson, 1969; Hicks, 1988, p. 6). Jazz was becoming more popular along with a move

toward using minor seventh chords by popular songwriters.^ The popularity of both of

these trends was a move away from the harmonies found in the barbershop style. In

addition, people were becoming more mobile with widespread use of the automobile.

^ It is interesting to note that these eadier quartets were hiied to recoid by the "round.” Singers would receive $1.00 for each roind of five-six perfotniaiices of a song. They would sing 30 rounds in each aftemotm or mcrmng session. The multiple performances were needed as each master recording would make 25-75 duplicates before wearing out from use (Hcks, 1988. p.4-5).

^ This was a phenomenon of the 1930^ (Hicks, 1988, p.6>. which helped to move people’s interests outside of the home. The parlor piano was being

replaced by the radio, and "crooners" were coming into vogue with the use of the

microphone. By 1938, there were very few professional and amateur quartets left as

compared to the 50 years prior (Hicks, 1988, p. 6).

Birth of the Barbershop Society

While in St. Louis, two Tulsan businessmen, Owen C. Cash and Rupert Hall, had a chance meeting at the Muehlbach Hotel (Cook, 1965; Hicks, 1988; Martin, 1948). It was early 1938. Their conversation made its way to music and the two realized they both had affection for barbershop quartet music. They quietly sang a duet and remarked how they wished there were two other singers with which to harmonize. It is rumored that

Cash tipped a bellboy a quarter to find two other singers in the lobby and bring them to him. They sang and talked into the evening and came up with the idea of starting a directory of men in Tulsa with whom to harmonize on an ongoing basis. They decided to have a meeting of those interested once they returned to Tulsa. Together, they composed a letter (O. Cash & R. Hall, personal communication, April 6, 1938) that went out to friends and included:

In this age of Dictators and Government control of everything, about the only privilege guaranteed by the Bill of Rights, not in the same way supervised or directed, is the art of Barber Shop Quartet singing. Without doubt we will still have the right of "peaceable assembly" which, as I am advised by competent legal authority, includes quartet singing. The writers have for a long time thought that something should be done to encourage the enjoyment of this last remaining vestige of human liberty. Therefore we have decided to hold a songfest on the Roof Garden of the Tulsa Club on April 11, at six-thirty P.M...... We will have a private room and so will not be embarrassed by the curiosity of the vulgar public. You may bring a fellow singer if you desire.

8 The first meeting yielded 25 attendees (Cook, 1965, p. 3). They named

themselves the Society for the Preservation and Propagation of Barber Shop Singing in the United States. The event was enough of a success that the two founders set another meeting for a week later which yielded over 70 men. The third meeting, held at the Alvin

Hotel, produced 150 songsters. It was after this third gathering that the Society was

given its current name, ‘The Society for the Preservation and Encouragement of Barber

Shop Quartet Singing in America" (Carlson, 1969). The meetings brought attention from

journalists and it was soon national news. Other communities started their own barbershop groups and an onslaught of fledgling chapters began springing up all over the

country.

The beginning of the Society came so suddenly that the founders had no way of

knowing how quickly it would grow and to what proportions. They were completely

unprepared to assist the many chapters that self-started and as a result, most faded from

existence almost as fast as they began (Cook, 1965). Still, there was a movement afoot to enjoy a nearly lost pastime, and the Society did grow. In 1938, five chapters yielded 150

members. In 1939, the Society held its first National Convention where seventeen cities

were represented from seven states (Hicks, 1988, pp. 92,114) and the membership grew

to 250 with 10 chapters. By its fifth anniversary, the Society had grown to 51 Chapters

with 1,500 in membership, and by the 10th anniversary there were 500 chapters with

21,771 members. In 1941, the Society began its own publication called the Barber Shop

Re-Chordings. This was renamed the Harmonizer in 1942, the name it retains to date.

The "Rtst Champions Club" was first conceived by Doc Enmeier of the Chord

Busters while returning from the 1943 Chicago Convention. Upon sharing his idea with

Frank Thome of the Elastic Four, Thome suggested contacting Hal Staab who was then the Society President Both Enmeier and Staab followed through on this idea as the first meeting of the Past Champions Club took place during the 1944 convention in Detroit, 9 Michigan, over lunch. Carroll Adams, Society Secretary, and Staab attended. The Society presented Past Champion's lapel pins for each member as well as one for Johnny

Whalen's widow. The organization fell apart due to the war and its resulting

complications that made it very difficult to get these men together. Some years later. Mo

Rector of the Gaynotes revived the organization which then became the Association of

Past International Champions. This soon became the current day Association of

International Champions with the motto, "Once a Champion, Always a Champion" (Enmeier, 1944; In Memorium: Dr. Nonnan T., n.d.; Kerr, 1996, March, p. 327).

According to Ruth Blazina-Joyce (Watson, 1991, January, pp. 11-12), medals

were first given to quartet competitors in 1942. First place received gold, second

received silver, and third place through fifth received bronze medals. This was a tradition

started by the Detroit Chapter that remains as a Society tradition today. The first three

champions were presented with medals retroactively in 1946 at the request of Doc

Enmeier (In Memorium: Dr. Norman T., n.d.).

Prior to the beginning of the Barbershop Society there were contests for

barbershop quartets (Hicks, 1988, pp. 16-17). These competitions were sponsored by civic groups and local government In the 1930’s, contests were sponsored by public park systems in New York City and West Virginia. They were also provided by the

American Legion in Oklahoma and by the Illinois Barbershop Association, a six- community organization that supported barbershop quartet singing. Consequently, the movement started by O. C. Cash to preserve the barbershop tradition was not entirely unique.

It is interesting to note that the Barbershop SocieQr followed an already established tradition of competitions. This contest-based approach was incorporated into the newly formed Society’s events and as a result, much of its social and musical events centered around competition. As time went on, the influence of the Society’s judging 10 system became more prevalent as competitors strove for winning scores. Change or the

refinement of desired musical outcomes was beginning to influence an organization that

predicated its existence on the preservation of a specific style of singing. This change or

adaptation to and by the Society’s judges would be an excellent basis for further study on these influences upon the Society.

The ramifications of having the coexistence of both preservation of an improvisatory style and contests that yielded greater musical accomplishment were real.

The preservationists wanted the style to remain pure or unaffected by written arrangements. The more progressive barbershoppers wanted to see the style gain in increased musical performances by quartets through written arrangements and the influences of trained musicians. Consequently, there was an ever-increasing split in the barbershop community over these issues, a split that remains today.

11 CHAPTER 2

PURPOSE AND METHOD OF THE STUDY

The purpose of this work is to research, collect and codify as much information as possible on the first twenty-five International Quartet Champions of SPEBSQSA. These front runners of the barbershop idiom have enjoyed little in the way of documentation of their musical accomplishments and performance practices. This historical work is an effort to annotate many of the events around and specific to their music making through a unique vocal style. This singing style called Barbershop is American in its beginnings. It grew and spread throughout the world by the Barbershop Society that rose in an effort to perpetuate and preserve it.

The intent is to create a work that will act as a resource of early barbershop quartet singing for those researchers who may follow. The study includes background information on each of the first twenty-five champion quartets. This material covers a brief history of each ensemble including its members and dates of membership as available. A section on the musical background of the championship group follows. The next area of inquiry includes the quartet's performance practices. The kind of music they were known to sing, their rehearsal techniques and arranging skills are presented.

Whether they received coaching and from whom as well as their best known "signature songs" are also included if available. An appendix (Appendix B) will list the repertoire of all 25 quartets. This appendix includes the title and recording label on which each

12 song appears or lists it as unrecorded. The anecdotal section includes many first hand

accounts of the quartet's varied remembrances as a performing ensemble. These are also

supplemented by researched accounts that date back into the eariy 1900's. The final section on each quartet includes a musical analysis of each group with comparative

information on the groups that both preceded and followed. Tonal qualities are discussed

as well as interpretive traits of each group. This section allows for interesting discussion

in the final chapter as to how these performance traits evolved over a 25 year span. This

is the Hrst written historical perspective of International Champion Barbershop Quartets

written. In review of the sources used in this study, the Harmonizer. the Society’s bi­

monthly periodical, was very useful. This periodical has yielded the majority of

unsolicited facts and accounts for this work. Within the Harmonizer the "News About

Quartets" feature was most helpful to glean repertoire and anecdotal material.

Heritage of Harmony (Hicks, 1988) provided much of the historical perspective as

well as data about the Society and its contests. This is an invaluable text for anyone studying the Society of its membership, administration and principles. The texts by Cook

(1965) and Martin (1948) also were of great assistance in gaining an historical perspective of the Society.

Invaluable were the personal accounts by the quartet members themselves. These were found either through research at the Heritage Hall Museum or through the questionnaire. The Museum yielded personal papers, letters, unpublished manuscripts and recordings from which to gather needed information. In addition, the museum has collected taped interviews with many of these being transcribed by the museum curator as well as other interested barbershoppers. Most of these were provided as electronic mail attachments from the museum staff, which made them very accessible. The questionnaire used in the study provided much of the new material for this work. All but 13 one of the questionnaires were provided by members of the quartets studied and provided useful information that was unavailable from any other source.

Many telephone interviews were conducted with champion quartet members, their surviving family members and friends in an effort to get a more thorough response. Two quartet members died during the writing of this work, and all but four of the remaining 41 champions responded to the questionnaire. An internet search for the quartets studied was conducted and yielded some 40 hits. Much of the internet material found, however, had already been obtained through traditional research methodology.

In an effort to acquire research material, several strategies were employed. Many trips to the Heritage Hall Museum yielded files on each quartet that included obituaries listing family survivors.'* The Internet was searched for leads to contact these family members and phone calls were made to contemporaries who could be of service. The museum also had interview transcripts of some champions as well as historians and other

Society leaders. Back issues of the Harmonizer were researched exhaustively to yield any and all information on the quartets being studied. Personal letters, memos and other communications by the Society leadership were also fully explored. In some instances, personal papers of the quartet men themselves were found and annotated for inclusion in this and other chapters, as the information applied. The museum curator was very helpful and knowledgeable. Her knowledge of research techniques was not only evident but also paramount to the collection of much of the material. The Society staff further helped in the research effort with assistance for following leads for gathering further information regarding incomplete sources.

A three-part questionnaire was developed (see Appendix A) and sent to all 43 of the surviving quartet members. It was also sent to a few replacement quartet men. The

‘*This Museum was ctucial lo the success oflhis wo*, and had it not been for the faresight of the Society's leaden, this valuable resource may not have ever been implemented and much oT the history of these barbeishop pioneen would have been lost. 14 questionnaire’s Hist section covered questions on the quartet's inception, names of its

members and contact information on the deceased members’ surviving family. Questions

were also asked about the group’s personal musical backgrounds as well as anecdotal

accounts about their time together as a performing ensemble and representative of the

Society’s championship ranks. Information was solicited as to their performance habits, range of states in which they appeared, number of appearances as well as paid and unpaid performances over their career. Additionally, each performer was asked about his music

reading ability prior to and after becoming a barbershop singer. These champions were asked about their use of different music learning techniques in an effort to better understand how their involvement in barbershop singing may or may not have affected their reading abilities. The second section of the questionnaire included a list of the repertoire that had already been acquired by going through every recording in the Old

Songs Library at Harmony Hall. These were specific to their quartet and they were asked to add to the list The third section, "Deceased Quartet Questionnaire," included many of the same questions that appeared in section one. This section on information on the six quartets whose members had all died prior to the questionnaire being mailed. By having this answered by the surviving quartet members of the first 25 years of the Society, it was hoped that these contemporaries of the deceased men might be able to impart some first hand knowledge about these groups.

Definition of Terms

Afterglow: The combination of a party and performance. This event usually followed

the parade or show and featured chapter and guest quartets performing their less formal repertoire.

Articulation, Soft vs. Hard: Used in reference to the use of hard consonants in

performance. In this study, the soft articulation refers to the under enunciation of

15 hard or explosive consonants while hard articulation is in reference to

performance styles that utilize a more classical, explosive use of hard consonants.

Association of International Champions (AIC): The organization of international

quartet championship winners within the Society for the Preservation and

Encouragement of Barber Shop Quartet Singing in America. Ballad: A slow song performed with much use of lyric driven rubato. Balladized; A performance use of rubato that adds interpretive strength to the

importance of a song's lyric line over that of its meter.

Barbershop Harmony: A four-part vocalization using the second highest voice as the

primary melodic voice. Traditionally sung by male voices, it is also sung by

female voices. The harmonic principles involved include root movement that once departed from the tonic, primarily moves downward by the interval of a

fifth. This is facilitated by a proliferation of dominant seventh chords throughout

the harmonization.

Barbershopper: A singer of barbershop harmony. A Society member.

Barbershopping: The act of singing barbershop music.

Bell Chord: An arpeggiated chord. Singing a chord by adding one voice at a time. Chapter: A local unit of the Society that consisted entirely of quartet singers in the early

years of the Society. After a few years of existence, it became an organization for

both quartet and chorus activity.

Chord Worship: Singing barbershop harmony with interpretive considerations of both

lyric and meter being secondary to the elongation of chords that met the fancy of the performers.

Diphthong: A single syllable that contains two vowel sounds such as the word **cow.”

District(s): The sixteen divisions or areas within the United States and Canada that have

qualifying rounds of competition to the International Competition held each year. 16 They and their corresponding acronyms are: Cardinal District, CAR; Central

States District, CSD; Dixie District, DIX; Evergreen District, EVG; Far Western

District, FWD; Illinois District, ILL; Johnny Appleseed District, JAD; Land O'

Lakes District, LOL; Mid-Atlantic District, MAD; Northeastern District, NED; Ontario District, ONT; Pioneer District, PIO; Rocky Mountain District, RMD; Seneca Land District, SLD; Southwestern District, SWD; Sunshine District, SUN.

Dynamics: The fluctuations of volume while performing music.

Ear Quartet: A quartet of ear singers. Ear Singing: The singing of a song in a quartet while improvising the harmony parts. Also known as woodshedding. The act of arranging a song by trial and error with

no written score.

Ever-glows: Informal gatherings that would follow the afterglow. These would many times last until dawn.

Expanded Sound: The phenomena that occurs when four singers produce the same

vowels with appropriate balance to each other along with a lack of vibrato in

order to create audible overtones. Fake Harmony: A term used by early quartet singers in reference to improvisatory song

arranging by ear. A favorite term used by Leo Ives of the Four Harmonizers.

Finals: The last round of competition at an International Quartet Contest.

Grapefruit Circuit: Shows and Parades that where hosted by Chapters in Florida and

other Southern States.

Hanger Also known as a Post, it is a note that is held out by one voice part while the other three voice parts finish the song or phrase.

Harmony Education Program (HEP): A program designed by Rudy Hart in I960 to

educate the Society's membership in barbershop harmony singing, arranging and

other related performance areas.

17 Harmony Hall: The world headquarters of the Society located at 6315 Third Avenue, Kenosha. Wisconsin 53143-5199. Phone: (414) 653-8440, (800) 876-SING, Fax:

(414) 654-4048 Heritage Hall Museum: The major source of barbershop history and artifacts. The museum is located in Harmony Hall. International Preliminary Contest (Prelims): The round(s) of quartet competition

within a Society District that determines its representative(s) to the International

Quartet Competition.

MC: Master of Ceremonies who introduces acts for parades or shows and entertains the

audience between acts. Medalist Quartet: One of the top five winners at an International Quartet Contest.

Those placing 5th, 4th and 3rd receive bronze medals. The 2nd place quartet

receives silver medals while the 1st place quartet earns gold medals.

Mouth Resonance: A term used in this study in reference to the resultant resonance

achieved by size and shape of the oral cavity while singing.

Oral Histories: Taped interviews that have been transcribed and housed in the Heritage Hall Museum.

Patter Chorus: An alternate group of lyrics that can be sung at the same time as or

instead of the original lyrics.

Parade or Parade of Quartets: A barbershop show. Early parades were a succession of

foursomes and would last for many hours.

Pick-up Lines/Notes: Notes sung by one or more voice(s) prior to the rest of the quartet joining in the song. This can apply to the beginning of a song or phrase.

Pit (orchestra pit, Judge's pit): Also known as the judges' pit for a barbershop contest, it

is the area between the front of the stage and the audience.

1 8 Post: Also known as a hanger, it is a note that is held out by one voice part while the

other three voice parts finish the song or phrase.

Pre-glows: An informal party that occurs prior to a show or parade. Prelims (International Preliminary Contest): The tound(s) of quartet competition within a Society District that determines its representative(s) to the International Quartet

Competition. Quarterfinals: The first of three rounds of competition at an International Quartet

Contest.

Quarteting: The act of singing in a quartet.

Scoop (scooping): To slide into a pitch from below or to slide from a previous chord-

tone into a new one.

Semi-finals: The second of three rounds of competition at an International Quartet

Contest.

Signature Song: A song that is associated with a quartet by their general audience due to

its high level performances of the piece.

Society: Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, Inc. (SPEBSQSA).

Straight Tone: The production of a vocal tone that is devoid of vibrato.

Swan Song: A song performed at the conclusion of a quartet's championship year or career.

Sweet Adeline: A member of Sweet Adelines International (formally Sweet Adelines

Incorporated) which is the female counterpart to SPEBSQSA.

Swipe: The moving of the quartet singerfs) from one chord-tone to another chord-tone or

chords while remaining on the same word or syllable. Tag: The ending or coda of a song.

19 Tall Vowel: The vocal production of a word sound (vowel) that necessitates lowering the

jaw and tucking in the comers of the mouth.

Tear Jerker: An emotional ballad, eliciting strong emotions generated by the text. Time Classification (meter): For this study, meter is First classified as to whether the

beat divides evenly into two (simple) or three equal divisions (compound). The

second step in meter classification is determined according to how the beats group into twos (duple), threes (triple) or fours (quadruple). Simple meters such as

"simple quadruple" have four beats to a measure with a straight division of the

beat while "compound quadruple" has a division of three to a beat and thus a

resultant "swing" feel.

Up-tune: A song that is in simple meter that moves quickly with a lack of or limited amount of rubato.

Woodshedding: The improvisation of harmony parts against a melody line in barbershop harmony. Also known as ear singing.

20 CHAPTERS

QUESTIONNAIRES AND RESULTS

Questionnaires developed for the study yielded new information on the history of

the barbershop quartet (see Appendix A). Findings and conclusions drawn from the

questionnaires are presented in this chapter. Of the 43 questionnaires that were sent out to the surviving members of these

championship groups, 32 of them were returned at a response rate of 74.4%. Of these, 16

quartets or 84.2% of the available quartets (member or members living) were represented.

Those 16 quartets were the most recent champions from 1948 through 1963. Parts One

and Two of the questionnaire yielded higher response rates as the information sought was

specific to the respondent. The Deceased Questionnaire yielded lower rates of response

from the living members asked to complete it. This lower response rate appeared to be a

result of a lack of familiarity with the deceased quartet members. It was probably due, in

part, to the majority of the deceased being the earliest champions of the Society. In other

words, the Society was new in the early 1940's and familiarity with these first champions

was a result of membership only. In the earlier days of the Society, the membership and

geography covered by the Society was small. As the Society grew, so did the familiarity and fame of its champions from both outside of the Society and within. Many of the

respondents were not members of the Society while these deceased quartets were actively performing. From the 32 quartet men who answered the questionnaire, only five of them

21 returned information on the deceased champions (15.6%) while the return rate for Part

One was at 100% and Part Two at 65.6%. The return rate is based upon questionnaires

with additional information being returned. Each blank questionnaire was treated as a

non response. In the discussion that follows, percentages will be based on the total

number of respondents (N=32). In the area of historical background, questions one, two and three on the

questionnaire (see Appendix A), received good responses with 87.5%, 93.7% and 78.1%

respectively. Only 23 responses (71.9%) were given on question four. It is assumed that

a non response on this question about the quartet's name or names was an indication of

the group having only one name during its career. In asking each champion how long his

group was together prior to winning (question 15), the response rate was 87.5%.

Answers varied from one to seven years with an average 3.5 years for those who

responded. The following question (16) asked how long the quartet was together after

winning the International Competition. Answers varied from 1 to 39 years with the

average over these 16 groups being 11.9 years. Many of the respondents discounted

earlier versions of the group as they counted the winning combination of singers as their

quartet, thus affecting their answer to this question.

Questions as to the musical background of the quartet members were answered with varied results. Each respondent answered the question as to his own musical

background but only 81.2 % had information to share about the background of the deceased quartet members. Even so, the respondents did not comment on every one of

their departed singers. It would appear that many of these older quartet men did not inquire into the past of their fellow quartet members nor did many of the deceased singers discuss their past musical training.

It is interesting to look at the results of questions 22,23 and 24 as to whether the respondent could read music prior to joining his quartet and the perceived effect singing 22 in his quartet had upon the improvement of those skills. In answer to question 22,73.3% said they could already read music upon joining their quartet. The singers who responded negatively to that question were split with half of them learning to read after joining their quartet and the other half remaining as non-readers. Question 25 brought an interesting observation to light as 96.5% of those who responded to the question (n=29) felt that their personal ability to read music improved as a result of their association with barbershopping. This indication of perceived improvement in music reading ability is a good basis for further study on the effects of barbershop singing upon the singer’s ability to read music.

Questions 25 through 30 focused on the methods used by these champions in music reading. Each question, by way of a five point Likert scale from 1 representing

“always” through 5 representing “never,” asked the respondent how he used a specific method of reading at the time of his winning the championship as well as at present. The response rate was 93.7% (n=30) for these questions. By using only the two points of the scale representing “Always” and “Mostly” (1 & 2), the learning styles reported by these respondents were ranked. One can see in figure 1 that rote learning and singing by ear were the predominant methods used at the time of these champions winning the gold medal. This trend changed for these men as the poll for today’s methodology favors learning tapes followed by ear singing. This brings to question the role and importance of the tape recorder in how people learn their vocal parts for ensemble singing and how it may have affected the reading abilities of the “tape machine culture.” Further study on this topic may yield a better understanding of the effects of the tape machine on an otherwise ear and rote oriented vocal culture.

23 Piano 30.0% 16.8% 20.0 % 33.3%

Figure 1: Answers that were given to questions 25 through 30 regarding music learning styles used at the time of the respondent’s championship win and at present time.

In questions relating to the performance practices of these quartets, it is interesting to note that the majority of these groups used barbershop arrangers.

According to those surveyed, 87.5 % of the quartets from 1948-1963 used written arrangements. Although there were no living respondents from the earlier quartets, researched accounts suggest that these groups arranged much of their performance piece by ear. The 1942 champions, the Elastic Four, were the first real exceptions to this trend as Frank Thome arranged all of their performance pieces from the quartet’s inception.

Information about the geographical areas traveled by the first nine champion quartets is incomplete. With a 93.7% response rate, averages of the number of states covered by the later groups was obtained. Rom 1948 through 1950, these champion quartets performed in an average o f393 states during their careers. From 1951 through

1955, the average was 27.6 states; from 1956 through 1963; it was 34.4 states.

24 Performances in foreign countries were also tracked. Canada, Mexico and Japan lead the way with 13,7 and 4 quartet visits respectively. It would appear that these counties were the most popularly visited due to their proximity to both the United States and U.S. service personnel. With 17 other nations visited by these early barbershop quartet champions, the Society did well in its infancy to spread the word of America’s own vocal style. With an 87.5% response rate, these quartets were tracked as to their number of performances, on average, during a year’s time. From 1948 through 1950, the champions averaged 60 performances a year. Quartets from 1951 through 1955 averaged

129.2 annual performances while groups from 1956 through 1963 averaged 73.6 performances a year. The number of performances for school-age children was also tracked with a 93.7% response rate to the question. Groups from 1948 through 1950 averaged 3 children’s performances per year. This trend continued to grow as quartets from 1951 through 1955 averaged 6.7 per year and the quartets from 1956 through 1963 averaged 10 performances a year. Further research might explore the social and cultural influences surrounding these shifts in performance quantity and audience demographics.

Nearly eighty-four of these championship groups received coaching prior to winning the gold medal. The amount of coaching after their win declined to 45%.

Without further study, one can only surmise as to why this change in coaching occurred. This may be a good topic for further inquiry.

In examim'ng the aural attributes and trends of these 25 champions, many interesting traits appeared throughout the metamorphosis of the barbershop quartet. Even with the first quartets, there seemed to be a separation between the singing styles brought into each quartet by its members. Some were of a folk style with softer articulations and a tendency to scoop into pitches. This style was more homespun and lacking in formal training in the classical style. The other trend was to approach barbershop singing more as a soloist with the bravura and often accompanying vibrato that would often prevail. 25 The next chapter of this work explores the history of each of the First 25 champions of the Society. While much of the information found was in Harmonizer articles and from other published sources, much of the new information found through this study was by way of the previously discussed questionnaires.

2 6 CHAPTER 4

DESCRIPTION AND MUSICAL ANALYSIS OF CHAMPION QUARTETS. 1939-

1963

This chapter is a description of each of the Society’s first twenty-five champion quartets. Each section begins with a list of the winning members with their voice parts and when appropriate, death dates. This is followed by a short history of the group from its inception. Musical background, performance practices, anecdotal accounts and aural comparisons and influences are presented. The performance examples used for the aural comparisons are from The Best of Barbershop: 25 Years of Winners, a recording that includes performances by all the first 25 championship groups recorded by Decca.

1939, Bartlesville Barflies

George M. McCaslin (Tenor) d: January 2, 1985; Harry Hall (Lead) d; July 9,1960;

R.R. "Bob" Durand (Baritone) d: May 13,1978;

Herman E Kaiser (Bass) d: February 23,1965

The Barbershop Society's first championship quartet was the Bartlesville Barflies.

The quartet was formed in 1937 two years prior to the Society's first convention and contest It was at that time the Bartlesville, Oklahoma American Legion decided to put

27 on a local minstrel show. New Legionnaire, Harry Hall was assigned the chairmanship of

the event since he had produced a similar show in Pawhuska, Oklahoma.^ The British

bom and reared Hall soon assigned another Legion member, George McCaslin, the duty

of procuring a barbershop quartet for the show since he had past quartet experience (Kerr,

1996, March, p. 316).^ McCaslin first looked to the American Legion Post members to

fill the bill and came up with Herman E Kaiser, who was singing a good bass part in the

show's chorus. He then convinced Hall to sing lead rather than the tenor part he preferred

and McCaslin took the tenor duties. His need fora "good baritone," however, looked to

be bigger than the post's membership could provide. Since all the men in the community

were invited to participate, it was suggested he look at a young Bartlesville banker who

had recently graduated from college. McCaslin visited R.R. "Bob" Durand at his bank

and arranged for a rehearsal. Durand was a good match for the other three singers, and just two weeks later, they performed for the first time as part of the Post's minstrel show

and were referred to as the Bartlesville American Legion Minstrel Quartet (Bartlesville

Barflies', 1988, November/December; Kerr, 1996, March, p. 316; McCaslin, 1975, JuneX?

In 1938, they joined the Society when O.C. Cash had a need for a quartet to

perform for a state teachers’ convention. According to McCaslin (McCaslin, 1983), the

Barflies were the only active quartet in the Tulsa area at that time. Cash asked the group,

and they agreed to perform (McCaslin, 1975, June; Snyder, 1971, p. 1). When the press asked Cash what the quartet’s name was, he had no idea. He had remembeied a quartet

^ Hall was fiom England, where be was bom and reared prior lo bis inumgrelioo lo ibe United Slates in 1914 (Kere, 1996, March, p317).

® McCaslin served in Worid War I at Ibe age of 16 (Kerr. 1989, p.29).

In two weeks' lime, they learned and performed 'When Uncle Joe Plays a Rag on bis Old Banjo," "Ragtime Cowboy Joe” and "Love Me and Ibe World is Mine." 28 from his home town of Blue Jacket, Oklahoma, that was called the "Barflies" and decided to call them the "Bartlesville Barflies" (Bartlesville Barflies', 1988, November/December;

Kerr, 1996, March, p. 317). Even though word began to spread about the Society's first National Contest to be held in Tulsa, Oklahoma in 1939, it wasn't until Friday afternoon of the convention week that the Barflies decided to compete. They drove the 47 miles to Tulsa and entered the contest singing in the semi-finals shortly after arriving. After the scores were added there was a tie. The Barflies had to perform in a "sing-off" with the Capitol City Four, to determine the winner (Snyder, 1971, p. 2).® The Bartlesville Barflies won the first

National Quartet Championship of the Society over a field of 22 other quartets (Hicks,

1988, p. 94).9 After winning the championship, they caught the attention of journalists as newspapers picked up the story of the first ever champions (Kerr, 1996, March, p. 318).

They also fell into favor with the Phillips Petroleum Company. The company offered to sponsor them provided they changed their name to the Phillips 66 Barflies which they agreed to do (Kerr, 1996, March, p. 318). They acquired new costumes with a cowboy motif as they sang for parades and business functions for the company.

® According lo Bob Bisio (Reisonal conuntmicallons, June, 1987), the song "Far Way in ihc South” was sung by Ibe Barflies as ibeir "sing-ofT during Ibe 1939 coniesl.

^Tbe first Cbampionsbip came with cash prizes: $50 for first, $30 for second and $20 for third (Tour Barflies,' 1939, June 4; Snyder. 1971, p3; Where Are They Now. 1984, May/June).

At the dme of winning the first National Quartet Contest, the Bartlesville Barflies consisted of tenor, George McCaslin. who was reared in Missouri and made bis living as an insurance salesman; lead, Harry Ibll, who was bom and reared in Hetton-Le-Hole, Durham County, England and made his living as a painting contractor, baritone and banker. Bob Durand from Junction City, Kansas, where he was bora and later graduated from high school; and bass, Herman Hriser from Sweet Springs, Missouri, who worked as a purchasing agent for the Riillips Petroleum Company (Krupe, 1943, December. Kerr. 1989, p% 26,1996, March, p 3 17). 29 In 1940, they competed again for the Society's top quartet honor and came in second

place by one point (Kerr, 1996, March, p. 319; Snyder, 1971, p. 3). Third place

medals were earned in 1941 and 1942. Bob Duiand joined the Army in 1942, and the quartet was retired. McCaslin and Hall then teamed with W.O. "Bill" Palmer and Fred Graves to form the Mainstreeters.^^ They placed third in the 1943 National Quartet

Contest. During the spring of 1946, Bob Durand returned from the service and the Barflies

performed their first of many "final appearances" (Barflies Reunited, 1947, November;

Kerr, 1989-B, p. 13, 1996, March, p. 319; With the International, 1947, May) The

Barflies had numerous reunion performances as they found themselves in the same

location either by chance or for the purpose of singing together. Their last performance

was arguably the appearance of all but Harry Hall at the Olde Tymers Quartet Jamboree

in Kansas City. The quartet had others audition to fill in for Hall in a rather unusual way;

They sang in front of the audience. The Barflies claimed this appearance on April 4,

1959, to be their 167th "final appearance" (Kerr, 1996, March, pp. 319-320).

Musical Background

George McCaslin was an active singer and member of many civic organizations prior to the Bartlesville Barflies' inception. The son of a minister, he grew up with his

There was no rule against competing again after winning the quartet championship at this time. The Chord Busters decided not to compete again after their win in 1940, and even though there was no rule, other quartets followed their example. The Bartlesville Barflies were the only National or International Quartet Champion lo compete after they won the championship.

According to the interview by Snyder (1971, p.4), McCaslin never received his silver medal from the 1940 contest.

This quartet, later known as the Flying L Ranch Quartet, was sponsored by Roy J. Turner, the Governor of Oklahoma. They appeared in the Republic Pictures film. IbmÜlLQklmllomâ starring Roy Rogers and Dale Evans and also performed the music for the Rogers' and Evans' wedding. They were featured entertainers for Ibe inauguration ofPlesident Harry Truman (George M. McCaslin, 1985, March/April; Kerr, 1989, p.4-5,8). 30 eight siblings in a home filled with parlor organ music (Knipe, 1943, December). He

sang in a barbershop quartet in 1931 that claimed second place honors in an American

Legion state wide quartet contest (Snyder, 1971, pp. 2-3). He was also active in the American Legion Drum and Bugle Corps although no record of what instrument he

played could be found (Kerr, 1989-B, p. 3). He did play the piano and later, the organ.

McCaslin, according to his sons (Kerr, 1989-B, p. 26), involved himself in a large

amount of choral singing and (p. 9) "... had this ability to hear all the parts himself — "

Although he was unable to attend the first meeting of the Society, he was a charter

member and was a director of a local Sweet Adeline chorus (Kerr, 1996, March, p. 317).i5

Prior to his coming to America, Harry Hall was a vaudeville type performer in

England (Kerr, 1989b, p. 2). He sang at any and all occasions (Knipe, 1943, December).

He was also at the first meeting of men that consequently became the beginning of the

Society on April 11,1938 (Kerr, 1996, March, p. 317).

Bob Durand's family were all singers. According to one account (Knipe, 1943,

December), "he would rather sing than eat" His years were filled with quartet activities both prior to and after college. In 1927, he received his degree from the University of

Kansas, where he sang in the glee club. By 1943, Herman Kaiser had sung in the

Presbyterian church in Bartlesville for 22 years (Knipe, 1943, December). He sang baritone prior to his joining the Barflies.

14.Sun Bunes, bass of the Flat Fool Four, 1940 Society Nahoaal Champions sang in the foursome tbal won this 1931 event (McCaslin, 1975. June).

^ It is not known if this activity occurred before or after his joinng the Barflies. 31 Performance Practices

George McCaslin (Kerr, 1996, March, p. 317) once said:

It did seem that there was an abundance of creative talent in those early years and that quartets (the Orpheum and Keith Vaudeville circuits almost always had a quartet booked as part of the regular show) attracted men who could improvise - men who knew chords and how to put them together The Barflies happened to be blessed with four guys who had, independently, been attracted to the footlights long before we met.

The Bartlesville Barflies were a quartet of woodshedders. Their primary mode of learning was that of ear-singing through improvisation (McCaslin, 1979, March/April).

However, George McCaslin (Snyder, 1971, p. 7) admitted to their use of pre arranged music when he said, "It was ten years before anybody found out that we had slipped a little bit of written material in." In defense of their position, he went on to say, "We'd always change it, though, because I think you had to have originality, and O.C. [O.C.

Cash] just wouldn't put up with note-reading if he knew you were doing it. So we just didn't let it out." Their most requested songs, some of which were pre-arranged, were "Wait Till the Sun Shines, Nellie;" " Mandy Lee;" "By the Watermelon Vine;" "Lindy

Lou;" and "By the Light of the Silvery Moon” (F. Haynes, personal communications, summer, 1998; Kerr, 1996, March, p. 318).

The quartet was a higher voiced ensemble than many others. The Bartlesville

Barflies consisted of two high tenors, a high baritone and a low baritone (Knipe, 1943,

December). Consequently, they did sing higher than others. They could and would switch parts according to Tom McCaslin (Kerr-B, 1989, p. 23).

They were offered a contract to appear for two or three weeks in Las Vegas.

They had to decline the offer due to a lack of flexible time. Their afllliation with the

Phillips Petroleum Company, however, was viewed as amicable for both the quartet and the spread of barbershopping. Much of their costuming and other expenses were covered

32 by Phillips. This included some of their travel expenses that allowed the quartet to fly around the country which also allowed others to experience this vocal movement first hand. They called it the "meatballs and pea circuit” (Kerr, 1996, March, p. 318;

McCaslin, 1975, June) as they sang for many dinners for the company. The reaction to winning went further than just with the Phillips Company. They received news coverage across the entire nation. The publicity was very positive to the propagation of the

Barbershop Society (Kerr, 1989-B, p. 3)

Hall had a comedic type of stage persona that carried well on stage (Kerr, 1989-B, p. 2). But according to McCaslin (Kerr, 1996, March, p. 319), Hall "was way too temperamental for his own good, in spite of the fact that he was a good showman." Hall claimed to have perfect pitch and would insist on giving the pitch for the group by use of his own tonal memory. After a few mishaps, McCaslin would insist on using a pitch pipe. Hall's pitch would tend to elevate when he would become excited. On Hall and pitch, McCaslin said, (Kerr, 1996, March, p. 319) "Now and then he'd want me to change the pitch [key] depending on how he felt. 1 never gave in to him again and after a decade or more, he finally conceded that he probably didn't have perfect pitch."

On rehearsal technique, the first champions were not a model to emulate.

According to one account (Knipe, 1943, December), they were probably the most under­ rehearsed quartet to ever reach top ranking. They learned their songs apart and "got together only to work out the timing and polish 'em up."

Anecdotal Accounts

Few anecdotal accounts were found. One account, however, took place in New

York City at the Society's second convention in 1940 (McCaslin, 1984, May/June). An elaborate party had been planned by the city's Commissioner of Parks and Playgrounds,

Bob Moses. Dressed in their cowboy costumes with red shirts and white piping, the

Barflies were enjoying the cocktail hour by singing for and with the 150 various guests. 33 Suddenly some short jacketed waiters came and escorted them to a remote part of the room underneath a staircase. They waited for further instruction and none came. After half an hour, the Commissioner's secretary came looking for them wondering what they were doing in this remote area. After sharing their tale, she realized that the waiters had been told at some time or another that entertainers were not allowed to fraternize with guests. On the return trip from the same convention, the Barflies and the newly crowned champion Hat Foot Four accidentally ended up traveling together. McCaslin was bragging about an American Legion competition he was in and how his quartet placed second in the state wide event. Sam Barnes of the Hat Foot Four spoke up to say he was in the same contest. . . placing first (McCaslin, 1975, June).

Aural Comparisons and Influences

The Society's first champion was a well blended ensemble. Hall's lead voice was that of the crooner with a bel canto tone creating an easy model with which to blend. All three of the others did just that. Their blend of four sounds into one was not easily copied by those who followed them.

The Barflies continued to compete for three years after their championship win but were never chosen again as champions. Their repeated attempts to retake the championship precipitated the rule of 1943 which prohibited a champion quartet from ever entering Society International Competition again.

After listening to their Medley (Best of Barbershop, n.d.) one finds that

McCaslin's voice was present but always in balance to the rest of the quartet. Durand sang with a loudness that seemed near the point of overshadowing the melody if it were not for the high level of consonance achieved throughout the quartet. Kaiser's bass was equally large in size consonance. Hall possessed a vibrato that was quick almost to the point of tremolo but with a very narrow interval of fluctuation. He also controlled this 34 for more soloistic sections such as his call and response by the other three singers in the "Light of the Silvery Moon." Here, he used a bit more vibrato than when the quartet was

singing homophonically. The Bartlesville Barflies also possessed some interesting style characteristics.

They often scooped from below the desired pitch on stressed words. Not only did they do this as an ensemble, but Hall also did this as a soloist While they arrived at the desired pitch, careful listening revealed a proliferation of this trait. They also tapered phrase endings often. A diminuendo appeared as the phrase ending disappeared from hearing rather than an abrupt cut off. They then allowed a short pause before continuing.

This was more of an interpretive trait of their day than in later years.

Their articulation was more of the folk artist than of the classically trained. Soft consonants prevailed while diphthongs were turned gently while still achieving an easy intelligibility for the listener. The "oo” vowel was sometimes altered to a wider vowel placement This occurred when they swiped or held the "oo" vowel for any length of time. Curiously, they ended on a dominant seventh chord in second inversion built on the tonic and sang few incomplete chords.

The influence of the quartet was immediate. Following the Barflies' championship performance in 1939, the 1940 contest was filled with performances of their song, "Mandy Lee." Fourteen quartets of the 50 that competed in the 1940 contest that chose it as a contest vehicle (Hicks, 1988, p. 94; McCaslin, 1975, June)

An exanqrie of this occurred on the word 'Nellie" ibe last time it was sung. 35 1940, Flat Foot Four

Leon Howard "Johnny" Whalen (Tenor) d: September 14,1941;

Britt E. Stegall (Lead) d: October 11,1961;

Clyde "Red" Elliott (Baritone) d: July 22,1969; Sam R. Barnes (Bass) d: October 4, 1958

The second champion of the Barbershop Society was the Flat Foot Four. This quartet was unique in that they shared more than their singing; they were all in the same profession. All fourteen of the men who were at one time or another a part of the quartet were policemen (Johnny Whalen Memorial, 1941).

The "Flat Foot Four" began in late 1923 (Johnny Whalen Memorial, 1941; Flat

Foot Four, 1943, September) or early 1924 (Ketr, 1990, summer, 1996, March, p. 32) with the prompting of O. A. Cargill, who had just become the Mayor of Oklahoma City.

According to Kerr, Cargill thought it would be a "novelty" to have a police quartet on their force. The initial personnel of this group consisted of Leon Howard "Johnny"

Whalen on tenor^^, Frank Sheppard as lead, Roland CargilP^ singing the baritone and

Bill I^rish on bass. ^ Their first appearance was before the Oklahoma City Chamber of

Commerce. It was at this meeting the quartet was first called the Flat Foot Four by way of their introduction by Mayor Cargill (Flat Foot Four, 1943, September).

In December, l924,MayorCargilliiilroduced Whalen as "Little JoimMcConnack.” It was from this introduction that he became known as "Johnny" (Johnny Whalen Memorial, 1942).

18 Through 18 years and many changes of personnel, Johnny Whalen was the only man to sing tenor in the Flat Foot Four (Johnny Whalen Memorial, 1942). He was 26-years-old when he started singing with the quartet

1^ Roland was Mayor Cargill's brother.

^ According to Kerr (1996, March, p32). Cargill couldn't find four police men who could sing well enough to make a quartet. Sheppard was a jailer and Hurish a desk sergeaitf. He asked his brother and Whalen, two car salesmen (WluJen's Death, 1941), to sing. He then (bund some unused police uniforms and "appointed the four an official police quartet." Later, both civilians officially joined the police force (MMillin. 1940, August 25). 36 The group kept the name and the same membership through 1927 when Cargill,

Parrish and Sheppard ail left the police department In 1929, the quartet was reorganized with Whalen on tenor, Clyde "Red" Elliott as lead, Ralph Kaylor on the baritone part and

Bill West singing bass. In 1930, an Oklahoma Highway Patrolman, Jack Roberts moved into the police department and became the quartet's lead. Meanwhile Elliott moved to the baritone part replacing Kaylor, who had recently left the police department. Soon after, J. D. "Lefty" Walker took over the bass duties from West. John Watt, Police Chief in 1931, actually ordered the quartet to disband. He did not think highly of a musical group in his police department (M'Millin, 1940, August 25). The group officially complied with the chiefs edict but continued to sing for peace officer conventions and for an occasional fallen officer's funeral. This foursome stayed together until 1933 when it was forced to disband because Elliott took a job with the State Bureau of Criminal

Identification.

Early in 1937, the Oklahoma City Police Department received a new Chief in the person of Granville Scanland. When Scanland was approached by Whalen to reorganize the department's barbershop quartet, Scanland agreed to sing lead. Elliot and Walker, singing baritone and bass respectively, joined Scanland along with Whalen as tenor.

December of 1937 brought yet another change with "Sleepy" Chapman joining both department and quartet as bass thus moving Walker to baritone and Elliott back to the lead part. A few months later. Walker retired from the department, and by April, 1938,

Frank Heffington became their new lead and Elliott moved again, back to the baritone.

For six months Whalen, Heffington, Elliott and Chapman sang until Heffington's death in

October. Soon after. Chapman retired from the department In December came the championship version of the quartet with Britt E Stegall as lead and Sam R. Barnes as bass (Johnny Whalen Memorial, 1942).

37 The Society conducted its first National Quartet Contest in June of 1939 in Tulsa.

The Flat Foot Four entered the contest but with Chief Scanland filling in for Elliott who was on a short leave (Flat Foot Four, 1943, September). The group placed fourth (Hicks,

1988, p. 94; Kerr, 1990, summer, 1996, March, p. 33). With Elliott back in the baritone spot, they worked hard for the second National Contest to be held the next year in New York City as part of its World's Fair. The quartet won the Oklahoma State quartet contest and a berth to compete in the 1940 National Contest, which was judged by a bevy of celebrities both in and out of the Barbershop Society. They included such notables as former Governor of New York, A1 Smith; Mayor La Guardia; Fred Waring; Sigmund

Spaeth^i; Geoffrey O'Hara^; Harry Armstrong's and Society founder, O.C. Cash. The police quartet from Oklahoma City entered the contest where they bested the other 49 competitors. They became the Society's second and 1940 National Champion Quartet

(Johnny Whalen Memorial, 1942). ^

After winning the gold medals, they continued to make hundreds of appearances around the country. They were also named the official Oklahoma American Legion

Quartet for the last five years of their existence (Flat Foot Four, 1943, September; Johnny

Whalen Memorial, 1941; Kerr, 1990, summer, 1996, March, p. 33). Through all nine versions of the Flat Foot Four, every one of their 14 members were World War I veterans. The group's last performance was on September 6,1941 at the Phillips

SpMlb is Ibe author of Baibcrshop BaMads and How to Sin, Them, a book Hrst pubUshcd in 1925 and revised in 1940 (Hicks, 1988, p. 15).

^ O’Hara composed T he Old Songs,* ibe Society’s theme song, which was adopted in 1941 (Hicks. 1988,p.l04).

23 Armstrong composed the song, "You’re the Flower of My Heart, Sweet Adeline* (Kerr, 1996, p33).

^ Several accounts claim there were 200 quartets in the 1940 International Contest (Flat Foot Fbw, 1943, September, Johnny Whalen memorial, 1942) while Hicks (1988, p.94) cites 50. 38 Petroleum Company Community House near Oklahoma City. After they performed and were on their way home, Johnny Whalen suffered a cerebral hemorrhage which resulted in his death a week later. Even though they tried at least one replacement tenor, the quartet never officially re-formed. 25 The three surviving members were invited to attend the Third Annual Parade of Champions at the Society's 1946 International Convention but could not attend. Britt Stegall continued singing for many years with the Boresome

Foursome (Kerr, 1990, summer, 1996, March, p. 34).

Musical Background

Little is known of these men in musical terms other than their performances preserved by Columbia and Decca record companies. It is known that Johnny Whalen graduated from Central High School in Oklahoma City in 1915. He served as a bugler in

1916 while attached to the Oklahoma National Guard Reid Hospital No. 1 on the

Mexican border and later in France during the First World War (Johnny Whalen

Memorial, 1941). Britt Stegall, in addition to his experience with the Rat Fcx3t Four, later sang with the Boresome Foursome quartet.

Performance Practices

The Rat Foot Four were a well liked group of men. They commanded an audience from their own locale as well as quartet parades around the United States. They sang for the bi-annual meetings of the Oklahoma Sheriff and Peace Officer's Association.

The quartet was featured on Major Bowes' radio hour and apparently made an impression while performing for "G-Men in Washington" (M'Millin, 1940, August 25). After being offered a contract with Cincinnati radio station, WLW, the Rat Foot Four declined

^ According to an unknown Oklaboma City newspaper (Flat Foot Four Carries On, 1941. p.9), Fiank S. Smith was named as Whalen's replacement. While this was reported, no further activity beyond the announcement has been found other than a statement by Sam BanMs (With i k fmeniaiiwMi rtum pinn,, 1947, May) where be spoke of trying several times to find a replacement to no avail. 39 saying, "We are policemen first and singers afterward." According to M'Millin, they

sang "Shine" and "Annie Laurie" as their winning contest songs in New York.

Afterward, they received press coverage on newsreels. Time. Look and Be magazines.

Their appearances took them from New York to Los Angeles. They also performed as

far south as Mexico City (Johnny Whalen Memorial, 1941). When asked about the Flat Foot Four (Kerr, 1996, March, p. 34), Tom Masengale

of the 1941 Champion Quartet Chord Busters, had this to say;

They had a big sound, I remember them coming on stage, removing the microphone, and filling the hall with sound. They were excellent showmen and sang songs the audience wanted to hear. One of the reasons for their popularity was they always "milked the chords." They weren't the best quartet I've ever heard, but they were the most enjoyaUe and gave me the most pleasure out of listening as any quartet I've heard since. They really enjoyed singing and everyone in the audience could tell.

They made one recording with Columbia Records (Barber Shop Melodies) with a

Decca Records reprint of their performance of "Annie Laurie" on the recording title The

Best of Barbershop: 25 Years of Winners. This song, along with "Old Aunt Dinah" were

two of their most requested performance vehicles (W. Haeger & F. Haynes, personal

communications, July, 1999 & summer, 1998). As a part of their performance they sang

a set of partner songs, specific to their profession, which they called "Four-Way Song"

(Flat Foot Four, 1943, September; Johnny Whalen Memorial, 1941). This was the last song they sang together as a quartet.

Anecdotal Accounts

While there are no surviving members of the Flat Foot Four to poll for anecdotal

input, it is fair to surmise that the saddest event in their singing career was the death of

Johrmy Whalen in 1941. His death received front page attention from the local newspapers. From reading newspaper accounts, a sense of community loss is readily apparent With his passing came the end of the quartet and a nearly eighteen year

4 0 tradition, excluding interruptions, for both the singers and their police department. Since Whalen left behind a wife and two small children, the barbershoppers and the Oklahoma

City communiQf bound together to produce two memorial shows in order to assist his family financially. The first memorial show was a film screening of the movie, i ady Re Pond

Three days later on September 30,1941, another show took place that was advertised by six radio stations. This produced an estimated audience of approximately 5,000*8,000 people (Dessauer, 1941; Morris, 1941; Johnny Whalen memorial Show, 1941,

November). The Bartlesville Barflies and the Chord Busters appeared on the show as well as a 600-man chorus. The end result was a paid mortgage for Whalen's widow with money left over for the children (Whalen Memorial Says, 1941).

Aural Comparisons and Influences

Singing "Annie Laurie" (Best of Barbershop, n.d ). The Flat Foot Four produced a rather bright sound. As a lead singer, Stegall's Irish tenor quality was of a particularly throaty brightness. He maintained a crooner's quality for the more sustained solo passages. His sound was rather tight-throated in nature yet quite clear in tone production.

As in the Bartlesville Barflies before them, they scooped into full chords on stressed beats within their performances. This was not so much the case with the Chord Busters who followed.

Elliott's baritone was adorned with vibrato. He seemed to be omnipresent with a full sound while Barnes had a bright bass sound aptly complementing the lead and baritone. He would match the lead's vowels well but would migrate to a much wider vowel when performing downward swipes.

^ Mike, age 5 and Alncia, age 3 at Ibe lime of Iheir falber's dealh (Ken. 1996, p.34). 41 Whalen's tenor sound had bel canto qualities yet at times it was more strident.

This was a good quality considering that his lead singer's model mandated he match. His

sound appeared to be falsetto most of the time. As a group, they sang with many swipes and solo-lead voiced pick up lines. These pick up lines, sung by Stegall, allowed him to breathe while the other three were

finishing their response to his initial line. He could then enter for the next line while the

others, who sang through his breath, would take a quick breath and re-enter themselves.

This technique gave the listener a continuous barrage of sound rather than the shorter

phrases caused by chord worshipping.

While singing fully harmonized sections, the lead and baritone voices used

vibrato. Solo sections would be vibrato free, however. These solo pick-up or lead-in sections were prevalent in the Flat Foot Four's performances often starting with the beginning of the piece. They also created two back-to-back duet phrases.

The Flat Foot Four balanced more to the lower three voices with the tenor being less full in comparison. The baritone sang with a dynamic level that rivaled that of the lead and bass, yet it did not overtake the listener's attention from the melody line.

1941, Chord Busters

Norman T. "Doc" Enmeier (Tenor) d: December 29,1993;

Robert P. "Bob" Holbrook (Lead) d: May 25,1983;

Robert Milton "Bobbie" Greer (Baritone) d: October 28,1985;

Thomas Milton "Tom" Masengale (Bass) d: April 25,1998

The Society's third champion was the Chord Busters of Tulsa, Oklahoma. Known as an innovative foursome, they set trends that are still in vogue today. The quartet first formed in early 1940 at a joint meeting of the Tulsans, a nationally known male chorus,

42 and the area's new barbershop quartet singing group, which included the 1939 National

Champion Quartet, the Bartlesville Barflies. Four of the members of the male chorus

were so impressed by the barbershop harmonies, they formed a quartet and joined the

Society's Tulsa Chapter (Kerr, 1996, March, p. 324; Masengale, n.d. & 1943, May). This group consisted of tenor, Virgil Dow; lead, Robert P. "Bob" Holbrook; baritone, Robert

Milton "Bobbie” Greer; and bass, Tom M. Masengale. A friend of Tom Masengale's

referred to them as the "Chord Busters" and the name stuck with them.

The members of their new chapter were very encouraging and soon convinced

them to enter the state quartet contest for a chance to win the right to later compete at the

National Contest in New York City. The "Busters" were inexperienced and had little

guidance as to the contestability of the music they chose. After about six weeks of

rehearsal, they entered the contest with the end result being their disqualification from the

contest for singing the song, "A Little Close Harmony" which in its entirety was

considered not to be barbershop (Chord Busters, n.d.). This was, according to Kerr

(1996, March, p. 325), the only contest where the Chord Busters did not win. ^

Soon after the contest, Dow left the quartet. The remaining three found

themselves ushering for a symphony concert at Skelly Stadium a short time later. While

conversing in the men's room, Norman T. "Doc" Enmeier entered their conversation and

soon they joined in song. As it turned out, Enmeier was in the same state contest while

singing in another quartet, and his group had just disbanded. They liked the sound and

the natural blend that seemed immediate with this newly formed group. Their singing

was making its way to the stadium, and soon concert patrons were complaining, asking

^ This song was writlen by GcoffityCrHtn. The initoductian of lUs composilioa later became known as The Old Songs," which the Society adopted as its theme Song in 1941 (Kerr, 1996, Mareh, p325; Hicks, 1988, p. 15,17,26,104). 43 them to cease. They decided in the men’s room to re-form the Chord Busters (Chord

Busters 1941, n.d.; Kerr, 1996, March, p. 325; Masengale, 1943, May).

The following year, the Busters entered the regional contest in Bartlesville,

Oklahoma, and won the contestas They also won the State Contest and their expenses to

compete at the National Contest in St. Louis, Missouri. The Chord Busters were well prepared after a year of hard work. The National Contest was an event of five

elimination rounds with approximately ten quartets singing two songs each. Three

quartets from each round would move on to the finals where they would sing two songs

again (Kerr, 1996, March, pp. 325-326). The two afternoons of elimination rounds took

place at the Jefferson and Coronado hotels with the finals held in the Kiel Auditorium

(Chord Busters 1942, n.d.). After all six rounds were finished, the Chord Busters surfaced at the top of the field of 54 foursomes. On July 5,1941, they became the

Society's new National Quartet Champion (Hicks, 1988, p. 94; Masengale, n.d. & 1983).»

The new champions sang in their community, but since barbershop parades were

not yet in vogue and the war effort mandated limited travel, they performed mostly close

to Tulsa for the next two years. Their appearance at the 1942 Society National

Convention in Grand Rapids, Michigan, was their last convention appearance until after

WWII (Chord Busters 1941, n.d.). In 1943, Holbrook took a new position with Stems-

Rogers Contractors in Amarillo, Texas. He was replaced by Tulsa physician, Dr. Bob

McCullough. In July, the draft called both Masengale and Holbrook into the service of

» Tbdr prize was twelve silver dollars to be shared among them.

» At the time of winning the National Quartet Championship, the men of the Chord Busters consisted of tenor singer. Doc Enmeier, dentist; City of Tulsa employee and lead. Bob Holbrook: baritone. Bobbie Greer, who made his living with the Tulsa Boiler Company and as a photographer and later as an announcer/singer for KTUL radio; and bass, Tom Masengiile, who worked for the Texas Pipe Line Co. and later as an employee of Texaco (Chord Busters 1941, a d .; Kerr, 1996, March, p. 324-325; Masengale, 1943, May). 4 4 their country and effectively stalled the quartet until their return in early 1946

(Masengale, n.d.). ^ Soon after being reunited, Holbrook moved to Arkansas. Even though he was 120 miles away from the other three, the original four sang quite often over a short time until Greer left for Hollywood, California, in search of an expanded career in broadcasting (Masengale, n.d.). Within a year, Greer returned but Holbrook moved to Miami, Florida. The Chord Busters regrouped and continued to perform with Bob McCullough as their lead through 1950. Then, Delbert "Del" Jackson took over the lead spot, The end of the performing years for the Chord Busters came when Tom

Masengale moved to Houston, Texas, in 1957 (Chord Busters 1941, n.d.; Kerr, 1996,

March, pp. 327-328; Masengale, 1983).

In 1982, some 36 years after they had last sung together, the winning four members of the Chord Busters were reunited for the Tulsa Chapter's annual show where they performed one number at the afterglow. 32 Bob Holbrook unexpectedly passed away six months later (Chord Busters 1941, n.d.; Kerr, 1996, March, p. 328; Masengale, 1983).

Tom Masengale was able to attend the Fiftieth anniversary of their win at the 1991

International Convention in Louisville, Kentucky.

Musical Background Doc Enmeier was an experienced quartet tenor when he came to the Chord

Busters (Chord Busters 1941, n.d.). The group he sang with during the Busters' first

3^ Masengale joined the Anny Air Corp. while HoHnook, who was drafled a short lime later, was inducted into the Marine Corp. (Chord Busters 1941. n.d).

31 Jackson was also aXulsa based artist who once painted a mural of an oil field in the 1960's. In tins, he used the Texaco executives for the faces of the "roughnecks” working in the field. It was last known to be hanging in the Sanihsonian Museum (K. Johnson, personal conununicaiions. May. 1998). He also painted portraits o f Society founders O.C. Cash and Rupert Hall that are hung today at Humony Hall, the Society's headtpiarters. in Kenosha. IX^sconsin (Chord Busters. n.d.).

They shared the hoi with the M de of the Marsh quartet form Crowley. Louisiana, and the Side Street Ramblers from Dallas. Texas, who became IntemaHoml rhampng» in iq « (Masengnlg. 1 9 8 3 ). 45 competition, but before joining them, was the Endemacs. This group consisted of tenor. Doc Enmeier, Howard McAfee as lead; Harold DeShane as the baritone; and Orley McElhaney as bass. They used the prefixes of their collective last names to produce the

group's title. In 1940, O.C. Cash heard this group and even though they played

instruments, he invited them to perform as entertainment. The group did an act in "black face" with their accompanied songs (Kerr, 1989, July, pp. 3-4). Beyond this, nothing

further could be found on Enmeier's musical background, nor was any information available on Bob Holbrook's musical background.

Bobbie Greer started playing the ukulele, singing and dancing when he was five- years-old. His mother was an organist, and his father was in the oil business.

Consequently, they moved often with his father's business, and Bobbie was schooled in

Texas and Arkansas before ending up in Tulsa, Oklahoma. There, he became very involved with the music program at the Holy Family Catholic Church. He was a member of the choir and glee club and later became the director of the church choir from 1947 through 1963. In high school, he sang in both mixed and male choral ensembles and played the clarinet. He later joined the Tulsans and sang as a soloist in the community

(Greer, n.d.; Robert Greer, Musician, 1985). Later known as the "Singing Engineer," he wrote and performed in 12 radio shows weekly (Chord Busters 1941, n.d ).

Tom Masengale sang all through high school and beyond. After graduating from high school, he became a member of three men's glee clubs acquiring 15-18 years of solid vocal background before the Society began (Chord Busters 1941, n.d.; Tom M.

Masengale Bass, n.d ). ^ One glee club was at the University of Tulsa where, even though he was not taking classes, he was invited to sing by his many school chums who were enrolled. He joined the Tulsans, a semi-professional chorus that numbered over 100

^ He, along wiih Bob McCullough were listed in a voice recital in June, 1935. McCullough was a soloist, and Masengale sang in a male quartet (Piano and Voice Recital, 193Â 46 male voices. He also joined the Gleemen, a group of 60-70 mature male voices. As a 19- year-old bass, he found the acceptance of these older singers a boost to his self-esteem.

On his musical background, Masengale said, "1 am not a musician. 1 have never studied music. . . though 1 have never studied music it has been my good fortune to have sung under the direction of many qualified, even excellent musicians and have learned much from them" (Personal communications. Spring, 1996). Among the professionals of whom he speaks are Harry Evans who was the music director of the Tulsans Male Chorus and Robert Louis Carson, the director of the Gleemen (Kerr, 1988, pp. 45-46). Performance Practices

Once the Chord Busters formed and joined the Society, they were shepherded by many barbershoppers in and around the Tulsa area. Some of these included O.C. Cash,

Granger, O.P. Erickson, Puny Blevins, Hank Wright, Bob Chase, the Bartlesville Barflies and the Flat Foot Four. Their key to early success was encapsulated, however, in the person of Wade Hamilton. Hamilton was a staff musician at radio station WTUL and was the organist at the Ritz Theater. He had arranging skills as well as a keen ear. He became the quartet's coach, arranger and resident "slave driver" (Kerr, 1996, March, pp.

325-326). The Busters credited him as being responsible for building their work ethic

(Masengale, n.d.). Hamilton had a weekly radio show that was going to have a 13 week run. He had them singing on it with six songs each week for ten weeks (Chord busters

1941, n.d.). They never repeated a song and developed skills that helped them meet future musical challenges. He also arranged music for them. This was one of the areas that made them trend setters. Prior to this time, quartets learned their arrangements by trial and error using "fake-harmony” as the Four Harmonizers would call it. The Chord

Busters had all of their arrangements written for them, and while they could sing by ear, they elected to work first from the creations of Wade Hamilton.

47 After a year, Wade Hamilton decided to moved to California. The quartet found

another local talent in the person of Lemuel "Lem" Childers, a blind musician who was a

classical pianist, composer and piano teacher with an eclectic taste in music. He agreed

to pick up where Hamilton left off and helped the quaitet in coaching and by writing arrangements (Masengale, n.d.). O.P. Erickson, while not a musical collaborator, was a

great help to the quartet in managerial concerns. He arranged to have western outfits

provided for them and looked after them at performance venues. He was always

concerned that things went smoothly for them (Kerr, 1989-A, July, p. 10).

Their rendition of "Bye Bye Blues," complete with bell chords, was first thought

of by Bob Greer and worked out by the quartet. Final touches were made by Childers,

and the song soon became one of their all time biggest signature songs. Others that the

Chord Busters were well-known for included "I'll Take You home Again, Kathleen," "A

Garland of Old Fashion Roses/Dear Old Girl Medley" and "The Bees Are In the

Hive/Meet Me Tonight In Dreamland medley" (Kerr, 1996, March, p. 326).

The quartet had a strong work ethic as they rehearsed for the National competition

and beyond. According to Masengale (1943, May), they rehearsed four to five nights a

week for three to five hours each night. They listened to every quartet they could find

that had a better command than they of the barbershop style. They considered the

Bartlesville Barflies and the Flat Foot Four as "Masters of the Art."

Other areas where the Busters were innovators included their costumes, singing

more than two songs in competition, appearing on another chapter’s show, and choosing

not to defend their championship. Fast practices in concert attire were that of a theme.

Other quartets did not wear the exact same clothes; they wore individual outfits that contributed to four individuals who may happen to come together and break out into song. Consequently, some quartets had little in costuming at all. It did not enter into the scoring of the contest to a large degree, and the only earlier contests were the first two 48 national events. A costuming tradition had not yet been thoroughly entrenched, and the

Chord Busters, by having look-a-like attire, created a new norm for the Society and its quartets. ^ They were the first to, as Kerr put it (1996, March, p. 326), "get shirts alike."

Also, other quartets sang the same two songs in each round of competition. In 1941, the

Chord Busters sent the judging panel into a heated discussion as to what should be done when they changed one of their songs between the elimination round and the finals. The judges were actually considering disqualifying them but decided to allow it and, in fact, crowned them the new champions. Their notoriety as champions also had the Wichita,

Kansas Chapter wanting them to perform on their "Ladies Night," a term used at the time as what later became known as a parade of quartets. This was an unknown venture as no one knew whether the expense could be gathered through gate receipts. The Chord

Busters agreed to charter a flight for $80 and sing for expenses only. The four of them and the pilot piled into the four seat Beachcraft and flew it safely to Wichita. The

Chapter sold out the house and had to turn 300 people away. Word spread and other

Chapters soon began hiring quartets to sing on their Ladies Nights (Kerr, 1988, pp. 20-

21). Finally, the Chord Busters set, through their example, the idea that a champion quartet may not need to defend their title of champion. The Bartlesville Barflies continued to compete after they won in 1939. The Chord Busters, however, declined the invitation to re compete and instead attended the convention where they vowed to "sing up a storm." They established the notion that once a champion, always a champion. The

Elastic Four followed their example, and since no quartet had won a second time, the

Society decided to implement this as a rule in 1942 (Hicks, 1988, p. 30; Kerr, 1996, March, p. 326).

^ T b e costumes they won with in St. Louis were rented loag-tailed coats, mnmingstriped trousers, spats and derby hats from an Omaha costume house (Chord Busters 19^,n.d.). 49 The Chord Busters were a popular quartet and enjoyed a performance schedule that was reflective of this popularity and their own generosity. According to Kerr ( 1996,

March, p. 327), "If they ever turned down a mashed potato and peas' freebie, they weren't aware of it." The Chord Busters performed in and around Tulsa to places such as

Sapulpa, Muskogee, Camp Bragg and Greenleaf. They sang often for hospitals including the Veteran's Hospital in Muskogee and St. John's Hospital. Their largest audience was at Skelly Stadium with 15,000 in attendance. They were also broadcast live along with the Flat Foot Four and the Bartlesville Barflies at the unveiling of a new statue at the Will

Roger's Museum on August 15, 1941 (Kerr, 1988, pp. 21,24,25,32 & 1996, March, p.

327). When the Barflies were on a show with the Chord Busters, the two quartets would often sing afterward mixing up their foursomes as the "Bar Busters" or the "Chord Flies."

They did have a fee for performances that consisted of $35-$50 for local performances with $100 being the most they ever commanded for a performance. When traveling out of town, they waived their talent fee and performed for travel and hotel expenses along with some meals. As Lem Childers continued to be their active musical coach and arranger, they would split their fees five ways including him as a part of their quartet.

Anecdotal Accounts

There are many stories that tell of the Chord Busters' singing career. Once, the quartet was in the throws of a farewell party for Bob Greer in 1946. With Greer going to

California, they suddenly realized that if they were ever to make a recording, the following day would probably be their last opportuni^. The four singers and Lem

Childers met at a the KTUL radio station the next morning with little time to waste as

Greer was scheduled to leave at one o'clock in the afternoon. Since the war had made shellac unavailable, recordings were made on a soft plastic. The two issues of time and material combined required them to record nine songs with no playback possible and

5 0 with only one take per song. The first time they heard the three 78 rpm records was after production was completed (Kerr, 1996, March, pp. 327-328 & 1989-A, July, pp. 6-8).

Many times the quartet would go to Bishop's (Zaleteria where they would sing

until two or three o'clock in the morning. Then they would move out into the street and

continue to sing. According to Doc Enmeier (Kerr, 1989-A, July, pp. 16,25), "... we

didn't have such a big repertoire, I know we didn't. We'd just sing them over and over, as

long as we had anyone to listen. That's when we had a lot of fun." They would continue

to sing until the police came and told them to "quiet down."

In their interviews with Grady Kerr, Enmeier (1989-A, July, p. 24) and Masengale

( 1988, p. 4) spoke fondly of their chance meeting in a men's room during a symphony

concert. They knew they had a special blend that usually would come from years of

singing together. Tom Masengale said they were so taken up by the sound that they suddenly realized they had concert patrons asking them to quiet down as their sound was

"leaking back up to the stadium."

Of their most memorable performances, there are two that were mentioned as special. One night they dropped by a Tulsa hospital and started to sing. Soon many of the hospital staff and patients were in the room listening. The head nurse asked if they would sing for a "special patient" and soon brought in a man in a wheelchair who was outwardly tense. As they sang "I'll Take You Home Again, Kathleen," the man relaxed so much that he slumped down in his chair. Afterward, the nurse told them that the man had experienced an extreme nervous breakdown and had been in the hospital for a week while the staff unsuccessfully attempted to break through his state of tension. Their singing, according to the nurse, impacted the man tremendously, and the Chord Busters

Their rccoiding, entided. The Chord Busters National Chumions of 1941was produced for $1,500 for300 three-record sets. They sold them for $6.75 which included postage (Keir, 1996, Mareh. p327-328 & 1989, July, p 8). 51 found themselves a new perspective on performing (Kerr, 1996, March, p. 327). Another

memorable experience had to be singing for the Johnny Whalen Memorial Show, which was not only a tribute to the fallen tenor of the Flat Foot Four but also a fundraiser for his

family. On being an International Champion, Tom Masengale (Kerr, 1988, p. 69) had this

to say:

That medal means to me one thing. Go to an AIC meeting; everybody's wearing medals. We all got them the same way. On a given weekend, at a given place, at least according to the judges, we were better than some 50 other quartets that were there. That's true with every one of us. The standard of singing, the standard of judging, has nothing to do with it. We were the best, according to the judges. And we are all equal.

Aural Comparisons and Influences

The Chord Busters' selection on the recording was "Bye Bye Blues" (Best of

Barbershop, n.d.). They caught the immediate interest of the barbershop community

when they First sang this arrangement that was created cooperatively by themselves and Lemule Childers. Their sound was much more mellow in tone than that of their

predecessors, the Flat Foot Four. Doc Enmeier sang a light falsetto tenor that had less of an edge than that of Johnny Whalen. Bob Holbrook's lead sound was light to the point of sounding more like a harmony part and was sometimes overpowered by the rest of the quartet Greer's baritone voice competed with that of Holbrook's for balance and many times overpowered him as the baritone part was often heard above the lead. The loudest voice in this example seemed to be Tom Masengale's bass. He sang a solo at the beginning of the arrangement with a crooner's quality of high placement in the soft palate and a vibrato that was fast to the point of tremolo. Later in the chorus he continued to sing with a slight tremolo and balanced as the loudest voice throughout with the baritone next in loudness. The tenor balanced next and the lead part was the softest of the four.

This was the case until the bell chords were sung and all four voices became equal in 52 volume. These bell chords were what excited the barbershop audience as it was a new addition to quartet performance in contest. The quartet seemed to scoop into their phrase beginnings as a rule. This was the case especially during the bass solo where the other three singers would scoop into their pitches on an "oo" vowel. Also, the group seemed to accent the downbeats of measures. The meter of the chorus of “Bye, Bye Blues” was quadruple with an even division of the beat. The song was interpreted with a slightly out of tempo ballad style during the verse with a steady beat applied to the chorus. They sang the tag with a rather abrupt ending that would be held for twice the duration today.

1942, Elastic Four

Herman W. "Hermie" Struble (Tenor) d: November 9,1957;

Roy M. Frisby (Lead);

Timothy James "Jim" Doyle (Baritone) d: December 4,1952;

Frank H. Thome (Bass) d: October 26,1956

A young banker with the Harris Trust Company in Chicago, Illinois, was focused on landing a new account with the National Aluminate Corporation. This banker, Roy

Frisby, asked a friend to throw a dinner party in order to introduce him to the Vice-

President and Director of the corporation, Frank H. Thome. After hearing Frisby sing in the locker room of a local golf club, Thome extended an invitation to Frisby to join him at his home for dinner instead. After the dinner, they went into Thome's study along with two other guests and had a singing session. A few weeks later another invitation for dinner was sent by Thome and a singing session, once again, followed the meal. This time, the other guests were Herman W. "Hermie" Struble and Timothy James "Jim"

Doyle. After some singing, Thome turned toward Frisby and said, "Now I'm not really

53 interested in your damn bank, but I would like to form this quartet and really do something with it" (1942: The Elastic, n.d.; Snyder, 1968, p. 2). And so, on October 5,

1941, the fourth champion of the Barbershop Society, the Elastic Four began.

With gut string guitar accompaniment provided by Thome, the group sang for

Thome's college friend, Maurice "Molly" Reagan. ^ Reagan's reaction was that they should retire the instrument to the closet, which they promptly did ( 1942: The Elastic, n.d.; Frisby, n.d.; Snyder, 1968, pp. 2-3). In January, 1942 the newly formed quartet entered the Chicago Chapter's Marathon Contest where, due to illness, they only competed in seven of the thirteen competitive sessions. ^ It was at this contest that a friend of the group overheard someone say, "Boy, do these fellows have a range." The friend replied, "Their voices are elastic" (Thome, 1954, December). From these comments, the group named themselves the Elastic Four. After six months, the "Elastics" decided they would enter the National Quartet

Contest held in Grand Rapids, Michigan, during June of 1942. They rehearsed eight hours a week for the next several months in preparation. While an earlier account (Grand

Rapids Convention, 1942, September) stated that there were 60 quartets competing in the

1942 National Convention, a later source (Hicks, 1988, p. 94) reports the number of competing groups to be 54. There were, however, five rounds of preliminary competition at the convention that yielded three quartets from each round to make the top 15 quartets in the finals (Grand Rapids Convention, 1942, September). ^ The final round of competition was presented before a crowd of five thousand with the last 15 minutes being

^ Reagan later became the Society's first Contest and Judging Chaiiman from 1942 until 1948 and again during 1950-1951 (Hicks. 1988, p.ll3).

^ Accoiding to Thome (1954, December), he was the founder of this contest

^ Accoiding to Thome (1954, December), there was such a shortage of qualified judges that he and several others judged all the otheriDUids of compétition that they were not singing in themselves. 54 radio broadcast over the Mutual Network from the Civic Auditorium. It was during these last 15 minutes that the Elastic Four were crowned the 1942 National Champions of the Society.39

With their championship, the Elastics began a string of Chicago area quartet

champions; The Four Harmonizers won in 1943, the Misfits in 1945 and the Mid-States

Four in 1949. The Elastics continued to sing throughout their championship year at many

chapter meetings and parades.^ For nine years, they entertained around the country until

the death of their baritone, Jim Doyle, in December, 1952. Musical Background

Herman Struble was an outstanding vocalist and pianist (Herman W. Struble,

1957). His singing career did not start until age 18 when he sang bass in a choir. Three

years later, he started singing tenor and won scholarships at both DePaul and Valparaiso

Universities as a tenor soloist. He was a member of the American Opera Company for

three years (1942 National Quartet, n.d.). According to Thome (1943, March), Struble

could sing "D” above high "C" with a great deal of ease and possessed more than a three- octave range (1954, December).

Roy Frisby started in music at an early age. He was singing in church at age five, and at eight-years-old, he reportedly "sang all the war songs" from World War II (1942:

Elastic Four, n.d.; Baird, 1986, July/August). He studied voice at the Indianapolis

Conservatory of Music, University of Southern California and Northwestern University.

He made extra money as a professional singer while in high school and in college under

The men of the Elastic Fdut wen all origmally from Chicago with the exception of Roy Frisby who was a native of Iowa (Thome, 1943, March).

As the Society's membership continued to grow eastward from its Oklahoma beginning, the Elastic Four's location allowed them to perform nearly every weekend of their championship year from their tmme of Chicago (1942: The Elastic Fbur, n d.). 5 5 the name of "Roy Miller" (1942 National Quartet, n.d.; Baird, 1986, July/August).^i

Thome (1943, March) stated that while Frisby could sing high "C," they elected to have

him refrain from doing so due to the added strain on Struble to sing above him. Jim Doyle began singing as a church choir tenor at age 10. Possessing more than

a two-octave range, he spent two years as a tenor in the Trevette Quartet. He also sang

lead in a traveling vaudeville quartet called the Old Oak Four (1942: Elastic Four, n.d.;

1942 National Quartet, n.d.; Thome, 1943, March). According to Roy Frisby (Snyder,

1968, p. S), Doyle had good sight-reading abilities. Frank Thome played many instruments including comet, u-ombone, trap drums,

saxophone, clarinet, cello, B-flat baritone hom, mandolin, banjo, guitar, accordion, violin

and piano (Frank Thome, n.d.) He later became an authority in male chorus directing."*^

He possessed a two-octave range, sang E-flat above middle "C" as his high note and was

known as "a lyric bass" (Thome, 1943, March; 1954, December). His quarteting began in his high school days with the Plow City Four in Canton, Illinois (1942 National

Quartet, n.d.) He graduated from the University of Illinois in 1915 (1942: Elastic Fbur, n.d.). He later became a well-known barbershop arranger.

Performance Practices

In 1944, Carroll Adams asked Frank Thome to comment on how the Elastic Four rehearsed. Thome's reply (1944, November) came in the form of an article in the

Harmonizer. He first commented from the view of a judge. He made mention of the amount of visible anxiety he viewed from the competitors and offered his cure for this ailment. He said, "I feel sure that almost anyone can sing a lot better when he has the

Roy Pnsby went to U.S.C. in order to get his éducation and to sing as a soloist at Giauman's Theater (Snyder, 1968, p. 1).

^ Thome and friend, Mdly Reagan, created a musical act while in college called The Original DouUe-Cross,* wheic Theme fingered a mandolin but plucked a guitar held by Reagan who fingered it, while he picked the mandolin* drank Thome Society's, 1956, December). 56 complete confidence and satisfaction and relaxation that rehearsal after rehearsal after

rehearsal after rehearsal after rehearsal brings to the quartet." He referred to the Elastics

as enjoying the rehearsal process when he said, "... here is about the way the Elastics

rehearse and I might add that each of us thoroughly enjoys a good stiff rehearsal. It is

fun." They endeavored to start as early in the evening as possible for their families'

sake. Two regularly scheduled rehearsals a week were standard with a third meeting

worked into the week when possible. Most rehearsals occurred at Thome's home (Snyder,

1968, pp. 6,15). They were very organized as Thome would have it no other way. He

emphasized the importance of everyone in the group as well as their wives knowing

exactly which days, times, and locations their rehearsals were to take place. They would

most often begin by reviewing their older repertoire so as to maintain their performance

standards for those songs.

The first point Thome made on rehearsing new repertoire was to state their belief

that all arrangements should be written out prior to rehearsal. It is interesting to realize

that this was a revolutionary idea at the time. Most quartets did not have someone with

the musical training to write out the parts; nearly all of them sang by ear. Barbershop

quartet arrangements were literally products of woodshedding as a foursome, or passed

by rote from the arranger who had it committed to memory. Thome ( 1944, November) defended his predilection toward written arrangements when he said.

By writing out the music, however, considerable study can be given to an arrangement before the quartet meets, and once we have established our style of arrangement for a given number, we always have the record to refer to until, by constant repetition, we have memorized it We can go back any time and check our parts in case someone gets gummed up as sometimes happens in the best of regulated quartets. We save time and arguments.

57 Once the arrangement was written, Thom would either send it to Roy Frisby whose wife would play his part for him on the piano in advance of the rehearsal or they would begin afresh as a quartet Hermie Struble would play the entire arrangement on the piano, giving the group an understanding of the harmonic principles involved. The following is Thome's description of how they would then proceed (1944, November):

. . . Then, Herman plays the first eight bars for Roy, our lead, and works with him until he is familiar with his part. Herman then sings the tenor [part] with the lead for eight bars, after which he plays Jim Doyle's baritone part for the same eight bars and once Jim has his part fairly well in mind the three of them work on that eight bars until they have a good feel of the harmony and rhythm. Meanwhile, the bass has been watching his part and generally can sing it by the time the trio can do a reasonably good job with the first eight bars. The four parts are then sung together several times until we have that eight bars almost memorized.

Then we proceed to the next eight bars and do the same thing all over again, and once we have leamed the second eight bars fairly well we go back to the beginning and put the sixteen bars together. The same procedure is followed until we have worked our way through the entire number. We treat the verse and chorus as though they were separate numbers, however, so that when we start work on the chorus we generally return only to the first eight bars of the choms, rather than begin each time at the start of the verse.

Thome further explained that accuracy of pitches and rhythms over "blend and expression" was the focus when they were starting a new piece. Tempi were always slower than performance levels while leaming and were brought up to performance levels as memorization came into place. Their next step was to interpret the music by way of attention to phrasing and planning all breaths. They would also work, during this phase of preparation, on their pronunciation of words. Once they obtained performance tempo, they moved from Thome's study to his kitchen where he claimed they could hear themselves better. Here, they worked on their blend. Many times they would choose to change the key of the piece to better suit their vocal ranges or corrections and

5 8 improvements in the arrangement were made. In any case, these were all written on their

musical score for later reference. According to Roy Frisby (Snyder, 1968, p. 3),

Frank was a great stickler for sort of painting the harmony with a brush, you might say, and he allowed the lead voice to be, as he said, "Just a silver thread above the other three," so that you could follow the melody, but at the same time appreciate the harmony.

They would work hard on a small phrase for hours at a time. Such was their desire for detail. Thome also wrote (1944, November), "... We are our most severe

critics and many times, even when we are so fortunate as to receive compliments, we are

secretly cussing ourselves in dissatisfaction." According to Frisby (Snyder, 1968, pp. 2-

3), they used tape recording equipment to remove any questions as to who may be in error from a pitch standpoint as well as that of balance within the quartet.^

Frank Thome was the arranger of all the Elastic Four's publicly performed arrangements (W. Haeger, personal communications, October, 1999). With the exception of the first piece they rehearsed with Molly Reagan, "Bright Was the Night," every piece they sang in performance was a Frank Thome creation (Snyder, 1968, p. 13). Roy Frisby stated that more than 100 arrangements were penned by Thome during the months that followed October 5,1941 (Frisby, n.d.). His arrangement of "Back Home In Indiana" was especially written for a performance before the new members of the US. Supreme

Court, one of whom was from Indiana. "I'm Dreaming of a White Christmas” was arranged fora performance for New York composers during WW 11 as was "Wait for Me

Mary."

Later, Thome enlisted the services of Kathryn "KC" Cunningham. Cunningham, along with Thome's guidance, would make travel arrangements for the group and would

^ Ray Frisby, in his interview with Dcmn Snyder (1968, p. 2,3,4,11), referred to the term "lone weights" as an apparent reference to tonal production as it applied to balance.

59 prepare and send rehearsal schedules, travel schedules, and travel documents that would include what to pack and what to wear while traveling. Rehearsals would be preceded by a mailing of photostat copies of the music to be sung (Snyder, 1968, p. S). The other three men of The Elastic Four had nothing but their own performance to worry about (Snyder, 1968, p. 8). The earlier days of the quartet were funded by Thome personally

(Snyder, 1968, pp. 18-19).

Frank Thome, again according to Frisby (Snyder, 1968, pp. 18-19), was the boss.

He said, "... when you decided to be a member of the team, well then you had to do what the manager said."** On performance weekends, he would tell the others how long they had to stay out and when to go to bed in order to be at the top of their performance level (Snyder, 1968, p. 22). Even with what may appear to be a rough existence together, the men of the Elastics were dedicated and got along quite well.

Much to the disapproval of many of their fellow competitors in 1942, the Elastics appeared in sport coats and slacks (1942 National Quartet Champions, n.d.; Baird, 1986,

July/August). They also had a "Gay '90s uniform" and had purchased hats for $80 a piece, which at that time was very expensive, but Thome said they needed them. They also had an outfit that cost $1,200 for the lot. This was at a time when that amount of money was an extravagant expense (Snyder, 1968, pp. 21-22).

They did many charitable performances through the course of their career.

During June, 1944, they appeared on the 5th War Bond Rally that netted $8,156,000 for the war effort (Elastics Help Sell, 1944, September). According to Roy Frisby (Snyder,

1968, p. 8), they made the quartet a"... self-liquidating hobby We just wanted to make sure the hobby didn't cost each of us personally." When their bank account would have a surplus, they would take the money and fund their expenses as they made

** Once, while Bisby was in England wofidng on an aibiualion case, Thome sent regular cable messages to let him know how they were going to be in Omaha and how he was going to adaplhis schedule to confcnn to Thome's plans. 60 appearances for Smith College, the Infantile Paralysis Fund or the Home for Crippled

Children. According to Frisby, "We never divided any money but used it to advance the cause" (Baird, 1986, July/August). According to Frank Thome (1954, December), "We sang for money, marbles or chalk and 1 remember we sang eleven days in a row and our gross income was $10. We ended up our first year with great financial success, having netted $4.05 over our expenses."

In the area of collaborations with other famous people, the quartet appeared with several. The Elastics performed on the same program as Bing Crosby even though they never met. Crosby's performance was originated in Hollywood while the Elastic Four's performance on the Kraft Music Hall program was aired from Chicago (Segue One,

1989, March/April). They also met and performed for a special retirement party for John

T. McKutchen, a political cartoonist for the Chicago Tribune (Snyder, 1968, pp. 10,15).

They were once on a broadcast with a young singer named Perry Como (Snyder, 1968, pp. 22,25; 1942: The Elastic Four, n.d.) and performed with or for Carrie Jacobs Bond,

Dorothy Shay, Walt Disney and Hoagy Carmichael.'’^ They did special performances for the General Motors Company, the Pentagon during W W 11 and a dedication ceremony for the B-29 bomber in Wichita, Kansas (1942: The Elastic Four, n.d.).

The Elastic Four was credited as catching the interest of a younger generation who, unlike the vaudeville generation before it, had no tradition of quarteting (1942: The

Elastic Four, n.d.). The Elastic Four officially retired in 1950 after which Jim Doyle filled in as bass of the Four Harmonizers, the 1943 Champions. The Elastics would still perform at barbershop events until Doyle's passing in December, 1952 (1942: The Elastic Four, n.d.).

^ Came Jacobs Bond was the composer o f T h e End of a Perfect Day" (1942: The Elastic Four, ad.). 61 Anecdotal Accounts

With no returned questionnaire from the sole surviving member of the Elastic

Four and not many printed anecdotal accounts, this section is brief. On the subjects of Society commitment and travel, Roy Frisby gives an account of two performance offers and how they dealt with them (Snyder, 1968, pp. 19-20):

For example, I won’t mention the corporation involved, but one of America’s largest corporations had a president who was retiring, and they asked the president what he wanted for his retirement present. The directors were going to fete him and so on. Well, he said he’d like to have the Elastic Four come down to New York and sing for him. So they contacted Frank, and Frank said, “No, we can’t do that.’’ Well, this would have been a fee of $10CX) or $ 1500, minimum, for us. Frank said, “1 think it would be much better for the Society to help the Wichita Chapter ’ So we went down there. I think we got $12 over our fare to do that. It wasn’t enough to dry-clean our suits when we got back. But Frank had the better interests of the Society at heart, and he felt that was more important than the retirement of the president of the corporation.

However, they didn’t give up on the idea. They said, “Well, if you won’t come out to New York, how’d it be if we make a later date?” And they came out on two special cars on the New York Central, they chartered the dining room at the Blackstone Hotel, we had a lovely dinner, and then they closed the doors, dismissed the waiters, and said, “Now, sing.” And we sang (and incidentally, Thome said we’d be happy to do this for just making a $50 honorarium). And that evening. 1 recall, the general counsel of the company — who, by the way, was a partner of the late Foster Dulles — got up on the table and danced the jig. It was a great evening. And when we came to go, we thought that we would receive perhaps $50 from one of the men who was sponsoring it. (We knew one of the men in Chicago who was with the organization.) They handed us a roll of bills, and each one of the men had donated $50 for the evening. It was enough to finance our next trip to New York, 1 can assure you.

Both Thome and Frisby give credit to winning the Society's top quartet honor as their collective and individual lifetime highlights. (Frisby, n.d.; Thome, 1943, March).

According to long time barbershopper Warren "Buzz" Haeger (Personal communications,

62 August, 1999), the deaths of Jimmy Doyle and Frank Thome were the saddest occasions

for the surviving members to endure. Aural Comparisons and Influences

With the Elastic Four came some real changes in the style of barbershop singing.

Their sound was more homogenous in concept. That is to say the ensemble was together and well rehearsed and the balance was more consistent than their predecessors. In the

example of "Indiana" ("Back Home Again In Indiana") (Best of Barbershop, n.d ), the

listener found an excellent display of technique, yet style was maintained.

Herman Struble's tenor sound was very similar to that of Doc Enmeier's model the

previous year. The latter singer, however, possessed a falsetto sound that was produced

with more space and was therefore more able to blend while balancing louder to the lead

than in the Chord Busters. Jim Doyle's baritone sound was much less dominant in the

Elastics than Greer's strong position as lead. Doyle’s voice was nearly transparent as he

sang with but few exceptions, which also adds to the overall ensemble of the Elastics.

Frank Thome was said to have a strong bass voice, but as 1 listened, he seemed to take

much less of a dominant role in his quartet than did Tom Masengale of the Chord

Busters. 1 suspect that the recording itself does not do justice to the overall size of their sound. While the standard for most quartets today is for a strong lead/bass dominance in the balance of the quartet, the Elastics had a strong lead presence with the other three voices being somewhat equal. This allowed the tenor to become slightly more dominant, due to the tessitura of his part, in relationship to the other three harmony parts. Due to this, the tenor seemed dominant to the listener's ear. Roy Frisby, as mentioned earlier, was the dominant voice in the quartet. He possessed a tremolo that was often removed to create straight, unadorned chords. His sound had a quality that allowed him to be heard above the rest even when he appeared to be singing in equal balance. This was a major difference between the Elastic Four and the Chord Busters. 63 The performance of "Indiana" was one of steady beat at the beginning of phrases with a slight ritardando as they approached the end of each phrase. Their pitch was good. Some scooping into the pitch at the beginning of phrases was apparent but not nearly as much as in the Chord Busters a year earlier. This quartet sang with more straight chords that were allowed to "ring" more due to their tempered use of vibrato. They seemed to avoid chord worship as they interpreted the lyrics of the song with more subtle word emphasis than in previous groups. They did add an in-phrase masculine caesura near the end of the performance after the words "dream about..." and again after "the moonlight o n This affect seemed abrupt and without musical reason other than for performance variety. Their articulation was together and natural sounding with a legato line throughout The exception to this was their occasional treatment of "s" sounds that were less sibilant than normal conversational treatments would mandate and more slurred as with the addition of an "h" to create an "sh" sound. This occurred more in the lead voice than with the entire quartet As with the Chord Busters, the tag was abruptly ended.

On the topic of their possible influence on other quartets, Roy Frisby, in his history of the Elastic Four said:

The Elastic Four would like to be remembered as a quartet whose pole star was the furtherance of the interests of the Society As the Society enlarges the scope of its influence, it may very well be that some of Uie contributions of the older quartets will become more useful.

^ According to Baker (1947. p. 44). the definitioa of caesura (Cesdn) is: T he dividing line between two melodic and fbythnucal pinses within a period called nuucu/ine Ofyiffflintine according as it occurs after a strong or weak beat” 64 1943, Four Harmonizers

Charles F. Schwab (Tenor) d: August 2,1955;

Leo F. Ives (Lead) d: December 28,1976;

Harold King Deaver "Huck" Sinclair (Baritone) d: January 3,1994; Fred W. Stein (Bass) d: November 19, 1949

The fifth champion of the Barbershop Society, the Four Harmonizers, had its beginning in 1926 with Joe Renzon, tenor; Bob Johnstone, lead; Marty Hora, baritone; and Fred W. Stein, bass. They sang, among other places, on the Drake Hotel radio station, WDAP as well as WEBH from the Edgewater Beach Hotel. In 1928, Johnstone left the quartet, and the remaining three put an ad in the Chicago Tribune asking for " a lead singer in a (ake-harmony quartette” (L. Ives, personal communications. May, 1962;

Kerr, 1993, April, p. 1). Leo F. Ives answered the advertisement and became their new lead. In 1940, they met Cy Peiidns who, at that time, was the vice-president of the

Chicago Chapter. Perkins invited them to attend his chapter meeting the following

Friday. They had such a positive experience having been received so well by these men.

As a result, the quartet was inspired to join the Society and the Chapter. They entered the 1941 national contest and qualified to sing for the finals.'^

March or April of 1942 brought some changes as Joe Renzon and Marty Hora dropped from the quartet and were replaced by tenor, Charles F. Schwab and baritone, Ed

Young. A few months later, while at the National Contest in Grand Rapids, Michigan, the Four Harmonizers won their preliminary round but lost their competitive edge during

^ They had so little time to prepare for this contest that they had to improvise with their costume much as they did with their music. According to Leo Ives (Personal communications. May, t962)”Fred!s wife made us up four nightgowns and nightcaps, and we walked on stage bare footed with Matty carrying a candle." 6 5 the finals.^ The following year they again had a personnel change with Harold King

Deaver "Huck" Sinclair replacing Young on the baritone part (Watson, 1991, January, p.

10). It was late March or early April and the quartet was faced once again with little time

to prepare for the National Contest to be held in their home town of Chicago. They had but 5-6 songs in their repertoire.'® The Four Harmonizers won the two day event,* taking top honors over the field of 48 competing quartets to become the Society's 1943,

National Quartet Champion (Baird, 1986, March/April; L. Ives, personal

communications. May, 1962).^*

In November, 1949, Fred Stein passed away and the remaining trio found Jim

Doyle, former baritone of the Eastic Four, prepared to sing bass. This rendition of the

quartet continued to sing for much of the next three years until Doyle's death in

December, 1952. The surviving members never re-organized (L. Ives, personal communications. May, 1962; Sinclair, circa 1976, p. 5; Sinclair, 1989, June; Watson,

1991, January, pp. 19-20).

Musical Background

Charles Schwab was known as an "ear man" (Ives, 1955, October/November).

He joined the Chicago No. 1 Chapter in the spring of 1942. Prior to that, he sang for

Huck Sinclair, who was in the audience, thought they had won the contest prior to the official announcement to the contrary (Watson, 1991, January, p. 10).

According to Leo Ives (Personal communications. May, 1962), "In the next year or two we had to really get busy and leam a flock of new songs. .. some of them we learned between towns on a train, and some of them going up and down in elevators."

* The competition took place at the Medina Temple in Chicago, Illinois (Sinclair, 1989, June). Their prize at the time was a picture and $50 in prize money (Watson, 1991, January, p .ll).

At the time of winning the National Chan?ionship, the membership of the Four Harmonizers consisted of ChaMes Schwab, sigterintendent of a printing plant; Leo Ives, a war plant group supervisor, who later woriced as a printing press machinist; Huck Sinclair, who worked for the Atcheson, Topeka and Sanu Fe Railroad; and Fred Stein, who was in the lighting flxnue business (Kerr, 1991, June, p.8; Four Harmonizers.. .Chicago, 1944). 6 6 seven years in a quartet named The Music Box Four. He also sang baritone in a trio

along with his wife. He knew little of the technical aspects of music (Four

Harmonizers. . . Chicago, 1944; L. Ives, personal communications. May, 1962).

Leo Ives sang in a quartet during the mid-1930's that would perform at minstrel

shows in the Chicago area. He also sang as a soloist around the same time while he was

out of work. According to Gary Ives (Kerr, 1991, June-A, pp. 9,12), "He could never

read music.. he was probably a good memorizer. His repertoire of songs would fill a

book ten-feet tall, probably. He had a tremendous memory for songs." Ives was also a

coach and had worked with the Chordettes while they were getting started in Sheboygan,

Wisconsin.^ Leo Ives was also a charter member of the Society's Chicago No. 1 Chapter

(Kerr, 1991, June-A, p. 8).

According to Louise Sinclair (Personal communications, summer, 1999), Huck

Sinclair did not play an instrument. His father was a band director who wrote and arranged music for publication (Watson, 1991, January, p. 25). He claimed to have never been without a quartet though. While he was young, he would woodshed church hymns with his mother and two sisters (Watson, 1991, January, pp. 4,7). While in high school, he sang tenor in a quartet, octet and chorus (Four Harmonizers.. . Chicago, 1944).

When he was in college, he was part of a trio (Sinclair, circa 1976, pp. 1-2). He could not read music and, according to him (Watson, 1991, January, P. 10), neither could any of the men in the Four Harmonizers.^ Prior to joining the Four Harmonizers in 1921, Huck formed a quartet called the Capitol City Four (Watson, 1991, January, p. 1) from the co-

^ He actually filled in for one of the Gioideties in a peifonnance because she was too ill to sing (Ken, 1991, June, p.l2).

^ Even without reading skills, Sinclair beard a street quartet sing the song "After Dark" and lemembered it well enough to sing all four parts to other bariiershoppers. This song is part of the regular repertoire of most barbershop quartet singers today and is published by the Society (Sinclair, circa 1976, p3; Watson. 1991, January, p.25). 67 habitants of his boarding house in Topeka, Kansas.^ Later he sang with a quartet comprised of members of the Chicago Symphonic Choir^ with himself as baritone (Sinclair, circa 1976, p. 2).* In 1939, he sang baritone in the Railroad Four quartet.^ Bass Fred Stein grew up in an area and time where there was a quartet on nearly every street comer. His singing career started at the age of three. During the eighth grade he received an award for the best alto. Stein was a bass at seventeen and was already singing in quartets by that time. Over an eight year period, he sang on the vaudeville circuit in several quartets such as the Empress Four, Empress Comedy Four, Variety Four and the Troy Comedy Four who around 1912 used to sing at the "Black Cat

Cafe" on the Barbery Coast in San Francisco (Four Harmonizers. . . Chicago, 1944; L.

Ives, personal communications. May, 1962).^ He also knew nothing about music but was known by many and described by Leo Ives as "... the best fake harmony bass 1 have ever heard - or sung with."

Performance Practices

The returned questionnaire by Mrs. Louise S. Sinclair proved to be invaluable in this research.^ Huck Sinclair on his quartet's musical training said, "We didn't know music ..." and that, consequently, they learned all of their repertoire by ear (Watson,

^ T h is quartet consisted of tenor, Archie Wilkerson; lead. Bud Neal; baritone, Huck Sinclair; and bass. Trim Trimble.

^ The choir would perform regularly with the Chicago Symphony under the direction of Dr. Stock.

^ Other members of this group were Earl Chambers as tenor; tenor soloist for the choir, Dick Sorenson on lead; and bass, Harold Baxter.

^ "Dinty" Moore sang tenor while Chet Warfel and Doc Piper sang lead and bass respectively.

^ There is a discrepancy in reports as to whether be sang in the Avon Comedy Four (Sinclair. 1989, June 6) or the Troy Comedy Pour (Four Harmonizers.. Chicago, 1944). The earlier account may warrant ttKxe credibility as it was closer to the time of events reported and may, as a result, be more factual.

^ L.S. Sinclair is Huck Sinclair's widow. 6 8 1991, January, p. 6). On Charles Schwab and the Harmonizers, Leo Ives (Personal

communications. May, 1962) said.

Technically, he [Schwab] knew nothing about music. Nor did any of the other Harmonizers, except what would occasionally rub off in our contacts with people who did know music. In later years, we were often introduced as the "World's Most Musically Illiterate Quartet” That was probably an accurate appraisal.

Charles Schwab's vocal production technique was that of falsetto. Leo Ives

(Personal communications. May, 1962) said, "There was something about the quality of

Chuck's voice that made him sound about two notes higher than he was actually singing.

He could hang up there around C or B flat all evening without any apparent effort.”

According to Gary Ives (Kerr, 1991, June, p. 20) the Harmonizers tended to scoop

into pitches much of the time. He referred to their singing as "spirited." In reference to

his father, Leo Ives, he said, ” ... He believed in milking chords very much. He'd

always say if we had a brothers’ quartet we'd call ourselves the 'Farmer Four' because we

milked those chords." He also reported that the Four Harmonizers rehearsed often with

one or two sessions a week at his family's home plus other sessions that he may not have

known about as a young teen in his father's house. According to Herb Ives (Kerr, 1993,

April, p. 2), Fred Stein could play piano by ear. If he heard it, he could play it in the key

of F sharp until Leo Ives learned the melody. After that they would start to

spontaneously arrange their parts. Working on blend and balance came next. Their

individual voice qualities were distinctive, yet they were still able to blend them into a composite homogenous sound (Kerr, 1993, April, P. 3). On vocal expression. Mo Rector

was credited with saying the Harmonizers were a quartet that valued making expressive

music more than trying to impress people (Kerr, 1991, June-A, p. 23).<®

^ Mo Rector was the bass of the 19SB Champion Quaitet, Gaynoles and the 1969 Champion, M aik IV. 69 On the subject of general performance practices, Huck Sinclair (Circa 1976, p. 8)

had this to say.

We figured that if we sang a tune alike twice, it was ready for our repertoire. If he took a fancy to a baritone note, Fred Stein, our bass would just take it away from me and 1 would have to land elsewhere. He roamed the length of the scale. Fred was always way ahead, sometimes an hour, for a singing date, like a horse champing at the bit. Our tenor, Charlie Schwab, never wanted to warm up, so we had to do a lot of singing "cold" as they say. Leo, our lead, could on occasion go on and on, ad infinitum, introducing a song with finally the short title of "You Dear."

Many of their songs, thought to be signature songs, were learned long after

winning the championship such as "A Minor Dream of Home" (Kerr, 1993, April, p. 2).

Other songs that were known as signature songs for the Four Harmonizers include:

"Rollin'Home," "In a Shanty in Old Shanty Town," "Oh Suzanna Dust Off That Old

Piana" and "The Old Songs and Shine Medley" (W. Haeger & F. Haynes, personal communications, July, 1999 & summer, 1998). They eschewed written arrangements as

they preferred to make their own. For them, the creation of their own arrangement was a large part of their motivation (L Sinclair, personal communications, August, 1999).

Leo Ives wrote an article for the Harmonizer on the topic of how they rehearsed (Ives, 1945, May). In the article, he made many comparisons between themselves and the Elastic Four. They were not the musicians, in a formal sense, that the Elastics were.

They were ear singers with no formal training whatsoever. Even the melody had to be passed by rote unless Fred Stein knew it and would then be able to play it on the piano, again, by ear. They would sing a short section of music. "... probably about eight bars of that stuff they call 'music,' according to Ives. He would sing the melody and the others would immediately start to "extemporize or fake their harmony parts for the first few phrases." If no one had a complaint, they would then continue on to the next section.

Once in a while a quartet member would want to sing his part against the lead in order to

70 map out a certain harmonic preference in which the others could join in. As with the

Elastic Four, they would work on a section of music for hours at a time in order to get the

right sound or, in their case, arrangement. When they did get a section to sound just

right, they would shake hands around the quartet. Their philosophy was that "nobody's

ideas are turned down until they've been tried." Ives also remarked on their rehearsal efficiency by saying, "I'm practically certain that the Elastics could leam three or four

new ones [songs] by their system while we are learning one by our catch-as-catch can

method." Ives went on to remark on the "feel" for the music that an ear quartet possesses

over that of a "educated" quartet that has to sing a cappella several times before they "get

the best out of the close ones.” Easier songs were worked up to performance level in two

or three rehearsals while more difficult song phrases could require six rehearsals.

In the area of coaching, the Harmonizers were a self coached group for the most

part. Occasionally, someone such as Cy Perkins or Molly Reagan would visit the

Chicago area and give advice. They would not solicit coaching as a general rule (Kerr,

1993, April, p. 4).

In 1946, the quartet's only recording was advertised in the Harmonizer (Harmony

Records, 1946, May). As a point of interest, they pressed I,0(X) sets of three records with a song on each side for a total of six songs. They were shipped anywhere in the United States for $5.68, postage included. As for performance fees, they would do a show anywhere in Michigan for $120. This was an all-inclusive fee that covered their performance fee as well as expenses (Kerr, 1993, April, p. 5).

Anecdotal Accounts

One December weekend the Harmonizers were traveling by train. In the same lounge car were the men of the Misfits. Art Bielan, Misfits ' lead, saw the Manager of the

Chicago Cubs baseball team, Charlie Grimm, in the car and shouted: "I see the damn

Cubs lost again today." Grimm jumped to his feet to find out who made such a comment 71 and as Louise Sinclair (Personal communications, August, 1999) put it, "From then on the whole lounge joined in on the fun and the two quartets put on quite a show before

reaching Chicago." Shortly after, Grimm had to host all of the national league managers

and as a result of this meeting, hired the Harmonizers to sing. He later hired the Misfits

to perform at a party celebrating his team's winning the National League pennant

(Sinclair, circa 1976, p. 6).

Sometime in 1944 or 1945, the Harmonizers were performing at the Chicago

Civic Opera House with all of the Ives children in attendance and seated in the front row. Upon their introduction and entrance on to the huge stage, the audience was delighted as

a six-year-old Norman Ives yelled out, "That's my Daddy" (A. Ives, personal

communications, September, 1998). Alan Ives also remembered that two famous

quartets, The Chordettes and the Buffalo Bills, came to their house for "sessions" with

Dad.

Once, the foursome was to perform for over 100,000 people at an annual event

called "Sing out at Soldiers Field." Louise Sinclair, Huck’s wife, traveled all the way

from Colorado to take in the show. Upon arriving, she found that they had just stepped

from the stage after singing (L. Sinclair, personal communications, August, 1999).

On the day of their winning, the Harmonizers had a very close call. In a previous

round of competition, the group had been given little harmonicas and the reed must have

dried out on the one Leo Ives took with him for the finals. He tried to blow the pitch, but

nothing came out. He then blew the next lowest pitch and the quartet sang a half step

lower than rehearsed. Hack Sinclair was so incensed, he quit the quartet in the wings.

The Hannonizers were then announced as the 1943 winners, and Sinclair hastily re­ joined the quartet on the spot (Sinclair, circa 1976, p. 4)

72 Aural Comparisons and Influences

The Four Harmonizers' "Oh Suzanna, Dust Off That Old Pianna" (Best of

Barbershop, n.d.) is a fine example of this quartet's approach to varying types of songs since this piece started out as an up-tune and had several ballad sections interspersed

throughout The quartet seemed to sing as two duels with the upper two voices performing in consort with each other and the lower voices combining in similar fashion.

Each pair seemed to be more together as an ensemble than the foursome as a whole. The

lead and tenor articulated together as did the bass and baritone; however, the lower duet

seemed to be often behind the upper voices in developing both the intonation and the tone

of their voices. As compared to the Elastic Four of the previous year, the Harmonizers

were ear singers whose need to react to the harmony around them caused the ensemble of

the overall quartet to remain in a state of flux whereas the Elastics were singing their arrangement with more ensemble accuracy.

Schwab's tenor voice was a falsetto generated vocal production similar to that of

Herman Struble but brighter in timbre. Leo Ives' lead quality was also brighter than his counterpart in the champion before him. His was a forward focused production that was mostly devoid of vibrato. I say mostly because his sound would start to warm into a vibrato just as he would end a phrase or phrase fragment which in the case of this quartet was often. He would segment phrases even without the rest of the quartet with an extra breath producing a somewhat choppy effect. Huck Sinclair sang with an almost transparent baritone that was very similar to that of Jim Doyle's. He would occasionally sing longer than the rest of his quartet leaving his sound to be heard while the others breathed. He and Fred Stein sang slightly behind the upper voices. However, this duo sang well together. Stein possessed a round bass sound that was readily heard but not overly bright On the contrary, his was a mellow sound that was third in balance behind the lead and tenor. 73 The quartet sang with enthusiastic energy during this up-tune. The slower sections, especially the relative minor portions, displayed their tendency to scoop into pitches though they did not scoop as much in the faster sections. The quartet's articulation was not as clear as their predecessors, but this may have been due to the two-duet performance that may have been specific to this performance. Sinclair's solo during the solfeggio lyrics was followed by several quick lines. The second of these was ahead of the beat and very difficult to understand.

This quartet was the first champion to sing with as much of the straight tone that is most conducive to the barbershop production of expanded sound. Their short phrasing somewhat negated this effect but they possibly helped to set a trend fora straighter tone that was sans vibrato. The musical line in this piece was obtained through many bass and a few lead pick up notes that carried the sound through the breathing of the other three.

Their vowels were well matched as was their tuning as an ensemble. When they scooped into pitch, they did it more as an ensemble than as individuals.

Mo Rector of the Gaynotes referred to Leo Ives and the rest of the Four

Harmonizers when he introduced Gary Ives to the rest of the Gaynotes saying, "His daddy was one of my heroes" (Kerr, 1991, June, p. 26). Huck Sinclair had a strong opinion as to the role chorus singing should or, in this case, should not play in the

Society. In his interview with Watson (1991, January, p. 21), he spoke disparagingly toward choruses in the Society. He spoke of the Society's name being that of

"Barbershop Quartet Singing" and that the Society's aim was to encourage the small ensemble singing rather than the large choruses of today.

74 1944, Harmony Halls Edwin J. "Ed" Gaikema (Tenor) d: July 27, 1991;

Robert D. "Bob" Hazenberg (Lead) d: March 29, 1968;

Raymond W. "Curly" Hall (Baritone) d: September 20,1963;

Gordon Hall(Bass) d: April 25,1994

The Society's sixth quartet champion, the Harmony Halls, was an offshoot of the

Hall family of Grand Rapids, Michigan. When the Michigan Chapter No. 4 chartered

with the Society, there were several of the six Hall brothers in membership. They started a quartet called the Hall Brothers. This foursome included John "Slim" Peterson singing tenor, Harold Hall on lead, Raymond W. "Curly" Hal! performing baritone duties and

Gordon Hall singing bass. The tenor assignment changed to Frank Clark, and this second version of the Hall Brothers competed in the Society's 1942 International Contest held in their home town of Grand Rapids.^^ After the contest. Curly and Gordon wanted to approach their singing more seriously and paired with tenor singer Edwin J. "Ed"

Gaikema and Robert D. "Bob" Hazenberg who sang the lead part. These four men from

Grand Rapids, Michigan, organized on March 10,1943, and called their newly formed group the Harmony Halls (Bennett, 1994, November; Edwin J. Gaikema, 1985, July;

Snyder, 1970, June, p. 5; Tribute to Harmony Halls, 1994).

In March, 1943, the quartet competed for the first time at the Michigan District

Quartet Contest in Muskegon and won. Later, they competed in the Society's 1943

International Contest where they placed fifth. The following year, the field of competing quartets at the International Contest was the largest to date with 58 groups vying for the

G aik's invoivement seems somewhat tenuous as the sole account of his involvement was from an interview with Ed Gaikema some 26 years after the fact. Gaikema said. "Andaman by the name of Frank Oark, whom I never knew, sang tenor with them" (Snyder, 1970. June). The other account of Peterson being the tenor was 1-2 years after the fact and may be mote accurate (Harmony Halls. 1944. May). 75 gold medal.^ The Harmony Hails triumphed and were ranked first in the Detroit hosted contest® to become the Society's 1944 International Champion Quartet.® The Quartet remained active up to the death of Ray "Curly" Hall in 1963 (Snyder, 1970, June, p. 11;

Tribute to Harmony Halls, 1994).

Musical Background

With all four members of the Harmony Halls being deceased, little is known of the musical background of these men. The Hall family did have a history of music. The brothers' grandfather sang bass in a quartet that sang during the presidency of Abraham

Lincoln. Their father. Pop Hall, was a chorister and quartet singer who passed the love of harmony onto his sons (Harmony Halls' Origin, 1988, November/December).

Ed Gaikema sang in local choirs and quartets and was on the Board of Directors of the Schubert Club, a part of the Michigan Male Chorus Association. He, along with

Roscoe Bennett, helped to host the 1940 and 1942 Michigan State Barbershop Contest.

This was before he had become a Society member. He sang in his church choir along with Bob Hazenberg who also sang tenor. The two of them sang in church quartets and performed mostly a cappella music and had a special affection for spirituals (Snyder,

1970, June, pp. 2-3). Hazenberg also sang as a church soloist and had some limited piano

® The 1944 Society Coolest brought an interesting set of circumstances to the judging panel. The system used by the judges was one of subtracting from a perfect score. One quartet sang only 90 seconds while another group was on stage for over 6 minutes. The judging panel caucused and decided to adjust the scores mathematically so a short singing quartet did not stand to profit by performing for less time (Sinclair, circa 1976).

® 1944 marked admission of the first Canadian Chapter, The Windsor Chapter, into the Society making it a truly imematiooal organization and thus making the Harmony Halls the first "truly International Champions'" (Tribute to Harmony Halls, 1994). The contest also contained the first Canadian quartet to compete, the Maple Leaf Four (Hicks, 1968, p.II4; Snyder, 1970, June, pp.9-10).

® At that time the men of the Harmony Halls were Ed Gaikema, partner in a wholesale auto parts company; Bob Hazenberg, cost accountant at Atwood Brass Company; Ray "Curiy" Hall, owner of a service station and garage; and Gordon Hall, operator of a heating engineering business (Harmony IMIs. 1944, May). 76 skills (Snyder, 1970, June, p. 6). All that could be found about Curly Hall was that he was enthusiastic as a quartet member and was coined, *... the 'singingest' bari in the whole organization” (Harmony Halls, 1944, May). Gordon Hall had been singing since he was small and had become a rich sounding bass. He also was a featured soloist with a touring choir known as the Harold Einecke A capella Choir. Performance Practices

Early on, the quartet sang for any and everybody, which, according to Diekema

(Snyder, 1970, June, p. 7), "... would be the PTA's, and the lodges, and the other groups, and the church groups, and the what-have-you. We grabbed every opportunity we could to sing. Any place we could sing, we sang.” They would enter the stage singing. This was a performance trait that evolved from an initial idea of taking the first song's pitch back- stage and coming out humming or whistling (Snyder, 1970, June, p. 7).

The group performed continuously and church choirs were soon dropped as well as Gaikema's activities with the Schubert Club (Snyder, 1970, June, p. 8). Rehearsals were four to five nights a week as they prepared to compete. According to Gaikema

(Snyder, 1970, June, p. 7), they stopped taking paid performances for the two months prior to the contest so they could concentrate solely on pure ”... barbershop contest- type ...” of songs. In 1943, they were driven to do well to the point they were all losing weight from all of the rehearsing they were doing (Snyder, 1970, June, p. 6). In rehearsals, they used the piano with either Bob Hazenberg at the keyboard or Ed

Gaikema's wife, Sadie, playing their parts.

The Harmony Halls were known as a quartet that selected songs and barbershop harmonies that were ”Honest to Cash” (Harmony Halls, 1944, May).^ Thus, their repertoire was considered to be pure barbershop of the day. It was also thought to be

^ Tlaoesl to Cash” was a lefciciicc to Owen Cash and his desire for quartets to sing pure barbershop harmony. 77 quite large although the only number given was 150 songs, which Ed Gaikema refuted as

"stretching it just a wee bit" (Snyder, 1970, June, p. 8). Only two reports mention their arrangers by name. One report was that of Frank Goodwin, the director of the Grand

Rapids Schubert Club's Male Chorus (Harmony Halls, 1944, May). The other was by

Gaikema who stated that Cy Perkins was an accomplished arranger who had given them three of four of his pieces saying, "Now if you fellows do these songs, and you do them right, you'll win" (Snyder, 1970, June, p. 9). The Harmony Halls did come in first at the following International Contest while Perkins' quartet, the Misfits, placed second (Hicks,

1988, p. 94). The Harmony Halls were continually adding to their repertoire, and according to Gaikema (Snyder, 1970, June, p. 8), Curly would do a lot of woodshedding that gave him ideas of what new additions could be made. He would bring back a song and teach it to the rest and harmonies would be worked out as a group. While they mostly used written arrangements, they were adept at hearing a song and being able to replicate it by ear (Snyder, 1970, June, p. 6). Of their signature songs, "Begin the

Bequine," " Rock and Roll" and "Mandy and Me" were among the most requested (F.

Haynes, personal communications, summer, 1998).

Their expertise as entertainers was well-known, and because of this they were in demand. They made many guest appearances with the Grand Rapids Municipal Opera

Company. They also recorded some songs for a Detroit advertiser that were played regularly on the WJR radio station out of Detroit, Michigan (Harmony Halls, 1944, May).

They supported the war effort by singing for War Bond drives as well as many community functions around the Midwest. They performed as often as three to five times a week (Harmony Halls' Origin, 1988, November/December; Tribute to Harmony Halls,

1994). They did all of this while being fully active in their chapter (Bennett, 1994,

November). They were also the first quartet to participate in the Society's Armed Forces

78 Collaboration Program (Tribute to Harmony Hails, 1994).« They performed 250 times

in 23 days while visiting Army posts throughout the European Command (Harmony

Halls As, 1950, September). Anecdotal Accounts

The men of the Harmony Halls were very service oriented toward the Society and

its membership. The referred to themselves as "Everybody's Champion" and worked

hard to avail themselves to others (In Memorium Gordon Hall, n.d.). Ed Gaikema

(Snyder, 1970, June, p. 11), when asked about the highlights of their first few years as

champions, responded by saying:

One of the first ones [highlight]: I believe the next year we went to Long Beach, California, and we sang there, and as was the custom in those days, they asked us to judge the contest. . . And that was my first taste of judging. . . and ever since, I have loved that part of barbershopping also. Also, we traveled all over the country. We were gone just about every weekend, as every International Champion is — another highlight would come in 1950... when we went to Germany as a representative of SPEBSQSA and we sang for our American soldier boys all over Germany and Austria.

Aural Comparisons and Influences

The Harmony Halls' performance of "You Don't Seem Like the Girl 1 Used to

Know" (Best of Barbershop, n.d.) was a display of tonal and vowel matching well beyond

much of what preceded them. The quartet sang with a sotto voce quality. That is to say

they had a light bel canto sound to a man that was consonant with each other. The tall

vowel concept they exhibited was a major factor in their expanded sound. The quartet

actually sang quite softly, but the similarities mentioned above made for a size in their

sound that was much more than the sum of their individual voices.

^ This program was the result of a special conunince chaired by Dean Snyder (Snyder. 1970, June. p H ). 79 Ed Gaikema's tenor sound followed the norm of those champions before him. He

sang with a falsetto vocal production and had a tall vowel concept in his vocal technique

as did Charles Schwab of the Four Harmonizers. Gaikema sang with such a light quality

in this selection that the softer sections showed him having only a slight amount of vibrato. This could have been from a lack of support to the soft passages as the louder passages exhibited a straight tone with no trace of vibrato. Bob Hazenberg's lead sound

was also very light in weight but large in breadth. Along with the tall vowel concept that

was a constant across this quartet, Hazenberg had a bell-like quality that was much more

homogenous than the bright sound of Leo Ives a year before. Ray Hall also sang with

this bel canto quality in the baritone part. He also showed some vibrato in softer passages for what may be the same reasons as his tenor. His sound was as if he were

singing falsetto baritone. Light and tall in vowel concept. Hall's was a sound that added

great breadth to the overall sound of the group. Hall's voice was again a match to the other three. Devoid of brightness, his voice added to the size of the quartet's tone while

never taking a front position in the quartet's balance, which seemed to be equal. This quartet sang as an ensemble of vocal tone generators. In other words, they tried to optimize their production of expanded sound.

In this performance, the quartet sang a ballad with sensitivity to word meanings.

Their word emphasis on important points in the lyrics showed an understanding of the interpretive aspects of getting the meaning of the text across to their audience. While they employed many swipes and did some scooping into pitches, they scooped less than their predecessors and slid into swipes more. Their expression of dynamics was interesting to note as phrases seemed to have more in-phrase dynamics that the champion quartets they followed. Downbeats were emphasized if they were attached to important words in the text; otherwise, they were approached with a feathered entrance. That is to say they entered softly and allowed the phrase to grow into more important parts of the 80 text. While they sang with a legato treatment of the song, they still could have balanced the bass louder to the lead. The tenor, being higher, could have sung a bit softer. This is as a matter of balance to each other that would have optimized their overall vocal production. The sound of the quartet in general could have been louder and more supported to enable them to lend an even greater quality to their sound.

1945, Misfits

Joseph J. "Moose" Murrin (Tenor) d: July 14, 1957;

Arthur F. "Art" Bielan (Lead) d: October 5, 1952;

Ellis V. "Cy" Perkins (Baritone) d: March 28,1968;

Peter M. "Butch" Buckley (Bass) d: August 12,1970 The seventh champion of the Barbershop Society was the Misfits. This quartet was a reflection of the early forming of the Society in that their beginning was as spontaneous as the first meeting of founders Owen Cash and Rupert Hall. On July 3,

1941, three men climbed on board a Chicago based train heading for the Society's third

National Convention in St. Louis, Missouri (Misfits of Chicago, 1957, May). They were

Joseph J. "Moose" Murrin, Arthur F. "Art" Bielan and Ellis V. "Cy" Perkins. Like many others on the train, they were individually engaged in singing with pick-up quartets all along the route but found themselves singing together more as they continued along.

Once in St Louis, they were a trio in search of a good bass. There they found Peter M.

"Butch" Buckley who was stationed in Southern Illinois (Buckley & Perkins, n.d ). With

Bielan knowing an untold number of songs, he moved from his normal baritone part to lead. They started to woodshed together around the convention hotel and also on a

Mississippi river boat After prompting from a few bystanders, they decided to enter the

8 1 national competition that was being held the next day (Blazina-Joyce, 1995,

September/October; Buckley & Perkins, n.d.). The newly formed group went to a hotel room and worked on polishing the

required number of two songs for the contest They had no costumes nor a name. Cy

Perkins and Butch Buckley were small men weighing little more than one hundred

pounds apiece while Art Bielan and especially the appropriately named "Moose" Murrin

tipped the scales at well over 200 pounds each. When Perkins suggested they trade suit jackets with each other as an answer to their costume problem the name was easily bom.

They looked like, and quickly became, the Misfits (Blazina-Joyce, 1995,

September/October Buckley & Perkins, n.d.).

The next day they competed and were ranked seventh. The following year they

obtained medalist ranking with a fifth place finish. In 1943, Buckley had been moved by

the military to Mississippi, and the group had to forgo competing at the National Contest

(Stanley, n.d.). Pete Buckley returned home in the spring of 1944, and at the Society's

first International Contest, the Misfits were ranked as second place medalists. Then in

Detroit, Michigan, before a crowd of four thousand, they persevered over their 14 other competitors^ and became the 1945 International Quartet Champions of SPEBSQSA

(Blazina-Joyce, 1995, September/October; Buckley & Perkins, n.d.; Hicks, 1988, pp. 94,

114; "Misfits" Take Championship, 1945, August).®

^ 1945 marked Ibe first year that régional preliminary contests were held for quartets to qualify for International compétition. It is interesting to look at the geographical distribution of these groups which iiKluded ("Misfits” Take Championship, 1945, August), "four from Illinois, three from Michigan, two from Indiana and one each from Missouri, New Jersey. New York, Ohio, Oklahoma and Pennsylvania. Nine states were represented in all. That compares with seven states last year, five in 1943, seven in '42 and practically a three-state monopoly before that.”

® The vocations of the Misfits at the time of their win were as follows: Murrin, a Chicago Pbiice Lieutenant; Bielan, a department manager for the Western Electric Company; Peritins, the western manager of a newspqwrcaOedEBlmlaillLfllgiDEa: endBuckley, a heating contractor (Misfits.. Chicago, 1943, December, Peter M. Buckley, 1910). 8 2 The quartet sang for the next seven years as one of the finest ambassadors of barbershop harmony the Society had known. They continued to sing, although less with each passing year, until October of 1952 when Art Bielan passed away (Blazina-Joyce,

1995, September/October; Buckley & Perkins, n.d.). Musical Background

While it is true that none of the Misfits could not read standard musical notation, their individual and collective musicianship proved to be superior to the task at hand.

They knew how to leam songs and all by ear. They could hear a tune and collectively turn it into a polished barbershop arrangement in short order. While Cy Perkins could not read music, he had his own "manuscript" that would enable him to teach, by rote, one of his arrangements to another quartet (How the Misfits Pick, n.d.).

Tenor, Joe Murrin, first sang in a quartet while serving in the Navy during World

War I. As the tenor of Admiral Sims' quartet, he traveled extensively during that time.

Upon his return from service, he joined the Chicago Police Force where he became a member of their Police Octet. He sang as a tenor soloist and many times accompanied himself on the piano (Perkins, 1943, December; W. Haeger, personal communications,

October, 1999). An Irish style tenor, Murrin could sing full-voiced E above high C

(Perkins, 1957, August). He had no reading ability but could play the piano by ear with great proficiency (Background of Quartet, n.d.; Blazina-Joyce, 1995, September/October;

F. Haynes, personal communications, summer, 1998).

Lead singer. Art Bielan, was a vaudeville performer for more than 25 years prior to joining the Misfits. He was in countless quartets with the most well-known being the

State Four. Some of his former ensembles included the Superba Four, Forges Post and the W.L.S. Harmony Trio (Ptrldns, 1943, December). He was an active member of

Chicago's American Legion and sang constantly in quartets as a baritone singer until

83 Perkins and the rest of the Misfits made him their lead (Background of Quartet, n.d.;

Blazina-Joyce, 1995, September/October; Misfit Shorts, n.d.).

Baritone, Cy Perkins came from a musical family whose members all played various instruments and sang by ear (E. Perkins, personal communications, November, I, 1944). Perkins, who played piano by ear, would spend hours on end "taking tunes apart and setting them up for other quartets" (How the Misfits Pick, n.d ). He sang at South

High School in Grand Rapids, Michigan, along with Gordon and Ray Hall of the

Harmony Halls. He was a member of a trio while in high school and soon after went into the Navy during World War I. While there, he became a member of a quartet called the

Navy Four. He also became active in the Society's infancy as he. Hank Hedges and Jack

Spears worked together to start the Chicago Chapter in June, 1940 (Background of

Quartet, n.d.; Blazina-Joyce, 1995, September/October; E. Perkins, personal communications, November, 1,1944). Perkins also served as an International Board member from 1941 until 1942 and was twice an International Vice-president during 1942 and 1943 (B. Best, personal communications, April 2, 1968).

Bass, Pete Buckley started as a 15-year-old singer in 1909 when he was billed as a

"boy bass" during a minstrel show in Central Illinois (Background of Quartet, n.d.; Peter

M. Buckley). In high school, some thirty years before the birth of the Society, Buckley sang bass in the Variety Four that included baritone, Molly Reagan^, Ralph Moorehouse on the tenor and Mark Nelson singing lead.^

^ Reagan became a pioneer in (be Barbershop Society who also helped to structure the judging program and implement training schools for Society judges. He also wrote the first articles on barbershop music theory entitled, 'The Mechanics of Barbershop Harmony" and served as the first chairman of judges from 1942-1948 and again in I9S0-I951 (Mcks, 1988, p. 16,18,23.24.30,31,49,50,63,64.28,29.31, 113).

^ Nelson went on to become the Society's first Vice President (1945-Misfits, c.1984). 84 Nelson was later replaced by George Evans (1945-Misfits, c.l984)7i He began singing

in quartets and became a member of the P&O quartet of Canton, Illinois (Blazina-Joyce,

1995, September/October; Pbrkins, 1943, December). They were a company group that

musically represented the predecessors of International Harvester. He sang extensively

with this group prior to becoming a member of the Misfits (Background of Quartet, n.d.).

Performance Practices The Misfits performed on numerous radio and television shows at a time when

television was in its infancy as an entertainment medium (P. Perkins, personal

communications, June 4,1971). They sang for crowds of 90,000 or more during their

1944 and 1945 appearances on the Chicago Land Music Festival (Buckley & Perkins,

n.d.). These two performances were also broadcast nationwide as an "International

Mutual" hookup of 247 radio stations (Misfit Shorts, n.d.; P. Perkins, personal communications, June 4,1971). During one of these performances, they appeared with

Harry Armstrong, composer of "Sweet Adeline," which they specially arranged and sang.

Still, this group would turn no one down. The smallest audience the Misfits appeared

before was a group of nine members of the board of directors for a large confectioners

firm in Chicago (Misfit Shorts, n.d.). Their lack of elitism is noteworthy (Misfits of

Chicago, n.d.). In the year following their championship, they were on the road

performing 46 out of the 52 weekends available (Blazina-Joyce, 1995,

September/October). The following year, when fatigue was starting to take over, they decided to spend more time at home. The result was 36 weekends on the road with many

local performances during weekdays (Misfits, A Busy, n.d.). According to Canady,

(1951, June/July) they averaged 40 visits to Society chapter meetings a year.

Evans later became the lather of George Evans Jr., who sang tenor in the 1956 International Champion Quartet, the Qmfedeiates (1945-Misnts, c.1984; Hicks, 1968, p.45,4546,95). 85 The entire group sang with a full voiced technique (Misfits, A Busy, n.d.). None of them could sing in a falsetto voice (Misfits, A Robust, n.d.) and literally shunned the

"soft style" to which many early quartets from the Southwest had ascribed (Misfits of

Chicago, n.d ). This anonymous writer went on to say:

Their pianissimos and mezzo fortes are what some quartets would term double fortes and when the four launch into a high ringing, robust tag comparisons for the other school cease. The arrangements devised in their own way, their vivacity of presentation, their full voiced singing and their personalities, reflecting in every note, in every gesture and in every word, four good men singing for the love of it and the enjoyment of making listeners happy, combine to make the Misfits truly a championship group in every sense of the word.

In "Misfits, A Robust 4" (n.d.), the writer spoke to their singing style and repertoire choices when he stated:

Their robust tones and their loud ringing tags have been a trademark that has made them the delight of the old fashioned barbershopper who did his harmonizing before the days of microphones, rectifier tubes and sound systems. The songs the Misfits sing are generally chosen to suit their voices. They can sing softly, if the occasion requires, but as a rule they stay away from the numbers that call for such hard work. The arrangements of the songs they choose are also especially adapted for their heavy work and the tags are worked out to produce just that right touch at the finish and to display the four robust voices at their best.

Rehearsals took place in Chicago with Buckley commuting there for the weekend sessions. The misfits described their style of barbershop harmony as centered around that of the "Gay 90's" with influences from the vaudeville era (Buckley & Perkins, n.d.).

While all four of the Misfits could not read standard notation, they were contributors to the development of their arranged songs. Most of their performance pieces were in the form of a medley (P. Perkins, personal communications, June 4,1971). According to Cy

Pbrkins ( 1945, November), Murrin was the major contributor of chords for their songs.

In other words, he devised most of the harmonies used by the quartet. Haeger (Personal communications, August, 1999), referred to their arrangements as "mostly woodshedded" 86 while being "helped by Cy Peridns and Joe Murrin." They would usually pitch their arrangements in the key of A or A flat and occasionally in G (Perkins, 1943, December).

Bielan would learn the melody and words and the others the words while fitting in their part by ear. Many repetitions would be needed as they would make suggestions and changes until the arrangement had acquired a set form. They would then work out dynamic concerns as well as tempi, rhythmic variations and the tag (How the Misfits

Pick, n.d.; Misfits of Chicago, n.d.). Cy Perkins said that Joe Murrin was primarily responsible for all but three of the Misfits' arrangements ( 1957, August).

Their most well-known songs included "Last Night Was the End of the World,"

"Story Book Ball," "Oceana Roll," "That Old Gang of Mine" and "Time After Time" (W.

Haeger & F. Haynes, personal communications, July, 1999 & summer, 1998). On the topic of their repertoire, Bielan (Misfits of Chicago) said,

I believe we could sing more than 50 songs letter perfect, in contest or on any show at any time. We know 50 others we could sing almost as well but would probably elect to display them only upon occasions when our other supply had been exhausted. We are always adding to our repertoire because every day some one of us hears a tune which he feels might make a good song for the quartet Yes, we are always thinking of the quartet and all the boys bring in the tunes. It is not that we are trying to build up any huge repertoire but more that we like to sing and everyone knows that singing a new or a different tune is more interesting. Besides it gives us a chance to work out new harmonies and that is the fun.

The Misfits were a quartet that believed in sharing their skills with other quartet men. Cy Perkins wrote (1945, November) "... we just can't keep a secret. We've just got to share any new swipe with any and all of our friends in the Society." He went on to say, "I believe this should be the attitude of all of our members. Help the other fellow if you've got something. That fellow's appreciation for your help is something that just can't be described."

87 Their performances were described in a letter written by Cy Perkins' wife, Polly

(Ffersonal communications, June 4,1971), where she stated "Art Bielan told jokes, but the

quartet didn't really clown around, except in their 'School-days' number.” By the seventh

year anniversary of their exchanging jackets, the foursome had amassed more than one dozen performance outfits. At one time, the Misfits charged a fee of $150 that included their talent fee and all related expenses (E. Perkins, personal communications, n.d.). No other information relating to their performance fees could be found. Anecdotal Accounts

According to Polly Perkins (Personal communications, June 4,1971), one of their most treasured memories was that of a performance with opera singer, Mary Garden. In

April, 1946, they also made a memorable television appearance on WKBK in Chicago.

The scene was that of a barbershop with broadcaster. Bob Wright, getting a haircut. In strolled the Misfits and with a barber looking on with Cy Perkins in his chair, they sang

"Sweet Adeline" as well as other songs (Misfits in Television, 1946, August). The

Misfits were also the guest quartet of honor at the one hundredth anniversary of the

Chicago Tribune where they performed for over 3(X),(XX) people (Canady, 1951,

June/July). Next to winning the championship, Buckley and Perkins (n.d.) cite their swan song performance for the 1946 Society Convention as being their performance high point. It was there that the convention audience gave them a standing ovation while they were singing their last song as the current champions.

Later in December, 1946, an American Broadcasting network radio show called

"Wake Up and Smile" featured the Misfits. The announcer told the radio audience that each studio audience member filled out a card and on four of them it was written, "I Am

A Misfit" (Misfits "Wake Up, 1947, February). He wanted to know just what this was all

8 8 about and called the four men to the platform where they answered questions about the

Society and its membership. They were heard on this program coast to coast

Art Bielan talked about the strains of being part of such a busy performance group

when he said, (Misfits, A Busy, n.d.):

There were a lot of times when we were so tired we could hardly stand but we did. There were times when we dreaded the sight of a railroad ticket or station and airplanes at times looked like big ogres to us, but all the boys carried on. Now we are busier than we sometimes want to be-and we are all getting older-but we like to sing too much to give any thought of quitting. There have been times when some one of us have thought of tossing it all up and resting, but then the urge to hit a few chords came and they weakened and happily went back to their task.

A party had been planned to honor their contributions as Bielan was retiring from

the Chicago Police Force, moving to Arizona, and, as a result, retiring from the Misfits.

Undoubtedly, the saddest moment for the quartet came with the passing of their lead. Art

Bielan in October of 1952 just prior to their night of honor that took place without him

(Misfits Honored, 1953, March).

Aural Comparisons and Influences

The Misfits performance of "My Little Grass Shack In Kealakekua, Hawaii” (Best

of Barbershop, n.d.) was the example used for this aural comparison. Compared to the

Harmony Halls, The Misfits exhibited a sound that possessed more in volume and

bravura while less in tonal breadth. Of all the examples examined thus far in this study,

this one exhibited the shortest musical phrasing consistently throughout the performance.

During the 19 seconds that it took them to sing the introduction of this song, the quartet

took six breaths. With the example being of compound quadruple meter, it was the first

compound example studied. Still, their phrases were as short as one measure and as long as four. The average phrase throughout the example was two measures in length. Their concept of phrasing exhibited stopped consonants within phrases and clipped phrase

89 endings that allowed long spaces to exist between phrases. The timing of the new entrance after the longer spaces was sometimes rushed as an apparent reaction to the space, thus causing a performance error in timing. This resulted in a choppy effect in their overall interpretation. Joe Murrin sang a tonal-quality that at times sounded falsetto yet at other times seemed full voiced. In the tag, he sings with a full voice to the last chord and changes to what sounds like falsetto again. His full voiced sections have the presence of vibrato while the falsetto sections have little to none. Art Bielan's lead sound is that of a baritone/bass. It is lower in timbre and has a natural thickness that the leads before him did not possess. His balance within the quartet was strong and was always at the forefront along with that of the bass and tenor. Cy Perkins' baritone was constantly vying for position in the area of balance between the lead and bass. He did a fine job of filling in the chord by never over-balancing even when singing higher than the lead. Buckley's bass was full as were all of the Misfits. They had much bigger vocal instruments than the

1944 Champions, Harmony Halls.

The Misfits sang with an exuberance that was commanding and in tune for the major part of the example. While vowel matching and ensemble were good throughout, their articulation was lacking in clarity and line. Chord worship entered into their performance during the slower sections. While they sang with a mostly straight tone,

Murrin's tenor added vibrato at times, as mentioned earlier.

90 1946, Garden State Quartet Theodore W. "Ted" Rau (Tenor) d: September 12,1971;

Robert K. "Bob" Freeland (Lead) d: January 28,1984;

John J. "Jack" Briody (Baritone) d: May 2,1962;

Joseph D. "Joe" Marrese (Bass) d: September 30, 1954 The eighth champion of the Barbershop Society, the Garden State Quartet, had its

start in the early part of 1941. Two employees of the Western Electric Company,

Theodore W. "Ted" Rau and Jim Verdick found they not only shared a friendship with each other but an interest in harmony singing as well. Verdick knew Robert K. "Bob”

Freeland who had a voice well suited for singing the lead part. The three of them sang

together, decided they liked the sound and began looking for a bass singer. Verdick, a member of the Garden State Glee Club in Jersey City, New Jersey, suggested they look

there for a bass candidate. While scouting the singers at a club meeting, Ted Rau was

impressed by the low sounds produced by Joseph D. "Joe" Marrese and asked him over to

his house along with Verdick and Freeland to see what kind of blend they could achieve

(Marrese, 1944).

What followed is rather nebulous as there is very little information available on this group. All four of the winning members are now deceased, and the two accounts in print are in conflict with each other. What is certain is that World War II hindered the group's existence. According to Marrese ( 1944), the four men sang together for a year before Freeland was drafted into the Army. A month later, Verdick enlisted in the Navy which left the other two looking for replacement singers. Another five months passed and Freeland was released from the service. A month after that, they met Jack Briody at a chapter meeting. Briody's account (1946, November), however, claims the original foursome sang together " . . . for a couple of months..." until Verdick enlisted. At that time, they picked up a baritone by the name of Martin White until Freeland received his

91 enlistment papers in July, 1942.'^ Freeland was discharged, and after a nine-month tour with the Army, Briody was discharged as well. In Briody's account, he states;

One night, I attended a meeting of the Glee Club. While engaged in this pastime I noticed three fellows walking toward me. One of them (Joe), 1 knew, but the others were strangers. Joe asked how my bah was. I told him "just as lousy as ever." That was my downfall for Bob started leading one, Ted added his tenor, Joe the bass and I had to show off and sing the bah. Ted suggested I rehearse with them and the following week we practiced for the first time. We all seemed to like the blend and after quite some coaching I was able to get three numbers down which they knew. This happened in May, 1943.^

In June, 1943, the city of Newark, New Jersey, held a barbershop contest that the

Garden State Quartet won. The following November, they competed in Paterson, New

Jersey to become the State Champion Quartet.^'* While there, they met Hal Staab who

encouraged them to compete the following June at the Society's International Contest in

Detroit, Michigan.^^ In the 1944 contest, the group performed in gay nineties beach

apparel.T here they won fifth place honors and the favor of the convention audience

(Blazina-Joyce, 1996, May/June). They started to receive many requests for appearances on barbershop parades.

^ Bob Freeland was 42-ycan-old when be was drafted (Briody, 1946, November).

^ Briody was appioxinialely41-years-old at this time (Briody, 1946, November).

According to Blazina-Joyce (1996, May/June), they were unodidal state champions. She said, "In the Society's early days, many local contests were not oflicial SFEBSQSA-sponsoted aflaiis, but to many this was a line distinciion with little meaning."

Hal Staab was the Society's fourth International President and the first to serve a two-year term. His presidency was from 1942 through 1943 (Hicks, 1988. p.l02).

^ The outfits used were late Nineteenth Century vintage and consisted of fake mustaches for Freeland and Marrese while the other two singers wore women's wigs, makeup, and in Rau's case carried a panscri (Blazina-Jbyce, 1996, May/June). 92 In May, 1945, the group competed at the Bronx Winter Garden where the

International Preliminary Contest was being held.”^ They qualified to compete again at

the International level. Their performance ranking dropped to finalist and they became

more intent to work harder. Unfortunately, there were more hurdles in their way.

Marrese moved to Milford, Pennsylvania, and gasoline rationing was making their

getting together for rehearsals even more difficult. Once the fuel situation relaxed, the

Western Electric employees went out on strike. This necessitated Rau's presence at the

plant day and night For a two-month period, they could not rehearse and had to cancel

many engagements (Briody, 1946, November). Finally, around March of 1946, they

were able to prepare in earnest. When they met at the train station for the trip to the

Cleveland International, Bob Freeland arrived with a bad case of laryngitis. They kept

away from each other as much as possible so as to avoid the temptation to sing.

Freeland, along with being under the care of a couple of doctors, had at least two lemons

in his pockets at all times as they waited for their turn to appear along with the 30 other competing quartets (Hicks, 1988, p. 94). He was able to sing over his malady for the

Semi-Finals and was even better for the Finals in Cleveland's Public Auditorium. It was there the Garden State Quartet became the 1946, International Champion (Briody, 1946,

November; Blazina-Joyce, 1996, May/June; Garden State Members, 1988,

November/December).^ The quartet continued to sing together until Joe Marrese's death in 1954.

^ 1945 muked the first year that Intenutiaiial lYeliminary Contest were introduced at the regional level (Mcks, 1988,p.ll4).

^ At the time of wimaiig the championship. Ted Rau was a plant inspector for Western Electric while Bob Rccland was the bead receiving clerk for the Egyptian Lacquer Company. Jack Briody was an enqdoyment interviewer for the Federal Shipbuilding and Dry Dock Company, and Joe Marrese owned and operated his own steamfiiiing business (Briody, 1946, November). 93 Musical Background

Little is known of the Garden State Quartet's musical background. Ted Rau was a

former night club entertainer before he joined the quartet. Bob Freeland was a performer

in vaudeville during the I920's, where he was part of a tumbling and singing act. He also performed as a cast member in the Irving Berlin Broadway show, "Yip Yip Yaphank."

Jack Briody, a former radio singer, performed as part of a trio. Joe Marrese sang as a

baritone for many years in area glee clubs (Garden State Members, 1988,

November/December, Garden State Quartet, n.d.; Marrese, 1944, November).

Performance Practices

The Garden State Quartet consisted of woodshedders. According to Joe Marrese

(1944, November), "We are strictly ear singers with no technical musical training

whatsoever." Even without any formal training, the group was very popular and known for its versatility (Blazina-Joyce, 1996, May/June). According to Wilbur Sparks (Garden

State Four, n.d.), "With a hilarious comedy routine and beautiful soft blend, they became tremendous drawing cards in Society shows and sang in parades from Canada to North

Carolina and from Wisconsin to the Atlantic Ocean "

They performed with several celebrities including Maud Nugent‘S, Alice

Lawlor® and Dick Gerard (Home Town Welcomes, 1946, August).®* At the end of their championship year, Briody commented on their busy performance schedule with 20 parades booked with the possibility of more (Briody, 1947, August). After traveling home from the 1947 Convention, they had amassed nearly 50,(X)0 miles during their

‘^Nugent was the composer of the song, "Sweet Rosie C/Grady."

®** LawIor*s father was the composer of the soog, "Sidewalks of New York."

®* Gerald collaborated with fellow composer. Hairy Armstrong, to create the well-known ««g "Sweet Adeline." 94 reign as current champions. Along the way they became known for many signature

songs that included: "The Gang That Sang Heart of My Heart,'" "Way Down in Georgia"

and "Where the Dreamy Wabash Rows" (W. Haeger & F. Haynes, personal

communications, July. 1999 & summer, 1998)

Anecdotal Accounts Upon their return from winning the 1946 International Contest, the Garden State

Quartet was honored in their hometown of Jersey City. Rrst they were taken to dinner

followed by a commendation by the City Commissioner. Afterward, they were escorted

to the State Theater where the Mayor's office presented them with a scroll of the City of

Jersey City. This was followed by a show with Maud Nugent, Alice Lawlor, Dick Gerard

emcee. Bill McKenna and, of course, the Garden State Quartet (Home Town Welcomes, 1946, August).

During their championship year, they experienced everything from a woman

thinking they were hotel bell hops to being awakened out of a much needed sleep by a

boisterous Cy Perkins who kept pounding at their door until they answered (Briody,

1947, August). On one Sunday afternoon in 1947, they climbed aboard a train car along with the Chordettes, the Cavaliers of Bridgeport and Hal Staab. The singing began before the train pulled out. By 3:30 the next morning, barbershop harmony had been sung to New York City, then by bus all the way to Union City, New Jersey, then back by train to New York again. The Chordettes were the only group with all four members present by the time they presented impromptu performances at two night clubs and lastly, on a street comer for Jack Briody (Briody, 1947, November)

One September weekend in 1947, the group performed at the parade put on by the

Homell, New York Chapter. After the show, members of the chapter took them over to the Moose Club where the quartet continued to sing into the night. At 1:30 in the morning, the local police rounded up the quartet and took them to the Homell jail. It 95 seems there was a local ordinance that mandated all noise cease by 1:00 A.M. Four other quartets came to their aid and the singing continued into the night as they serenaded the night captain. At 4:00 A.M., the captain let them all out so he could get some sleep

(Blazina-Joyce, 1996, May/June; Quartets Jailed, 1947, November).

As to how he felt about winning the championship, Briody said ( 1946,

November), "Brothers, if I ever did anything real in my life, that was it. It was the greatest thrill any man could ever have." Aural Comparisons and Influences

The overall interpretive effect of this quartet was much more legato than their predecessors, the Misfits. They sang phrases that were no longer than the Misfits, but they did not clip their phrases with the same amount of ferocity. They also used pick-up notes to keep the motion of the presentation moving more than the earlier example of the

1945 Champions. The biggest difference in their musical line was more the absence of space as compared to the Misfits.

All four of these singers had complementary voices to one another. Their light sound was produced with a high soft pallet with the occasional exception of Briody's baritone, which became more bright and pointed in tone when singing above the lead line. Bob Freeland's lead sound was that of the classic crooner or bel canto style of singing. His voice was noted for its beauty of tone and presence of natural resonance.

Never pushed or strident, Freeland's voice was an example of a lyric singing style that allowed his harmony singers to create overtones around an environment already teeming with harmonics from his voice alone. Marrese's bass was natural, large and resonant. He maintained a straight tone with the exception of higher pitches which occasionally exhibited a slight tremolo. Rau's tenor a was falsetto voiced sound that, along with a light natural quality, complemented the lead line and maintained an appropriate balance throughout the performance. 96 The song “Heart of My Heart/Sweet Roses of Mom” (Best of Barbershop, n.d.),

switched between triple and quadruple meter throughout The quartet scooped into

pitches. This was less prevalent than in previous years. They did, however, sometimes use scooping as an interpretive effect. Their well-matched vowel sounds were consistent

between the members of the quartet but inconsistent with popular song styles of the time.

They chose to migrate their vowels to more covered shadings of vowel color. For

example, they sang the word "or with an "oh" vowel, the word "could" with an long "oo"

sound and the word "to" with a German "U" sound.

As for articulation, the quartet sang ending singable consonants with energy and

fullness while dropping hard consonants almost entirely from phrase endings. These

phrase endings tended to be short in duration and feathered to a release rather than sung

to strong rhythmic releases. They were represented on this recording with a song that

featured a mix of quadruple and triple meter after the compound meter example of the

Misfits. The first five champions were represented by neither triple or compound meter

arrangements.

1947, Doctors of Harmony

H.H. "Jumbo" Smith (Tenor) d: June 28,1969;

Max "Junior" Cripe (Lead) d: February 28,1979;

Elton "Butch" Hummel (Baritone);

Lee "Reverend" Kidder (Bass) d: December 28,1984 On the occasion of the eighth anniversary of the Barbershop Society in

Milwaukee, Wisconsin, the newly crowned quartet champions were a group of men from

Elkhart, Indiana, known as the Doctors of Harmony. The quartet first formed on

September 16,1943, when some men gathered to sing and discuss forming a new chapter

97 of the Barbershop Society in HkharL^ Childhood friends, Lee "Reverend" Kidder and

Elton "Butch" Hummel met Ronald Younce and H.H. "Jumbo" Smith at this gathering of

singers.® The four men started a quartet called the Harmony Doctors with Smith on

tenor, Younce on lead, Hummel on Baritone and Kidder on bass. They became charter

members of the Elkhart, Indiana Chapter, the first in the area that was later known as the Indiana District, then the Indiana-Kentucky District, and still later, the Cardinal District

of the Society (Hicks, 1988, p. 90; Kidder, 1962; Watson, 1988).^ In January of 1944, the foursome attended the mid-winter meeting of the Society

where they did some informal public singing. According to Kidder (1962), their first

parade performance was at the Book Cadillac Hotel in Detroit, Michigan, sometime in

the spring. Soon after, the United States Navy drafted Ronald Younce. In April of the same year. Max "Junior" Cripe was enlisted into the group as their new lead singer and manager (Kidder, 1962).® The championship and final combination of the "Doctors" was in place. By June of 1944, they competed in the International competition in Detroit,

Michigan, and renamed their group, the Doctors of Harmony.

® The Society had but 51 chapters with 1,500 members in 1943. These numbers grew exponentially over the next few years. By the lime the Doctors of Harmony won the gold medal in 1947, the society had 390 chapters with 19,500 men (Hicks, 1968, p. 92). This explosion in membership could be attributed to factors surrounding post-war America and use of leisure time. This in and of itself could serve as an interesting topic for future study.

® Lee Kidder was also referred to as "Reveretid." This was due to his being the "Father” (referenced to that of a minister) of seven children (Hummel, personal communications, summer, 1998).

^ Today the Cardinal District consists of the states of Indiana and Kentucky.

® Max Cripe was also known, within the quartet, as i.e. He, according to Hummel (Personal communications, March. 1999), was so perfect about remembering musical details that he often corrected his fellow quartet memben. Their mckname for him alluded to the kind of perfection one may attrihute to Jesus ChiisL 98 The foursome claimed they were tied for " 16th" since quartets who placed out of the top

15 were not ranked (Kidder, 1962; Watson, 1988).*® The first state quartet contest of the "Hoosier Barbershoppers" in Indiana was held

on January 27,1945. There, the Doctors of Harmony became the first Indiana State

champions out of a field of 15 entries (Rackham, 1945). In June, the International

Contest was again held in Detroit.*^ There, the quartet received medalist ranking by

finishing in fifth place. The following year they competed in Cleveland, Ohio, where

they captured the third place medals. Then, on Saturday, June 14,1947, they became the

Society's ninth International Quartet Champion ("Doc's Prescribe," 1988). They worked

diligently to represent the Society and the past champion quartets well. In reference to

their championship year, Lee Kidder ( 1962) said, "After the best year in their lives, they

pinned the first place medals on the Pittsburghers at Oklahoma City in 1948 and started

their slow trip to oblivion." According to W. Watson ( 1988) and Kidder ( 1962), their last

two performances were a February 6, 1950, Lincoln Day Dinner in Washington, D C.,

and an Elkhart, Indiana, benefit show to fight polio on February 21,1950.

Musical Background

The individual members of the Doctors of Harmony brought many talents and experiences to the group. Lee Kidder and "Butch" Hummel had been singing together since they were nine-years-old. Kidder, an industrial engineer, sang in his church choir as well as a quartet at Elkhart High School. Hummel played the violin and also sang in

*® According (o Cardinal District Historian, W. Watson (1988), the Doctors of Harmony were actually number 38 of the 58 quartets that competed in the contest. Consequently, they were sharing their "tie for 16th” status with 42 other quartets.

Due to gas ratiotnng mandated by the war effort, the location of the contest needed to be centrally located to the Society membership. That, along with the Society offices being located in Detroit, was reason enough for the Society to use Detroit as the Cüntest site again in 1945. According to Hicks (1988, p.94), the number of quartets competing in the International Cbntest in 1944 was 58 while the 1945 contest had but 15. 99 the same high school quartet "Jumbo" Smith, a chiropractor by trade, sang in two professional quartets. Sensational Four and Royal Quartet, prior to joining the "Doctors."

He also performed on the vaudeville stage as an acrobatic performer and was a

featherweight wrestling champion from 1914-1916 (Bisio, 1989, March /April; Docs'

Prescribe," 1988; E Hummel, personal communications, summer, 1998; Watson, 1988).

Max Cripe, an insurance man, brought a business sense to the group that served them

well through the years. He also brought an uncanny memory for musical detail and

interpretive consistency. Later, he served as a Society Board member. All four men read music and had a background and love for harmony that led them to their gold medal

status.®

Performance Practices

While all four men read music, they never used written arrangements. All of their

songs were arranged by ear. A few songs were original compositions by "Jumbo" Smith,

who taught them by rote, to the quartet members who then "just 'woodshedded' it out" (E.

Hummel, personal communications, summer, 1998). Included in Smith's song

compositions is "Mississippi Moon," a song published by the Society in 1950 as part of

the "Songs for Men" series. Their championship performance of this song in the

International Contest helped to alleviate the rumor that Society judges would only reward

performances of familiar songs ("Docs" prescribe, 1988). According to Hummel

(Personal communications, March, 1999), Max "JC" Cripe was always on top of the

musical aspects of the quartet He would always blow the pitch pipe to establish the

correct key and was well versed on just how each song should be sung. This, of course,

was a well-placed attribute within the group. The lead singer of any quartet must provide

It was customary at that time for each intematiooal champion quartet to supply one o f its members as an international board member for the year following winning the championship. 100 consistency in the performance of the interpretive plan. This leadership comes most

naturally from the singer of the song's melody.

They sang and prepared with a solid work ethic. According to Blazina-Joyce ( 1997), they arrived in Milwaukee with a routine for preparation. An unidentified occupant of a neighboring room reported that they worked in their hotel room to the point

they sent out for meals rather than take the time to eat out After two days of perfecting

their songs they became the new champions. While no report of coaching could be

found, the group looked to Huck Sinclair and his 1943 champion quartet, the Four

Harmonizers, as role models.

Of the songs they performed, some were familiar while others were original

compositions. These original songs were the first in a trend that was new to the

barbershopping community. They adapted all of their own harmonies to each song they

performed. Of the songs for which they were most known, "Mississippi Moon" stands at

the top of public popularity. "Someday" and "The Lord's Prayer" rounded out their top

three signature songs (E. Hummel, personal communications, summer, 1998).

As they performed in some 25 states, traveling from coast to coast, from Canada

to Atlanta, they shared the stage and visited with many celebrities. They performed with such well-known personalities as Don Ameche, Jack Benny, Doris Day, Jimmy Durante,

Red Skelton and Fred Waring. They sang constantly and according to "Butch" Hummel

(Personal communications, March, 1999), they were singing every weekend during the year following their championship. With about 20% of their performances being sung without a fee, they charged $50.00 for the other paid performances. Hummel also said they envied the Mid-States Four.® He said, "They were entertainers, we were singers."

® The Mid-Stties Four were third place finisbeis in the 1947 International Contest behind the Doctors of Harmony. They won their own gold medals two years later in 1949. 101 After the Doctors of Harmony retired, Lee Kidder continued to be active in

quartet singing and in the Society. He sang bass in the 1953 Cardinal District champion quartet, the Clef Chefs that obtained international semi-finalist ranking in 1953 and 1954.

He also served as the Elkhart Chapter chorus director for several years. Jumbo Smith

went on to sing baritone with two quartets. Harmony Hoosiers and Melody Kings

(Watson, 1988). Anecdotal Accounts

The Doctors of Harmony performed tirelessly. Within two days of their championship win, they made five appearances in two states. They performed three songs for the Mutual Broadcasting Company (MBC) after the Saturday night contest finals as MBC announced the contest results. The next day included a morning radio appearance, an afternoon recording of the Wurlitzer contest album and an evening performance for the Industrial Advertising Association's national convention. The following day they traveled to Chicago where they taped a newsreel for Pathe News

(Blazina-Joyce, 1997).

In November of 1947, The Doctors traveled to the West Coast where they performed during a week-long tour. Highlights of the Uip included meeting Bing Crosby on the set of A Connecticut Yankee in King Arthur's and Court performing on the Elgin

National Watch Company's Two Hours o f Stars that was broadcast over CBS radio.

According to Butch Hummel (Personal communications, March, 1999), this show was also televised. By way of the studio monitors, they saw themselves on television for the first time. This made a particular impact on the quartet since none of them owned a television set.

The Doctors of Harmony were private men. If one of them did not talk about his past, the others would not pry into his affairs. Consequently, little is known about these men other than a few brief accounts by Butch Hummel. They traveled by train or 102 airplane but two or three times each. Max Cripe would most often drive while the others played nickel poker in the back seat of the car.* During the W.W.II, Cripe would pool

gas stamps from the quartet members and somehow would arrive in time to leave with

the additional stamps in hand. The other three quartet members never asked how he got

them. Once, they had to stand on a train all the way to Detroit, Michigan.

Jumbo and Butch were not the social "mixers" in the group (E. Hummel, personal communications, March, 1999). Still, the group loved to sing and sing together. On one

occasion, the quartet sang a new song written by Jumbo Smith, "No One Knows." A fan

of the group, Joe Wessendorf, surprised the men by his enthusiasm over the song with

tears running down his face. They particularly enjoyed singing on Milwaukee Chapter

shows, which they did for several years in a row. Hummel remembers the calls of

"courtesy, courtesy" at Canadian afterglows as a welcome call for the audience to give

the performing quartets their due respect. They particularly enjoyed singing on Canadian

afterglows. Soon after winning the championship. Max Cripe wrote to Frank Thome of

the Elastic Four ("Those Doctors," 1947). In his letter he refers to a parade where the

Doctors of Harmony were the hosts and let the "... Elastics, Harmonizers, Ambassadors

and others" go on before them. By the time the Doctors were on stage, every song they

knew had been sung by the other quartets.

When asked about the quartet’s saddest occasion. Butch Hummel remembers

Jumbo Smith's funeral as he was the first of the quartet to pass away. "I still dream of us

singing" (Personal communications, March, 1999). As to the impact of becoming an

International champion upon his life, Hummel writes, "I deeply admire the champs' who

keep coming with something new and different, but still get those chords' that bring tears

to my eyes and heart." On the same subject, Lee Kidder ( 1962) wrote:

* According to Ihnnmel (Personal conunumcadcns, March, 1999), they might win 20-25$ from Elkhart to Milwaukee 103 To say that the Society has done a great deal for the Doc's would be a tremendous understatement It has done wonders. It afforded a chance to meet and know some of the greatest people on earth. It gave the opportunity to join in song with some of the greatest voices - most of all, however, it brought to the four of us, an awareness that music is indeed the universal language; that without harmony, this world would be a very drab and desolate place. Aural Comparisons and Influences

The Doctors were a self-proclaimed singing quartet over that of a group of showmen who sing. While listening to their performance of "No One Knows" (Best of Barbershop, n.d.), many specific vocal traits are evident. Their sound was a smooth blend of well connected sounds with total agreement on vowel production. While the sound they produced was connected, their phrasing was similar to that of earlier quartets. Short segments of harmony driven sentences abounded. The driving force was to let the harmonies rule over textual concerns. For example, the sentence, "It's then 1 miss you most as I sit all alone; 1 hear your voice from every wind that blows," was sung with frequent breaks in the sound. The following is how they performed this section of the song; "It's then I miss you most, (break) as I sit all alone, (break) I hear your voice

(break) from every wind that blows." This treatment of the text, in and of itself, conveyed little of the emotional impact of the lyric line. When listening to the total performance, the meaning became more connected but was still subservient to the quartet's vocal harmonies. Another example of music driven lyrics was their clipping of words to linger on singable consonants. In the following example, the underlined parts of words are places where the Doctors chose to hold the sound much like a fermata: "When birds unto their mates are softly calling, and all the world seems peacefully at rest" This treatment of the text appeared throughout the performance of the song to include holding the "n" on the word "one" of the title, "No One Knows." The verse of the song was sung in a declarative style using a connection of sound while accenting each word and syllable.

104 This declarative style is then abandoned during the chorus where a legato performance

with few stressed syllables prevailed. The Doctors sang with a very consistent alignment of vowels within their quartet.

Their vowel concept was not just unified between each voice but well presented as an unaffected presentation of the language. In other words, how they sang words was very

natural to the ear. They seemed to sing words as one would speak them, from a vowel

color standpoint, in conversation. They sang with a brighter overall sound than that of

the Garden State Quartet who won the year prior to the Doctors but not as bright as the

Pittsburghers who followed them into the gold medal ranks. Max Gripe's lead sound was

different than both of these other champions' leads. His was a bigger sound that had

more of a forward focus to it. Both Palamone and Freeland had a light ringing tone as a

result of taller shaped vowel production. Jumbo Smith's tenor was lighter than that of the

Pittsburghers' with occasional episodes of vibrato. Butch Hummel's baritone was most generally blended into the composite sound of the group. He could occasionally be heard when he balanced louder while singing below the lead line. Lee Kidder's bass was more distinguishable than that of the other two quartets as he balanced louder to his lead with occasional vowel colors that set him apart from the other singers in his group.

1948, Pittsburghers

Harry "Chummy" Conte (Tenor) d: August 16,1985;

Tom Palamone (Lead); John "Jiggs" Ward (Baritone) d: December 20,1988;

Bill Conway (Bass) d: February 2, 1993

The tenth champion of the Barbershop Society, the Pittsburghers, was formed in

April of 1946. Harry "Chummy" Conte, "Tommy" Palamone, Fred Garrow who was

Tonuny's cousin, and Louis "Turp" Marcanello were friends who would sing together at

105 the Allen Club. They heard through a bar-room bouncer that a quartet festival was being

held at the Fort Pitt Hotel in downtown Pittsburgh. The owners of the Allen Club,

brothers Hyman and Julius Drosnes, encouraged the four to participate. The six of them

went to the Fort Pitt Hotel on a Monday evening in early April. What they found was a

meeting of the Number One Pennsylvania Chapter of the Barbershop Society. When asked by chapter secretary, John "Jiggs" Ward what they did for a living, they jokingly

said they were bartenders at the Allen Club. They were then known as the "Allen Club

Four" (Brandt, n.d., 1993,1998; "Pittsburghers Never," 1988). After they finished

singing, the members of the chapter asked them to become members of the society and

compete in the international preliminary contest held on May 24,1946, in Detroit,

Michigan. According to Brandt, they paid their $20.00 membership fee on the spot A short time prior to the contest, baritone singer Fred Garrow unexpectedly died.

He was immediately replaced by Zebo DiPieno. In Detroit, they made the cut to

compete in the international competition where on June 14, in Cleveland, Ohio, they

placed sixth. Sometime after the contest, Turp Marcanello left the group to sing with a

band in Philadelphia. He was replaced by bass singer Bill Conway. They changed their

name to the Pittsburghers as a sign of community spirit. Then on New Year's Eve Zebo announced that he needed to leave the quartet in order to spend more time with his business. The Pittsburghers had a performance that same evening on board a riverboat and no baritone singer. They contacted Jiggs Ward who not only could make himself free for the evening, but he also happened to own the correct costume for the performance, a maroon tie and tuxedo. With that performance the winning combination of the Pittsburghers began (Benoit, 1987; Brandt, n.d., 1998; Stefano, 1988).

The quartet entered the 1947 international preliminary contest in Toledo, Ohio, and was shocked that they did not make the cut to compete in the International Contest in

Minneapolis, Minnesota. In November, they finished third in the Johnny Appleseed 106 District quartet contest The following May they traveled to Middletown. Ohio, where they made the cut to compete in the Oklahoma City hosted International Contest They were determined to win. After 84 consecutive days of rehearsal, the group traveled to

Oklahoma with a laryngitic lead singer. Tommy, it seemed, had fallen prey to the rigors of their non-stop preparation. His voice came back just in time. With 39 other quartets competing for the gold medal (Hicks, 1988), the Pittsburghers won the international quartet title on Saturday, June 12,1948, in front of a crowd of 6,000 fans (Brandt, 1998;

Ward, 1948b).

The journey was just beginning for this new championship quartet. They continued to sing around the country for the next live years. In 1953, Chummy came to the conclusion that his teaching career needed more of his time and resigned from the position of singing tenor. Tom O'Malley was brought into the quartet on lead while Tom

Palamone switched to tenor part This version of the Pittsburghers sang for the next three years until, in 1956, Bill Conway had to leave the group due to throat cancer. Herman

"Dutch" Miller was contacted to sing bass. It was reported that Dutch was to be replaced by Nick Kason in 1963 ("News about,” 1963, July/August) but this never occurred. The group performed for nearly a decade with this membership until 1965 when Jiggs Ward decided he needed to spend more time with his family. An international champion baritone. Jack Elder, who won in 1963 with the Town & Country Four, filled this position. Tom Rtlamone continued to sing with various people making up the foursome.

In 1983, with the passing of Tom O'Malley, the Pittsburghers ceased to exist (Brooks,

1983). The Society made a ruling soon after Jiggs Ward left the quartet that at least two of the original champions of a quartet had to be active for the group to retain their name.

Since there were no longer two or more of the original champions, the group had to be renamed ("News about," 1965, September/October, "News about," 1966, May/June). They were then called the Pittsburgh Four. 107 Musical Background

Although the winning combination of Pittsburghers started singing January 1,

1947, their ties with vocal harmony began prior to the beginning of the Society. With

only eight years separating the younger Tom Palamone (b: 1916) from the elder Jiggs

Ward (b: 1908), these four men literally grew up together in the old neighborhoods of

Pittsburgh (Brandt, 1998). Here they sang with neighborhood friends who were as

diverse in their ethnicity as was the City of Pittsburgh. The lead singer, Tom Palamone

and tenor, Harry Chummy Conte were first generation Italian-Americans who grew up

singing with everyone in the neighborhood. Jiggs Ward and Bill Conte were descendants

of Irish and English immigrants. Singing was for all of them the great equalizer as they

sang the songs of their fellow Irish, Polish, German, African and Italian songsters

(Brandt, 1998).

Prior to the birth of the Pittsburghers, Bill Conway spent much of his musical

time singing in the choir of the Sacred Heart Church while both Chummy Conte and

Jiggs Ward sang improvised harmonies around the neighborhood. In 1946 and 1947,

Ward sang in a quartet called the "Four Muggs" that was known as a woodshed quartet

(Benoit, 1987; Conway & Palamone, n.d.). He also sang in "The Fifth Division Marine

Serenaders" with Bob Holbrook, who later became the lead of the 1941 champion quartet, "The Chord Busters” (Rilamone, n.d.a; "The Pittsburghers," 1947; "Pittsburghers

Never,” 1988). Tommy learned to woodshed and play the guitar. Prior to attending the

Pittsburgh Chapter's meeting, he used it to accompany his friends as they sang in quartets. Later he learned to play barbershop chords on the piano and began writing and arranging his own songs (T. Palamone, personal communication, summer, 1998).

Palamone's first organized quartet, the "East Liberty Four," consisted of himself, Zebo

DiPierro, Chummy and bass singer Wilber Gray, who was sought after by both the

"Inkspots" and the "Mills Brothers" when they were in need of a bass (Brandt, 1993). 106 Ward was a rather prolific writer. He, along with Conway and Palamone. would submit

articles to the Harmonizer for publication on a frequent basis in the years following their

championship. The Pittsburghers were master woodshedders. They used no written arrangements and would rehearse their harmonies as a group until their arrangement of

the song was consistent. They then would go to their friend, promoter, coach and mentor,

Maurice "Molly" Reagan to have their performance "Reaganized," as Chummy so often

called it (Benoit, 1987; Ward, 1984). Reagan would help them find a more cohesive

interpretive plan as well as hone their overall performance. The closest they came to

performing set arrangements were those taught to them by Molly. He recognized their

talent from their first performance at the Pittsburgh chapter meeting and stayed with them

throughout most of their performing career.

Performance Practices

Having performed in some 36 states as well as Canada, the Pittsburghers became

seasoned performers. In their championship year, they traveled 6,000 miles by car, 8,000

miles by rail and 12,000 miles by air (Conway, 1949). It may be of interest to note that

the extension of the Pittsburghers known as the Pittsburgh Four, traveled to Belgium,

England, France, Germany, Guam, Japan, Okinawa and the Philippines on a U.S.O. tour in February of 1968 (Palamone, 1968). According to Tommy Palamone, the

Pittsburghers performed 100 times a year at average. Of those, they did approximately

20% of their performances without remuneration with another 20% of their fees being left up to the discretion of others. When they did have a paid performance, they would charge $200.00 for local perfonnances with an occasional $300.00 performance (T.

Palamone, personal communication, summer, 1998).

The early Pittsburghers were known primarily for their singing. In 1949, they sang on a radio show while being called the "Silver Toppers" on Pittsburgh station 109 KDKA. They sang on this NBC affiliate on Tuesday and Saturday evenings ("For Your

Listening," 1949). They were not known for stage antics until Tom O'Malley joined the

group in 19S. Tom had been a member of the Johnny Appleseed District champion

quartet, the Four Maldehydes, and brought with him a fun loving spirit that crossed from

the stage to the audience. He was also well-known as an excellent community song leader (Brooks, 1983; "Pittsburghers Never," 1988). The other quartet men joined in on

the fun and a new version of the Pittsburghers was bom. This was a now a group of enhanced showmanship and slapstick. In 1959, they appeared on the Johns Hopkins

University television show, "File 7." They shared the bill with the 1958 champion quartet, "Gaynotes" and 1959 finalists, the "Oriole Four". The Chorus of the Chesapeake, under the direction of Bob Johnson, was also featured ("TV at Its Finest," 1959).

When asked what he remembers as the "signature songs" of the quartet, Tom

Palamone names several. Two of their contest songs, "Give Me a Night in June" and "1

Wish That I Could Hide Inside This Letter" are mentioned. "Cop on the Beat" was

Tommy's number two choice with "When Your Old Wedding Ring Was New" as the song in their repertoire for which they were most recognized.

Anecdotal Accounts

As with all of these champion quartets, there are many stories to be told. Singing barbershop music seemed to be their destiny. While in junior high school. Chummy and

Tom both took a ceramics class at a local community association. Little did they know that the afternoon prior to winning the gold medal, they would speak to Society founder,

O.C. Cash and learn that their ceramics teacher. Miss Idress Cash, was his sister. She was contacted by telephone and promised to come to Oklahoma City should they win.

She made good on her promise the next day (Ward, 1985 & Brandt, 1993). Even though the group did not win the right to advance in competition by their second place finish in

1947, their appearance in Toledo, Ohio, caught the attention of Chuck Schmitt, an active 110 member of the Toledo chapter. He arranged for the Pittsburghers to appear in the Toledo

Chapter show and hosted the quartet in his home. Chuck's wife, Kate Schmitt had a sister,

Ruth, who was visiting at the time. While there, Ruth met her future husband. Bill Conway (Benoit, 1987; K. Schmitt, personal communication. May, 1998). When the

Pittsburghers won the championship in 1948, there were many chapters clamoring to

have an international champion quartet on their annual show. Considering the youth of the society at only ten years, there were many small chapters with limited budgets. The

Pittsburghers were encouraged to sing for small chapters. This was particularly difficult when the show was located a long way from home. Chummy was frightened to fly. One weekend the group was asked to sing a show in Constitution Hall in Washington, D C. on

Friday, a show in Chicago on Saturday and a third show in Streater, Illinois on Sunday.

For a quartet that either drove or took a train to all of their performances, this was cause for convincing a reticent member to fly. As it turned out, the most difficult thing for

Chummy was getting on the plane. He actually enjoyed the experience, and the

Pittsburghers were able to fly to and from performances from that time on (Conway, n.d.;

Brandt, 1998). One of the Pittsburghers' most memorable accounts was when A1

"Happy" Chandler asked the men out to his place for a week-long visit. The former commissioner of baseball and then Governor of the Commonwealth of Kentucky not only showed them his Southern hospitality but commissioned them as Kentucky Colonels on

September 23,1939. Another time when a slip in a bathtub caused Chummy Conte to have a fat lip and an eye that was bloodshot and nearly closed, the show still went on. Of course Chummy was getting laughs both on and off the stage throughout the show.

Tommy Palamone remembers with great joy the return to Pittsburgh as the Greater

Pittsburgh chapter greeted them as kings. Then there was the time a columnist from the Pittsburgh Post fia7ettg and Sun Telegraph received a letter from a lovelorn woman who wanted to know if the Pittsburghers were going to appear on an upcoming barbershop 111 show. She wanted to have the group sing "When Your Old Wedding Ring Was New" in the hopes her boyfriend would ask her to marry him (INC Ref. #2*). One of their most memorable performance situations was a train trip across Pennsylvania where they performed at, as reports vary, 14-19 stops. The Tour was a state celebration of Pennsylvania bom talent. Celebrities of all kinds were involved including Alexis Smith,

Miss Pennsylvania, Ezra Stone (who played "Henry Aldrich" on the radio) and

Hollywood actor, Jimmy Stewart. Stewart would sing tenor with the quartet and was well received by the enthusiastic crowds (Benoit, 1987; Brandt, 1998; "Champs Taken,"

1948; "Keystone State," 1950; T. Palamone, personal communication, summer, 1998).

The group was saddened when a call was received from Canton, Illinois, that their coach, Maurice "Molly" Reagan had died. Tom Palamone also remembers a special moment for him when a dying barbershopper's last request was to hear the Pittsburghers sing before he died. Bill Conway (Speaking from, 1985, July/August) said, "All these things, added to the respect and admiration of our Society members, make the championship one of the greatest events in my life. And I can say it made me a better life."

According to Jiggs Ward (1985), when Harry died, the Pittsburghers were no longer the oldest living international champion quartet to date. He also said, "But far more importantly, his passing means the first break in a beautiful friendship that began forty years ago, and became deeper and more meaningful as the years rolled by... Sleep well dear friend." Harry "Chummy" Conte died August 16,1986, at the age of 76

("Harry Conte," 1986, January/February & Brandt, 1998).

Jiggs Ward served as an International Vice-President for the Barbershop Society in 1960 and 1961. He was well thought of by O.C. Cash, Society founder, the Society members and the AIC (Conway & Palamone, 1989). He felt a real responsibility to repay a debt for the honor of being named a champion (Ward, 1948a, 1949). Along with being 112 a prolific writer, he penned the lyrics fora "patter chorus" for the songs "Give Me a

Night in June" and "Down Our Way" (Palamone, n.d a). A patter chorus is an alternate

group of lyrics that can be sung at the same time as or instead of the original lyrics. "Down Our Way" is still sung by Society members around the world. John M. Jiggs

Ward passed away on December 20,1988. Bill Conway was totally involved in the barbershop hobby even after his larynx

had been removed due to throat cancer. His involvement with the Schenectady Chapter was such that they honored him as the first recipient of an award in his name, the

"William Conway Award," on August 11,1991 (Rom, 1993; "William ‘Bill’ Conway,"

1993; "William Conway," 1993, February 10). He communicated by placing a tone generator to his throat (Rom, 1993). A short time before his death. The Ritz, 1991 champions, performed on the Schenectady chapter's annual show. They recognized Bill

Conway and asked him to hold out a short phrase. With his tone generator to his throat, he sang a barbershop "tag" with them.^^ It may be interesting to note that even though

Bill Conway joined the Society in 1946, he officially sang in but one quartet, the

Pittsburghers (Benoit, 1987). Bill Conway died on February 2,1993, at the age of 78

("William "Bill" Conway," 1993; "William Conway," 1993, February 10; Brandt, 1998).

In July of 1998, in Atlanta, Georgia, the Barbershop Society honored the 50 year anniversary of the Pittsburghers' win in Oklahoma City. Tom Palamone made an emotional address to the convention as he expressed joy in the memory of his best friends. The Pittsburghers.^

As The Rilz is my own champion baibasbop quartet, this account is from personal experience. Singing with Bill Cbnway has been cited many times by The Ritz as one of our most memotaUe experiences.

^ I was in attendance during Tommy Rdamone's address; this is a personal account 113 Aural Comparisons and Influences

In this performance of "Give Me a Night in June" (Best of barbershop, n.d ), the

sound of the Pittsburghers was full and smooth. They blended quite well as evidenced by

their command of well-matched vowel sounds and balanced chords. As a result, the bass

sound produced by Bill Conway was able to be quite large in comparison to the lead while still maintaining a good sense of balance and ensemble singing. Compared to the 1947 Champions the "Doctors of Harmony," and the 1949 Champions, "Mid-States

Four," the Pittsburghers had more of a legato style of singing with baritone and bass sounds that were nearly transparent. Jiggs Ward's baritone singing was particularly well

balanced and the untrained ear may have had difficulty hearing him within the context of the quartet Harry Chummy Conte's tenor possessed more vibrato than that of the aforementioned champions and balanced louder than his counterpart in the Doctors of

Harmony but less than that of the Mid-States Four. Tommy Phlamone's lead sound was that of the crooners of the day.^ His sound was more of the bel canto style of singing than that of the champion lead singers mentioned above. The open sound he created allowed him to bring a beauty of tone to the quartet while not having to over balance in order to be heard.

Observations of their performance included a consistent doubling of the lead by the bass on the line "my only wish is — " This arrangement featured a simple quadruple meter with a change to compound quadruple during the patter section. They then returned to the original simple quadruple meter and continued with it to the end of the song. The Pittsburghers' articulation was "soft" in that they were well articulated while not over-enunciating hard consonants beyond the style of this light piece. While there

^ Many of Ac crooners prcfened a light, smooth singing style over a tone production that was upon a robust bravura driven singing style. Both of these types of singers could be found in Vaudeville shows all around the United States. 114 were some scooped pitches, their performance was far less affected with this than that of

the earlier quartet champions.

1949, Mid-States Four

Robert E. "Bob" Rodriquez "Mack" (Tenor) d: May 8,1988;

Martin S. "Marty" Mendro (Lead); Forrest E. "Forry" Haynes (Baritone);

Arthur "Art" Gracey (Bass) d: April 11, 1979

The eleventh champion of the Barbershop Society was the Mid-States Four; although, they were not called by this name when they began. This quartet had a career that spanned a 45 year period of time with eleven men contributing to their display of song, costume and stage antics. They were considered by many, including Tim

Hanrahan^, Buzz Meager®^, Lou Laurel^, Joe Liles^, Bob Maurus* Tom Neal^ and

Tommy Palamone*°°, to be one of, if not the greatest show quartet of all time (Mendro, c. 1995).

In early 1942, two employees of Bell & Howell, a manufacturing firm in

Lincolnwood, Illinois, were working side by side in the optical department of the war

^ Hanrahan served as Society President irom 1996-1997.

Meager was the tenor of the Four Renegades, the 1965 International Champion Quartet.

^ Laurel was the Past International President and also the International Champion Chorus Director of the Phoenicians.

^ Joe Liles is a Past Society Executive Director.

^ Maurus has served as the AIC Historian and is also the tenor of the Vikings, 1953 intematinnai Quartet Champion.

^ Neal is a well-known fan of the Mid-States Foir and an avid barbershop quartet singing preservationist.

Palamone is the lead of the Pittsburghers, 1948 bnemaiional Quartet Champions. 115 plant. Forrest "Ferry" Haynes and Arthur "Art" Gracey were learning how to grind and

polish lenses, training to be foremen in the department. They started humming and

taking turns adding harmony to each other's tunes and the two became fast friends. During breaks, they teamed up with another fellow by the name of A1 Dare and sang together in the stairwell near their area. One day, a new employee, Marty Mendro

happened upon them and offered to sing along. Mendro sang lead. Dare took the tenor,

Haynes sang baritone and Gracey, the bass. Dare was not a natural tenor and soon

realized he could not sing the part and dropped out. After a few auditions with other Bell

& Howell employees. Chuck Seibert surfaced as the new quartet tenor. The company

Entertainment Director found out about the foursome by way of an employee petition to

hear more of them. They then became the "Bell & Howell Four" (Mendro, n.d.; Mid-

States Began, 1988, November/December; Snyder, 1970, June, pp. 1-2).

A fellow employee told them about the Chicago #1 Chapter of the Society and

encouraged them to attend a meeting. As it turned out, the Chapter was playing host to

the Illinois District's annual convention and competition. They took their wives and attended this convention where the men were smitten by what they saw and heard. They

immediately joined the Society as a quartet. They were enthusiastically received by the

Chicago Chapter and were, for a time, the youngest quartet in the Society (Snyder, 1970, June, p. 4).

They immediately began competing with their first effort being the Illinois State contest in 1944, where they came in at third place. The following year brought no state competition in Illinois so the quartet competed at the International Contest in Detroit and placed sixth. Seibert, having trouble singing the high tenor part, left the group and was replaced by George Kledzik. Art Gracey found he had a phobia that prohibited him from traveling and left the group as well to be replaced by Bob Corbett. This foursome won

116 the Illinois State/District Quartet Contest in 1946 (Mid-States Began, 1988,

November/December). They once again finished in sixth position at the International Contest in

Cleveland, but Corbett and Kledzik both left the group shortly afterward. Gracey felt he was able to return, and they picked up Robert "Bob" Rodriquez "Mack" in August,

1 9 4 6 .^ 0 2 With this change, the winning combination of singers for the Mid-States Four was in place (Mendro, 1995, June/July; Quartet Gets New Bass, 1946, August).*®

With 1946 and the end of World War II came many changes, but there were more yet to come. Three of the men left Bell & Howell for other employment. At about the same time the quartet was offered an opportunity to be sponsored by another company.

Bill Snyder was the President of the Mid-States Insurance Company and, along with his wife, Peggy, they wanted to have the quartet take on the company name in return for their supplying some costumes and paid performance opportunities. The quartet agreed and took on its new name, the Mid-States Four (Chicago Quartet, 1946, February: Mendro,

1954, June; Mendro, n.d.; Mid-States Began, 1988, November/December; Snyder, 1970,

June, pp. 4-5).

In 1947 they placed third at the International Contest in Milwaukee, Wisconsin, and took on another name that would be more of an alias, the "Monon Melody Men."

Commemorating the 100 year anniversary of the Monon Railroad, the company recorded the quartet singing "Indiana is So Rich," "Belle of the Monon," "Up and Down the

The Foft Duubom Four placed third in ibis same contest with Art Gracey and future Mid-State Four tenor. Bob Rodriquez (Mendro, 1991, spring).

He took his stepfather's name of "Mack" since show emcees had trouble pronouncing his given name with any consistency (Mendro, 1991, summer).

Mendro and Gracey were from minors, Haynes was from Indiana, and Mack was from Michigan (Mendro, 1991, summer). 117 Monon" and others. These songs were played at Grand Central Station for the remainder of the company's existence (Mendro, n.d.). The following year, the quartet placed second

at the Oklahoma City International Contest. Buffalo, New York, hosted the convention of 1949, and there the Mid-States Four

proved their worth as a competing ensemble. In Keil Auditorium, the Mid-States Four

bested 39 other competing groups to become the Society's 1949 International Quartet

Champions. Late in the mid-1960's, Marty Mendro was forced to retire from the quartet in

order to meet the needs of his employment. Dick Magnusen filled in for him for a year

and a half. Mendro returned, and the group continued to perform until they left the show

circuit around 1966 with a reunion in 1967 (News about Quartets, 1967, May/June).

Around this time, Haynes and Mack moved to Florida and Mendro relocated in Arizona

(Where Are They Now, 1984, July/August). In April, 1979, Art Gracey passed away. Soon afterward, the two men in Florida started a quartet called the Memories and

Madness. Mendro was soon coaxed to move to Rorida where, with the addition of

Phil Hansen, the Mid-States Four was again performing in the spring of 1982 (News

about Quartets, 1982, May/June). This time the group sang for an uninterrupted six years

until the death of Bob Mack in May, 1988. The fiftieth anniversary of the Society was just seven weeks away and the group was slated to perform on the AIC Show of

Champions in San Antonio, Texas. Fellow champion, Don Bamick of the 1979

Champion Quartet, "Grandma's Boys," filled in on tenor, and the Mid-States Four made

their final appearance (Legend in His, 1993, summer; Mendro, n.d.; Mid-States Began,

At the hme of their chinqxonsliip. the Mid-States Four consisted of tenor. Bob Mack, a chief engineer for Magnetic Qxp. of America; lead, Marty Meixlro, a sales manager for John Ott Pictures of Winnetka, Illinois; baritone, Forry Ibynes, a sales representative for Rigga Optical Co., Chicago; and bass. Art Gracey. an optical technician for Bell & Howell of Chicago (Story of the Mid. c.l949).

i^This is the name of one of the Mid-States Four recordings. 118 1988, November/December). Others who, according to Phil Hansen (Personal

communications, summer, 1998), "filled in as needed" were Bill Wood on lead and Buzz

Haeger as bass or tenor. Musical Background

Bob Mack was a classically trained student of voice (M. Mendro, personal

communications, summer, 1998). Now all four members of the quartet could sight-read

(Snyder, 1970, June, pp. 3,7). Bob was considering a career in opera until the Mid-states

Four became a part of his performing career (Illness Claims Tenor, 1988, July/August). He spent much of his spare time studying voice in the Chicago area and was known to

have a great memory for music along with a very high vocal range (M, Mendro, personal

communications, summer, 1988; Mendro, n.d.; Mid-States Began, 1988,

November/December; Where Are They Now, 1984, July/August).

Marty Mendro played several musical instruments including mellophone, trumpet,

trombone, saxophone, clarinet, bass guitar, piano, gut bucket and on most of the Mid-

States Four's show appearances, the double bass, keyboard-melodica and toy flute. He

was a solo church singer and choir director as well as a singer/performer in musical

comedy. He spent much of his youth as a member of several dance bands (Where Are

They Now, 1984, July/August). He later became a Society chorus director, judge and

served three terms as International Contest and Judging Chairman (Hicks, 1988, p. 113;

M. Mendro, personal communications, summer, 1998).*°®

Forry Haynes brought to the quartet a bounty of talents in both the musical realm

and stage. He worked with the "Ches Davis and his Chicago Follies," the Keith-

Orpheum circuit and was a performer on the road shows attached to the WLS National

Bam Dance. He was a member of a four-piece instrumental group and played 12

He was certified to judge in d l five of the judging categories of his day, a feat few others had obtained (M. Mendro, personal communicadoos, sununer, 1998). 119 different stringed instruments including the piano, violin, mandolin, banjo, ukulele, bass

fiddle, Hawaiian guitar and tenor guitar. According to Haynes (Snyder, 1970, June, pp.

11-12), Forry was one of the last to perform in the old tent shows of the south. He was

a performer on WHAS in Louisville, WCFL in Chicago, as well as theater and club appearances around the South and Midwest (F. Haynes, personal communications,

summer, 1998; Mendro, n.d.; Mid-States Began, 1988, November/December).

Art Gracey started singing in a barbershop quartet while still in his teenage years

(M. Mendro, personal communications, summer, 1998). He also continued to sing in a

quartet called the Fort Dearborn Four during the short time he left the Mid-States Four in

1945-1946 (Quartet Gets New bass, 1946, August). According to Rudy Heart he had a very pleasing resonant voice with a rich quality that all the other bass singers of the day unsuccessfully attempted to copy (R. Hart, personal communications, summer, 1999).

Performance Practices

They were known as entertainers and their use of instruments in performance was accepted by many. However, many of the staunch barbershoppers frowned on this departure from strictly a cappella music. As of May 1,1949, the quartet basically put their instruments aside as they prepared to win the international championship without the distraction of anything outside of pure contestable barbershop singing (Snyder, 1970,

June, p. 6). They were also a quartet of young men compared to the normal ages of barbershoppers. They incorporated "modem ideas" as far as their voicings were concerned (Snyder, 1970, June, p. 4). They would sometimes sing chords with spread voicings rather than the traditional close harmony voicings that were considered part of the classic barbershop style. This, along with their comedic stage antics and costumes, helped them to develop a performance style and identity that was theirs alone (A Legend

During one of these shows, he would start by selling candy followed by rem ovinghis coat and playing in the pit band, after which, he put on his costume and peifonned his act on stage. 120 in, 1993, summer; Mid-States Began, 1988, November/December). They held high the

members of the Elastic Four as role models, friends and mentors (Mendro, n.d.).

With the exceptions of Maine, New Hampshire and Alaska, the Mid-State Four

performed in all of the United States. In addition, they made appearances in the

Bahamas, Canada, Korea and Japan. For the years they were active, their average number of performances is estimated to be 40 a year with several years where they performed over 150 times. On average, the quartet performed for a fee for 80% of their

engagements. Their average performance fee was $500 plus their expenses (P. Hansen,

F. Haynes & M. Mendro, personal communications, summer, 1998). They included in

their public relations packet the need for a public address system and either "... a 3/4 or

full size bass fiddle" to be supplied for their performance.

The Mid-States had a unique way of arranging their own songs. According to

Marty Mendro, (Personal communications, summer, 1998), Forry Haynes' library of songs from his years as a road musician was immense. He would bring songs to the group and sing them while playing chords on the guitar. If the group thought it was a good possibility, Mendro would take the sheet music and write out the melody and lyrics.

Returning to Haynes and having him play chords to the song, Mendro would write down the chord names and then arrange the other three parts (Snyder, 1970, June, p. 7). The quartet would then sing the new arrangement and revisions would be put into the score.

They unfortunately did not save many of their manuscripts. Haynes and Mendro own the copyrights for "Can't Go Wrong with a Song" and "Oklahoma Indian Jazz" (F. Haynes, personal communications, summer, 1998). Other arrangements they used included those of Frank Thome, Bob Godfrey, Buzz Haeger, Bob Mack and Walter Latzko (P. Hansen

& F. Haynes, personal communications, summer, 1998). Of their songs that could be considered signature pieces, the three questionnaire respondents cited, "Rural Rhythm,"

"Rnger Prints on the Window Pane," "Up and Down the Monon" and "Sidewalk Waltz." 121 Their performances are captured on three different recordings produced by the quartet as well as many other single song appearances on AIC Show recordings and Society composite recordings. The Mid-States Four was primarily a self-coached quartet. They did, however, get help from time to time, especially earlier in their formative years. During these years of learning the style and creating their own stage persona, they received help from Frank

Thome and Jim Doyle of the Elastic Four. Later, Buzz Haeger came to their aid. Later still, Jim Miller and Don Bamick added their names to that of the quartet's musical advisers (P. Hansen & F. Haynes, personal communications, summer, 1998).

Their performance style was a mix between a cappella barbershop singing and accompanied folk singing. They used guitar and double bass regularly as they sang.

Then, they would stop the instrumentals just in time to sing the tag of the song in the barbershop style. The double bass would play the current chord root or fifth while the guitar played chords. The stage antics between Marty Mendro and Forry Haynes where filled with sight gags and humorous banter. According to Forry Haynes (Snyder, 1970,

June, p. 10), ”... On a convention show, people just naturally expected the Mid-States

Four to do something else. We just couldn't get up and sing. 1 mean, they just wouldn't accept it... ” Their costumes were always very loud or unique (News about Quartets,

1955, June, p. 33). They had several outfits that had many layers which were pealed off throughout their performance giving one look after another without the performers ever leaving the audience's view. They would develop their act around these costumes. An example of their costuming was their "family" look (Mendro, n.d ). Here, they were dressed as various members of a family in circa 1915 America, complete with little boy, girl, mother and father all in a six-by-eight foot picture frame. One example of their antics took place in their entrance to the stage while performing in Miami, Florida. After the emcee said that the quartet had a little trouble with the Seminole Indians and that the 122 police had been sent in to get them, one of the chapter members, who was a police lieutenant, drove onto the stage with them on top of a squad car with the siren sounding.

The quartet was draped all over the top of the car with fake arrows through their heads, knives in their backs and fish all over the car (Snyder, 1970, June, pp. 10-11). The Mid- States were notorious pranksters, and other quartets wanted neither to become the object of their practical jokes nor to be the group to follow them on stage. They were a very hard act to follow.

Their performance tour to Korea, Japan and Hawaii was a milestone for the

Barbershop Society and the quartet. They sang in 33 shows during 21 days as they entertained over 52,(XX) United Nations troops during the height of the Korean Conflict in

1951. Many of these perfonnances were near the front lines where once they had to literally sing over the drone of nearby artillery fire in order to be heard. Jerry Beeler, spokesperson and emcee, would plug the Society and teach some barbershop music to the audiences during these appearances (Snyder, 1970, June, pp. 8-9 ).Ll Art Keeney was the Special Services officer attached to the quartet during this tour. He was also a musician in his own right in that he composed a song entitled, "I-Tsu-Mo," which in

Japanese means "Forever and a Day" (Beeler, 1951, December). The quartet was so impressed with Keeney's song that they harmonized the song at first hearing and incorporated it into the tour. It became a part of their permanent repertoire. The Society produced a 16 millimeter film of the Korean tour which became available to all chapters.

Forty minutes in length, this color motion picture account was rented for $25.00 per showing (Army Likes Korea, 1952, March; Korea Movie, 1951, December; Operation

Harmony, 1952, March; Operation Harmony, 1952, December).

Beeler, mnih Society Pttsidem, served his leon during 1950 (Hicks, 1988, p.l02). 123 As for their sharing the stage with other performers or those of celebrity status,

the Mid-States Four met many. These credits include an appearance for President

Truman, along with performances with Louis Armstrong, Eddie Arnold, Frankie Avalon,

Leo Carillo, the Chordettes, Dorsey Brothers’ Band, George Gobel, Arthur Godfrey, AI Jolson, Guy Lombardo Orchestra, Lauritz Melchior, Olsen and Johnson, The Osmond Brothers, and Roy Rogers. They also were introduced to Bob Hope and Jane Russell as

they were filming Son of Paleface in Hollywood. The Mid-States Four also performed in

Carnegie Hall in New York and made appearances with the US Air Force as well as

various USO shows (F. Haynes & M. Mendro, personal communications, summer, 1998;

Presenting the Mid-States, n.d.). Their largest audience was at Soldier's Field in Chicago

where they appeared before 110,000 at the Chicagoland Music Festival (A Legend in,

1993, summer).

Anecdotal Accounts

When asked about their most famous moments outside of winning the Society's

gold medal, the three questionnaire respondents (P. Hansen & F. Haynes & M. Mendro,

personal communications, summer, 1998), had many situations to cite. These included

winning the Illinois District Championship and winning the "Arthur Godfrey Talent Scout Contest." With the latter, they spent a week in New York on the show and were

also offered a regular performance spot, which they had to decline. The Mid-States also

fondly recalled their appearances with Louis Armstrong, AI Jolson and Frankie Avalon at

the Chicagoland Music Festival. They received three honorary Governor/Colonel titles and a special medal and commendation from General Van Reet for their efforts during the Korean United Nations tour.

As they traveled, the Mid-States experienced everything from landing in Toronto with no brakes to a storm ridden return from Tokyo in a military C-47. They were once stopped in an airport because they had their "stage gun” in their possession and the 124 authorities thought it may have been a real gun. One of their more humorous situations

came when they were to share the bill with the Confederates, complete with confederate

officer uniforms and swords in Greensboro, North Carolina. According to Marty Mendro

(Personal communications, summer, 1998);

The show chairman contacted Forry and asked him to rent four Union Officer uniforms. The Confederates closed the show, and stayed on stage for the finale. We were introduced and came out on stage wearing the Union officer costumes - when the Confederates saw us we broke out in one of the funniest mock duels you would ever see. Over and around the risers, through the chorus, all over the stage - well, it was funny and we still talk about it.

Special personal moments that stand out for these men as they reflect back over their years together include getting standing ovations, walking out onto the stage at

Carnegie Hall, a performance at the Red Rocks Amphitheater in Colorado, performing for 1 IO,(XX) people at Soldier's Field, attending the funerals of Forry Haynes and "brother barbershoppers," and "placing Bob Mack's remains in a small lake overlooking his house, by myself" (F. Haynes & M. Mendro, personal communications, summer, 1998). The death of Art Gracey was, of course, a great blow to the remaining two quartet members.

Also one of their saddest occasions was the singing of their farewell song in 1988 with

Don Bamick and Phil Hansen in San Antonio.

July 3,1999 marked the fiftieth anniversary of the Mid-States Four becoming an

International Champion. In commemoration of this event, the Society honored them on stage. To the delight of the convention. Forty Haynes, Marty Mendro and Phil Hansen appeared on stage. The two members of the championship version, Mendro and Haynes, performed one of their comedy routines allowing the conventioneers to experience a part of history that is all but gone. They received a lengthy ovation.

As to how their association with an International Champion Quartet has affected their lives, they responded with gratitude toward the Society and its membership. They

125 expressed a feeling of self-betterment by making others laugh. And finally, they expressed a profound gratitude toward their families who more than accepted but embraced the lifestyle of singing in a championship performing quartet. Aural Comparisons and Influences

The Mid-States Four had a sound that was quite different than that of their immediate predecessors to the barbershop throne, the Pittsburghers. In the example,

"Fingerprints upon the Window Pane" (Best of Barbershop, n.d.), the tenor sound of Bob

Mack was infinitely straighter in tone than that of Harry Conte. Mack also sang with much more volume in relation to his lead and the overall sound of the quartet. Marty

Mender's lead was similar to his Pittsburghers’ counterpart in that he possessed a lyric sound that was present while not dominant His was a pleasant presentation of melody that bordered on obscurity. The quartet around him sang with large voices to the point of his melody being hidden more as one might expect a harmony part to function within the ensemble. The height of the lead line, along with the care of the baritone to not over balance when singing above the melody, allowed the lead to function well but on the verge of becoming under balanced. Forry Haynes, as mentioned, sang intelligently in balance to the lead but also much fuller to the lead than did Jiggs Ward a year earlier.

Along with the large voice of Art Gracey, Haynes added a stronger bottom to the quartet than had been heard in previous years. This was a quartet of four soloistic voices with a tempered control over vibrato to create a barbershop sound that was not challenged by the fluctuation of pitch from vibrato.

The quartet's articulation in this performance was particularly noteworthy. They sang with nearly slurred sibilant sounds while clearly executing hard consonants.

Singable consonants were vocally energized and many times elongated. Their use of singable consonants was the first to be heard among the examples studied. The first two to three chords of most phrases were elongated and equal in length. This could be 126 attributed to chord worship which was consistent throughout the performance. The Mid-

States Four produced a big sound as evidenced by this example. Their sound was much larger than the crooning quartets that preceded them and many of those that followed.

1950, Buffalo Bills

Vernon *Vem" W. Reed (Tenor) d: January 25, 1992;

Albert "Al" E Shea (Lead) d: March 9,1968;

Richard "Dick" E. Grapes (Baritone);

William "Bill" J. Spangenberg (Bass) d; March 20,1963

During the 1950's, the Society saw the addition of chorus competition; the long- lived Schmitt Brothers Quartet; its youngest champions, the Four Teens; and a group from New York that would become the icon of barbershop harmony. The twelfth champion of the Barbershop Society was unquestionably the most famous barbershop quartet of all time. These men not only won the coveted gold medal, they went on to become stars of both stage and screen. They were known as the Buffalo Bills and spanned an existence of more than twenty years. In that time, they included seven singers and went through three periods of performance levels beginning with that of the competition/show quartet, then as Broadway stage performers and finally, as professional nightclub entertainers (Sparks, 1988, pp. 38-42).

The "Bills" began on September 20,1947, in the home of baritone Hershel

"Hersh" Smith who, along with lead singer Albert "Al" Shea,*°® was a member of the

Previous to singing in the Buflalo Bills, Al Shea had been in a quartet called the Baiber Shop Four in 1945. They performed regidarly each Sunday for a 12:45 Pirf. radio program in Buflalo, NY (Buflalo Bills Most, 19K, November/December). 127 Society Chapter in Kenmore, NY. Vernon "Vem" Reed^^® and William "Bill" Spangenberg were not Society members but were invited for an evening of singing as a

quartet."! The Chapter had a ladies night and had extended an invitation for the

foursome to perform. The invitation was accepted by evening's end. This performance was one week later when they sang three songs (Four Bills to Appear, n.d.). They decided to join the Society as a registered quartet but had trouble finding a suitable name.

After submitting the Town Criers and then the Four Tune Tellers, they were informed by

Carroll Adams that both names were already taken by other quartets.They were still

nameless while engaged to do several performances at the Buffalo Quarterback Club.

Master of ceremonies, Jim Wells, saw potential for good public relations in tying them to

their home area. After introducing them as the Buffalo Bills, they never lost the name (Buffalo Bills Most, 1988, November/December; Sparks, 1988, p. 39). "3

During 1948, the Bills successfully qualified for the International Contest where

they placed sixteenth. Later in the year, the group won the Seneca Land District Quartet

Championship. In 1949, they earned a sixth place finish at the International Contest only

to have Hersh Smith decide to leave the quartet due to its travel requirements. They

began looking for a replacement baritone and found him in the person of Richard "Dick"

E. Grapes. In 1950, the newly retooled group competed in Omaha, Nebraska, to become

Reed was menially preceded by Red Mallbews, a member of the Buflalo Chapter, who had sung with the other three a lew limes prior to the September 20,1947 meeting (Fobart, I967,p.23).

! " According to Vem Reed (Stamm, 1987, p.6),AI Shea had heard of his ability to sing tenor and had invited him to "Come on over and see if you'd like this." He loved it.

" 2 Adams was the Society Executive Secretary.

The Buflalo Bills quartet made a legal inquiry with the Buffalo Bills football team to insure there was not a problem with their using the name. Later, after leaving and then remming to Buffalo, the football franchise asked the quartet for their permission to use the name (Fobart, 1967, p.26). 128 the decade’s first International Quartet Champion of SPEBSQSA” ^ (Buffalo Bills Most,

1988, November/December)."^

The performance bids for the Bills started to flood in and the new champions were

soon performing at a record pace. The following year, they no sooner sang their swan

song as current champions and they left for a tour of the European Command from July

1,1951 through August 2,1951, where they performed for 3CX),000 servicemen and

women stationed in Germany"^ (Dalmas, 1952, June; Embury, 1951, August). A similar

tour occurred in 1952 only this time to Korea and Japan (Embury, 1952, December)."^

The foursome continued to perform at parades throughout North America and became

one of the favorite show quartets the Society had to offer. On February 4,1957, they

appeared on and won the Arthur Godfrey Talent Scout Show which led to years of

performances on his shows (R. Grapes, personal communications, April, 1999; Hedrick, 1958, January)."* They recorded a few records which proved to be fortuitous as a well-

known conductor and radio personality named Meredith Willson happened upon one of

"'*The Buffalo Bills never medaled priorto winning the gold medal (Fobart, 1967, p.2) and had amassed the most points to win the championship than any other quartet to date (Four Bills to Appear, n.d ; R Grapes, personal communications, April, 1999).

At the time of winning the International Championship, their occupations were varied. Bill Spangenberg was a truck driver for Ryerson Steel in Buffalo; Dick Grapes worked for the Hubbs and Howe Paper Company; Al Shea was a policeman for the city of Buffalo; and Vem Reed was the Director of the Boy's Club in Tonowanda, NY ^volution of a Great, 1967, September/October, Fobart, 1967, p. 13; Stamm. 1987, p.5).

^ While on this tour, they performed an average of three times a day for thirty-five days.

These tours were part of the Society's Armed Forces Collaboration Program, a cooperative venture between the Society and the Armed Services. This was first implemenled during the presidency of OH. "King" Cole in 1950 (Hicks, 1988, pp. 25,27,39,43,49,52,114).

According to S. Hedrick (1957), one of their wives entered them in this contest without their knowledge. 129 their recordings. He liked what he heard and started playing their songs on his radio

program. According to Dick Grapes (Personal communications, April, 1999),

I was a salesman, and I always had the radio on listening to music. One day, 1 was listening and Meredith Willson had a fifteen minute show on NBC out of New York. He was saying that recently he had been in a record shop and overheard someone in the next booth playing a record. He listened and inquired as to who were the artists on the record. It was one of our Buffalo Bills records and Meredith bought it His comments on the air were that he heard this quartet, and that he felt it was the finest quartet he had ever heard and wanted his audience to hear them, and played one of our songs. His comments were most flattering, and each day 1 listened and each day, for a week, if he didn't play a record, he was commenting about our quartet.

The Buffalo Bills had a fifteen minute radio spot with emcee Ed Dinsmore who had his own show called the "Luncheon Club" on WBEN out of Buffalo, NY.^‘^ When

Willson was to make a personal appearance in the Buffalo area, NBC set up a meeting of

Willson and his favorite quartet on Dinsmore's show (Founder's Column, 1953, June;

Fobart, 1967, P. 11). The appearance of Willson and his wife on the "Luncheon Club" went well. As the entire group of performers were descending in the elevator, Willson casually mentioned he was writing a show for Broadway that employed the aid of a barbershop quartet He asked if the Bills would be interested. According to Grapes,

"We had heard this type of thing before only to have nothing come of it." They said yes, and several months went by without a word from Willson (R. Grapes, personal communications, April, 1999).

While this new relationship was fostered between the Buffalo Bills and Willson, the quartet was happening upon difficult times. There were personal incompatibilities

WBEN was an NBC afliliale.

Willson's stage play was written from his childhood experiences in Mason City, Iowa. Even though he later came to know and request the Bills as the quaitet in his show, the role of the quartet was inspired by an actual quartet from Mason City called the Husty Hnges" (Sparks, 1988, pp. 39-40). 130 within the group that were becoming intolerable. They had decided to honor their contracted engagements and retire the quartet when a call came from New York. It was

Kermit Bloomgarten, who was producing a Meredith Willson show called Music Man. Mr. Willson wanted them in the show and Bloomgarten wanted to know how soon they could get to New York for an audition. They managed to go there as part of a performance trip that had already been arranged to New Jersey. After the audition, they returned to Buffalo and soon heard again from the producer of the show. He wanted them to return for a second audition after which they were told they had the job (Fobart,

I967,p. 12; Stamm, 1987, p. 9).

After struggling with the details, the foursome decided to take t h e j o b . they were signing the contract, according to Vem Reed (Fobart, 1967, p. 13), Dick Grapes put the pen back down and said he couldn't do it. The risks were too great for him and his family. The group had made a pact that they go as a foursome or they didn't go at all.

Grapes released them of their pact and told them to find a replacement baritone. They held off the producer as they looked for a new man. Finally, they found F. Wayne

"Scotty" Ward from East Liverpool, Ohio (Connett, 1958, March; Wayne "Scotty" Ward,

1989, March/April).^^ The producer was contacted and a photograph was sent to insure

Ward looked the part Afterward, they were told that he looked fine, and if they were sold on him musically, the producer was agreeable to go with the change.

The quartet and the show were an unquestioned success (Buffalo Bills Most,

1988, November/December). Music Man first opened at the Schubert Theater in

One of the real straggles for the Bills in making ibis decision is that they entered this new career with 17 children among them (Aestoo, 1962, May/Jime).

Ward sang in a Johnny Appleseed District quartet called the "Great Scots" (Vera Reed, Last, 1992, May/June).

R seems interesting to note that Ward had no audition with the New York company at all. 131 Philadelphia on November 18,1957, and opened on Broadway on December 19,1957

(Buffalo Bills, 1960, March; Stamm, 1987, p. 13). The Buffalo Bills received star billing

and stayed with the show until 1962 when an offer came from Hollywood to star in the film version of the show. They left the Broadway production at that time and spent three

months filming the movie version of Music Man (Fobart, 1967, p. 6; Preston, 1962,

May/June).Toward the end of the filming process. Bill Spangenberg took ill and had

to leave the production for a week. He returned to finish filming, immediately retired

from the quartet and rehimed home to the Buffalo area. Bill Spangenberg died nine

months later (Buffalo Bills Most, 1988, November/December).

As the quartet neared its third and final stage, they had been looking for a

replacement bass for Spangenberg, whose retirement plans had been known for

sometime. They auditioned many bass singers, looking for the one who sounded most

like that of Spangenberg. With Ohio native, Jim Jones came the closest match and the

final version of the Buffalo Bills was in place.^^ For the next five years the Bills

performed on the Arthur Godfrey Show, as a nightclub act, guest performers in

productions of Music Man and as headline entertainers on barbershop shows as well as

county and state fairs around North America (Williams, B., 1967, September/October;

Stamm, 1987, p. 36). In 1967, Vem Reed announced his leaving the quartet to pursue

another career (News about Quartets, 1967, March/April).

1962, through June 21,1962 (Fobart, 1967,p.7).

‘^Spangenberg hid been ill for some hme. He bad diabetes as well as heart probiems. His family doctor as well as several specialists were advising him to rehie from all of bis performance activihes. He finished the last week of filming Music Man under a dnctn>»s care 1967, p.Q.

Jim Jonm was a member of the 1961 Johnny Appleseed District Champion Quartet, Sta Liters (Buflalo Bills Most, 1968, November/December, Evoiuhon of a (jieat, 1967, September/October). 132 The others decided to follow in kind and retired the quartet (News bout Quartets, 1967,

M ay/June).i 27 The Hnal performance of the Buffalo Bills was at the Waldorf-Astoria

Hotel in New York City on May 24,1967 (Buffalo Bills Most, 1988,

November/December; Vem Reed, Last, 1992, May/June).*^ Musical Background

The musical background of the championship version of the Buffalo Bills was

rich in family traditions. According to Vem Reed (Stamm, 1987, pp. 32-33), all the

members of the quartet had music in their homes. All four were soloists, choir singers and quartet members in their churches as well as concert singers in the community.

Weekends were spent socializing with friends and family at each other's homes, which included singing. Reed went on to say,

.. well, maybe my mother and dad'd say "well it's your turn to come over to our house.” Everybody had a piano, and they all played. Usually the evening would start out with men playing cards and women crocheting and daming. And then it got around, oh, nine o'clock or so, why, that would break up and either my mother or my aunt would get up and start playing the piano. Everybody gathered around the piano and we sang our heads off. That ended up with something to eat. You probably got home around midnight.

In an interview, some twenty years earlier, he went on to say (Fobart, 1967, p32).

Back in the 30s, when I was growing up, every family got together, aunts and uncles and... And gosh, my dad played the violin; my dad still sings tenor in a church choir, and he's 76. My mother played the piano. My

Upon their retirement, Reed went into the motel business. Shea in the insurance field. Ward operated a drive in ice-cream business and Jones became a specialty welder for a firm that produced tanks for the space program. Jones also joined the Eastemaiies quartet replacing Bill Amucbiaiico (Evolution of A Great, 1967, September/October).

Their last performance was for the seventy fifth convention of the Steel Instimte. According to V. Reed, it was a "commercial job” with no fuss over it being their final performance. Reed said. "We went there and did our job and that was it." Their final chapter show was in Raleigh. North Carolina (Fobart, 1967.PP.24-25). 133 grandfather played just about any stringed instrument you'd want to hand him. And harmony singing was part of it. Vem Reed was bora in Buffalo, New York, in 1918 and attended New York

University and the Eastman School of Music where he studied voice (Tenor, n.d.). He was a soloist in his church choir and sang on the radio prior to joining the Buffalo Bills.

He was a winner of the "Voices of Tomorrow" contest put on by local radio station,

WBEN that also used its winners to sing on the air (R. Grapes, personal communications,

summer, 1998; Stamm, 1987, p. 6). According to John Austin ( 1992), "... when it comes to great tenors in the history of barbershop, Vera is ranked among the very best.

He has immense power, yet he used it judiciously."

Al Shea sang all through his school days at Bennett High School and in his

church. He sang in his first quartet at age eleven (Founder, n.d ). According to Dick

Grapes (Personal communications, summer, 1998), "He was always involved with

singing." When he found out a barbershop singing chapter was coming to Buffalo, he

joined as a charter member of the Buffalo Chapter (Fobart, 1967, p. 23). He later started

and sang lead in a quartet called the Melody Men (Stamm, 1987, p. 6). Before World

War II, he was a member of the Buffalo Choral Guild, along with Bill Spangenberg and

Hersh Smith. He had been singing as a soloist in church choirs for sixteen years prior to

forming the Buffalo Bills.

Dick Grapes sang in the high school glee club and a male quartet in North

Tonawada, New York, He also sang in a family quartet While serving aboard the USS

Miami, he started a shipboard choir. Grapes also sang in several western New York choruses prior to joining the Bills including the Carborundum Male Chorus in Niagara

Falls (Baritone, n.d.; R. Grapes, personal communications, summer, 1998). He also became a self-taught organist and ukulele player. Prior to joining the Bills, he was a member of the ToneWanderers quartet from the Tonawandas Chapter.

134 Bill Spangenberg's family included a church organist for a mother and a

singer/choir director for a father. After his active singing days at South Park High School, he studied voice with Florence Ann Reid, Seth Clark and Robert Fountain (Deep

Bass Voice, n.d.). He was known as a soloist prior to joining the Buffalo Bills.

According to Vem Reed (Fobart, 1967, p. 4), "Bill had not only a great voice, it was one of these, the lower he went, the wider it seemed to get. And you could just hear the people going mmmmm' in the audience — "

Performance Practices The Bills had a career that was nearly as long as their list of credits. They met many celebrities through their association with the Arthur Godfrey Shows both on radio and later on television. They collaborated many times with the Chordettes, who were the regular women's group on the show (Stamm, 1987, p. 11). They also performed for

General Dwight D. Eisenhower during his presidential campaign, with Faye Emerson, and on the Ed Sullivan show with Meredith Willson and his wife, Rene (R. Grapes, personal communications, summer, 1998). They made television appearances on the Bell

Telephone Hour, American Music Theater, Perry Como Show, Today Show, Tonight

Show and the Mike Douglas Show. By the time they retired, they had amassed a staggering record of appearances including 1 major motion picture, 15 record albums,

137 state fair appearances, 216 television shows, 626 conventions, 672 night club and hotel appearances, 675 radio shows, 728 concerts and 1,510 Broadway performances

(Buffalo Bills Most, 1988, November/December; Sparks, 1988, pp. 40-42).

129 Godfrey was a banjo and ukulele player. He would play along with the Buffalo BOls on many occasions. The Bills recorded an album of ibemselves with banjo eniidcd, "Barbershop! The Buffalo Bills with Baigo” (Stamm. 1987. pp.11-12). 135 Through all of this, they performed in 49 states, Japan, Korea, Germany and France at

nearly every major concert hall in America and beyond (Buffalo Bills, The, n.d.).^^

The early years of the Bills yielded many arrangements tailored to the group.

These were written mostly by Phil E m b u r y . Others were arranged by Ed Diekema

although those specifically written for the Buffalo Bills fell mostly into the hands of

Embury (Fobart, 1967, p. 1; D. Grapes, personal communications, summer, 1998; Sparks,

1988, p. 39; Stamm, 1987, p. 34). Since he knew the group, along with its strengths and

weaknesses, he was able to fashion the music to the group. This turned out to be a great

advantage as the foursome was seldom in a compromised position musically. Even

though Grapes said they received no coaching, further investigation shows that Embury

helped as a fifth set of ears for the group and assisted them with the style of barbershop

music in the early years (Stamm, 1987, pp. 2-4). He also traveled with them on their two

overseas tours. There, he would teach the servicemen as well as act as a manager for the

Bills. 132 Later, through their association with the Arthur Godfrey Show, the group met

Walter Latzko, a CBS staff music arranger who became the Bills' sole arranger of their

show material for the last ten years of their career (Buffalo Bills Most, 1988,

November/December). Latzko spoke of his first meeting the Buffalo Bills (Austin,

1992),

I first met Vem backstage at the Jersey City barbershop show along with the other members of the Buffalo Bills. I was the arranger and coach of the Chordettes on the Arthur Godfrey Show at that time and they had taken me to this, my very first barbershop show, along with Godfrey's

t30 Through all of dûs activity and wofk, the Buffalo Bills remained friends (Stamm, 1987, p 3 1).

t3t Phil Embury was the Society's fifth Intematicoal Aesident and served two years in that capacity from 1944 through the end of 1945 (Hicks, 1988, p.l02).

^ It is interesting to icalize Bnbtny did all of these things free of charge to the quartet or the Society. According to Reed (Stamm, 1987, p.4), "He just did it out of a love for the whole situation " 136 orchestra leader, Archie Bleyer. We had squirmed through the opening local quartets when the MC said. Ladies & Gentlemen, here they are, the champion Buffalo Bills, and out they strutted in their buckskin outfits and their cowboy hats, blasting their famous opener "Hi Neighbor.” I remember Archie and me looking at each other, amazed at sight and sound, as if to say, "How long has this been going on?" We were quite overwhelmed by the Bills' presentation. The Buffalo Bills had no real role models. Their approach was consequently

unique. They had no model to emulate though they did have much respect for and made

good friends with the Schmitt Brothers and the Mid-States Four (R. Grapes, personal communications, summer, 1998). Soon, they found they were being held as a model to other groups as they worked toward the type of polish exhibited in their performances.

As for advice in becoming a professional group, they counseled Leonard Joy from

Decca Records and Buffalo native. Bob Smith, who created Howdy Doody. They found that the average life for a professional entertainer with a reasonably good run was three to three-and-a-half years. When entertainers were finished, they typically had nothing to show for it other than money saved. The high level of unemployment coupled with a total lack of security had Joy telling them they should not do it (Fobart, 1967, p. 35).

Still, their love for the stage won out as they felt they could save enough money to make the move worthwhile.

According to Vem Reed (Stamm, 1987, p. 2), they worked hard toward perfecting their performance as the singers of songs as well as showmen. They rehearsed at least four times a week and were continually adding new songs to their repertoire. While they were regular performers on the Arthur Godfrey show, the need to have fresh material was real. They met nearly every day and rehearsed constantly. They were fast learners.

There was no boss in the group. Over the years they claimed to have had no arguments only differences of opinion that occurred over interpretation of their music. Reed said they were motivated; it was their job and they worked as a team (Stamm, 1987, p. 32).

Godfrey had no contracts with his performers and was impulsive as ft) his needs on each 137 show (Stamm. 1987, pp. 37-38). The group would arrive at the studio and ask him if

there were any particular songs he would like to hear them sing on that morning's show.

Although the music was memorized, it could be held during the radio performances. The

Bills kept records of what they sang and where, and learned new songs constantly. If

Godfrey said a song had been sung too much, they contacted Walter Latzko immediately for a new song to be arranged for them. Many songs were with the show's band as well

as a cappella arrangements. Godfrey was quoted saying (Schlaerth, 1962, October),

"The greatest quartet I've ever heard. They can sing a cappella or jazz it up with the band

with good showmanship. And they're four of the nicest guys I've ever met."

The Buffalo Bills, as mentioned earlier, were prolific performers. According to

Dick Grapes (Personal communications, summer, 1998), they averaged 100 performances a year, and for three years running were on the road 40 of 52 weekends a year. And this

was before they went into the professional ranks. As for fees, they obviously varied through 20 years of active performing. According to Grapes (Personal communications, summer, 1998), the group charged the same rate from 1950 through 1958. Their talent fee was $35.00 per man and the quartet was reimbursed for expenses. Later, the group was performing for Society chapters on Sundays while maintaining their Music Man jobs

(Connett, 1958, March; Fobart, 1967, p. 26). They wrote the Society's administration asking for guidance in what to charge for chapter shows/parades as a matter of course.

The fee was decided to be $1,000.00, plus expenses. This stayed in effect from circa

1957 through their retirement in 1967 (Fobart, 1967, p. 27). Their fees for what they called "commercial jobs" are unknown but one could assume they were reflective of the situation and union guidelines.

As many already know, the Buffalo Bills was a Society barbershop quartet turned professional. What most do not realize is that they were not the only Society foursome nor the first to make this claim. The 1952 champions, the Four Teens entered the 138 nightclub circuit in 1955 and continued to sing professionally for the following two years. They did, however, change their name to "The Classmen" since their ages no longer fit

the Four Teens. They continued to appear on radio, television and in live shows around

the country (Four Teens History, c. 1955/1956). No Society group, however, has

surpassed the Bills' ten-year career as professional entertainers (1957-1967).

The Buffalo Bills association with the Music Man is one of particular interest as

no other quartet has starred in as successful a show with as long a run. According to

Vem Reed (Stamm, 1987, p. 12), the New York company was very "fussy" about the

people they hired. Consequently, no one was fired from the cast during the entire run.

They had understudies^ for those times someone was sick but it was understood that

one had to be very sick (Stamm, 1987, p. 14).^^ While they were in the show, they also

performed in nightclubs and did morning appearances on the Arthur Godfrey Show

(Connett, 1958, March). On a typical day they would arrive at the theater at 5:(X) in the

afternoon, unless they had a matinee performance which meant an earlier arrival time.

They would warm-up their voices and rehearse new repertoire. The show began at 8:00

and the curtain would come down around 11:(X). Afterwards, they would often have an

appearance at a nightclub arriving home between 2:00 and 3:00 in the morning. This was

the schedule they maintained while performing six days a week with eight or nine

performances of the Music Man along with other appearances each week (Stamm, 1987,

pp. 19-20). Further, the Bills collectively reported (Buffalo Bills, 1960, March),

All four of Ibe understudies were mined singers. According to Vem Reed (Connett, 1958, March), some of them bad sung for the Metropolitan Open but still bad trouble "feeling” barbershop music from an interpretive standpoint They were astounded at the way the Bills would 'bend' their notes."

^ On this topic Vem Reed said (Fobart, 1967, p.29), "Everyborfy took care of themselves, and we worked at it, but boy, there were times when you just couldnt avoid it ... Colds you can sing over, or a sore throat won't bother you, but it's laryngitis. When you get that then you're just shut off." 139 We have recently completed twelve weeks in a row without a day off. Singing 90 continuous days of a combination of Music Man and Sunday afternoon and/or evening Barbershop Shows. In addition, we finished recording our second Columbia album, did a week's stint with Arthur Godfrey and various sundry singing jobs here and there. During the rehearsals for the opening, Meredith Willson was respectful of the

quartet's abilities and opinions. According to Vem Reed (Stamm, 1987, p. 24),

"Meredith Willson was so nice about it, with us, because so much of it was done a

cappella. And if we wanted to do it in a particular way, he always said. If you feel

comfortable, do it that way.'" As it turned out, only six members of the Broadway cast

were used in the movie production. They were the Buffalo Bills, Robert Preston and Pert Kelton (Stamm, 1987, p. 25).*35

Production days for the movie consisted of arriving at "the lot" and checking "the

board" for the day's events (Stamm, 1987, p. 26). Many scenes were filmed out of

sequence from the actual events in the script. The board would have three days' activities listed for the cast to be prepared and in character.

Anecdotal Accounts

The lone living member of the Bills is Dick Grapes, who returned the questionnaire. He later sent me a history of his involvement with the Buffalo Bills which covers the first ten years through their leaving for the Broadway stage. For him, the most famous moment for the quartet, other than winning the gold medal, was becoming winners on the Arthur Godfrey Talent Scout Show, which was aired on CBS. He also mentioned their auditioning for Music Man. When asked about the group's funniest moment together, he simply wrote, "unmentionable" (Personal communications, summer,

1998). However, there was the Bills' first contest with Grapes at the International

Preliminary Contest prior to winning in 1951. Upon arrival at the contest site, Grapes

I^ to o played Harold Hill, and Kelloa the rde of Mn. Rmroo. 140 realized he did not have the correct shoes. Contest rules were explicit, your outfit had to

be exactly the same. After nearly giving up, he and Vem Reed found a perfect match in a

little shoe repair store (D. Grapes, personal communications, April, 1999). Of course, it

didn't help them much in Europe when they were introduced as the Buffalo Bills and people expected a Wild West show to appear complete with cowboy songs (Fobart, 1967,

p. 26). A1 Shea wrote about a travel situation in Europe where the six of their entourage

and their 14 pieces of luggage were met by two small Volkswagen cars (1951,

December). Grapes cited an event during their tour of Europe as his most memorable

travel story. They were returning to the United States after being awake for much of the

previous 36 hours. Their mode of transportation was a Boeing Stratocruiser with

thousands of pounds of freight piled in the middle with bucket seats and two canvas cots

hung by chains for the Bills to take turns sleeping. It was night time and they were flying

at 18,000 feet when smoke started to come from the cockpit. The plane suddenly de­

pressurized and the lights went out. A power turbine had started to bum, filling the

cockpit with smoke. The crew tumed it off and engaged an auxiliary turbine at the same

time. Loss of pressure occurred because the faulty mechanism was responsible for

pressurizing the cabin, and the crew opened a window to get the smoke out of the cockpit. The auxiliary turbine slowly re-pressurized the cabin and the lights were

restored (R. Grapes, personal communications, summer, 1998 & April, 1999). This was a far cry from the treatment they experienced a year later when they were in Hawaii. The

Honolulu Chapter had Rear Admiral Perkins as a member who offered the Bills his limousine and pleasure boat during their stay.

In the area of heartwarming situations. Grapes tells of a situation at the 1952

International Convention in Kansas CiQr. They were introduced to the crowd and stepped onto the stage wearing their authentic Buffalo Bill costumes complete with wig, beard 141 and mustache. What was thrilling for the Bills was that the crowd would not let them continue with their singing; the applause continued for an unprecedented length of time

(R. Grapes, personal communications, summer, 1998). They also would quite often stop the Broadway show in the same manner after singing the song "Sincere" (Stamm, 1987, p. 20). He further stated that the quartet preferred live performances. Grapes said, "I think I can speak for the whole quartet; it's a heck of a lot more fun being in a concert hall than it is in a studio” (Stamm, 1987, p. 38). On the topic of studio performances, the

Bills taped the sound score for Music Man a few days prior to the opening. The producers wanted them to record the song "It's You." The song was too much of a

"visual thing" and needed to be reworked with no time to spare. The Bills went downstairs and woodshedded the song while some other things were being recorded.

When they returned they said, "Let's do it before we forget it." They never sang the song the same way it was on the recording again (Fobart, 1967, pp. 27-28). They once shared the bill with Jimmy Durante at the Sert Room in New York City. According to Cook

(1965, p. 20),"

Although in a desperate hurry. Durante let the quartet go on first because someone told him: "Listen, Jimmy, if they have to follow your act they're dead." When the Buffalo Bills came off, the Schnozzola greeted them with: "Now looka whatshadone to me! You stopped the show and I gotta follow you!"

Their happiest moments, according to Dick Grapes (Personal communications, summer, 1998), were winning the Arthur Godfrey Talent Scout Show and, of course, winning the International Quartet Championship. While at the 1950 convention, after they were announced as the new winners. Grapes started fretting about how he was going to meet the increased travel needs of a champion quartet performing around the country.

He had a new job and was uncertain as to how his employer would react to time needed from work. Bob McFarren, a pioneer of the barbershop movement in Western New

142 York, overheard his concerns. McFarren was in the printing business and was a big

consumer of the paper that Grapes' company sold. On Monday morning. Grapes came to

work to an overjoyed boss who let him know that McFarren had made a considerable

order with the company and in return, wanted full cooperation with the Bill's travel

schedule. Soon Grapes was moved into a sales position which allowed him the type of

freedom needed by the Bills (D. Grapes, personal communications, April 1999). In 1957, commemorating their ten years of singing together, the Seneca Land District presented

them with special gold medallions inscribed with the Society emblem ('Something

Golden', 1957, December).

As for sad occasions for the quartet, Vem Reed (Stamm, 1987, p. 20) made

mention of the passing of Phil Embury. He said, "He was more than just a friend. He

was father, mother, everything else to the quartet" The passing of Bill Spangenberg was also a blow to all of them.

For Dick Grapes, his association as a member of a championship quartet made his job as a salesman simpler and led to a personal association with the Buffalo Bills football

team. His part of the quartet's revenue bought his home. He further stated that even with

it being 48 years later, his experiences with the Buffalo Bills bring joy to him and his

wife's lives (Personal communications, summer, 1998). Vem Reed (Williams, 1967,

September/October) said, "This is what made everything else possible. If we hadn't won

the International Contest we would have never made the records for Decca, and if we

hadn't made the records Meredith Willson probably would never have heard us."

Aural Comparisons and Influences

The sound of the Buffalo Bills was in keeping with the trend of the previous two years in that the quartet possessed a large over all sound. Of the Pittsburghers, Mid-

States Four and the Buffalo Bills, the Bills were the largest sounding. Vem Reed's tenor was full-voiced as were all of the voices of the Bills'. A1 Shea had a lead sound that was 143 somewhat like that of a coronet Within the brass section, the coronet can play the range of the trumpet but with a slightly warmer tone. This was the case with Shea as he could

"switch horns," so to speak, in order to accomplish the specific task at hand. His

blending tone made him nearly transparent to the untrained ear. He and the rest of the

Bills had a very consistent blend that would have the listener focus on the composite

sound of the ensemble rather than the individual voices. The baritone sound of Dick

Grapes was equally tooled as he sang with a loud voice that was as illusive to the ear as a

chameleon may be to the eye. Bill Spangenberg's voice can only be described as huge.

His resonance was second to very few if any in the history of barbershop quartet singing.

He utilized a vocal technique that allowed him to sing with such ease that the untrained

ear may not notice the artistry with which he sang. The trained vocalist can listen and be

amazed as he sang with a very large instrument but with the ease of a virtuoso.

The example used for this section is: "Goodbye, Old Dixie, Goodbye" (Best of

Barbershop, n.d.). The opening statement, "The old Henry Clay is sailin' away from

Dixieland today" was chopped into three musical phrases of "The old Henry Clay," "is

sailin' away" and "from Dixieland today." This trend of breaking a phrase into many

parts was continued throughout the performance in approximately twenty-one instances.

The quartet displayed a use of dynamics that was more prevalent than in the earlier examples examined in this study. Their ensemble singing was very good; the sound and articulation was consistent throughout the performance. They did sing with a choppy effect when the beat of this simple quadruple song was being equally divided with a word or syllable on each division. They tended to attack each division equally at times which caused a choppy effect even though they were singing through the entire phrase. The tag of the piece exhibited one of the trademarks of the Bills as they sang big, long and high with A1 Shea's full voice on the high tonic note.

144 The full impact of the Buffalo Bills' outieaching influence may never be

completely known. Suffice it to say, their influence was and is immense as countless

barbershoppers have had their first experience in singing barbershop music through

M u s i c M a n . 1 3 6 The forming of the British Association of Barbershop Singers was a

direct result of Harry Danser of Crawley, Sussex, finding himself mesmerized by the

barbershop sound while seeing the Bills in the New York production of Music Man.

Their model as actors and musicians will continue to influence others through their audio

and video recordings.

According to Vem Reed (Fobart, 1967, p. 2), their big sound was a natural

phenomenon; "... Falsettos and so forth, while existed, were underdeveloped and surely

not used, because we never used them in our lives in the kind of singing that we did, you

see. Not one of us."

Gary Stamm (1987, p. 42) summed up the influence of the Buffalo Bills when he

said.

The Buffalo Bills, because of how long they were around, how many chapter shows they performed at, because of the Broadway show, and particularly because of the movie. . . more people saw the Buffalo Bills than any other quartet in the history of our Society • or the history of barbershop —

136iq myown expeneoce, I have talked to dozens of men who fall into this category includingmyself. I had the pleasiae of peifonnmg in the show as a high school student. One nighi. after singing the part modeled by Bill Spangenberg, I was approached by Bill Mallory, a local barbersbopper. He offered the (bur of us complimentary tickets to his chapter show. Upon viewing this performance, I was entirely taken in by the sound of the quartets and joined the Society soon after. This experience led me to re-focus my career from instrumental to vocal music. 145 1951, Schmitt Brothers

Joe Schmitt (Tenor), d: January 23,1985; Jim Schmitt (Lead);

Paul Schmitt (Baritone), d: September 10,1986;

Fran Schmitt (Bass), d: January 13,1991

The thirteenth champion of the Barbershop Society, the Schmitt Brothers, were actually what their collective name claims, they were brothers. They came from a family of seventeen children that was comprised of six girls and eleven boys. They hailed from

Two Rivers, Wisconsin, where they were members of the St. Luke Catholic Church choir. In September of 1949, according to Joe Schmitt (1975, September/October), the

St. Luke's choir met to begin their church year of singing. Due to an undisclosed problem, Joe, Jim, Paul, Fran and Ray Schmitt were surprised to learn they were no longer welcomed as members of the choir. The five men walked the short distance to their mother's home to condole each other over the difficult situation. They decided they didn't necessarily need the church choir to enable them to sing. With Ray at the piano, the quartet known as the Schmitt Brothers began.

The "Schmitt's" First performance occurred three months later. They sang for the

Business and Professional Women of Manitowoc County at the Manitowoc Motor Hotel.

As luck would have it, the eighth president of the Society, O. H. "King" Cole (Hicks,

1988; Schmitt, 1975, September/October), happened to be in the hotel and heard male singing coming from the dining room. Cole waited for the group and introduced himself while giving them membership applications to the Society. He also invited them to attend the Manitowoc chapter meeting the following Tuesday (Soto, n.d.). The quartet attended the meeting and were welcomed into membership. It was that evening that

^ £m Scbmitl's account, written 25 years after this meeting, makes note of how they remembered very little of the details of that evening. They did. however, remember their feelings of ” .. warmth and the honest friendship with which we were icceived.. 146 they met Milt Detjen, the Manitowoc Chorus Director who would later become one of their arrangers and coaches (Popular Schmitt, 1988, November/December). The quartet

sang for the chapter. After their performance. John "Johnny" Means, a baritone in the

chorus, asked them if they would like to learn more about the barbershop style of

singing. This proved to be the beginning of a long lasting affiliation between the

Schmitts and Means (Popular Schmitt, 1988, November/December). They rehearsed

constantly at his home where he was consistently at their disposal as long as they

continued to practice between their sessions with him (Schmitt, 1975,

September/October).

In 1950, the quartet learned of the Land O' Lakes District (LOL) Quartet Contest

that would be held at Marquette, Michigan in early November. They informed Johnny

Means of their desire to compete. With Means' help, they selected and worked on two

two-song packages that would be needed for the contest, and in November, they were crowned the 1950 LOL District Champion Quartet Prior to this contest they had

performed publicly only five times. Soon after, they met Rudy Hart, a barbershopper and arranger who would also become a longtime member of the Schmitt Brothers’ team.

With the help of Hart, Means and Detjen, four more arrangements were written as contest vehicles for the Schmitt Brothers. The 1951 LOL International Preliminary Contest was hosted by the Manitowoc chapter; the Schmitts became one of four quartets to represent the district at the International Contest in Toledo, Ohio. The quartet practiced daily for the month prior to the contest (Schmitt, 1975, September/October).

The group traveled by train to Toledo where the temperature topped 90 degrees.

The Schmitt Brothers tried to keep focused on the contest Singing, while on the train, was forbidden by their coaches as a voice saving measure. They stayed together as a

^ Means lalcr became the Society president in I9S3 (Hicks, 1988, p, 102). 147 quartet while getting separate rooms for their wives. On Friday afternoon, the Schmitts were the last of 40 quartets to sing in the quarter final round of competition. The quartet was struck by the immense applause from this, an audience comprised of all barbershoppers as they gave the new quartet a standing ovation (Popular Schmitt, 1988,

November/December). After singing all three sets, they waited in the wings for the contest results. While there, they heard, for the first time, the retiring champion quartet, the "Buffalo Bills" as they sang their final songs as current champions. A few minutes later, the Schmitt Brothers were crowned International Quartet Champions on June 9, 1951, before a crowd of 6,(XX) cheering barbershop fans (Wisconsin's Schmitt Brothers,

1951, September). It had been 16 months since they had formed the quartet (J. Schmitt,

1975, November/December). At that time, their ages were, Jim, 20; Raul, 23; Joe, 24; and Fran, 35 (Congressional Record, 1951, June 26).

As the quartet and family traveled back to Two Rivers, Wisconsin, the train stopped in Sheboygan, some 28 miles from their final stop in Manitowoc. According to Joe Schmitt (1975, November/December), the train conductor informed them that the crowd at the station was calling for them. They sang a few songs for the Sheboygan fans as the train waited for them to finish. Arriving in Manitowoc, they found more than

2,0(X) people waiting to greet them at the train station. They were escorted in convertible automobiles to Two Rivers Central Park where they were meet with a large ovation as the new champions and home town heroes. By September, they learned 20 new songs before their first Society chapter show (Püpular Schmitt, 1988, November/December).

Musical Background

According to Jim Schmitt (Personal communications, summer, 1998), all of the

Schmitt Brothers sang in the St. Luke Catholic Church Men's Chorus. Fran played the trombone while Paul played the baritone horn in high school. While at Marquette, Joe sang in a college quartet called the Four J's. Jim played the trombone throughout high 148 school and college. While at S t Norbert College, he sang in a sextet called the 49ers.

When he later transferred to Marquette, he became a member of a college quartet called

the Marksmen. There was a piano in the Schmitt family home which made for much song singing within the family. For ten years, all four of the brothers took voice lessons from Mary Magdalen Gruber.They were also trained and coached in the art of barbershop singing by Milt Kitzerow (News about Quartets, 1975, March/April), Milt

Detjen, John Means and Rudy Hart (Hicks, 1988, p. 61).

Performance Practices The Schmitt Brothers sang in 44 states from coast to coast and from Florida to

Alaska. While they never performed beyond North America, they sang in the Canadian provinces of Alberta, Manitoba, Ontario and Quebec. Their championship year was comprised of 110 performances. For the first ten years, they sang all but the month of

July. In total, the Schmitt Brothers sang 2,857 performances over a 35-year career. The group charged $500.00 on average plus expenses for half of their engagements while the other half were without a fee.

Soon after they returned from the Toledo championship, performance offers started to come by the hundreds (Our Ten Years, 1960, September/October). The day after they arrived home in Two Rivers, they received an offer to appear on the Ed

Sullivan Show.i^ On July 7,1951, they flew for the first time and arrived in New York

City for the Sullivan Show. While there, the "Chordettes," a female quartet that regularly sang on the Arthur Godfrey radio show, stopped by to invite them to sit in the audience

According to Jim SchmiR (Renonal communications, summer. 1996), Gruber was ibe great, great niece of Franz Gruber, composer a t "Silent bfight.” The ScfamiRs would jokingly refer to her as the only person they paid to abuse them (SchmiR. 1975. November/December).

^'^In 1951, the only television station in the suteofWisconsin was in Milwaukee. Because of the lack of familiarity with Ed Sullivan, his show and television in general, the quartet did not have a lot of initial interest in performing on the television show. 149 during their show the following day. When Godfrey learned they were the new quartet champions, he invited them to sing on the air. They had to join the union and give up half of their earnings to cover the cost of the one-day dues in order to get paid (Schmitt,

1975, November/December). In July, 1952 the Schmitt Brothers went on an eleven-day, 55 performance U.S.O. tour of Alaska. July of 1953 found them becoming the Elks National Quartet Champion.

In June of 1956, they won the Lions International Quartet Championship in New York

City (Schaefer, 1976, n.d.). While there, they also performed with the Ringling Brothers

Circus at Madison Square Garden (Schmitt Brothers Quartet, n.d.). During 1955, they made an educational film strip for the Society and on April 13, appeared with Johnny

Means at the Music Educator's National Conference Biennial Convention in St. Louis.

Means lectured about the Society and its judging categories and used the Schmitts as a demonstration group to more than 1,2(X) music educators in attendance (America's Youth,

1956, June; Schmitt, 1976, January/February). Other celebrities with whom they shared the stage included Cardinal Mac Intyre^'*^ A.B. "Happy" Chandler^''^, The Osmond

Brothers*'®, Charlton Heston, G. Mennen Williams*'** and Art Baker. *'*^

After the 1950's were past, the Schmitts decided to slow down their traveling pace and stay closer to home. They nearly retired the quartet in February of 1959 but later decided they could not ignore their love of singing barbershop music (Personal communications, February 3,1959). They began doing more performances in the towns

*'** Mac Inlyte was Ibe fanner Archbishop of Los Angeles, Califonua.

*'*2 Chandler was the fanner Governor of Kentucky.

*'® The Osmond Brothers were a quartet of youngsters at the time.

*'*^ G. Mermen "Soapy” Williams was the former Governor of Michigan.

I'tS Baker was a commentator and star of the television show. "You Asked For It." 150 and communities near Two Rivers along with their annual appearance on the AlC show at each Society convention through 1983. In 1971, they returned to Toledo, Ohio, where the Toledo Chapter put on an anniversary show honoring the Schmitts. (Schmitt, 1976,

March/April). They were honored again at the Wisconsin State Music Conference in

Madison, Wisconsin, on October 23,1980, when they were awarded the Wisconsin

Music Educator's Conference Community Service Award (News about Quartets, 1980,

November/December; Wisconsin Honors, 1981, March/April).

The Schmitts continued to receive coaching and took voice lessons long after they won the competition. They strove to continue to improve their skills as barbershop singers and singing in general. As a result of continued work and longevity, the size of the Schmitt Brothers' repertoire is impressive. The group had a strong tie to the church as well as the barbershop community. As a result they performed many sacred pieces as well as traditional barbershop songs. When asked about the top songs for which the quartet was known, Jim Schmitt cited "When the Red Red Robin Comes Bob Bob

Bobbin' Along," "Galway Bay" and their most requested song, "Brahms’ Lullaby"

(Personal communications, summer, 1998).

Anecdotal Accounts

Schmitt (J. Schmitt, personal communications, summer, 1998) cites several performance situations as being among the quartet's most famous. The appearances on the Lawrence Welk Show are mentioned. Also, the Carnegie Hall appearances. The

Arthur Godfrey Show and the "Talk of The Town" show with Ed Sullivan are listed.

Every quartet has memorable moments both on and off the stage and the Schmitt

Brothers were no exception. There was the show in Sheboygan during the fall of 1950 where they received a fee for perfonning on a barbershop show for the first time. They received $35.00, which bought ditmer for them and their wives as well as new ties for the quartet (Schmitt, 1975, September/October). Once, the group was performing on the 151 same show as the Mid-States Four.*^ While the Schmitts were singing the "Brahms'

Lullaby," both the audience and the quartet were brought to laughter as Marty Mendro

carried Fbrrie Haynes across the stage as if he were a baby (J. Schmitt, personal conununications, summer, 1998). Another time they had flown into Memphis,

Tennessee, to sing the Memphis Show. Their hosts, another quartet called the

"Confederates," picked them up at the airport and stopped along the way to pick cotton

(Schmitt, 1975, November/December), On July 6,1966, in Chicago, Illinois, the

Schmitt Brothers were to appear on the AlC Show at the Society's annual convention. It

was the 25* anniversary of the Schmitts winning the championship. When they were

introduced, the convention was shocked to see not four but forty Schmitts on stage. The

quartet had invited their families to join them and had chartered a bus for the entire group

to attend the convention. They sang "These Will Be the Good Old Days" and "There's

Always Room at Our House." Another memorable performance was on July 2,1966,

when the quartet performed in Chautauqua, New York, for an audience of 10,0(X)

listeners (J. Schmitt, personal communications, summer, 1998).

Travel over so many miles during 35 years lends cause to mention some travel

experiences. As of the 25 year mark, 1976, the Schmitts only missed one show due to

being unable to reach their destination (Schmitt, 1975, November/December). In 1958,

they did a show in Russell, Kansas, where the transportation was by private aircraft owned by some local chapter members to and from Kansas City. After the show, they

had such a good time talking that it got quite late prior to their leaving, a fact that seemed

The Mid-States Four are 1949 Intenwlional Quartet Ouunpioms

Less than four years later, the Coofederates became the 1956 loiemaiional Quartet Champicos.

^'^Tbe Schmin Brothers were the only performen on this concert and performed 21 pieces not including encores (Concert program available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha. WI 53140-5199). 152 to be of no consequence. It became dark as they were flying toward Kansas City. The

Schmitts were horrified to find out that the plane had neither lights nor radios which

made for a harrowing experience at best Once, after a Saturday show in Mason City, Iowa, they woke up to a snow storm. They ignored pleas to stay where they were until the storm blew over and started driving. They drove into a snow drift and had to crawl

out of the windows to get out Later, they finally found a motel lodge, 18 miles from

where they started, twelve hours earlier (Schmitt 1976, March/April).

The Schmitt Brothers loved people and did not waste time or words saying so.

Their admiration for their long time coach, Rudy Hart was immense. To quote Joe

Schmitt, "If we had to vote for the man whose friendship most influenced the quartet,

Rudy Hart would get all the first place votes" (Schmitt, 1976, May/June). The Mid-

States Four also had an impact upon these men. Joe Schmitt remembered what Marty

Mendro passed onto them the morning after winning in Toledo when he said, "Be nice to

the people you pass on the way up. They are the same people you will pass on the way down" (Schmitt, 1976, May/June). When asked what was the saddest moment for the Schmitt Brothers quartet, Jim

Schmitt (Personal communications, summer, 1998), said, "Without a doubt, it was the death of Joe. We had made a pact, that we would never replace a member, so on January

23,1985, the legend of the singing Schmitt Brothers ended." After seven recordings and

35 years, the Schmitt Brothers had made an impact in the world of barbershop music that will long be remembered and heard. When asked how the barbershop experience had impacted his life, Jim Schmitt said:

Not impacted, but ruled it!! During my college years I never had classes on Friday afternoon or Monday mornings so we would have enough travel time. (In I95I, as a junior at Marquette, I got an F in chorus because I cut too many classes.) All of the brothers had managerial jobs that allowed us to pursue our singing. We had very cooperative wives and families.

153 Aural Comparisons and Influences

The Schmitt Brothers' rendition of "I Love the way You Roll Your Eyes" (Best of

Barbershop, n.d.) was used as the example for this study. The quartet possessed a quality

and blend that can be adequately described as a match made in the womb. They were

four brothers with a similarity of vocal timbres that complemented one to the other and as a group. Joe's tenor sound was one of a falsetto quality which sometimes had a tremolo

when singing longer phrases. Jim had an edge to his voice that was somewhat

reminiscent of an Irish tenor sound. At the same time, he also had a breadth of tone that

the bottom two voices complemented and reinforced to the advantage of the ensemble's

overall sound. Paul's baritone sound was artfully blended into the overall scheme yet

maintained a strong support for the rest. Fran's bass, while not the lowest of bass voices,

was well equipped to anchor the ensemble. Their blend was unequaled to this point in

history. No group had or could come close to the consonance of tonal color the Schmitts’

possessed.

The quartet was lead dominant with bass, baritone and tenor each balancing to the lead respectively. Their articulation in this example was soft with a legato style overall.

They began with a ballad style to open the piece and then went into the compound quadruple song as an uptune. Their vowel concept was interesting in that they used a wider concept than most of the quartets before them. The blend they possessed allowed for this to be more acceptable than would be the case in any other group. Some trouble in tuning occurred during the tag where the tenor sang a "post" and the others echoed him with a descending cadence. Compared to the Buffalo Bills from the previous year, the

Schmitts possessed a better blend and an over all consonance while the Bill's richness of individual tone had a consonance in and of itself.

154 1952, Four Teens John Steinmetz (Tenor) d: June 25,1980; Jim Chinnock (Lead);

Don LamonKBaritone); Don Cahall (Bass)

The fourteenth champion of the Barbershop Society was crowned on the fourteenth of June, 1952, at the International Convention. They were called, the Four

Teens. The "Teens" were aptly named as they were all in their teenage years at the onset of their active time together. With John Steinmetz on tenor, Jim Chinnock singing lead, Don Lamont on baritone and Gene Rehberg singing bass, they first formed the quartet in

January, 1949. All four were students at Eau Claire Senior High School in Eau Claire,

Wisconsin. All but Don Lamont had started attending meetings of the Eau Claire barbershoppers which was a soon to be a chartered chapter of the Society. During the

Christmas break of 1948, Lamont had been at the YMCA and heard some singing. He followed the sounds and entered a meeting that would change his life. There, he met Steinmetz, Chinnock, Rehberg and James "Mike" Egan. Egan was to become the fifth member and constant companion of the group. According to Don Lamont (Personal communications, summer, 1998), "Any history of the Teens must include Mike Egan.

We were known as a five-some.' Mike always M C.'d and we sang. From the beginning to when the original five broke up, we were a team."

They started around the Steinmetz family piano in January, 1949, with John's mother playing "timeworn quartet classics" and Harold "Steiny* Steinmetz, John's father, teaching them "swipes" he learned from his vaudeville days (Costello, 1952).Steiny named the quartet, the Four Teens and Egan booked them for their first paid performance to occur on March 17,1949. Being an Irish Catholic in the area made booking the group for S t {^trick's Day a logical start in Egan's new position of group manager. The newly

Harold SleimDelz, an "ex-viudevUlian," played in a jizzb ttid in the 1920's and 30's (Costeilo. 1952, July 6; D. Lamont, personal conununicatians, sunmcr, 1998) 155 formed group worked hard to prepare for their debut where they sang while Egan did the

talking and passed a hat for donations. The young men took every performance opportunity offered them. They would sing for clothing stores, according to Costello

( 1952), in order to acquire a group wardrobe. By autumn of 1949, John Steinmetz had graduated and was in the work force.

The other three quartet members were still in high school. Their first barbershop

performance according to their former junior high school teacher, Roy Preston (1954),

was on October 29,1949, for the Eau Claire Chapter's charter parade of quartets with an

audience of 1,6(X). Preston stated that the quartet had an insatiable desire to learn all they could about barbershop quartet singing and that between September, 1949, and January 8,

1951, the quartet had performed 265 times with most of those performances for no

remuneration of any kind. In May, 1950, they competed in the Land of Lakes (LOL)

District International Preliminaiy contest but did not qualify (Snyder, 1952). That fall, they borrowed a car and with only $20.(X) among them, drove to the LOL district contest in Marquette, Michigan, to learn more about the barbershop craft (Preston, 1954).

The team aspect of the Four Teens was so strong that in late 1950, after trying to talk John Steinmetz out of his decision to enlist in the Air Force, Mike Egan agreed to sign up as well. One by one, Steinmetz and Egan talked the other three men into enlisting as a group. On January 8,1951, they left Eau Claire for basic training at

Lackland Air Force Base (AFB) in Texas (Egan, 1968; Preston, 1954). There, Egan contacted Special Services about the quartet and as a result, they started performing in the hospital and service clubs on base. This proved to be a crucial contact for the future of the quartet One day Egan was summoned to the office of the base commanding officer.

There were so many men who enlisted at the same lime Ibat Ibe base had 70,000 men with facilides for only35,000. The fîve men of ibe Four Teens were split up into difTerent squadrons and bad to wear the clothes in which they arrived for 20 days. Each of them bad to call home to find out to which outfit the others were assigned Fhdf of the 70,000 enlisted men were living in tents @gan, 1968). 156 General Laurence. At that meeting Laurence infoimed Egan that the Vice Commander of

Air Training Command (ATC), General Bums, knew of the quartet and expressed an

interest in seeing them stationed together at the same base following their basic training. Egan and Steinmetz decided that Scott Air Force Base, Illinois, would be the best place

for them to be stationed as it was home to ATC Headquarters and Special Services (Egan,

1968; D. Lamont, personal communications, March, 1999). All looked well for the

quartet to remain intact until Gene Rehberg developed a bone spur in his heel and was

promptly presented with a medical discharge. The other four were transferred to Scott

AFB where they were all assigned different jobs in separate squadrons (Egan, 1968;

Soldier Quartet, 1952). Their search for a new bass began.

A week after arriving at Scott AFB they found an interested, but sub-standard

bass singer. Egan started having open auditions. On April 10, 1951, Don Cahall, an

airman who was originally from Cincinnati, became the newest singing member of the

Four Teens. Their championship combination was now in place. The next evening, the

base was hosting the Bob Hope Show. Opposed to previous reports, all five men were

helping with setting up for the show as well as some backstage duties (Egan, 1968).

They were not scheduled to appear on the show. Hope was late in arriving and the crowd

of 6,500 was getting restless. The Special Services officer insisted that Egan get his

quartet on stage and sing. Egan argued that they were not prepared. The officer insisted,

and Egan had to follow orders. Even though the new bass was acquired the prior

evening, the Teens quickly rehearsed in a latrine and then sang three songs on stage. They received an enthusiastic response from the crowd. After the show they were

personally thrilled to sing "Sweet Sixteen" with entertainer Jerry Cologna (Egan, 1968).

One at a time, the five men were able to be transferred to Special Services where they performed their duties, did shows and practiced. They joined the Ye Olde Tymers

Chapter in S t Louis, Missouri. There they met the Society's second president. Dr. 157 Norman "Doc" Rathert Rathert enthusiastically took the Four Teens under his tutelage.

He arranged for them to visit the 1951 International Convention and contest in Toledo.

According to Egan (1968), Doc would have them sing for such notable barbershoppers as

Nate Berthoff, John Hill and Bill Diekema often with the introduction of, "1 want you to hear next year's International Champions." The Four Teens performed tirelessly over

the next year, received coaching and practiced constantly. On October 20, 1951, they

entered the Central States District contest in Great Bend, Kansas, and won the district

championship over a field of 23 other quartets (Preston, 1954). On April 4,1952, they

competed in the Central States District International Preliminary contest in S t Louis,

Missouri. They won the contest and the right to represent the district at the international competition.

The following June, the Teens accomplished a feat that was viewed as impossible

(Egan, 1968). They entered their first International Contest and were named the 1952

International Champion Quartet (Air Force Quartet, 1952, September). In the quarter­

finals, they sang the songs, "Great Smoky Mountains" and "Irish Lullaby." Their semi­

final performance included "O'Brien Has No Place to Go" and "Tie Me to Your Apron

Strings Again." Their finals presentation was that of ”1 Wonder What's Become of Sally" and "Let's Fall in Love Again" (Four Teens, 1952). Not only were they champions, they were the youngest champions to ever win gold medals (Air Force Let, 1988). Chinnock was 19-years-old while the other three were only 20 (Air Force Quartet, 1952,

September). Today, they still maintain their distinction of being the youngest quartet to win the International Barbershop Quartet Championship.

Bill Diekenu was an imemaliaaal board member and composer of the Society's theme song, K eep Amenca Singmg" (Hcks, 1988). Ib e song was later changed to "Keep The Whole World Singmg" and is traditionally used to close most of the barbershop shows around the world today. 158 Following their win, the Four Teens spent the next 52 weeks as featured performers on many barbershop shows in all 48 states while building public relations for

the Air Force (Four Teens History, c. 1955/1956). In the summer of 1953, the group of

five men was assigned to the "Tops in Blue Show.” The show included many celebrities

and ran for eight months into the spring of 1954. Upon their return to normal duty, Don

Lamont acquired an early release from the service in order to return to college and earn his teaching degree. Within a few weeks, he was replaced by baritone, Rex Reeve.

Reeve, a Chicago native and ex-Marine, was in the San Diego Serenaders which placed

fourth behind the champion Four Teens in the 1952 International Contest (Four Teens

History, c. 1955/1956). In 1955, Steinmetz, Chinnock and Cahall were discharged while

Mike Egan chose to re-enlist (Egan, 1968). This last combination of the Four Teens

endured for the ensuing two years. They decided to pursue a professional singing career

and changed their name to "The Classmen" since their ages no longer fit the Four Teens.

They continued to appear on radio, television and in live shows around the country (Four

Teens History, c. 1955/1956).

Musical Background

Interestingly enough, the Four Teens had little formal music training. Don

Lamont was the only one of the original four to sing in the high school choir. John

Steinmetz had a little training from his father on the trumpet and could read music while the others could not read at all. According to Lamont, "The Teens were great

'Woodshedders'" (D. Lamont, personal communications, summer, 1998).

Many of the quartet's songs were either woodshedded or taken from the Society songbooks #1 and #2.^^ These arrangements were most often embellished from their written form with added musical ornamentation and modulations. They also sang

The Society puUisbed many song books and are available through the Humooy Maikeiphce, 6315Thiid Avenue. Kenosha,WI 53140-5199. 159 arrangements from the armed forces publications written by Harold "Bud" Orberg. Rex Reeves wrote most of the arrangements presented on their album entitled, "The Four

Teens Sing Barber Shop Favorites." Buzz Haeger arranged Irish Lullaby for them (D.

Lamont, personal conununications, summer, 1998).^^ Performance Practices

The group of five were coached from the start by John Steinmetz' father, Steiny.

Then, Dr. Norman Rathert, Buzz Swank and Joe Wadicka offered their tutelage (Egan,

1968). Mike Egan was the quartet's constant coach through 1955 (Egan, 1968; Soldier

Quartet, 1952, July 1).

What the Four Teens may have lacked in formal training they replaced with an

incontrovertible work ethic. These young men practiced constantly. According to Jim

Chinnock, "The latrine was the only place we could go and make all that racket"

(Costello, 1952, July 6). The group decided they wanted to achieve top five ranking in the 1952 International Contest and made a pact as to their preparation. According to

Egan (1968, p, 4):

Everyone agreed and we made some rules. Minimum of six hours practice, six days a week! No smoking, very little booze and in the sack before midnight I hasten to add that the six hours of practice was on their own time; we had full time jobs at Scott So for the two and a half months before Kansas City, which included the Regional in S t Louis, those rules were adhered to. With this training and working with experts and by themselves, the quartet prepared for the International __

The routine was the same every practice. Tape recorder and microphone center stage, quartet in the wings and me announcing seven million times: "... The Four Teens' They would come on, take the pitch, sing the first number, acknowledge the thunderous applause from one person- take pitch - 2nd song - bow • off. Then we'd all listen to the tape

‘^W an tn "B u 2 z"HeagerwasaClicagotMscdbufoershopaiiingeraiidlaicroribe 1965 cbampiaiis, the Four Renegades (Ificks, 1988, p.96). 160 and pick out the flaws and do the same thing over and over and over and over and over again, striving for perfection.

Their list of performances is endless. They were part of the Tops in Blue Show which was an all militaiy variety production that toured militaty bases all throughout the United States and the world including Canada, Greenland, Iwo Jima, Japan, South Korea,

Labrador, Okinawa, Wake, the Bahama Islands, the Aleutian Islands, Mid Way Island,

Johnson Island, Baffin Island and Battama Island. They would perform up to three shows per day. In all, the Tops in Blue Show performed for over 160,000 service people while traveling over 45,000 miles. The Four Teens also performed on the "Arthur Godfrey and

His Friends," "Roberta Quinlan” and the "Herman Hickman" television shows (Four teens History, c. 1955/1956; J. Chinnock & D. Lamont, personal communications, summer, 1989).

Even though there were rumors as to their not being able to get remuneration for performing on barbershop shows, they did receive fees for these performances. The arrangement was such that when the quartet did perform at a barbershop function, they would also perform at nearby military hospitals for the service personnel. The group would most generally get their expenses plus $500 to be split five ways (D. Lamont, personal communications, summer, 1998 and March, 1999).

Anecdotal Accounts

The men of the Four Teens enjoyed quite a following. They endeared themselves to other quartets and barbershoppers throughout their eight-year tenure as a quartet. Early, when they were still in Minneapolis, they idolized a nearby quartet called the

t^ T h is appearance was also same nighl the McGuire Sisters made their delwl (Pgmn, 1968). The quartet stayed a week fariehearsals and stayed in hotel rooms that were across the hall from Eleanor Roosevelfs suite (J. Chinnock, personal conununicatioos, summer, 1998)

According to Chinnock (Personal communications, summer, 1998), this was their liist television appearance and there were only two television sets in all of Eau Claire, Wisconsin. One of the television owners invited the Four Teen") parents to come into their home to view their sons. 161 Atomic Bums and befriended Web Luebtow, lead of the Hi Los from Milwaukee. These

men were always ready to help the group of boys in their quest to master barbershop

singing. Luebtow was very supportive of the Teens. In 1952, he was in a Hot Springs,

Arkansas, hospital during the International Convention. Once he heard that the Four Teens were in the finals, he sneaked out and flew to Kansas City (Egan, 1968). It is true that the Four Teens drew Kitchen Patrol (K.P.) like all the other servicemen (Champs Do

K.P., 1952, September). It is also true that they had the right to pay someone else to do it

for them, which is what often happened so they could get away to perform (D. Lamont,

personal communications, March, 1999).

As to lighter moments in the group's history, a few were shared by Lamont and

Chinnock (Personal communications, summer, 1989 and March, 1999). According to

Lamont, they were on the Arthur Godfrey Show when Godfrey asked, "On Scott Air

Force base, what are your duties?" (Zahall replied, "Nothing!” The other three singers

laughed in an effort to make light of Airman Cahall's retort. Lamont said, "When we

returned to base, we were assigned jobs, fast!" Chinnock reports that a greeting for an

appearance in Dallas, Texas, was unique. The quintet was met at the airport by a hearse,

coffin and six pallbearers dressed as undertakers, including top hats. They put Mike

Egan into the coffin, complete with flowers and drove them all to the hotel. Once there,

a"... wake was held for some time with eulogies and song." While in New York for the

Arthur Godfrey Show, they "buzzed" the Statue of Liberty at a rather close range. It was

so close, according to Chinnock, the singers could see the eyeballs of the tourists as they waved and laughed at the airplane.

They traveled extensively. The Tops in Blue Show is among their most

memorable of travel experiences. On Thanksgiving Day, 1953, the entire cast was

thrilled to have a traditional meal following their show in Iwo Jima. Unfortunately, most of the cast and crew became sick as they were flying to Okinawa, their next destination. 162 The Four Teens also had to deal with a few forced landings on a din road, some farm

fields and once, on Highway 66. Both Chinnock and Lamont returned questionnaires. When asked about their

more heartfelt moments with the quartet, they both cited their singing for wounded

veterans in military hospitals literally around the world. They also reminisced about

singing for the men and women at the front lines in Korea. Both also remembered their "swan song" as outgoing champions at the Detroit International Contest as their saddest

moment. They sang "Well Meet Again" with a great deal of trouble as one by one they

became so emotional they, and many of their fans, started to cry.

John Steinmetz died June 25,1980 at the age of forty-nine (J. Chinnock, personal

communication, March 6,1990). Don Cahall currently lives in Bradenton, Florida. Jim

Chinnock resides in Tomah, Wisconsin, while Don Lamont lives in Eau Claire,

Wisconsin. Don Lamont continues to be active in barbershop singing.

Aural Comparisons and Influences

The Four Teens had a sound that was considerably different than that of the quartets before them. First, they were very young and the sound of their ensemble was reflective of their youth. The deep resonance that the more mature singers had was replaced by a youthful head resonance that was consistent around the quartet. Each singer had a well matched sound to each other, so much, in fact, that they sounded as if they could have been brothers as were the Schmitt Brothers before them. With the example studied, "Tie Me to Your Apron Strings Again" (Best of Barbershop, n.d.), this is particularly noticeable. Jim Chinnock's lead was accurate and straight in tone like no other before him. There was no evidence of vibrato as was the case with each of his quartet members. Don Lamont's ban tone was balanced loudly to the lead voice as was the bass sound of Don Cahall. John Steinmetz' tenor was the least do m in an t- The other

163 three appeared to be equal with the lead line dominating because it was the highest voice

of the three and thus, more easily heard. The example was a ballad in simple quadruple meter. The quartet had very little

scooping into pitches and tended to move quickly to the vowel sound of each syllable.

This was a quartet that seemed driven by their need to unify each vowel sound to a

greater degree than the previous quartet champions studied. They had absolutely no

vibrato at all, another discriminating trait from the previous champions. They also used

singable consonants as a point of emphasis much as the Buffalo Bills did two years earlier. Their interpretation seemed somewhat straight forward in that they gave very

little word emphasis to individual words within the text. Instead, they sang more tempo

driven phrases with a ritardando near the end of most of them. Phrases were used more

as a whole in that their tempi changed as a phrase for interpretive expression rather than

within the phrase with specific word emphasis. Their overall performance seemed to be

that of a sound driven ensemble than one motivated by interpretation of the lyric scheme.

1953, Vikings

Robert "Bob" Maurus (Tenor); Bruce Conover (Lead);

Robert "Bob" Lindley (Baritone);

Robert "Bob" Livesay (Bass) d: April 20,1988

Four high school friends from Rock Island were the beginning of what came to be

the 1953 quartet champions. Larry Tucker, Tenor; Bruce Conover, Lead; Bob Maurus,

Baritone; and Calvin Stuhr were classmates at Rock Island High School.‘56 The school's

music teacher, William G. Rozeboom, each year formed a quartet from the membership

‘56 Bcb Maunis is the (Gstacian for Ihe Associatioaorinienuiliaoal Chimpioiis and was instnnnenial in the Kalizaliaa of lUs pfcgcct duough his own leseaich and support. 164 of the boy's glee club (Vikings-Intemational Champs, 1991). These boys were the school ensemble for the 1939-1941 school years and were known as the Rock Island High

School Male Quartet. Maurus did some post-graduate work at the high school which allowed him to continue in the quartet after he graduated. They primarily sang accompanied male choral literature. When World War II broke out, three of them entered the armed services. Conover was a fighter pilot in the Air Force, Maurus was a gunner in the Marines, and Stuhr served in the Navy.i^

After W.W.II, the group was restarted with Maurus on tenor and Bob Lindley, who was returning from his 3-year tour of duty with the army, taking over the baritone duties. (B. Lindley, personal communications, summer, 1998). The four were members of the St Augustana College Choir and would get together after rehearsals to harmonize

(Vikings, The, 1991). They were all members of the Beta Omega Sigma fraternity (BOS) and decided to use a play on the fraternity's acronym based nickname and call themselves

"The Beaux." Their first paid performance was at a church for $15.00. They were invited by a local barbershopper to attend a meeting of the Rock Island Chapter #7 of

SPEBSQSA.^^ After the first meeting, they continued to attend and joined the Society in 1946 (Vikings, The, 1991).

The unseasoned group learned much about barbershop from the director of the

Rock Island Chorus, John Hanson and the "Chordaliers" who were a chapter quartet, former Illinois District Champions and international competitors. The Beaux changed their name to the Vikings and entered the 1947 Illinois District quartet contest finishing

Bob lindley, who later joined the quartet, served as an Anny cook.

According to Bruce Conover (Personal conununicatioos, April. 1999), the group bad no inleiuions of becoming involved in the Barbershop Society. Their motivation for attending the meeting was to "steal arrangements." Once having attended, they were "hooked" on both the style of music and fellowship (B Conover, personal communications, April, 1999). 165 third. They competed for the district championship for the next four years. They

came in second place three years in a row and then won the district title in 1951. At the

same time, they were competing internationally. The Vikings qualified for the

International Contest in 1949,1950 and in 1951 where they placed second place with a new bass. Bob Livesay (Lindley, 1994, Winter). Livesay was a Rock Island Chapter

member who took over for Calvin Stuhr when he moved out of town and left the group

without a bass (Vikings • International, 1991). The following year, in Detroit, Michigan's

Masonic Auditorium, the Vikings won the International Quartet Contest.

Musical Background

The Vikings were armed with a love for singing that aptly started them on their

championship quest. All four of the winning members of the group sang in their high

school choirs. Maurus had his bachelor’s degree in music education from Augustana

College and later received his master’s in music education from the University of Iowa.

He became the vocal music teacher at Rock Island High School and the music supervisor

for Rock Island Public Schools. Maurus served as music director for many civic and

church choirs as well as performed and directed in local musical theater groups. Bruce

Conover had no further training beyond high school but involved himself in the

barbershop chapter where he became a student of the art. Bob Lindley started singing

duets with a neighbor when he was twelve. He played the guitar and harmonica and

could sight-sing. He also learned to play the organ and piano from lake books.After

taking high school courses in harmony and ear training, Lindley became a composer and

*^The Augusuma College mascot Tor sporting events was the Vildng. The Quartet also shared the nickname "Awgie" with Augustana College (B. Conover, personal conununicatioos. April. 1999).

Bob Livesay was also known as "Dad" within the quartet. This was due to his being the senior quartet member (Vikings Bass. 1988. July/August). A lake book is a collectioo of lead sheets. Each lead sheet contains a song’s melody along with its accompanying harmonies. 166 arranger of music in the barbershop style. Bob Livesay was a member of the glee club and male quartet at Moline High School in Moline, Illinois. He also played the guitar and

sang for local minstrel shows (V. Livesay, personal communications, April, 1999).

Performance Practices

The championship version of the Vikings sang from 1946 through June of 1955

(Maurus, 1955). They performed with such notables as Patty Page, Art Baker, The Chordettes and Society founder, Owen C. Cash.^® They also sang with many other

champion quartets such as the Mid-States Four, Schmitt Brothers, Buffalo Bills,

Confederates, Four Teens, Hearsemen, Pittsburghers, Orphans and the Sweet Adeline

Queens of 1953, the Big Four.^^ They made television appearances on the "You Asked

For It" show, the "Two For The Money" show with Herb Shriner in New York City and a

televised bank opening with I. B. Priest, the United States Treasurer (B. Maurus, B.

Conover & B. Lindley, personal communications, summer, 1998).

According to quartet historian Maurus (Personal communications, summer,

1998), the group performed in 22 states from as far west as California, east to New York

and as far south as Florida with their northern reaches extending to Minnesota. Windsor,

Ontario was their only foreign appearance. They performed about thirty-five times a

year. Early in the quartet's history, the group did many performances at no charge with

an occasional paid appearance for a $25 fee. Later, the Vikings commanded between

$100 and $200 for 80% of their shows with the other 20% being either at no charge or an

It was at one of these minstiel shows that he met his wile, Virginia, who sang in a girl's trio. They were married for 52 years.

They were introduced on a Rock Island, lUinais chapter show by Cash who also sang with them after the show (B. Conover, personal commurncaticns, summer, 1998).

The Big Four consisted of tenor, Lucille Miller, lead, Inez Thoaqrson; baritone, Sarah LeMaster, and bass, Bertha Bradley (htq>://wwwJiannoaize.coin/bbshop/champB/queens.him). 167 amount left to the discretion of the employer (B. Maurus, B. Conover & B. Lindley,

personal communications, summer, 1998). As mentioned earlier, the Vikings began as a high school ensemble that

performed with piano accompaniment. It was not until returning from the war, learning

of the Barbershop Society and ultimately joining the local chapter that the quartet started

to specialize in a cappella singing. Glee club arrangements were the normal repertoire

for the group until their metamorphosis into a barbershop quartet. Bob Maurus'

connection as a music teacher in the schools had them performing for school age children

on an occasional basis with their primary performance venues being barbershop chapter

shows followed by local appearances.

All of the Vikings could read music. They were a quartet which woodshedded to a degree but worked from written arrangements as a basis from which to develop their

final product. All three of the quartet members responded to the questionnaire and stated

that their involvement in barbershop singing has improved their music reading abilities

(B. Maurus, B. Conover & B. Lindley, personal communications, summer, 1998). In the area of coaching, the Vikings received most of this type of assistance prior to their win in

Detroit Two out of the three men who responded stated that they received no coaching after their championship. They did, however, give a large amount of credit to their coach, Floyd Connett for their success.The Vikings had 33 songs in their repertoire, not including the many early glee club arrangements they sang earlier in their career.

Anecdotal Accounts

When asked about their most famous performance situation, all three respondents to the questionnaire cited the same situation. They were all students at Augustana

Floyd Conneit was a barber turned barbershopper He became so involved in his art form that the Society hired him as its first field representative He served in that capacity from September, 1958 throng May, 1960. He educated men primiufly in the musical aspects of barbershopping but also in the adnunistrative aspects of the Society (Hicks, 1988, pp. 5 9 ,6 2 ^ , 115.120,126-127). 168 College in Rock Island. The college was primarily a Lutheran school with a Swedish

based heritage. In 1948, a centennial celebration of Swedish immigration to the United

States was being held in Omaha, Nebraska. It was to be a State Dinner with Sweden's Crown Prince Bertil being the guest of honor. The Augustana College President was asked to supply entertainment Since it was summer, classes were not in session and all

of the college performing ensembles were unavailable; he turned to the Vikings. Not

being a fan of barbershop music, the president was specific in his instructions to the

college men: No barbershop music! They were to sing the Swedish national anthem and

one other Swedish piece and that was all. When they arrived, they were seated with the

Swedish Women's Gymnastic Team who were also there to exhibit their skills. The

quartet was a huge success. The audience kept clapping for more and the group

decided to sing "Coney Island Baby." The Prince liked them so much that he came

backstage and commended the quartet on their performance and especially the

barbershop number. They never heard any resultant comments from the college president

(Conversation with Bob, 1988, June/July; B. Maurus, B. Conover & B. Lindley, personal communications, summer, 1998).

One of their most humorous and yet controversial situations came during one of

their championship performances at the Detroit, Michigan, International Convention of

1953. It was there that they became the only quartet to date to perform seven songs on

the International Contest stage. They were beginning their first song entitled, "When

You're Smiling." The Masonic Auditorium had a tin roof and it was raining outside. As the quartet sang the phrase, "When you're crying, you bring on the rain...," the rain

turned into a hail storm. The quartet could not hear themselves and neither could the

l^ M in y loists were ofTcred tfaraugboat the dmnerandall were expected to lake part. According to Conover (Personal comminacations, April, 1999), Maurus was not a drinker of alcohol and was "draining the glass” each time a toast was presented. While their performance was not eflected, the other three singers eryoyed giving Maurus some diffîculty over his social inexperience. 169 judges. The Chainnan of the Judges, Marty Mendro, stopped them after the song was

over and instructed them to go back stage and start over after the hail storm ceased

(Vikings-Intemational Champs, 1991).^^

The Vikings, like so many other quartets, were merciless when it came to playing practical jokes on each other. Once the group was performing in Washington, D C., at Constitution Hall. The stage had an orchestral shell built on it so one needed to open a door in order to enter or leave. The Vikings had just finished their fourth encore when

Bob Maurus reentered the stage as the applause was dying. The other three did not follow him; to make matters worse, Bruce Conover shut the door and "just left him out there. Both the audience and the quartet laughed themselves silly" (B. Conover, personal communications, April, 1999).

Traveling was enhanced by the quartet purchasing their own airplane. They would hire a pilot to fly, and Conover, an Air Force pilot and flight instructor, served as unofficial copilot. Consequently, they had many travel based anecdotes over the years.

They had a tire blow out as they were taking off from Parkersburg, West Virginia. The plane was already going too fast to stop so they continued their journey to Washington,

D C. Upon arrival, they tried to make an uneventful landing but were unable to keep the aircraft on the runway. They veered off the tarmac and forced all inbound planes to circle the field while the control tower verbally abused them (B. Lindley, personal communications, summer, 1998). According to Bob Maurus (Personal communications, summer, 1998), they were returning home from a performance one winter when they realized they were about to run out of fuel. The only flat surface was a landing strip on a deserted island in the middle of an Illinois State park. It had snowed and they were not sure about the depth of the snow on the ground or which area really was the small landing

Mendro was the lead singer in the 1949 International Champion Quartet, Mid-Sutes Four. 170 strip. They landed safely but had no radio and no way to get off the island. It had turned

bitterly cold and no one else was there as the landing field was only used for summer

sightseeing excursions. They were able to start a fiie in order to keep warm. After some

time, they finally spotted a couple of people across the river and yelled until the strangers

took notice of them and called the authorities for a full-fledged rescue operation. After

being transported from the island and warmed in a local tavern, they took a train the rest of the way back to Rock Island. When asked what he viewed as the quartet's happiest occasion. Bob Lindley replied, "When we sold the airplane" (B. Lindley, personal

communications, summer, 1996).

One of the more poignant moments for the quartet was when they performed in

Kearney, Nebraska. The lead of a local quartet had been convicted of a crime and was

sentenced to go to jail. The Vikings had asked him to bring his five-year old daughter up on the stage and sing the song, "Daddy's Little Girl." Half way through the man could no

longer contain himself and began to weep. Bruce Conover picked up the lead line as the man crumbled before the audience. According to Bob Lindley, "There wasn't a dry eye in the house, including ours!" (B. Lindley, personal communications, summer, 1998)

It was April, 1988, and the Vikings were excited to perform at the fifty year anniversary of the Society held in San Antonio, Texas, in the coming July. All four men had made their reservations and had even agreed to appear on the Rock Island, Illinois show the following November. Maurus and Livesay attended the Davenport

Chordbuster's show at the Adler Theater in Davenport, Iowa. The headlining quartet was the Classic Collection, 1982 International Champions; Bob Maurus reported (R. Dad' Livesay, 1988):

As we walked down the lobby, he (Bob Livesay) wanted to sit down and rest awhile. The Classic Collection came through the lobby and gave us each an album, then offered to have us join them in a song. We'd never sung with them before, but we picked out a song we all knew as an old 171 barbershop tune. We sang through it I could see Bob was having some trouble catching his breath, but he was hitting notes right on pitch. Later, they sang an old Buffalo Bills number about memories and friends for us.

Bob Livesay died the following Wednesday. The rest of the quartet was grief

stricken. After some time and discussion, the remaining three Vikings decided to

continue with their plan of singing at the Fiftieth Anniversary Convention later that

summer. They performed on the AIC Show of Champions with Tom Neal, a long time

barbershop singer from Poway. California (Vikings Bass. 1988. July/August; B. Maurus

& B. Conover, personal communications, summer. 1998 & April. 1999). When asked how the winning of an International Championship impacted their

lives, the three surviving members of the Vikings related a feeling of brotherhood toward

their membership in the AIC. Maurus alluded to ”... the many friendships we made

over the years. ..” while Conover said. ”lt allowed me the privilege of being a member

of a very select brotherhood. . . ” (B. Conover. R. Lindley. & B. Maurus, personal

communications, summer. 1998 & April. 1999)

Aural Comparisons and Influences

The Vikings' song, ”When You're Smiling” (Best of Barbershop, n.d.) was used

for this study. The song was an uptune with a balladized verse. In this example. Bob

Maurus used a falsetto tenor that balanced strongly to the lead voice. Bruce Conover's

lead was the dominant voice in the quartet. Bruce sang using a straight tone with a warm vibrato applied to phrase endings and singable consonants. Bob Lindley's baritone was more mature in tone but less dominant in the balance of his quartet than was his predecessor's in the Four Teens. Bob Livesay's bass was resonant and proved to be quite big at times. His was a forward focused tone that balanced strongly to the lead voice.

Overall, the Vikings were a mature sounding quartet with a forward focus to their composite sound. They maintained a wann tone from Conover's lead sound.

172 Following the model of several quartets before them, the Vikings displayed a

consistent use of singable consonants. The Vikings, however, used this technique more

as a tool to connect sounds and add forward motion to the line rather than as an

interpretive device in and of itself. This was the first quartet of this study to use these singable consonants. Their vowel concepts were unique in that they sang long "oo"

sounds as the German "o” pronunciation consistently throughout the performance. The

one exception to this was at the tag where Maurus sang a post on the word "you." His

vowel sound was a pure long "oo” when he sang by himself. As the others continued to

sing to the end, Maurus changed his vowel color to a more forward placement as the

others joined him with their "b" sound. They also turned an "ih" sound into a long ”ee"

on the word "see” as they moved into the second chord of a swipe.

In the area of interpretation, the Vikings seemed to sing longer phrases than most

of the earlier champions. Also, while this example was in simple quadruple meter, they

sang a triplet figure based on the beat as they sang "One could not see.” This is the first

evidence of this rhythmic figure being used by a champion quartet.

1954, Orphans

O H. "Bud” Bigham (Tenor) d: June 22, 1976;

Robert P. ” Bob” Groom (Lead) d: October 2,1975;

Ferry C. "Pete” Tyree (Baritone);

J. Warren "Jay” Bond (Bass) The sixteenth champion of the Barbershop Society was the Orphans. This champion quartet comprised of six men had two names over its six and a half year

t® This type of triplet figure later tiecame known as un-stylislic for baibershop music. 173 history. The original group was made of O.H. "Bud" Bigham, Tenor; Bill Hatfield, Lead;

Jim L, Harris, Baritone; and J. Warren "Jay" Bond (Bass) (P. Tyree, personal

communications, summer, 1998). They started singing together in July of 1949 and were

called the "Union National Bank Notes." In August of 1950, Hatfield was replaced by

Robert P. "Bob" Groom. The new foursome had their first chapter show booked for that

fall. They were to sing on the Wichita Chapter Show. They had forgotten to select a

name for the new group and found that the Wichita Chapter president. Max Hamilton,

had billed them in the program as the Orphans. Even though they intended to find a

name of their own choosing, the quartet soon became known and recognized as the

Orphans. Changing the name "... became out of the question" (Detail Sheet, 1954).

With Bob Groom in Wellington, Kansas, and the other three in Wichita, there was

a seventy-mile round trip distance to be bridged in order to rehearse. The three men from

Wichita drove to Wellington five times a week until Groom moved to Wichita. At that

time, all four men worked for Boeing Airplane Company. They decided to live together

and soon rented a duplex. They rehearsed together to and from work, during lunch

breaks and most every evening. They eventually moved apart and started families of

their own. Late in 1952, a young barbershopper named Pete Tyree moved to Wichita

from Kansas City, Missouri. Tyree coached the quartet a number of times and in August

of 1953, he replaced Jim Harris as the baritone. The championship version of the Orphans was then in place.

That fall, they won the Central States District championship which was held in

Pittsburg, Kansas, in October. The following spring, the Orphans became one of four quartets to represent the Central States District in the International Quartet Contest in

Washington, D C. On June 11,12 and 13,1954, fifteen judges heard forty quartets sing a total of 120 songs in order to determine which group was to be named as the best in the

174 world (Detail Sheet, 1954; Hicks, 1988). The Orphans were named 1954 International

Champions. Musical Background

According to Pete Tyree and Jay Bond (Personal communications, summer, 1998

& April, 1999), Bob Groom had some formal voice training as a tenor at Wichita

University and he could read music. Bond said, "Bud Bigham had a great ear," but was

unsure as to his reading ability. Jay Bond had a few piano lessons in grade school, sang

in the church choir and glee club in high school and did an occasional solo in church.

Tyree sang in quartets in both high school and college. He had played the violin for a

time and could read music. When his college group, the Hi Chords, changed personnel outside of his fraternity, he discovered the Barbershop Society. While in Kansas City, he sang with the Barber Pole Cats and Hy Power Serenaders.

Performance Practices

In conversations with both Tyree and Bond, it became evident that the Orphans were great "ear" singers. That is to say that the song being sung was tested by their own discriminating knowledge of how the final product should sound. They did not woodshed arrangements as much as learn pre-arranged scores and then add elements devised by themselves or their coaches (Personal communications, summer, 1989 &

April, 1999). Sometimes, outside help was sought for some keyboard assistance in learning the voice parts of these arrangements as individual skills in music reading within the quartet varied. S.K. Grundy wrote many of their arrangements.^^ He wrote especially for the Orphans, allowing each voice within the quartet to be in range and at

It may be inieresliiig to note that Fete Tyree, ptior to joining the Oiphans, was a bass and had never sung the baritone part in a quartet

According to Rudy Heart (Personal communications, September, 1999), he wrote the tag to "Baby Your Mather Like She Babied You" on a tablecloth while dining at the MueUbach Hotel. He took out his penknife and cut it out and handed it to the quartet. 175 optimum strength. Gnmdy lived in Springfield. Missouri, where he coached the quartet

every three months or so (J. Bond, personal communications. April. 1999). Other

arrangers included Floyd Connett and Harold "Bud" Arberg.^^^ Each man had his own job within the group (Detail Sheet. 1954). Bond was the

treasurer while Tyree handled publicity. Reservations for the quartet's travels were

Groom's responsibility while Bigham was the quartet secretary and contact person.

Unlike many quartets that achieve championship status, the Orphans had no idea

they were about to win the contest when they arrived in Washington, D C., on

Wednesday of the 1954 convention week. They flew into Washington in a chartered

Cessna 1 9 5 . Upon arrival at the registration area, they met many friends that included

Bill Spangenberg of the Buffalo Bills. The foursome woodshedded through the evening

and into the early morning hours until going to bed at 2:30 in the morning. Upon waking,

they learned they were to sing early in the Friday morning round of competition. That

night they were in bed by 9:30 P.M. After competing on Friday, they felt as though they

had performed well. They were the fourteenth quartet announced of the fifteen groups that were to continue in the next round. The next round also went well but when they

were announced as medalists. Bob Groom let out a yell that damaged his throat. Groom's

voice worsened as the day wore on. He was seen by a doctor who gave him strict orders

to stay completely silent until the competition. Medalists were expected to record for

Decca Records on Saturday afternoon. The Orphans tried to record but Groom's voice was too bad. The group had only four songs prepared for the contest (J. Bond, personal

Connett ananged "Knee Deep In Daisies" which became one of Ihe Orphans' best known songs (J. Bond, personal conununicalions. April, 1999).

Several members of the quartet had been employed by Cessna at some time or another and had many friends, including Cessna distributor, Vic Yingling, who owned planes. They flew most often to their engagements due to this availability to aiiciaft (Fergus, 1954, September, J. Bond & P. Tyree, personal communicatians. April. 1999). 176 communications, April, 1999), and had a lead with little to no voice. According to

Fergus (1954, September), the group circled prior to going on stage and said, "We don't

have a chance but let's go out there and give them a show!" They sang as well as they

could and went backstage to wait for the other four medalists to sing and find out how

low they finished. No one was more shocked that the Orphans when they were

aimounced as the new champions. According to Pete Tyree, in those days, a standard invitation was extended to the

winning quartet to appear on the "Toast of the Town" show the Sunday after the

International Contest (Personal communications, April, 1999). The Orphans were no

exception. On June 13,1954, they sang "Wait Til The Sun Shines Nellie" on the show in

front of an estimated twenty-four million viewers (Fergus, 1954, September; Ed Sullivan

Show, 1988, November/December).

When the group returned to Wichita, they were honored by a "Welcome Home"

parade as they were driven through the streets of the downtown area. Then, they were

presented with the keys to the city of Wichita (P. Tyree, personal communications,

summer, 1998). At the time of their winning, Bigham was employed as an insurance

salesman. Groom as an automobile salesman, Tyree as a structural engineer and Bond as

an aeronautical engineer (Fergus, 1954, September).

The quartet performed in many of the mid-western states as well as from

California to Massachusetts to Florida. With the exception of a quick trip to Mexico as

part of an appearance in El Paso, Texas, the Orphans did not perform outside of the

United States. They made fifQr to sixty appearances a year during their short stint as a

performing champion. Their average fee was $200.00 plus expenses for paid

performances with about 30% of their appearances being unpaid (P. Tyree, personal communications, summer, 1996; J. Bond, personal communications, April, 1999).

177 When asked about other quartets that were influential to the Orphan's, Jay Bond and Pete Tyree mention the Beacon Four of Wichita; Four Chorders of California;

Viliageaires of Illinois; Clef Dwellers; Four Chorders; Buffalo Bills; Four Teens; Mid-

States Four; and the Vikings. Songs that were known as "signature songs" included

"Knee Deep In Daisies," "Old Dutch Garden," "The Sweetheart of Sigma Chi," and

"Baby I'll be Waitin'" (P. Tyree, personal communications, summer, 1998; J. Bond,

personal communications, April, 1999). Anecdotal Accounts

Both of the living members of the Orphans, Pete Tyree and Jay Bond contributed much information about the quartet (P. Tyree, personal communications, summer, 1998

& April, 1999; J. Bond, personal communications, April, 1999). When asked about the quartet's most famous moment, they both responded that it was the Ed Sullivan Show in

June of 1954. They shared the stage with many great comedy quartets including some that, in their estimation, were quite difficult to follow. According to Tyree,

.. the Mid-States Four were at their best, the Omaha Kernels were the other tough quartet to follow and The Nubbins with Red Norwood were leaving them rolling in the aisles in the Midwest. It was a great time to be on the circuit.

Their championship year and the short time to follow was filled with chapter shows and the experiences that remain as strong memories. The Orphans were to sing on the El Paso, Texas show. Upon arrival at the airport, they found the entire chapter was there to greet them dressed in sombreros and serapes. They had brought four more of the outfits for their new friends, the Orphans. Once, they were to sing in Boston. They chartered a 310 Cessna, one of the first production models to be seen anywhere, and flew to Massachusetts. The weather was horrible but they made it safely to Boston. After

The plane was so unique, at die time, dun the quartet spent a Uige amount of their refueling time answering the questions of pilots all along Ihe way. 178 they sang on the show and an all night afterglow, the weather would not allow them to fly

out in the Cessna. They booked themselves on a commercial flight that allowed them to arrive home with just enough time to go to work on Monday with no sleep. In another performance in Stuttgard, Arkansas, their plane could not take off due to a thunderstorm

and they were forced to drive the distance. They arrived, walked into the hall, were

escorted up the center aisle and without singing a single note in order to warm up their

voices, proceeded to sing one of their finest performances. In Defiance, Ohio, they had

sung on the chapter show, performed at the afterglow and had retired to bed at a local

hotel. In the hallway, according to Pete Tyree, a local foursome was trying sing the tag to

"The Sweetheart of Sigma Chi" for which the Orphans were so well known. After lying

in bed and listening to them sing it incorrectly for 45 minutes, Tyree got out of bed and

proceeded to teach them the correct notes. Tyree said that after he had returned to bed

"they proceeded to sing it all through the rest of the night, but at least they did it

'correctly'."

There is a bit of history behind the Orphans' arrangement of "The Sweetheart of

Sigma Chi." While living in Kansas City, Pete Tyree was woodshedding with some of

the local barbershoppers. They were singing the chorus of the song when Tyree brought

up that there was another verse as well. He was a Sigma Chi himself. Since none of

them knew it, he borrowed a fraternity songbook and brought it to the next chapter meeting. A medical doctor, Bob Bristow, arranged the verse and set it to paper. He gave it to Tyree who sometime later shared it with his new quartet, the Orphans.

A particularly poignant moment for the quartet came in Cherokee, Oklahoma.

The Orphans were nearing their final number during the show when a teenage girl was rolled on a stretcher to the foot of the stage. She was literally below the men as they sang. According to Pete Tyree, "Our final number was Bob 'Moose’ Haeger's 1 Believe'

179 which on that day, at that time, we could not finish. She 'smiled us' into singing muteness." Their final chapter show was in the Tabor Theater (Memo from, 1956, March).

They were enjoying an evening of woodshedding with the Confederates and Four

Hearsemen later that night when all were ready to call the evening to a close. Someone said, "Let's have one last song from the Orphans!" The group chose to sing "Our

Farewell Song" which they performed as their championship year swan song the prior

June. Their music was arranged by S.K. Grundy and included several songs with original lyrics also by Grundy. The final words of this song are as follows:

Time draws nigh, we'll have to say goodbye

We shall never forget. You can bet, this passing year We thank you for every kindness, and for each helping hand

Let us keep America singing, raise your voices 'cross the land

Well meet again, we know not where or when

Time draws nigh, we'll have to say goodbye

Let us not forget each other, we'll be seeing you again, some day...

When asked how becoming an International Quartet Champion had impacted their lives, both men responded. Tyree mentioned that the "show business" aspect of singing barbershop music made a positive difference in his ability to deal with others, especially in large groups. In kind. Bond alluded to his being a shy young man who has since learned how to be comfortable with people. He said that his promotion in Cessna to a hiring position was a direct result of those newfound skills. He also mentioned how his personal life was affected through his association with the Orphans. He was a soloist for

Bob Groom's wedding where he met one of the bridesmaids who became his wife of 41 years.

180 The group broke up after Bud Bigham had to move to Michigan due to a job

change in January of 1956. After their retirement as an active performing quartet, the

Orphans made one long play recording, entitled "The Red Record," in April of 1956, in

Springfield, Missouri. They had one reunion appearance during the 1959 convention in

Chicago, Illinois. They did a performance of two songs during the Parade of Champions

Show put on by the AIC. Bud Bigham and Bob Groom passed away within four months of each other in

late 1975 and early 1976. Jay Bond and Pete Tyree are active barbershoppers today.

Tyree went on to become an International Seniors Quartet Champion with "Rockies IV"

in 1993. Aural Comparisons and Influences

Bud Bigham's tenor consisted mostly of a natural falsetto. He balanced well to

the lead and knew when he had melody notes to bring out. For the most part, he was

fourth in volume in the quartet. Bob Groom was the dominant voice as lead in the

quartet. His was a forward straight tone with a large amount of mouth resonance that the

rest of the group complemented in order to avail themselves to their ultimate amount of

group resonance. Pete Tyree possessed a bass timbre yet sang baritone. His resonance also contributed to the overall resonance of the quartet along with some very smart

harmony singing. He was consistently aware of his role in balancing to the lead whether above or below the melody line. Jay Bond produced a soloistic bass sound that was well tooled for ensemble singing. While he constantly challenged the lead for dominance, he never over balanced the melody.

With the Orphans came a new sound to barbershop. Their song, "Stephen Foster

Medley: Swanee River-De Camptown Races-Oh Susannah-Old Kentucky Home" (Best of barbershop, n.d.) was used as their contribution to the examples in this study. Their sound was one of consonance, interpretive skill and technique melded into an artistic 181 display that makes it regrettable they were not together longer and allowed to record

more. There was a vibrancy to their sound along with an understanding of varied styles

as evidenced in this medley of four songs. The Orphans used word emphasis through

elongation of important words and stressed word sounds to better interpret the text. Along with a display of excellent tuning, their matching of vowels was expertly done

while maintaining natural, conversational articulation. The ensemble technique they

exhibited was the best display studied thus far.

1955, Four Hearsemen

Wendell Heiny (Tenor); Deane Watson (Lead) d: October 25, 1985;

Dwight Elliott (Baritone); Dick Gifford (Bass)

The seventeenth champion of the Barbershop Society, the Four

Hearsemen, while having only four men on stage at a time, comprised some twelve

individuals throughout its tenure. Sometime in the mid-1930's, the Blackbum-Shaw

Funeral Home of Amarillo, Texas sponsored a quartet that sang for a local radio program around noon each Sunday, first on KGRS and then on KGNC. The quartet included H.A.

Shaw, a partner with the funeral home and lead singer as well as Bill Armstrong, Cliff

Janak and Wendell Heiny. Shaw had wanted to start a quartet for his business after hearing a quartet sing at a funeral while he was in Dallas. They performed at funerals, churches, school functions and other community events in order to advertise the funeral home business (Heiny, n.d.; Kerr, 1996, p. 329; D. Elliott, D. Gifford & W. Heiny, personal communications, summer, 1998).

With the advent of World War II, the quartet was broken up by several of its members enlisting in the armed services. In 1946, R. Wendell Heiny (tenor), Willard

Grantham (lead), Dwight Elliot (baritone) and Paul Ellis (bass) returned from the war and

182 restarted the funeral home's quartet tradition. They competed and won a quartet contest in

1947 that was sponsored by the American Legion (Ever-changing, 1988; D. Elliott, D.

Gifford & W. Heiny, personal communications, summer, 1998). In 1949, Ellis changed

voice parts to replace lead singer, Grantham, and Jim Bob Nance joined to sing the bass

part. In 1950, the quartet joined the Barbershop Society. They competed in their first society competition and performed on several shows as the Blackbum-Shaw Quartet. In

1951, they became known in Barbershop Society circles as the Four Hearsemen (Helzer,

1954; "Ever-changing," 1988; D. Elliott, D. Gifford & W. Heiny, personal

communications, summer, 1998). Also in that year, lead singer Paul Ellis was replaced

by A1 Autrey who held that position until 1953 when Deane Watson took over the lead duties and bass singer Jim Bob Nance was replaced by Dick Gifford. According to the Harmonizer ("Ever-changing," 1988), the quartet won the Southwestern District

championship in 1953. After nine months of work, this latest combination earned the

second place silver medal in June, 1954. In August of the same year, another change was

made in the lead singer's position when Cloys Webb filled in for Watson. A job change and resulting move made the commute difficult for Webb so Deane Watson returned to the group in January of 1955. That June, the Amarillo based quartet won the

International Championship over a field of 40 quartets in Miami Beach, Rorida (Hockett, n.d.; Hicks, 1988). According to the Miami Herald (Miller, 1955), they were the most colorfully costumed quartet with their black and white funeral director's outfits complete with black gloves. Decca wanted to sign the Four Hearsemen to a recording contract but rescinded its offer when learning that Deane Watson needed to leave the quartet in 1955 as his new law firm demanded 100% of his time. Dick Gifford also moved to Fort

Worth, Texas that same year (D. Elliott, D. Gifford & W. Heiny, personal communications, summer, 1998).

183 Musical Background

The quartet was equipped with much musical talent. Grantham, who was

nicknamed "Buttercup" as a result of his appearance in a high school production of

Gilbert and Sullivan's The Mikado, had been actively singing in quartets 15 years before

O.C. Cash started the Society (Heiny. n.d.; D. Elliott, personal communication, summer,

1998). Ellis was a professor and director of choial groups at Amarillo Junior College and

was the first chair violinist for the Amarillo Symphony. A1 Autrey was a local high school music teacher and choir director who later taught at the college level in San

Antonio. Jim Bob Nance wrote most of the group's original arrangements. Deane

Watson, an attorney by trade, was a lead singer who was active in church choirs and

college glee clubs and received early training in voice and piano from his mother (Helzer,

1954). She was a voice instructor with a degree from the Boston Conservatory of Music

(D. Elliott & W. Heiny, personal communications, summer, 1998). Heiny, an office manager at the Blackbum-Shaw Funeral Home, was a long time songster who had been

the only winning member of the championship "Hearsemen" to be in the original

"Blackbum-Shaw Quartet." Music was a family tradition. Heiny's father was a voice

teacher, and his mother taught him to play the piano. He later received a degree in music at the Amarillo College of Music (W. Heiny, personal communication, summer, 1998).

Dwight Elliott had sung in public from the age of 3 and was an active quartet singer all through his high school and college days. He directed several church choirs and, although schooled as a choral musician, taught public school instrumental music for two and a half years prior to World War II. He later worked as an office manager for the funeral home (D. Elliott & W. Heiny, personal communications, summer, 1998). Dick

Gifford studied voice at Northwestem University and performed in the Jack Halloran

Quartet, a professional group that sang commercials in the Chicago area. He appeared with them on the Dave Garroway television show as well as many other live appearances. 184 Gifford worked as an announcer and sales representative for a local television station (D.

Gifford, personal communications, summer, 1998). The Four Hearsemen sang from written arrangements as opposed to woodshedding their parts. They all read music to varying degrees. It may be interesting

to note that the three living members of the championship quartet all played the slide

trombone (D. Elliott, D. Gifford & W. Heiny, personal communications, summer, 1998).

Most of the arrangements sung were written by Jim Bob Nance. Others who arranged

music for the group were Bud Arberg, Bob S. Hufstedler, Bob Haeger, Johnny Means

and Dwight Elliott (D. Elliott & W. Heiny, personal communications, summer, 1998).

Performance Practices

The Four Hearsemen traveled from coast to coast as far north as Minnesota and as

far south as Mexico. They performed in 17 states and the District of Columbia. Along

with sharing the stage with such barbershop icons as the Schmitt Brothers, Mid-States

Four and the first champion quartet. The Bartlesville Bar Flies, the quartet was busy

performing on shows as well as at the funeral home that originally sponsored them. They sang for 1-2 civic functions or funerals each week plus 1-2 barbershop shows each

month. The quartet set its fees for roughly half of its performances while the remaining

50% were either gratis or funded through donations. On the topic of fees for performing,

Wendell Heiny (Personal communications, summer, 1998) had this to say;

Please don't laugh, but you must remember that when I was teaching (public schools) in the late 30's, 1 made $80.00 a month for a nine month period; the next year $85.00 and the next $107.50. Then came W.W.II for over four years (started at $54.00 a month. Bugler, 1st class). Then made $35.00 a week when first got home. Still ate very well. The funeral home paid our quartet $2.50 every time we did anything (rehearsals, funerals, sing outs or radio show). Usually came to $200.00 to $250.00 a month. All that to say that for out of town Barbershop shows our fee was first class air fare plus $250.00. We figured the fifQr dollars would take care of meals and hotel for the weekend. Try to do that now days.

185 Some of their most noteworthy performances include the Herb Shriner's "Two for

the Money Show" with CBS in New York and a Wichita, Kansas show where the King

Sisters shared the bill. The price of admission was the donation of a pint of blood. More

than 10,000 people were in attendance. They also did a show where the master of ceremonies was Chester Lauck who was better known as Lum of Lum and Abner. He

was so impressed that he wanted them to do a show in Las Vegas. Due to their family

and employment situations, they had to decline. The Four Hearsemen also won a talent

show that allowed them to do a special arrangement of "St. Louis Blues" with Horace

Heidt and his orchestra. Heidt also wanted them to sign a contract with him and to travel

with his group. They, once again, had to decline (D. Elliott, D. Gifford & W. Heiny, personal communications, summer, 1998).

The quartet had many role models from which to draw inspiration and

performance ideas. The Buffalo Bills were a major influence as were the Schmitt

Brothers. Heiny (Personal communication, summer, 1998) referred to Vem Reed of the

Buffalo Bills as his mentor. Both of these quartets had a sound to which the Hearsemen

aspired. The Mid-States Four gave them comic and stage ideas as well as a stage

presence model. Other quartets from which they learned were the Pittsburghers, Vikings,

Lads of Enchantment, Gaynotes and Desertaires (D. Elliott, D. Gifford & W. Heiny,

personal communications, summer, 1998).

Of their songs, the quartet was most known for "When You're a Long, Long Way from Home." Other audience favorites included "Georgia on My Mind," "I'd Love to

Live in Loveland," "I Believe," "The Lord's Prayer" and "Charmaine" (D. Elliott, D.

Gifford & W. Heiny, personal communications, summer, 1998).

The group received relatively little coaching on their way to the championship and virtually none afterward. They did, according to Helzer (1954), make such good use of comments and suggestions that they may have accelerated their move through the 186 medalist ranks in competition. Pat Cunningham, a friend and barbershopper from

Lubbock, Texas, gave many suggestions including the renaming of the group for their

barbershop audience. Jim Bob Nance not only gave arrangements to the group but

coached them as well. Suggestions from champion quartets were eagerly received.

Elliott (Personal communications, summer, 1998) recalls a post show session in Kearney,

Nebraska, where Marty Mendro and Fbrrey Haynes gave them many useful suggestions.

They once shared the stage with the Schmitt Brothers in Wichita Falls, Texas. The

Schmitts shared their approach of studying the lyric line prior to interpreting a song

musically. This made a great impact on the Hearsemen as they strove to "interpret and sell every song..." (Helzer, 1954). Much of their coaching occurred after a contest

when judges’ comments were given and embraced by the quartet. Some of those who most helped them were Bemey Simner, who gave them staging suggestions; Johnny Means, who assisted them in selling the meaning of a song (Helzer, 1954; Kerr, 1996, p.

330); Floyd "Pop" Connett; and Molly Reagen (D. Elliott & W. Heiny, personal communications, summer, 1998).

It may be interesting to examine the Hearsemen's situation as it applied to making recordings. According to Dwight Elliott (Personal communication, summer, 1998) there were only 3-4 radio stations within reach of their location in the late 1940's and early

1950's. No television stations or recording studios were available to them as well. The next closest town was 150 miles away with large cities being 265-400 miles away.

Consequently, the only recordings made of the Hearsemen were those under the auspices of the Society that are listed in the discography found in Appendix B.

Anecdotal Accounts

The quartet was known for its antics both on and off the stage. Once, on their way to Hartford, Connecticut, the four men were driving to a show when an accident slowed their plans to the point of having to dress in the car as they traveled. According to 187 Dick Gifford, (Personal communications, summer, 1998) a man who was tailgating them jumped out of his car to start a fight when all four doors opened and out stepped these fellows in cowboy outfits complete with hats. The tailgater "wilted" at what he saw and quickly retreated. When competing for what ended up being their silver medal performance in Washington, D.C., they came on stage in a somber mood. Dressed as undertakers, they sang the song, "There's Always Room at Our House," which resulted in a cheering crowd (Tames, 1954). On another occasion, they were asked to entertain the passengers on board a commercial flight They sang at the front of the aircraft then the rear and then up to the front again. The pilot then emerged from the cockpit to find out why he couldn't keep the plane level (D. Gifford personal communications, summer,

1998). Their dressing as pallbearers on an Illinois stage turned what they had intended to be a poignant moment into uproarious laughter as they made mention of their visit to the tomb of Abraham Lincoln earlier that day (D. Elliott, personal communications, summer,

1998). It may also be interesting to note that their letterhead had included the words

"We'll Be The Last To Let You Down" (D. Elliott, personal communication, November 4,1985).

When asked about the most difficult ordeal for the quartet, the three surviving members all speak of Deane Watson's life being cut short due to an automobile accident in 1985 (D. Elliott, personal communication, November 4, 1985; D. Elliott, D. Gifford &

W. Heiny, personal communications, summer, 1998). Another was when the quartet honored a show commitment in Lubbock, Texas, the day after Wendell Heiny's father died (D. Elliott, personal communications, summer, 1998).

As for the influence of the Society and winning a championship, they reveled in the friends they made as well as the many places they were able to perform. They traveled over sixty thousand miles between June, 1954 and June, 1956 (Four Hearsemen,

1958). They were last reunited August 27,1982 in Cuchara, Colorado as they met for a 188 long weekend at Deane Watson's mountain cabin (Kerr, 1996, p. 331). As members of

the AIC, they are still able to meet with their "heroes" and "hob nob with those big city

dudes" (D. Elliott, personal communications, summer, 1998). All three of the surviving

Hearsemen are active in their barbershop chapters and the AIC. Aural Comparisons and Influences

The sound of the Four Hearsemen was lead voice dominant with the bass and tenor being close behind in their volume relationships. Their interpretation of the lyric line showed the trend of the day as many pauses and fermatas appeared. These interruptions in the lyric line were sometimes for lyrical effect but more often to give way to showcase the sound of a particular chord as evidenced in the opening line of the song,

"I'd Love to Live in Loveland with a Girl Like You" (Best of Barbershop, n.d.). Here the song begins with the title. The quartet holds the second syllable of "Loveland" and follows it with a grand pause. Later in the same song normally unstressed syllables are held. In the line "Filled with adventure and glory, of wonderful things we can do," they hold the third syllable of "adventure," the words "oP and "do," as well as the "ng" sound of the word "things." Holding their sound on singable consonants was also a prevalent style, an icon of the day.

Compared to the Orphans who preceded them, the Hearsemen sang with a taller, more open, vowel concept (Orphans, n.d.). This appears especially in the lead voice but is present in all members of the quartet. This vowel placement made for a broad wall of sound that still achieved the ringing sonority for which the barbershop community listened and rewarded their competitors. This more open sound seemed to be present in the Confederates who followed the Four Hearsemen in winning the championship in 1956 (Ray & Cooke, n.d.).

189 1956, Confederates

George J. Evans (Tenor); Dave LaBonte (Lead) d: February 6,1990;

Bill "Buzz" Busby (Baritone) d: August 2, 1977;

Wally Singleton (Bass) d: February 22,1971

One of the Society's most popular quartets during its sixteen-year existence was

the Society's eighteenth champion, the Confederates. The foursome began at a Memphis Chapter party on September 16.1953 (Confederates. 1956). The group's membership

consisted of parts of two newly retired quartets, the Rebelaires and the Dixielanders

yielding Dave LaBonte, Bill "Buzz" Busby and Wally Singleton. These three men were

anxious to get a new group started. Along with a tenor, who was unseasoned in the

barbershop style, they tried to make a go of it. The tenor decided he did not have the

time needed to meet the goals of the others and dropped from the group. Soon, the

remaining three heard that George Evans of the Trebleshooters would soon be available.

By October. 1953, the Confederates were bom (News about Quartets. 1955, March).

By the spring of 1954, the group had already performed in a few chapter shows

and decided to compete at the Dixie Regional (District) Preliminary Contest in Sl

Petersburg. Florida. They qualified to compete at the 1954 International Convention to

be held in Washington. D C (News about Quartets. 1955, March). Of the 40 competing groups, the Confederates came in 31st place (Hicks. 1998, p. 95; Our Guest Quartet,

n.d.). In 1955, they came in at the number two spot at the International Convention in

Miami. Their efTbrts paid off as they entered the 1956 contest at Northmp Auditorium in

Minneapolis. It is there the Confederates became the new International Quartet

Champions.^74

At the dme of winmng the Intemahooal Chmnpoaslmp. the men of the Confedenites were 26-year old George Evans, a life insuiance agent for General American Life; Dave LaBonte. a 38-year-old piano tuner and salesman for HoUenbeig Piano Cbmpany; 27-year-old Bill Busby, a commercial sales 190 In 1960, Bill Busby was seriously injured in an automobile accident The quartet was unable to perform for one year's time and then returned to continue singing shows. They had several rumors circulate of their breaking up but still kept the group together in spite of their individual locations expanding around the Southeastern United States

(News about Quartets, 1967, May/June; Our Guest Quartet, n.d.). According to the

Harmonizer. the 1966 vintage of the Confederates had two members in Tennessee while the other two lived in Horida (News about Quartets, 1966, March/April). In 1966, Wally Singleton started singing bass in another quartet. It was reported that Singleton was still performing with the Confederates but preparing for the eventual unavailability of George

Evans who was nearing his ordination as a pastor. The underlying tone of the article was that the Confederates would no longer be able to perform on weekends (News about

Quartets, 1966, November/December). In 1967 they added Georgia to their addresses

(News about Quartets, 1967, May/June). It was 1969 when the rumors held true as the

Confederates sang their last song (Champion Confederates Left, 1988,

November/December).

Musical Background

The men of the Confederates brought much in the way of musical experience to the group. George Evans sang in church choirs since the age of six and could play the ukulele. He sang in his high school chorus and quartet. He also performed as a chorister in college followed by the Trebleshooters, a barbershop quartet. Dave LaBonte sang in choirs and the Rebelaire quartet. He made his living as a piano tuner, which added credence to his having a critical ear for harmonizing. Bill Busby sang in the Dixielanders quartet, directed the Memphis Chapter's chtxus and wrote most of the arrangements sung by the Confederates. Wally Singleton was also a choir singer in school and a former reptescnttlive for Southern Bell Telephone Company; and Wally Singleton, an insunuce salesman who was 35-yeais-old (South Did Rise. 1956, September). 191 director of the Memphis Chapter's chorus. He was a quartet member with Busby in the

Dixielanders (G. Evans, personal communications, summer, 1998; South did Rise Again,

1956, September). Performance Practices

The Confederates sang many shows around the country and shared the stage with such notables as A1 Hirt, Dave Garroway, Pete Fountain, Dinah Shore. Chet Lauck^"^^,

Herb Shriner and Dick Van Dyke (Our Guest Quartet, n.d.).^^^ In all, they performed In

46 states and Canada. According to George Evans (Personal communications, summer,

1998), they did 40-50 show performances annually. In addition, they sang 25 or more private shows and television appearances when they were all located together in

Memphis. They were in high demand on the show circuit and commanded a fee for 90% of their engagements. Their average performance fee was $300 plus their expenses which included first class travel arrangements by air.

When asked about the quartet's major influences, George Evans named Floyd

Connett who coached them on their way to winning the gold medal. They did not seek coaching after the championship but continued to be a model for other quartets that aspired to achieve excellence both on and off the stage.

The Confederates were known for their repartee as they took the stage clad as

Confederate officers with butternut gray colonel's uniforms complete with hats and swords (Four Hearsemen, Amarillo, 1955, September; News about Quartets, 1955,

March). They used these outfits for 13 years and retired them the year prior to their disbanding (News about Quartets, 1968, September/October). Along with their obvious

Cher Lauck was betler known as Lum of Lum and Abner.

Dick Van Dyke was awarded an honorary lifedme membership award in the Society at the 1999 Intemaiiorral Conventkm in Anaheim, CalifMnia 192 Southern drawl, they played the theme of Confederate soldiers or white-haired Southern gentlemen throughout their act (Hicks, 1988, pp. 45-46). One of their top signature songs was "Save Your Confederate Money, Boys: The South Shall Rise Again!" This, according to George Evans (Personal communications, summer, 1998), was second only to the song that was most identified with them, "A Nightingale Sang in Berkeley Square." Other well-known "Confederate" songs were "The Sunshine of your Smile,"

"To Think You've Chosen Me, Chloe," " Red Head," and "Down Where the South

Begins" (Confederates: 1956, n.d.). Bill Busby was the arranger of their songs (Hicks,

1988, pp. 45-46). Other arrangers who supplied song to the Confederates included Willis

Diekema, S.K. Grundy, Ozzie Westley, "Skeet" Bolds and a Sweet Adeline by the name of Renee Lindberg who later became Renee Craig (Confederates: 1956, n.d.; G. Evans, personal communications, summer, 1998; Hicks, 1988, pp. 45-46).^'^

The Confederates appeared on six recordings including Confederate Encores. pressed under the Champ Recording Company's label. In the summer of 1995, this recording was re-mixed into a compact disc by the group’s sole survivor, George Evans.

On the disc was inscribed, "to Dave, Buzz and Wally, 'For a little while, so long ." The disc was signed "George." What may be interesting to realize is that the words quoted on the disc were the last lyrics they sang as current champions during their swan song at the

International Convention of 1957 (G. Evans, personal communications, July, 1999).

Anecdotal Accounts

Besides winning the championship, George Evans claimed singing at Carnegie

Hall as their most famous moment with their appearance on the Today Show with Dave

Garroway as another. They were never without humorous moments. The group seemed

Rcoee Cndg became a Queen of Humooy in the Sweet Adeline organiutian with the 1957 Champion Quartet, Cracker ^ s . She also was a tree dme Ihiemadooal Champion chorus director with the Ramapo Valley Sweet Adelines (R Beck, personal communicadcos. October 18 ,1999). 193 always to carry confederate currency with them. They used it as a prop when singing

"Save Your Confederate Money, Boys: The South Will Rise Again." Many times they

tried to pass it as legitimate cunency as a joke, of course. Word of their reputation as

pranksters spread to the point that the Madison Wisconsin Chapter, which had hired them to perform on their show, advanced them their fee in cash, in confederate currency (Paid

in Own Coin, 1955, December).Their joking ways were not limited to outsiders.

When the group had finished their first contest in St. Petersburg, Florida, they celebrated

through the night Since they had an 800-mile trip ahead of them, George Evans took on

the duties of designated driver. Along the way, George realized he needed directions and

pulled the car next to a police officer. To the horror of his inebriated friends, the very

sober Evans purposefully slurred his speech as he asked for help (G. Evans, personal

communications, summer, 1998). On the topic of travel, the quartet once had a three-performance weekend ahead of

them (G. Evans, personal communications, summer, 1998). They were to sing Friday in

Versailles, Kentucky; Saturday in Freeport, Illinois; and Sunday in Decatur, Illinois.

They had chartered a "Bamboo Bomber.” On Saturday morning, they were making their

way to Peoria, Illinois to work with Floyd Connett when the pilot noticed a hole on top of

one of the wings. He patched it while the quartet was being coached by Connett. Once

back in the air, LaBonte noticed the patch had come off pulling additional fabric with it

He screamed, "The paper's coming olT!" They circled back to Peoria Airport where the

quartet rented a car and sped their way to Freeport. The next morning, they drove to

Decatur and performed that afternoon. In the meantime, their pilot had arranged for another plane to be brought out to him from Memphis. After the afterglow, the quartet drove to the airport to find the replacement aircraft had only a four-person capacity.

The quutel went so far with its Souibem theme that it included a ccafedenie flag aiihe lop of its letleifaead. 194 They crowded all five of them into the plane and began the trip back to Memphis.

Darkness fell. The pilot radioed to the Memphis airport and asked them to phone his

airport and ask his helper to turn the runway lights on. When they arrived, they saw the

landing strip below with a car at each end with headlights blazing. Soon after, they

received a package from members of the Peoria Chapter. In it was a photograph of the

"Bamboo Bomber" with a sign on it: "One part of the South that will never rise again."

Of their saddest moments, George Evans mentioned their swan song performance

marking the end of their championship year at the 1957 convention in Los Angeles. One

of their most sad times came when in 1971, shortly after the group had retired, Wally

Singleton died. Evans officiated the funeral while he and the rest of the remaining

Confederates were "in tears” (Personal communications, summer, 1998). Another

account, only this time by Don Kahl of the 1986 Champions, Rural Route 4, tells a story

of his meeting Dave LaBonte (1990, March/April). The first barbershop quartet Kahl had

ever heard was a recording of the Confederates when he was a 14-year-old and they were

the new champions. In 1989, Kahl's quartet was performing in Memphis. Afterward the

men of the Rural Route 4 were selling their recordings in the lobby when Kahl was

approached by a frail Dave LaBonte, with the aid his wife, Cleo. LaBonte was suffering

from Parkinson's disease. Jim Bagby, baritone of the group, asked LaBonte if he would

like to sing a tag. He answered, ”1 don't know if I can.” Kahl wasn't sure this frail "wisp of a man” could either. They jumped into the tag of the Confederate icon, "The Sunshine of Your Smile.” Even with the Parkinson's induced trembling, LaBonte's lead engulfed

them while his wife openly wept Afterward, she hugged Don Kahl and whispered to him, "I wish he could be the same old Dave again.” Kahl replied, "For a few moments there, he was!”

195 Dave LaBonte passed away the following February leaving George Evans as the only

remaining member of the Confederates.*'^ Aural Comparisons and Influences

The Confederates had a unique sound that was all their own as evidenced in their

rendition of "The Sunshine of Your Smile" (Best of Barbershop, n.d.). George Evan's

tenor was a bright voice with much of his singing done in full voice. Dave LaBonte had

a lead sound that could be quite mellow sounding yet also very bright and forward focused. LaBonte's voice was brighter than that of his tenor. Bill Busby's baritone sound

was capable of some of the most extreme tonal changes evidenced thus far in this study.

Able to sing with a faiily broad tone, Bill could sing brighter than both of the previously

mentioned quartet members. Consequently, his sound was dominant in loud passages where he would sing his brightest and loudest. No other baritone studied thus far sang louder within the balance of their quartet than Bill Busby. Wally Singleton's bass was broad but capable of only half of the variances of tone of the other three. Still, he supported some of the loudest, brightest vocal displays in the barbershop performance community. These displays of tonal brightness were directly tied to the volume level of their singing. The louder the phrase, the brighter the tone became and the more baritone in the balance of the quartet.

The quartet used a soft articulation in their singing. They also used a technique of sliding collectively to a new chord as they also changed words. This, unlike a swipe where they change on a common syllable without changing words, is evidenced here for the first time in this study. The quartet's uniformity of vowels was often compromised as individual turning of diphthongs varied in speed around the quartet Their tag was one of

*^In 1992,TheMenipiusCIiqilerestabiisliedanawaid to be given anniiaUy to ihe highest tanking Dixie District quutet at the Inieiiutioudcainpeiitiaii. The award canunemontcs the Confederates. The first piescntation was given by George Evans to the quartet called Red (Confedentes: 1956. n.d.). 196 the longest sung among musical examples in this study and contained a lead post with a long swipe by the other three voices. The Confederates displayed their loud vocal prowess on chords that were undoubtedly exciting for their audiences to hear.

1957, Lads of Enchantment

Don Pitts (Tenor) d; June 14,1999; Dan Aycock (Lead);

Carlton Wright (Baritone) ;Gil Wallace (Bass)

The nineteenth champion of the Barbershop Society was the Lads of

Enchantment*^ They were one of the shortest lived championship quartets in that they competed in two International Contests and retired shortly after their championship year.

While their tenure may have been short, they were and still are revered champions. For many years, they were "... the oldest AIC quartet with all four members still living" (C.

Wright, personal communications, summer, 1998). Unfortunately, during this writing, word came of the death of the group's youngest member, Don Pitts.

The group began in the spring of 1953 with Don Pitts on tenor. Bill Bartlet singing lead, Carl Wright performing the baritone duties and Gil Wallace singing bass.

In the spring of 1954, Dan Aycock took over the lead singing for the quartet and the championship version of the group was in place.

Their first contest was a qualifying round to represent the Southwestern District at the 1955 International Convention in Miami, Florida. According to Kerr (1996, p. 334), they performed well but were alternates to the Desertaires and the Four Hearsemen.*^

The group comrivcd Ibeir name from the New Mexico stale slogan, "Land of Enchantment" (Cart Wiight "Lad, 1990, October/November, C. Wright, personal commumcadons, summer, 1998).

Don Pitts was a native of New Mexico; Dan Aycock. Arkansas; Carl Wright. Veimont; and Gil Wallace. Texas (Kerr. 1996. p. 333)

197 The "Lads" were crowned Southwestern District Champions on November 5,1955, on

the stage of Liberty Hall in B Paso, Texas. In the spring of 1956, the group qualified for

International competition but was second to the Desertaires. At the 1956 International in

Minneapolis, the Lads placed 3rd while the Desertaires finished in 9th place. For the 3rd

consecutive time, the Lads entered the district preliminary contest in the spring of 1957 only to be beaten again. This time the newly formed Gaynotes won the top spot with the

Lads in second place (Lads of Enchantment Made, 1988, November/December).^^ Both

groups competed for the gold medal in Los Angeles but the Gaynotes won 3rd place with

the Lads of Enchantment reigning victorious over the field of 41 quartets to become the

1957 International Champions (Hicks, 1888, p 96).

The quartet was a popular one around the show circuit. Near the end of their

very busy championship year, Don Pitts announced he would be leaving the quartet (Lads

of Enchantment Made, 1988, November/December; Kerr, 1996, p. 335). After

auditioning a few new tenors, the group decided to retire. They did reunite, with Cal

Sexton filling the tenor spot, to perform at the Mid-Winter Convention of 1959 which

was held in D Paso, Texas. This was their final performance (Kerr 1996, p. 335).

The Desertaires finished 7th in the 1955 International Contest while the Four Hearsemen won the competition.

The Gaynotes later became the 1958 International Quartet Champions in Columbus. Ohio.

At the time of winning the championship, the "Lads” were comprised of 29 year-old Don Piits, an electrical engineer widi die Sarnia Corporation; Dan Aycock, a 31-year-old administration supervisor for the Sandia Corporation; 30-year-old Carl Wright, an archilectural draftsman with Stanley and Wright; and Gil Wallace, a 34-year-old mechanical engineer with Sandia Corporation (Meet the Lads, 1957, September).

^^The Lads had a manager for the quartet in the person of Lou Faw (C. Wright, personal communicalioos, June, 1999). 198 Dan Aycock, after serving as the Albuquerque Chapter music director for many years, is now living in Monroe, Louisiana. Gil Wallace^*® lives in Plano, Texas, and

Carlton Wright resides in Savannah, Georgia (H. Beck, personal communications, spring,

1999; Kerr 1996, p. 335).**^ Don Pitts fell victim to Lou Gehrig's Disease (ALS) on June

14,1999. Musical Background

Unfortunately, no information was uncovered as to the musical background of

Don Pitts. Dan Aycock received voice lessons while in junior high school and sang in his church choir. He later was a member of the Naval Cadet Chorus at St. Olaf College during W.W.II. Carl Wright was brought up in a musical family. He sang in his school's glee clubs and played the saxophone, piano and guitar. Gil Wallace was bom in the

Southern "Bible Belt" where male quartet singing was quite prevalent. He sang in his first quartet at the age of six and continued singing in quartets all through junior high, high school and into the Army during W.W.II. While in the army, he sang vocal back-up with the Wayne King Orchestra and The Glen Miller Orchestra. It wasn't until 1947 that he heard about the Barbershop Society while singing in a civic production of Gilbert and

Sullivan's The Mikado.

The music they performed was, according to Carlton Wright, "Mostly acquired from no name' contributors" (Personal communications, summer, 1998). They did sing

"There's A Rose on Your Cheek" that was attributed to Hal Staab. Dan Aycock claims that they modified standard arrangements to suit their needs (Personal communications, summer, 1998).

Gil Wallace has, according to Grady Kerr (1996, p. 335) served as a chapter president at least seven times as well as balding administrative oflices in both the Southwestern and Rocky Mountain Districts.

Carlton Wright served as both a chapter Ptesident and Secretary as well as a on the Southwestern District Board (G. Kerr, 1996, p. 335). 199 Performance Practices

Even though the Lads were together but one year after they won the

championship, they performed widely around the United States and beyond. Their performances took them as far west as California and east to North Carolina. They traveled as far south as Mexico and performed as far north as Lethbridge, Canada. The

group covered approximately 13 states and performed 2-3 times a month during their four

and a half year existence (D. Aycock; C. Wright, personal communications, summer,

1998). The Lads of Enchantment also shared the stage with some notable entertainers of

the day. Immediately after winning the championship in Los Angeles, the group did a

guest appearance on the Lawrence Welk Show. The event was nationally televised when

they appeared as the new International Champion Quartet. The Lads also shared the

stage several times with Chester Lauck who was hired by the Continental Oil Company

(Conoco) to represent them as he performed as the Master of Ceremonies at shows

around much of the Society's Southwestern DistricL Also sharing the stage several times

with the Lads was the famous Buffalo Bills who performed on Broadway and television

as the barbershop singing school board in the musical play. The Music Man. The group

once had the opportunity to meet Pete Fountain (Carl Wright-'Lad, 1990,

October/November) and another time to sing with Rupert Hall, the Society's first

president who was elected in 1939 (Hicks, 1988, p. 114; C. Wright, personal communications, summer, 1998).

Both Carl Wright and Dan Aycock agreed that the quartet performed without a fee for 40 percent of their engagements. When they did charge a fee, it was for approximately $150 plus expenses and "... small maintenance costs" (Personal communications, summer. 1998).

200 In the area of coaching, the group received some assistance from Floyd Connett

(C. Wright, personal communications, summer, 1998) and Johnny Means (Kerr, 1996, p.

333). Their coaching with both occurred prior to winning the championship. Due to long distances separating their coaches and the Lads, they acquired help primarily by sending audio tapes back and forth. They sought no coaching during their year as reigning champions. Other quartets that were major influences on the Lads were the Desertaires (Kerr, 1996, p. 333), Orphans, the Four Hearsemen and the Confederates (D. Aycock; C.

Wright, personal communications, summer, 1998). According to Kerr ( 1996, pp. 333-

334), The Lads did not have a steady coach but were real students of other quartets. They would hear a quartet perform some skill they wanted to better understand and, following the quartet's performance, would stay up most of the night working with their new found models to perfect it. Kerr ( 1996, pp. 333-334) also said.

They were blessed with a perfect lead-bass match. To add to this gift they all took voice lessons and worked on vowel matching long before the Society began teaching it. The Confederates also helped them with this skill, being masters of it themselves.

Of their top signature songs both Carl Wright and Dan Aycock chose "Love Me and the World Is Mine" as the number one choice by their audiences. This was followed by "Just A Closer Walk With Thee," "Hoop-De-Do" and "Ro-Ro-Rolling Along."

The Lads of Enchantment had no recording facilities near them and never made their own recording. They did, however, appear on live recordings from contest archives with multiple cuts of five songs.

Anecdotal Accounts When asked about their most famous moment other than their championship win, the two men who responded to the questionnaire had different answers. Dan Aycock

Both "Ro-Ro-RoUing Along” and Theie's a Rose on Your Cheek" have been immensely popular and sung by many of the Society's quartets (Lads ofBichaoimeot Made. 1998. November/December). 201 cited their appearance on the Lawrence Welk Show while Carl Wright favored their winning third place at their first International Contest in Minneapolis. As to humorous anecdotes, Aycock remembered Gil Wallace having a nightmare and running out onto the mezzanine in his underwear before realizing where he was. In the area of travel, they drove to their first contest. It was the 1955 District International Preliminary Contest which was held in San Antonio, Texas, some 1500 miles round-trip from Albuquerque.^^ They traveled all night through heavy rain in order to arrive in San Antonio by 1:30 A.M. the day of the contest. The following fall,

Don Pitts suffered a collapsed lung the morning of the District Contest which they somehow won that evening. Through it all, the only account of true sadness shared by these men was the announcement by Don Pitts that he was leaving the quartet. Their happiest accounts were both the announcement of their 3rd place finish in 1956 and their being backstage when the master of ceremonies announced them as the 1957 Champions

(D. Aycock; C. Wright, personal communications, summer, 1998).

As to the impact of his association with an International champion quartet, Dan

Aycock said, "I met a lot of wonderful people, made many friends, got to see a lot of country, and heard and enjoyed the finest music of my life" (Personal communications, summer, 1998). Carl Wright, along with references to his meeting many people, being able to travel extensively and enjoying celebrity status said, "I still miss being a part of that big ringing sound and sharing stages with our fellow champs" (C. Wright, personal communications, summer, 1998).

Aural Comparisons and Influences

The Lads of Enchantment were a strongly voiced group. The tenor sound of Don

Pitts sounded, on recording, to be mostly falsetto in production but very loud to the

^ ^ It was in 1977 that the Society fanned the Rocky Mountain District, in part, to keep from having these Idnd of distances be necessary for coolest participants to tnvel (fficks, 1988, p. 116). 202 balance of the quartet He was always present in the example of "Ro-Ro-Rolling Along" (Best of Barbershop, n.d.) to the point of nearly overshadowing the lead. This may be a result of microphone placement too near the tenor during the recording process or the actual way they sounded. For the intent of this study, it will be necessary to assume the recording was true to their performance. Dan Aycock's lead was full voiced and possessed a breadth of sound that was heavier than many of the light lead sounds heard thus far. Carlton Wright's baritone was strong but balanced well below that of the lead. Gil Wallace produced a bass that was nearly as loud as the lead voice in balance and resonance.

The song begins with an introduction in simple quadruple meter which changes to compound quadruple meter with the chorus. They used a hard articulation through much of the performance and some word endings at the end of phrases were left somewhat unfinished. Occasionally words such as "make" and "from" became clipped short causing a choppy interpretive effect Their long "oo" sounds leaned toward an "ih” vowel color throughout much of the performance. The tag was most interesting in that they sang nine chords and a re-voiced last chord all on the second syllable of the word

"along." This was the first tag like this in the chronological examination of this study's examples.

1958, Gaynotes

Harold Jones (Tenor); Howard Rinkel (Lead);

John Loots (Baritone) d: July 14,1990;

Morris "Mo" Rector (Bass)

The twentieth champion of the Barbershop Society was a throwback to the tradition of the organization's infancy; they were from Oklahoma. History gave the

203 Society its first three quartet champions from the state of Oklahoma, and twenty years

after its founding, the Tulsa based Gaynotes claimed the top award (Gaynotes in 1958,

1988; Hicks, 1988, p. 96; Kerr, 1996, p. 3 3 6 ). i» The Gaynotes was first formed in September, 1954 (H. Rinkel, personal

communications, summer, 1998). The group consisted of tenor, Larry Stayer; lead,

Howard Rinkel; baritone, John Loots; and bass, Dick Galloway.Their first contest

was in 1955 where they competed in a regional qualifying contest for the coming

International competition. They placed fifth but did notqualify.^^ A short time later,

Galloway moved away and was replaced by Morris "Mo” Rector, a young bass. They competed in the Southwestern District quartet contest the following November and came

in second to the Lads of Enchantment, who would later become the 1957 International

Champions. In May of 1956, the foursome attempted to qualify for international

competition but once again missed the mark with a third place finish in the qualifying

contest held in Tulsa, Oklahoma.

Following the Tulsa contest, Larry Stayer announced that he would be leaving the

group following the district contest to be held in Houston, Texas that November.'^ The

other three men asked fellow chapter member, Harold Jones to replace Stayer following

their contest appearance. Jones had not sung in an active quartet before. He arrived at a

The Gaynotes commenicnied ibeir predecessors from Oklahoma by singing "Bye, Bye. Blues" at the 1957 convenliaa where they w en competing at the inteinalioiial level for the first dme. This song was made popular among barbershoppers by the 1941 Intemadcnal Champion Chord Busters from Tulsa, Oklahoma (G. Kerr, 1996, p. 337)

191 Loots is pronounced "L-oats" (Life, Loves and. May, 1959, p. 9).

^^The Southwestern District was allowed to send two quartets to the Intemadonal Compeddon as its representadves.

1^ According to Grady Kerr (1996. p. 336). Stayer chose to leave the group as a result, in part, of the busy schedule it maintained. 204 quartet rehearsal with a new tape recorder in hand. He recorded and made notes

throughout the evening. A few days later, the Gaynotes won the contest and, two weeks

after the recorded rehearsal with Jones, the new combination met. Jones had learned all

thirteen songs of the group’s repertoire and was ready to perform. Consequently, the group did not miss any performance obligations (Gaynotes in 1958,1988; Kerr, 1996, p.

336). The championship combination of the Gaynotes was in place.*®*

In the spring of 1957, the Gaynotes qualified for their first International Contest.

Their performance at the Los Angeles convention yielded a surprising third place finish.

They continued to work hard and sing shows throughout the year and again qualified for

the International Contest in the spring of 1958. The convention would be in Columbus, Ohio, with 40 qualifying quartets out of a field in excess of 3(X) competing quartets from around the Society (Champion Quartet's Baritone, 1988; Hicks, 1988). The Gaynotes

were well prepared. They took the audience at Veteran's Memorial Auditorium by storm and became the twentieth quartet to be called Society Champion, and accomplished this in only their second appearance on the International stage.

Following their championship appearance, the Gaynotes sang their way around the country at Society chapter shows and other performance venues. They performed together through December, 1966, with a two year hiatus while Rector was singing professionally as a cast member of a road tour of "The Music Man" (Gaynotes in 1958,

1988; Kerr, 1996, p. 338). They reunited to perform on Tulsa shows in 1975 (Kerr, 1996, p. 338), 1983 (News about Quartets, September/October, 1983) and again for the 1988

International Convention in San Antonio where they helped celebrate the fiftieth anniversary of the Society by appearing on the Association of International Champions’

*®* It may be inteicsiing to note the ages and occupations of the Gaynotes at the Hme of their championship win. Jones was a 32-year-dd sales engineer, Rinkel, a 31-year-old industriai relations manager; Loots, a 37-year-old chief accountant; and Rector, a 24-year-old design draftsnum (Kerr, 1996, p337; Meet the New Chanqn, 1958, July). 205 show. 195 After the Gaynotes disbanded, John Loots sang in a quartet called Oklahoma

Sound while Mo Rector eventually joined another quartet called Mark I V . i *

Musical Background

The musical offerings of these individual quartet members were varied. Harold

Jones had not sung in a formal barbershop quartet prior to the Gaynotes but was an avid chorus man with an organized work ethic. He started singing in his high school operettas. Lead singer, Howard Rinkel, was a choral singer in high school as well as a percussionist in the school band. He served as a soloist and sang for his church at weddings and funerals. While in the U.S. Navy, he was a member of the Great Lakes

Naval Choir. His first introduction to quartet singing was while a student at Hutchinson

Junior College in 1948. John Loots also sang in his high school choir and church choir.

He played piano, French horn and the baritone horn in his high school band and later at the University of Illinois. He first joined the Society in Minneapolis prior to moving to

Tulsa in 1949 (Helzer, May, 1959). Mo Rector had been singing since a child when his grandmother taught him how to read shape-notes. He was in three quartets through his high school years in Okmulgee, Oklahoma. From age eleven through twenty-two, he annually attended two three-week schools sponsored by the Church of Christ where he studied singing and shape-note reading. Rector joined the Tulsa Chapter at age thirteen and learned much about barbershop arranging by transcribing recorded arrangements onto manuscript paper (H. Rinkel & M. Rector, personal communications, summer, 1998 & May, 1999).

^95 RadTofd substituied for Harold Jones for this appearance (What Monories, 1988, July/August).

^96 Mark IV became an Inieniadonal Champion Quartet at the convention of 1969 in St. Louis, Missouri (Ificks, 1988). 206 Performance Practices The Gaynotes performed entirely in the United States where they appeared in 37

states that spanned the nation. They performed with such notable artists as Tony Bennett,

Ai Hirt, Pfete Fountain, Ralph Blaine and Anita Bryant In 1959, they also appeared on

a television show called "File 7" that was produced by the American Broadcasting

Company and Johns Hopkins University. On the show, they shared the stage with The

Pittsburghers^*, the Oriole Four^* and the Chorus of the Chesapeake.^ It was

broadcast nationwide.

According to Kerr (1996, p. 337) the group was performing once or twice weekly

prior to their championship win. Even with regular jobs and the previously mentioned

performance schedule, they met most every evening during the four months prior to the

1958 convention. Their wives acted as coaches along with Nancy Bergman, who gave

them musical coaching and wrote arrangements for them (H. Rinkel, personal communications, summer, 1998).^^ With Bergman, they studied how to better express

the meaning of their songs' texts both musically and visually. Most of their arrangements were written by Mo Rector that, according to an unpublished manuscript (Gaynotes, n.d.), offered the group vocal range through specific performance vehicles. These arrangements had Howard Rinkel on the melody most of the time, but their repertoire did

Ralph Blaine, song writer and arranger for movies and Broadway, wrote Trolley Song" and other used in the movie . Ralph lived in Broken Arrow, a Tulsa suburb.

The Pittsburghers were the 1948 International Champion Quartet.

The Oriole Four were Internatioaal Hnalists at the time of the broadcast but went on to become the 1970 International Champion Quartet in Atlantic City.

^ T h e y were the 1961 and 1971 International Chorus Champions.

According to Kerr (1996, p. 337), Nancy Bergman was a Sweet Adeline champion, arranger and coach. Sbelaler,accoidmgtoMoRector(pBrs<)oal communications. May, 1999), became the Executive Secretary for the Sweet Adelines. 207 allow each voice to be featured. While they all could woodshed their parts, they relied

upon written arrangements for the majority of their song harmonizations. One of the most influential people in the Gaynotes’ development was their other

coach, Floyd Connett He once heard the group and was concerned about the lack of lead

dominance in their sound. He had the men rehearse in a half circle with six feet of

distance between each singer. After four weeks of rehearsing in this manner, he allowed

them to come back together but maintain the half circle stance that according to Kerr

( 1996, p. 337), became a trademark for the quartet. The stance also freed their hands to

be more expressive individually and, according to Helzer (May, 1959, p. 9), "no longer

did they have to physically touch each other to sing well together." They used a tape

recorder to gain a perspective that would allow them to critique themselves. The

Gaynotes sought and received coaching prior to their championship and continued to

receive coaching during the ensuing years (M. Rector, personal communications. May,

1999).

The Gaynotes performed 1-2 times a week during their peak years and received a

fee for approximately eighty percent of their engagements. They commanded a $1(X) fee

for local performances and $3(X)-$400 plus first class airfare for show appearances

(Champion Quartet's, 1988; H. Rinkel, personal communications, summer, 1998).

Among their major influences were not only their coaches but other quartets. The

Four Hearsemen with their huge sound and entertainment prowess supplied a model for them to emulate. The Gaynotes studied their ability to express the meaning of a lyric and musical phrasing within a song. The Confederates acted as a model for both on stage entertainment value and off stage approachability and fellowship. They were as much a philosophical influence on the men of the Gaynotes as they were a musical model (M.

Rector, personal communications. May, 1999; H. Rinkel, personal communications, summer, 1998) 208 The Gaynotes also recorded many songs. They appear on eight recordings with

45 songs from their repertoire. As was the custom of International Champions, they

recorded contest albums for the Society and Decca. They also released a few of their own recordings. The first such endeavor was entided "Strictly Barbershop" and was later released on the Chord label. Ten years after winning the championship, they decided to

record again. After that much time they had amassed a considerable number of songs and

decided to record two a lb u m s . 202 The first. Strictly Square, contained a cappella

renditions of tunes in the barbershop style while the second. Strictly Swinging, was of a

different nature. Jazz harmonies were employed as well as voicings that had the melody

in the tenor rather than the lead voice. These songs were intended to have instrumental

accompaniment added. The songs in this recording were actually recorded a cappella.

Afterwards, the vocal tracks were sent to Brian Beck who, after listening to them, wrote

the instrumental parts. He then played and employed other musicians to play and record

the instrumental tracks that were added to the pre-existing vocals.2(B

Of their most requested songs. Mo Rector (Personal communications. May, 1999)

and Howard Rinkel (Personal communications, summer, 1998) chose "Bye, Bye Blues"

as their top audience pleaser followed by "Gee, 1 Wish 1 Had a Girl" and "We'll Meet Again."

Anecdotal Accounts

In their first appearance at a Society International Contest, the soon to be champions left their mark. Both Rinkel and Rector cited this event as their most famous

202i(mmybemieitsliDg 1 0 look at the cost of these recordings in 1967. The cost of either album was S4.00 plus $.25 postage. Both recordings could be purchased for 57.00 plus $.25 postage (Bigelow, 1967).

2 ^ This process was the opposite of traditional recording methodology. The instrumental tracks are normally recorded lin t and the vocals are then simg to them. This process allows for better pitch reliability as the mstruments are more likely to renwdn in pitch than arc voices. The Gaynotes either sang wonderfully in time to the key or Brian Beck and his instrumental entourage performed some tonal wizardry to bring the two together. 209 moment aside from winning the championship. The 1957 convention was being held in

Los Angeles at the Shrine Auditorium. The Gaynotes were the last of the 41 groups to

sing in the opening round. The evening prior, while the four men had been at the

Woodshed, they experienced some difficulty getting their pitch in order to start a song.^ Their quartet host passed the word around the convention that this new group from Tulsa

was no good. According to Mo Rector (Personal communications. May, 1999), when the

Gaynotes were introduced, many of the convention attendees started making their way to

the exits. Mo stated, "We nailed the intro and people started returning to their seats."

The next session they were the first quartet to sing and received a warm welcome from

the audience. In the final round, the group sang "Bye, Bye Blues” complete with a bevy

of bell chords. There was a complete silence following the end of the song when,

according to Howard Rinkel (Personal communications, summer, 1998),

.. the audience suddenly “exploded” in sound and applause. It took several minutes to quiet them down so we could sing our second song. The quartet was a little unnerved or shook up for a while. It was about the second line of 'Surmy Boy' before we started to get back together. We were told that it was a magic moment' and became the talk of the convention. We did not know it at the time but we moved from 5th (place) to 3rd. (place) that session __

The men on the Gaynotes seem to be in agreement as to their funniest account as a quartet. It seems they performed quite often with the Big Four, a Sweet Adeline quartet

that was a very popular talent choice on the barbershop show circuit Mo Rector had sung tenor with them on many an afterglow. These women wore flowered moo-moos and a hat complete with a flower that stood straight into the air. Rector had his mother make him a dress to match complete with hat Both quartets were on the PUsadena

Chapter show. When the Gaynotes flnished, they exited stage left and ran around to the

^ The Woodshed was a designated room at the convention for individuals and quartets to gather for the purpose of social singing and impranqttu harmonizing. 210 other side of the stage while redressing Mo Rector in his "Big Four" look-alike outfit

When the women's quartet was introduced, they entered the stage only to have Rector

follow them out a few steps behind. The audience and the Big Four were completely

incapacitated (M. Rector, personal communications. May, 1999; H. Rinkel, personal

communications, summer, 1998). Floyd Connett, the Gaynotes' friend and coach had a tradition involving his favorite pitch pipe. He had a plaque mounted on it with the inscription "Old Lucky."

Many quartets had used this instrument of pitch during their championship performances.

Connett would not offer it to quartets unless he thought they could win. According to

Rector (Kerr, 1991, June lb), Connett walked up to them just as they were about to enter

the stage and gave them "Old Lucky." Mo said, "We won with it."

Another memorable moment came in New Orleans at the restaurant named Pier

600. The public had left and the owner, A1 Hirt, locked the doors. Again Mo Rector

remembers (Kerr, 1991, June lb),

.. the band got their instruments back out and we had a jam session. The band would play, then the Confederates^ would sing, then the Gaynotes ...111 never forget Pete Fountain was there, and A1 Hirt206. , . they both had little kids... and the Gaynotes singing 'Sonny Boy,' and those guys bawling like babies.

The jam session lasted all night Afterwards they all jumped on a trolley car and went out to breakfast. Howard Rinkel remembers sitting with Bob Havens and his wife.

Havens was the trombone player in the band and was lamenting over whether he should stay with A1 Hirt's Band or take an offer to do a 13 week television show with a relatively unknown band leader named Lawrence Welk. Havens spent the next 20 years with Welk

^ T b e Confedenles were the Inlemmlxonml Ouunpiaos of the 1956 convenlioo held in MiniieapoUs.

^ Bern Alois Maxwell Hift.be was bom November7,1922 and died April 27,1999. 211 and Hirt became nationally known for his trumpet playing the same year (H. Rinkel, personal communications, summer, 1998). In the area of travel anecdotes, Howard Rinkel remembers a situation where they were scheduled to perform a show in Albuquerque. They came upon some serious thunderstorms. Their plane was not instrument rated, which meant they could not go further. The time was such that there were no other commercial flights available. The

American Airlines (AA) manager in Tulsa knew them since they were frequent fliers on

AA. He had a DC-6 flight crew who were on a two-day layover. The co-pilot, "Rusty," had a friend with a twin engine Apache that he quickly borrowed to fly them to the show.

From that day forward all of the flight crews knew them as "Rusty's quartet” (H. Rinkel, personal communications, summer, 1998).

Both Rinkel and Rector cite the many funerals they have sung as their saddest moments. One such occasion was the funeral of Roy Short who, after serving as the Tulsa chapter secretary and bulletin editor for more than twenty years, became blind. He requested that the Gaynotes sing for his funeral in his last will and testament. On July 14,

1990, John Loots and his wife, Irene were involved in an automobile accident while returning from the International Convention in San Francisco. The passing of their friend and baritone was the most difficult of all.

Both men who answered the questionnaire expressed a deep love for barbershop singing and the fellowship it provides. Howard Rinkel said, "Other than my family, 1 know of no other event in my life that has given me more personal satisfaction" (Personal communications, summer, 1998). Mo Rector (Personal communications, May, 1999) expressed a feeling of brotherhood among the early champion quartets. Any barbershop singer was welcomed to join in on some tag singing and woodshedding with the champs. He said.

212 Chapters hire you because of what you've achieved. They rehire you because of what you did at the afterglow with woodshedding with 'Joe' barbershopper. The effect we have on others is huge — We need to be most accessible when we leave the stage. Aural Comparisons and Influences "I Wish I had a Girl" (Best of Barbershop, n.d.) was the song examined for the

Gaynotes. This ballad was in simple quadruple meter, although, the riibato nature of this performance made the meter nearly undetectable. Harold Jones' tenor sound was that of a

falsetto production and was very well balanced to the melody. Unlike Don Pitts, a year

earlier, Jones is present to the melody but not louder than his lead singer. He actually

sang forth loudest yet remained within the balance of the quartet Howard Rinkel's lead sound was appropriately dominant throughout the performance. While his voice was

presented in a straight tone throughout most of the song, he did have some evidence of

vibrato at the end of some phrases. John Loots' baritone performance showed a keen

awareness of his position above or below the melody and Loots remained well balanced

nearly all of the time. Mo Rector's bass was strongly balanced to the lead but not as

closely as was Gil Wallace's bass performance in the Lads of Enchantment. The Gaynote s balance seemed to fit well into a composite sound with the melody more appropriately present

In this performance, the quartet sang well together with good ensemble technique.

Their articulation was soft and seemed well appropriate to the text. They had more dynamic contrasts within their phrases than the other champion quartets examined before them. Sometimes these dynamics would change abruptly from loud to soft mid-phrase.

They were well executed with the intonation and balance intact. Phrases seemed to be disjunct from each other as breaths were not used to connect them and long gaps existed between phrases. The phrases themselves were broken into many shorter phrases in

213 deference to the text. The quartet possessed a good biend while maintaining consistent clarity of the melody line.

1959, Four Pitchikers Larry Hedgpeth (Tenor) d: March 9,1999; Keith Keltner (Lead);

Wendell Keith Young (Baritone); Joe V. Delzell (Bass)

The twenty-first champion of the Barbershop Society was the Four Pitchikers. The group had first begun in 1950 as a quartet from Nixa High School in Nixa, Missouri.

Hailing from two small farming communities, the group was known as the Teen Tuners.

The foursome consisted of Lany Hedgpeth, tenor; Keith Keltner, lead; Keith Young,

Baritone and Johnny Marriot as the bass (Grundy Coached, 1988, November/December).

They attended the Heart of the Ozarks Chapter and were "bitten by the barbershop bug”

(Wall, 1959, September). With only two songs of the barbershop style in their repertoire,

"Coney Island Baby" and "Shine," they joined the chapter after attending a couple of meetings. They competed for 2-3 years in district contests. Upon graduating from high school, Hedgpeth, Keltner and Young all enrolled at Drury College in Springfield,

Missouri, while Marriot took a job out of town. The three college men began looking for a bass.

Entering the barbershop scene, about a year prior to the Teen Tuners breaking up, came Shiriey K. (S.K.) Grundy. He was a well-trained musician who upon discovering the barbershop idiom immediately began writing arrangements. He started looking for a foursome that would be able to do a good job of singing his creations. Grundy liked the young voices of the three remaining Teen Tuners and thought that with the right bass they could be the group for which he was looking. In May of 1955, Grundy coaxed Joe

214 Delzell from another quartet to join what then became the Four Pitchikers (J. Delzell.

personal communications, summer. 1998; Wall, 1959, September). Four months later, the new group competed in the Central States Regional

competition and placed eighth. In October, they placed second in the District Quartet

contest held the in Wichita. In the spring of 1956, they traveled to Spencer, Iowa, and

qualified to compete in their first International Contest where they placed fourth that summer. Returning to district competition in October, they won the title of District

Quartet Champion. In the following years, they continued to compete at the International

level placing fourth in Los Angeles in 1957, and second in Columbus in 1958. Then, in

Chicago^o^ in 1959, with 40 qualifying quartets competing, they became International

Champions (Grundy Coached, 1988, November/December; Hicks, 1988, p. 96; Wall, 1959, September).^®

The Four Pitchikers continued to sing around the country for the next four years.

In June, 1961, Ken Keltner replaced Larry Hedgpeth as tenor.^

^ This conventiao was held at the Chicago Civic Open House, a hall that could not accommodate the entire convention in excess of5,000 people. A crowd o f800 was reported to have watched the contest from the Tenace Casino at the Morison Hotel by way of closed circuit television (Four Pitchikers Capture, n.d>.

^ At the time of their winning, the group consisted of a 24>year-old building contractor in the person of tenor, Lany Hedgpeth; 23*yev-old Keith Keltner, who when not singing the lead part was assisting his father in running their tire and oil company; baritone, Keith Young, a 24-year-old carpenter; and 42-year- old bass, Joe Delzell, who was a business oflke employee of the U. S. Govemnment Medical Center for Federal Msoners (Wall, 1959, September).

2®Hedpethhadtakena consiniciion job in Alaska. Ken Keltner fiUed in for Hedgpeth so the group could honor its perlbrmance commitmems (J. Delzell, personal communications, summer, 1998). 215 The group that started as four boys from two small Missouri farming communities^to sang their last perfonnance together in December of 1963.^^^ Musical Background

The quartet members were actually well accomplished musicians although little is known about the musical background of tenor, Larry Hedgpeth. Keith Keltner played the piano as well as other instruments including the saxophone. He also learned to sight- sing. Keith Young played trumpet in his high school band and picked up the guitar as well. He sang in the high school quartet and chorus. He was also a song leader in his church. Joe Delzell started singing and playing the piano while in grade school. His indoctrination into his high school quartet was as a tenor during the beginning of his freshman year. He was singing bass by year's end. While in high school he sang in a mixed quartet, male glee club and mixed choir. Delzell also played the trombone in band, orchestra and various ensembles.^i^ While in college, he continued his musical interests both instrumentally and vocally and learned to play additional instruments.^^^ He played for several years in the Springfield Symphony.

Performance Practices

As stated earlier, S.K. Grundy had a vested interest in the Four Pitchikers from the start Not only did he help them to organize, but he also aided them with tailor made

210 Both towns were under 200 in (ottl population (Wall, 1959. September).

Since the quartet disbanded, Joe Delzell has bad very little contact with the Barbershop Society. He reported (I^nonal communicaiioos, summer, 1998) that it has been thirty years since he had attepHed an Iniematiooal Convenlioo. He keeps up with the AIC through its quarterly newsletter. The Medallion.

212 While a senior in high sdmol, be played the trombone in a competition. Once, while moving from first to seventh position, he inadvertently threw his slide into the audience. After borrowing another boy's slide, he fimsbid the solo and won first prize (J. Delzell, personal communications, summer, 1998).

Delzell reports (Personal communications, summer, 1998) that he can play the baritone bom. tuba and trumpet 216 arrangements. He knew their voices from an aspect of both tonal quality and range. He was also their coach. Although he was a rather new barbershopper himself, he learned

quickly and adapted to the style with ease. He became a much sought after coach and

arranger throughout the Society (Hicks. 1988, pp. 45,60,61). On Grundy and his approach to the Four Teens, Herb Wall said (1959, September), "Being a perfectionist,

nothing but perfection would do for him, not only in enunciation and pronunciation of words, but also in voice production, voice expression and every other category of Society judging. It is truly a five-man quartet." Wall also alluded to their rehearsal schedule during the four years leading up to their championship win. They were rehearsing twice a week during that span of time with a 25-mile distance between them. All the while, they were receiving coaching from S.K. Grundy. They continued to work with Grundy throughout their career.

As the Four Pitchikers, they sang over eight and a half years and performed extensively. Their list of celebrity co-performers is impressive and includes Rex Allen,

Sr.; Gene Autry; Eddie Arnold; Irving Berlin; % t Boone; Walter Brennan; Ray Charles

Singers; Perry Como; Jimmy Dean; Everly Brothers; Red Foley; Tennessee Ernie Ford;

Pete Fountain; AI Hirt; Hubert Humphrey; Waylon Jennings; Brenda Lee; Lennon

Sisters; Ted Lewis; Willie Nelson; Osmond Brothers; Debbie Reynolds; John Ritter; Tex

Ritter; Doc Severinsen; Diana Shore; Mel Tillis; Lawrence Welk; and Andy Williams (J.

Delzell, K. Keltner & K. Young, personal communications, summer, 1998). This list is a virtual "who's who” in the entertainment business of the day. According to Keith Keltner (Personal communications, summer, 1998),

We were "regulars” for three years on the nationally broadcast "Ozark Jubilee” television series. We had special spots on the show each weekend and did all the vocal background music for stars appearing on the show, much like the famous "Jordanaires” (who we knew well) who sang with "Elvis” and other greats.

217 The group performed in 42 states with one performance in Mexico and many

appearances in Canada. They literally canvassed the four comers of the nation as they

performed three out of every four weekends, on average, with an approximate 50 appearances a year. A fee was charged for 90% of their performances. According to

Keith Keltner (Personal communications, summer, 1998), their 1959 "formula" was to charge $100 per man with an additional $50 per man for additional matinee or second night performances. This was coupled with $100 a day for the group's food and first class air- fare regardless of their driving or flying to the performance location.

Quartets that these men respected and learned from during their tenure included the Buffalo Bills, Vikings, Schmitt Brothers, Orphans and, according to Keith Keltner, their "favorite buddies," The Confederates (J. Delzell, K. Keltner & K. Young, personal communications, summer, 1998).

On the topic of signature songs, all three respondents selected "Alexander's

Ragtime Band" as their first choice and "That Tumbled Down Shack in Athlone" as their second. Two of them agreed on the third as "Ramona."

Anecdotal Accounts

Every champion is greeted in some way upon returning home from winning the gold medal. The Pitchikers were no exception. The barbershoppers of Springfield,

Missouri held a "Pitchikers Night" in honor of their new champions (News about

Quartets, 1959, November). Over 160 people attended including their coach, S.K.

Grundy. Besides the winning of the championship these three men all cite their live television performance on the Perry Como Show as a most famous moment. The Everly

Brothers were also on the show, which was broadcast from New York City. The quartet was dressed as barbers while Como sat in a barber chair. They sang two songs with him as the performance was broadcast across the nation. This, along with their regular

218 television show "Ozark Jubilee," was their most famous appearances (J. Delzell, K.

Keltner & K. Young, personal communications, summer, 1998).

In the area of humorous anecdotes, there was the occasion when the group was being introduced on the "Ozark Jubilee" show by Gene Autry who called them the Four

Pitch Pickers (K. Young, personal communications, summer, 1998). Additionally, upon arriving to sing on the Perry Como Show, they scheduled to rehearse with him. He had never heard them and was posed in his barber chair as the quartet stepped up on either side of him. When they sang their first note, Como leaped out of the chair, ran to the other side of the large rehearsal room and shouted, “I didn't know anyone could sing that loud!” (J. Delzell, personal communications, summer, 1998). Another funny incident occurred during the 1959 convention. Keith Keltner had been wed just seven days prior to the International Convention. On the night the Pitchikers won the championship,

Keith was speaking to the 5,000 in the audience when he said, he "had just been a bride for seven days..." the audience went crazy. It wasn't until later that night that he realized what he had actually said (K. Keltner, personal communications, summer, 1998).

On travel related stories, both Keltner and Young spoke of a trip to Ashville,

North Carolina, where they had chartered a plane for the trip. A snowstorm blew in and the pilot had to keep circling because he couldn't see the airport. (Personal communications, summer, 1998). On another trip to Cetonsville, Maryland, the four men arrived but their luggage did not It was in Chicago and would be sent on the next flight.

By show time they still had no clothes in which to perform. Members of the chorus started to mix and match their chorus uniforms to flt the Four Pitchikers (J. Delzell, personal communications, summer, 1998). Delzell also reported on a trip to Dumas,

Texas, where they left Springfield on a commercial flight that was canceled in Tulsa,

Oklahoma. They then rented a car and drove through severe storms complete with hail, high winds and rain. Luckily they arrived in time for their scheduled performance time. 219 One of Keith Young's favorite experiences was meeting Irving Berlin. Berlin had been in the audience and met with the quartet after a show (Personal communications, summer. 1998). Another cherished memory was meeting Hubert Humphrey, who was the Vice President of the United States at the time. Humphrey invited them up to his hotel suite where they visited and sang for him. When asked about the quartet's most heartfelt moment. Joe Delzell remembers the unusual places where they performed

(Personal communications, summer. 1998).

.. Atop the Empire State Building; Riverboat in New Orleans; 'Maid of the Mist.' Niagara Falls; Mississippi River Boat; Mormon Tabernacle; Miss Missouri Pageant; 'Well' of the House in D.C.; Speaker of the House private dining room. On a flight to Minneapolis, upon landing we were held on (the) plane until all others had left the plane and had formed a large crowd below the walkway. We were then instructed to go down the steps and wait for the last passenger to come out It was the current 'Miss America' and we sang to her. 'If You Were the Only Girl In The World' as she came down the steps.

On sad experiences they shared, all three men cited the unexpected death of their coach, arranger, and friend, S.K. Grundy. Also, Joe Delzell's mother passed away while they were performing out of state. They all additionally mention the eventual breaking up of the quartet. Keith Keltner said. "... Four guys are at the mercy of one another.

We had one member who decided to quit. It's amazing barbershop champs can stay together long enough to win” (Personal communications, summer. 1998).

As for the impact of becoming a champion on these men. their responses were varied. Joe Delzell referred to the many miles traveled by every conventional means that brought them friendships along the way. He also alluded to a special bond with others whom they met no matter what their professional status may have been. Keith Young mentioned learning patience and the value of teamwork while Keith Keltner said. "It taught me valuable personal traits. 'Persistence'; Determination to succeed'; to not settle for second best; go for the gold; hard woric pays off. It proved to me that my desire to be 220 the 'best' could happen if I wanted to apply myselP (J. Delzell, K. Keltner & K. Young,

personal communications, summer, 1998). Aural Comparisons and Influences

The Four Pitchikers possessed a sound that could be easily described as hard. The

lead sound produced by Keith Keltner was a straightforward focused phonation without

the taller vowel concept found with many other champion lead singers. His sound was

reinforced by Joe Delzell's bass, which also had a forward resonance produced along with

a lowered soft palate. The tenor sound of Larry Hedgpeth was also bright in nature although produced from a falsetto most of the time. Baritone Keith Young offered the

most warmth of sound to the quartet and worked well to meld the other three voices into

a composite sound.

The performance examined was their rendition of "Lora-Belle Lee" (Best of

Barbershop, n.d.). This arrangement featured a ballad style introduction with a

compound quadruple chorus. The lead dominated in the balance of the quartet with the

bass close behind along with baritone and tenor respectively. Their vowel matching was

uniform around the quartet. Their long ” 0 0 " sounds on the word "tootin'” is similar to

that of the Garden State Quartet who sang more of the German "U" sound. Their tuning

was good as they employed a greater use of gradual dynamics within their interpretive

scheme with many instances of crescendo and diminuendo throughout. Their phrasing

scheme was enhanced by making longer overall phrases. This was achieved by

connecting two or more phrases with pickup notes by one singer during which the others

would breathe. The others would then sing over a quick breath by the pickup note singer,

thus creating a seamless bevy of phrases into one. This technique added to a legato effect even though the quartet sang with a strong approach to each chord. Their timing within the style of a compound meter was sometimes compromised on these pickup notes as the pickup singer would sometimes rush the beat during these short soloistic episodes. 221 1!MS0, Evans Quartet

Thayer "Turk" Evans (Tenor) d: February 14,1999;

Preston "Pres" Evans (Lead);

Gene "Smitty" D. Smith (Baritone) d: January 24, 1984;

Jonathan "Jack" D. Evans (Bass) d: February 27, 1987 In 1960 the Society crowned as its twenty-second champion, the Evans Quartet, some 34 years after they first formed. This group, consisting of nine different men over a

55-year time span, enjoyed an active singing career for 51 of those years.

It all started in 1926 when four brothers from Salt Lake City, Utah, began singing as a quartet at the ages of 7,9,11 and 13 (Hicks, 1959, November). They were Thayer

"Turk," George, Preston "Pres" and Clarence "Clary" Evans. Turk sang tenor, George lead, with FYes on baritone and Clary singing bass. When younger brother Jonathan,

"Jack," was old enough to hold his part (circa 1933 at nine-years-old), he replaced Clary while taking over the lead duties and moving George to bass. Since none of the boys truly had a bass voice, a neighbor by the name of A1 Nielsen was soon recruited to replace George. This combination of the Evans Quartet sang together until 1957 with a few interruptions. In 1937, Pres became a missionary and the quartet disbanded for two and half years until Pres' return.^''* The group was again held inactive for a two-year period during WW11 while they served in the armed services (As kids, "Evans," 1998,

November/December; P. Evans, personal communications, summer, 1998; Hicks, 1959, November).2i5

214 Accoiding lo Pres Evans (Personal communicaticns, July. 1999), the other brothers occasionally filled in for him while he was goiK.

According K> (ficks (1959, November), upon retunnng from the service and being reunited, they spent the entire night singing. 222 Fifteen yearn after Nielsen joined the Evans Quartet, they competed in the 1957

International Competition and came in one point short of being ranked in the top fifteen

(Hicks, 1959, November). Due to pressures in the workplace, A1 Nielsen had to step down from his position with the quartet following the competition. A replacement was found 40 miles north of Salt Lake City in Ogden, Utah. His name was Gene "Smitty”

Smith. When the group lost Nielsen, they decided to re-voice the quartet. In August of 1957, Jack moved to bass. Pres assumed the lead part, Smitty sang baritone and Turk continued in the tenor role. Two months later, they placed third in the Far Western District Quartet Contest held in Bakersfield, (Zalifbmia. Eight months later, they traveled to Columbus, Ohio, where they placed fifth at the International Contest.^^^ In 1959 they rose to silver medalist ranking. Then the following year in Dallas, Texas, the Evans

Quartet became the 1960 International Champions over 40 other qualifying competitors

(As kids, "Evans," 1998, November/December; P. Evans, personal communications, summer, 1998; Hicks, 1959, November, Hicks, 1998, p. 96).

The history of the Evans Quartet did not end there. On the contrary, the group continued to perform for the next 21 years, having already amassed some 30 years as an active quartet. In 1962, Jack stepped down from the bass spot and was replaced by Shir!

Beckstead (P. Evans, personal communications, summer, 1998). In January of 1965, Jack regained his position as bass singer when Beckstead needed to leave the group due to business pressures (News about Quartets, 1964, November/December). In 1971, a cousin of the Evans family became the new baritone replacing Gene Smith (News about

Quartets, 1971, September/October). The Evans quartet sang their last performance in

Park City, Utah, during the late winter of 1981, some 55 years after they first sang as a quartet (P. Evans, personal communications, summer, 1998).

Smiity's fin t Inlenuiiaoal Coolest experience (fficks, 19S9, November). 223 Musical Background

The Evans brothers grew up in a musical family. Their father was in a quartet that sang exclusively barbershop harmony. The boys grew up hearing these sounds. All of them sang in their school glee clubs and choirs as well as madrigal groups. Both Jack and Pres played the ukulele (Freund, 1984, September). Pres Evans (Personal communications, summer, 1998) did some solo work but according to him, "... from

1926, it has been barbershop singing." These boys grew up singing in their quartet. It was a part of their youth that continued into and through their adult years. There may never be as good an example of music playing such a dramatic role in lifetime learning and quality of life enhancement through artistic means.

Gene Smith also sang in his school choirs. He never had a quarteting experience until he entered the Navy in 1943. While in boot camp, he organized a quartet that, according to Hicks (1959, November) "... was a trio, with the bass doubling the melody an octave lower." When he returned from active service, he continued to sing at family functions and parties. Then, in February of 1954, he became a charter member of the newly formed Ogden, Utah, Chapter of the Society.

Performance Practices

In 1927, a year after the Evans Quartet had formed, the foursome had already made themselves known in the Salt Lake City community. They had already performed at the Pentages and Orpheum Theaters as part of their thiee-a-day vaudeville shows when

Charles Lindberg was making a tour of the country following his historic flight across the

Atlantic Ocean. While in Salt Lake City, his open car motorcade moved slowly along the parade route when, from a porch, the four Evans boys began singing "Lindy, Lucky

Lindy, the Hero of the USA" in four part barbershop harmony. The parade stopped while

Lindberg listened to them sing their song, shook their hands and then continued along his

224 way. They were soon signed as an act on the western vaudeville circuit (P. Evans,

personal communications, summer, 1998; Hicks, 1959, November).

The Evans Quartet met many other entertainers and dignitaries during their performing career. These notables include Irving Berlin, Gus Hahn, Ted Lewis, Mahalia

Jackson, Gladys Swarthout, Spike Jones and his Band, Ramsey Lewis Quartet and

President John F. Kennedy. They performed on the Ed Sullivan Show in 1958 and made

an appearance on the Lawrence Welk Show in 1960. Twice, they met and performed for

Meredith Wilson of Music Man fame.

In all, the Evans Quartet traveled to 47 states from as far west as Hawaii to New

York in the east and north to Alaska with Texas in the south. They also appeared in

Mexico and Canada. According to Pres Evans (P. Evans, personal communications,

summer, 1998), they averaged an approximate 200 performances a year. These

appearances included funerals, church programs, civic programs, school functions,

political rallies. Boy Scout programs and, of course, barbershop shows and conventions.

Interestingly enough, they were one of the most generous of quartets in that they

performed at no charge for approximately 50% of their engagements with an additional

20% of them being at an un-negotiated fee set by others. This left only 30% of their

performances with a standard fee attached. On average, they charged $500 plus expenses

for these paid performances (P. Evans, personal communications, summer, 1998).

Pres Evans said, "We feel that during our 59 years of singing we have utilized about 700 plus arrangements, some by ear. (Personal communications, summer, 1998)."

In looking at the repertoire of this International Champion, one finds a preponderance of barbershop songs. The Evans Quartet was known as a barbershop quartet of men who believed in their duty as champions to spread their message of barbershop song with the zeal of an evangelist While interviewing the lone surviving member of the group. Pres

Evans, I found a man deeply concerned that the preservation of this art form be 225 reassessed by the both the Society and the AIC. He expressed concerns over the proliferation of jazz harmonies in quartet competition and AIC performances. He also voiced a regret over the shift in the judging system that places an apparent emphasis on the non-singing elements of the contest performance at the expense of the singing of barbershop.^^^ He referred to the impact of role models and, in the case of the AIC, the presence of negative modeling as it impacts the preservation of the style. This would certainly make an interesting topic for further study. According to Hicks (1988, p. 60), the Society's quartets displayed a rather limited amount of choreography in its contests. With the Evans Quartet came motions and gestures that were reminiscent of vaudeville. The Evans' father had been in the professional quartet called "The Elgin Four.” Known for their precision of movement, the model they created helped to set a new standard for quartet choreography in the years that followed.

Of those songs thought to be signature songs Pres Evans chose "Dear Little Boy of Mine" as his top choice. This was followed by "I'd Love to Fall Asleep and Wake up in My Mammy's Arms," "My Wonderful One" and "Red Rose Rag" (Personal communications, summer, 1998). They used many of the Society's arrangers through the years. Some most frequently used included: Gene Smith, Dave Stevens, Floyd Connett,

Renee Craig, and Skeets Bold. "Our arranger," as Pres Evans referred to him, was Val

Hicks who also helped them monitor their work in harmony accuracy. Floyd Connett gave them coaching "every four months or so" in vocal production as well as in balance and blend (P. Evans, personal communications, summer, 1998; Hicks, 1959, November).

In the area of vocal expression, they also received help from Bob Groom of the Orphans.

In cootnst, it may be of interest to note Hut Hicks (1998, p. 61) said. T h e Evans Quaitet of Salt Lake City, Utah, 1960 intematioiul cbanqxons, 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.” 226 According to Hicks (1959, November), they studied every source for improvement

including comments from judges, learning from other's performances for ideas, techniques and methodology as well as fully studying a Society tape entitled. The

Barbershopper and His Voice. Dave Stevens helped to indoctrinate them into the

workings of Society contests in 1956 as they prepared for the 1957 International ContesL

The quartet model they aspired to was that set by the Confederates and, according to Pres Evans (Personal communications, summer, 1998), "It worked!" After their International

Championship was won, they sought no additional coaching.

The Evans Quartet, as mentioned earlier, was a very sharing group of men. They

did 12-15 performances a year for school age children (P. Evans, personal

communications, summer, 1998). In early 1964, they traveled to Alaska where they were

sponsored by the Church of Latter Day Saints. On this trip, they traveled 6,100 miles to

perform two shows, one in Fairbanks and the other in Anchorage.^^* So great was their

reception, they were invited for a return engagement the following year (News about quartets, 1964, September/October). When the city of Salt Lake adopted Ankara, Turkey as its sister city and needed to raise funds for a new hospital wing and kidney machine, there was the Evans Quartet. The show they put on along with other area barbershoppers raised over $3,0(X) (Roberts, n.d.) On another occasion, they traveled to Idaho where they performed on four chapter charter shows (News about Quartets, 1968, January/Fcbruary).2i9

The quartet also attracted a fair amount of high profile exposure. They appeared in a Yamaha International Corporation advertisement in July of 1964. As late as 1980, they were making yet another appearance as the River CiQr School Board in their third

They made up for any lost singing time by perfonning 65 songs.

These type a t shows were, iiadiiioaaliy, at no profit to the peifocming quartet 227 production of Meredith Wilson's Music Man (As Kids, "Evans," 1988, November/December, News about Quartets, 1980, March/April). They appeared on eight Society recordings as well as two LP recordings of their own. They also have a limited version recording of their music. The Evans Quartet also boasts the first

Christmas recording made by a top Society quartet (On Our Cover, 1961,

November/December). They appeared as a Santa Claus Quartet on the cover of the

November/December issue of the Harmonizer. With over 120 recorded cuts, they are among the most prolific quartets in history. Anecdotal Accounts

The Evans quartet was not without its humorous side. In a Harmonizer article

(News about Quartets, 1961, July/August), it was reported that the effort to regain the traveling trophy was being met with hostility. An excerpt from a letter in response to the request to have the trophy shipped to the Philadelphia Convention explains, as Turk

Evans wrote:

Your recent request has touched us deeply but let me familiarize you with a few problems. First, the boy bass (Jack) has a special compartment in his bed that holds the trophy you mentioned. Smitty (Gene Smith) has remodeled one wall in his home to install a trophy case of adequate proportions to hold it Pres (the lead) puts it in his window every third week and has expended considerable sums for spotlights, etc. As for me, 1 have had all my children dipped in chrome to match the trophy. You can readily see our reluctance to part with it. It will take some time to remove the names, of our wives and friends who helped, that we have engraved under the four copper busts, we have on top of the lyre. It took 22 years to get it in Salt Lake-we feel it only fair that it should take as long to return it —

When asked about funny situations. Pres Evans (Personal communications, summer, 1998) reported that while in Colorado Springs, they were performing on a stage

228 that was set with a picture frame complete with special lighting and a vapor c lo u d .220

While the quartet was singing, the frame fell forward and an immense cloud of vapor spilled out. The quartet started coughing and the audience started laughing. It took quite a while to get the stage cleared and the audience under control. The most famous moment for the Evans quartet had to be their performance for

President John F. Keimedy and members of Congress (P. Evans, personal communications, summer, 1998). When arriving at the Washington airport, they were escorted by limousine on a tour of the city and its monuments followed by a special dinner. During the performance, they shared the program with the well-known gospel singer, Mahalia Jackson. Another memorable situation was when they were attending an International

Convention in Kansas City. They decided to invite the Osmond Brothers to go as their guests. Mrs. Osmond accompanied the boys and brought food for the entire entourage as they traveled to Kansas City by rail. For Pres Evans (Personal communications, summer,

1998), the trip served as a reminder of their own beginning as a boy quartet from Salt

Lake City. The Osmonds made their first appearance on a Society International

Convention during this trip.

Once, the Evans Quartet was asked by the Latter Day Saints Church to put on a show in benefit of their Chicago area churches. They contacted Buzz Meager and asked for his help .221 They collectively gathered five quartets, including the Evans Quartet, as well as a chorus and a Master of Ceremonies to all donate their performance at the

^ T h is wis the iiomecliiptcr of PeieTyitc, baritoue of the Orphans.

Buzz Heager was a member of the Four Renegades, 1965 International Quartet C ham pnns (Ificks, 1988, p. 96). 229 Chicago Opera House. Evans (Personal communications, summer, 1998) cited this as

their most heartfelt moment as they raised over $20,(XX) for their cause.

In response to high and low feelings about the quartet, both the first and last

"official" performances were cited (P. Evans, personal communications, summer, 1998). The famous performance for Charles Lindberg was a very happy moment for what was at the time, four young boys. The inverse was true of their final performance In Park City,

Utah where, according to Pres Evans, "... it was an occasion to break you up a little as

you busted that last chord and walked off the stage after your final bow. A half a century spent in singing the style of music you loved-quite a jolt"

Finally, Pres Evans (Personal communications, summer, 1998) answered the question of how his association with an International Champion Quartet impacted his life:

As we sang our last song and waited for them to tell us who won the international, my mind filled with a deeper sense of responsibility. I was at present, representing only the Evans Quartet and their needs and hopes. When they called us the 1960 Champions, we assumed a different role. We now stood as the representatives of and to 37,000 men of note. We had achieved the right to stand and let people know how we planned to show them the barbershop story. It was changed from a foursome to an institution. From this time on, whenever we sang on any occasion, we represented our Society. We committed ourselves to be the bearer of our style of music, through any means available. Wherever we stand or go, we know that for a short period we were given the privilege of being Tour Harmony Representative* for all to know.

Aural Comparisons and Influences

With the Evans Quartet came a return to an all but lost style in barbershop quartet vocal production. The bass sound of Jack Evans was warm yet almost understated. Jack possessed a vibrato that was present throughout the quartet's performance of "Boy of

Mine" (Best of Barbershop, n.d.) Preston's lead was warm and expressive but capable of brighter colors to add to his palate of sounds. Turk's tenor was a mix of full voice tenor and falsetto with an abundance of mouth resonance which aided the quartet's ability to

230 produce overtones even though he possessed a very bright sound. Gene Smith's baritone

sound was third brightest in timbre behind Turk and Pres, respectively. His was a voice

that could act much as a chameleon in his ability to change his tonal production to

enhance the quartet's generation of expanded sound. The balance of the Evans Quartet

was unique in that the three Evans brothers seemed to lock their sound together with an

equal balance while the quality of Pres' lead sound attracted enough of the listener's attention for the melody to be heard. Gene Smith sang as if his role was to enhance this

sound and to solidify the locked sound that these brothers created. He would sometimes

take on the tonal character of his lead singer; other times, he would simulate the sound of

his bass to the point of matching his vibrato.

"Boy of Mine" was an example of a "tearjerker" or emotional ballad that elicited

strong emotions generated by the text and ultimately brought to life through music. The

rubato style of this example lent the meter of the song indefinable. Their articulation was

soft in nature and their tuning was quite good. Still, some pitches sung by the tenor were

approached from below at the end of ascending lines. As mentioned previously, the

upper three voices were primarily straight toned with the bass producing a sound that

frequently possessed vibrato. They occasionally sang long "oo" sounds that were similar

to the German "U" sung by the Pitchikers a year earlier.

In the area of interpretation, the Evans Quartet exhibited soft and loud singing that was extreme but well executed with connecting dynamics in an artistic display of emotion generating technique. Smith's treatment of his repeated line "I'll be there" possessed a glottal attack on the opening note that enhanced the emotion of the text and was interpretively effective. Their approach to the interpretive aspects of this song seemed to be driven to achieve an emotional reaction from the listener. Particularly interesting was their treatment of the tag. Pres Evans repeatedly sang the tonic all

231 through the tag and all but disappeared as the third partial above the bass fundamental became so loud that it overshadowed his chord tone.

1961, Suntoncs

Gene Cokecroft (Tenor); Bob Franklin (Lead);

Harlan Wilson (Baritone); Bill Cain (Bass)

The twenty-third champion of the Barbershop Society, the Suntones, proved to be one of the most popular quartets in the history of formal barbershop singing and enjoyed a level of fame second only to that of the Buffalo Bills (Champion Suntones, 1988,

November/December). Their stage appeal and varied repertoire became icons for others to emulate for years to come (Sun Tones-"Chorus, 1961, July/August).

The Suntones began in 1957 with Gene Cokecroft singing tenor, Clark B e ll^ on lead. Bill Wyatt as the baritone and Danny Whipple filling out the group on bass.^ Less than a year later. Bob Franklin replaced Claric Bell who had dropped out of the group.

Around the same time, Whipple was drafted into the armed services and was replaced by

Glenn Sudduth. Sudduth found he did not have the time to devote to the group and was replaced by Bill Cain who wandered into one of their chapter meetings in 1958. The threesome sang a song with him and, even though it was a scant two weeks prior to the

Dixie District Quartet Contest, they liked the sounds they produced. A fellow chapter member. Bill Hall, loaned them $60 so they could buy shirts and compete in the contest.

After rehearsing nine nights in a row, they entered the contest and came in second behind the district's finest group, the Short Cuts. From that time on the Suntones were known as

222 Bell sang in the Sunshine Four qiuvtet with Bob Fnnidin (Keir, 1991, March).

^ W h ip p le was fonneriy with the Memory Four quartet (Keir, 1991, March). 232 a Cinderella quartet (Cokecroft, 1962, May/June, p. 7; G. Cokecroft, personal

communications, summer, 1998; Kerr, 1991, March).

In 1959, they competed in the International Contest held in Chicago where, in spite of Bob Franklin having the flu, they were ranked twenty-fourth of the 40 quartets competing. Later that same year, the newly formed Sunshine District held its first quartet

contest in Tampa, Florida, where the Suntones won. It was during that weekend that they

sang with Harlan Wilson for the first time. In 1960, Wilson became the group's new

baritone replacing Wyatt whose increased work schedule would not allow him to

continue with the busy performance schedule of the quartet (Cokecroft, 1962, May/June,

p. 7). The championship combination of the Suntones was then in place. The following year, the new combination of voices placed eighth at the Dallas, Texas International

Convention (Hicks, 1988, p. 74; Sun Tones-"Chorus, 1961, July/August). When the

group entered the 1961 International Contest, they were in competition with such notable

quartets as the Gala L ads^, Town & Country Four^^s, Four Renegades^^, Auto

Towners227, Oriole Four^^s and that year's favorites to win, the Nighthawks.^ It was

there, in Philadelphia, Pennsylvania, before 9,000 fans that the Suntones sang their best

six songs against 44 other competitors to become the 1961 International Quartet

224 Gala Lads was the 1962 Champion Quanet.

^ T o w n and Counny Four was die 1963 Chan^xon Quartet who placed third in 1959 and second for the following three years Oficks, 1988, p. 96).

^ The Four Renegades was the 1965 Champion Quaitet

^ The Auto Towners was the 1966 Champion Quaitet.

^ The Oriole Four was the 1970 Champion Quaitet.

^ The Nghlhawks was the 1961 third place medalist quaitet which in subsequent years placed fourth, second and thiid (lick s. 1988. p. 96). 233 Champions of SPEBSQSA (G. Cokecroft, personal communications, summer. 1998;

Hicks, 1988, p. 96; Kerr, 1991, March; Sun Tones "Chorus, 1961, July/August).23o

The Suntones continued singing around the country where they thrilled audiences.

With the exception of a semi-retirement during the latter few years of the I960's, they

kept a tireless performance schedule until 1979. It was then that extreme allergies

affected Bob Franklin's voice to the point of frustration. Then, according to Gene

Cokecroft (Kerr, 1991, March),

We just decided to hang it up. We didn't want to sing that way. So, we quit. Then the three of us got together and decided that maybe there was somebody that might fill Bob's shoes. We sent audition tapes around. That's the way we found Drayton Justus.

The newly tooled ensemble continued to perform regularly from 1980 through January of 1985 where they sang their swan song, as an active quartet, in Montclair, New

Jersey. This performance was part of a special tribute show for long time friend and

arranger, Walter Latzko (Champion Suntones, 1988, November/December; Cox, 1985).

Even though they were retired, the Suntones still performed occasionally including the '

fiftieth anniversary of the Society at the 1988 AIC Show of Champions in San Antonio,

Texas (What Memories These, 1988, July/August), a 1991 appearance at Carnegie Hall

(Chapters in Action, 1991, September/October), the AIC show in Louisville, Kentucky,

(Lynch, 1991, September/October) and the 1995 AIC Show in Miami, Florida (News

about Quartets, 1995, September/October).

The Suoloaes became the fini quartet to receive the American Society of Composen, Authors and Pubhshen (ASCAP) trophy acknowledging their accampUshmenL H us tradiiioa has continued th ro u ^ present day (News about Quartets. 1962, July/August). 234 Musical Background The men of the Suntones brought talent to the quartet that continued to grow as they performed together for much of 36 y e a r s . Gene Cokecroft started singing while in elementary school.^^ A native of Birmingham, Alabama, he sang his first barbershop song, "Coney Island Baby," as an eighth grader. He studied percussion through his junior high school days but really loved to sing. His first quartet was the Memory Four with which he entered his first competition in 1955. By the late 1950's, he was arranging barbershop music even though his first formal music education came in 1977 with a few theory classes at Miami Dade Junior College. He had been a chorus director, a vocal coach and the primary arranger of vocal scores for the Suntones (G. Cokecroft, personal communications, summer, 1998; Sun Tones-"Chonis, 1961, July/August; Sun Tones

Quartet, n.d.).

Bob Franklin was a native of New York C ity .^ He sang in many high school choruses and vocal ensembles. His quartet experience prior to joining the Suntones included singing with the Sunshine Four and the Beachcombers (Sun Tones-"Chorus,

1961, July/August). Gene Cokecroft (Kerr, 1991, March) said, "Bob was a fantastic tuner. That man could sing more accurately than anybody I've ever known and he had a wonderful falsetto. We could give him melody parts that were high. His range was almost unlimited, he was wonderful."

The Sunlooes last "official" AIC peifonnance as an active quartet was at the AIC Show in Calgary. Canada during the 1993 International Competition (Cokecroft, personal conununicatioas. summer, 1996).

At Ae time of their winning. Cokecroft was employed as an electrician. Due to his learned expertise through his association with the Suntones. he later became the producer of the Orange Bowl Hidf Time Shows that were amnially broadcast on national television (Cbkecroft, personal communications, summer. 1998; Sun Tones (Quartet, n.d).

^ Bob Banklin was a sales representative for the Southern Bell Telephone Company at the time of the Suntones winnmg the Inlematiooal Competition (Sun Tones "Chorus. 1961, July/August). 235 Baritone Harlan Wilson hailed from Michigan where he was brought up in a

singing family that had him harmonizing from an early age.^w He sang in some vocal

trios through high school. He was a member of the Blue Jacket Choir while in the U.S.

Navy and sang in a very busy college quartet He joined the Society in 1957. His first Society quartet was the Suntones although he was already the director of two choruses at

that time. Today, he claims six District Championships as a male chorus director and has

led his male chorus to represent their district at ten International Competitions. He has

been the director of a Sweet Adeline chorus and claims one regional championship with them. He also plays the piano and ukulele (H. Wilson, personal communications,

summer, 1998; Sun Tones-"Chorus, 1961, July/August; Sun Tones Quartet, n.d.).

While Bill Cain claims a shallow background in music, he is known as one of the

finest basses to sing barbershop music. His resonant sound and full body of tone made

him the envy of other bass singers. He was bom in Hammond, Indiana, where a musical

family reared him. While there, he sang in high school glee clubs as well as his school's

quartet and he learned to play the drums. He possessed an ability to sing eclectic styles

of music (B. Cain, personal communications, summer, 1998; Sun Tones "Chorus, 1961,

July/August; Sun Tones Quartet, n.d.).

Performance Practices

The Suntones was a very popular quartet One of the most important factors contributing to this popularity was their work ethic. Their zeal to succeed was evident even from early on. As previously mentioned, they rehearsed nine days in a row for their first contest What is interesting is that Harlan Wilson lived in West Palm Beach,

Florida, some 75 miles from the rest of the quartet Still, they continued to rehearse and build their repertoire with a voracity that was unparalleled. Their music became polished

^ Hmrbn WUaon was a sales icpreseniaiive for ibe Sears and Roebuck Company at the dme of their champioosWp (Sun Toms "Chorus, 1961, July/August). 236 and their stage presence engaging. Another contributing factor to their popularity was

their affiliation with Jackie Gleason and his American Scene Magazine, the Miami Beach

based television show starting in late 1965 and lasting until 1971 (Kerr, 1991, March; News about Quartets, 1966, March/April; H. Wilson, personal communications, summer, 1998). They were regular performers on the show and, as a result, enjoyed immense

recognition to not only the barbershop community but to the country as a whole. Their

friendship with Gleason had them performing not only on his show but also for his lavish

birthday parties and other events. They became well connected with the entertainment

business and were one of the busiest quartets of all time.

The list of celebrities they encountered is impressive. They appeared on stage

with the Bob Crosby Orchestra and learned choreography from June Taylor, who also

shared the stage with them. They became friends with Art Carney who, along with

Gleason, contributed to liner notes for some of their recoidings.^^ They made personal appearances with Gleason, President Gerald Ford, David Hartman and Danny Thomas.

They appeared on stage with the likes of Eddie Arnold, Mike Douglas, Tennessee Ernie

Ford, Bobby Goldsboro, Bing Crosby, Bob Hope, Gordon McCrae, Mohammed Ali, Paul

Winchell & Jerry Mahoney, Jimmy Nelson, Louie Armstrong and Jack Carter (H.

Wilson, personal communications, summer, 1 9 9 8 ).2% others who they met along the way included Johnny Bench, Denise Darcell, Fred McMurray, Jane Morgan, Kate Smith,

Frances Langford and Tony Bennett (Afterglow with, 1976, spring; Show Chairmen, n.d.).

Accoiding lo (farian WUsoo, Glcasoo's liner caaUibudoas appear on Afterplow while Carney's are on one of their later releases on compact disc (Personal communicadoos, sununer, 1998).

^ The quartet petfonned 0 0 the Mike Douglas Show near Thanksgiving dtne in 1972 (Afterglow with the Suntones, 1973, spring, p. 7). 237 Their travels took them to every state in the union except Alaska, Hawaii,

Montana. Idaho and Wyoming (H. Wilson, personal communications, summer, 1998).

Additionally, they made appearances in Canada, Mexico and the Bahamas. Keir (1991,

March) suggests that the intense performance schedule the Suntones maintained was a major contributor to their growth as trend setting stage performers.^ He also quotes Gene Cokecroft who said. "We sang an awful lot the first year, and then in the early 70's,

we were gone forever. It was hard work. It was nothing, especially in the 70's, to leave

work a little early on Friday and get on the plane. And there were a lot of Mondays when

we'd drag in from a red-eye at 4:(X) in the morning." The group had a very busy decade

in the 1970's. One year, circa 1977, they performed 38 separate show appearances while

maintaining their regular jobs (G. Cokecroft. personal communications, summer, 1998).

Cokecroft also said (1962. May/June),

Since our organization, we've appeared on a grand total of 144 barbershop parades, sung on almost 2(X) after glows, pre-glows, ever-glows, and just plain parties. At the same time, we've managed to attend 87 chapter meetings, visitations and special chapter functions, squeezing in 131 rehearsals between all of this (where, well never know). All of these appearances required our traveling almost 110,(XX) miles while we sang for over 200,000 people. Over half of all these figures (except rehearsals) have been accumulated during our year as champs.

The Suntones were actively interested in the education of others about the barbershop style as evidenced by their participation in the nationally broadcast File-7 television show (Dundalk Wins New. 1962, July/August). This educational was produced by Johns Hopkins University during the summer of 1961. Later, they made a commitment to education by presenting barbershop demonstrations for high school students throughout the Sunshine District (News about Quartets, 1964,

^ I n 1962, during the months of Febniuy, Much and April, the Suntones were scheduled to sing 25 peifonnances in 18 dificrent cities (Follow the Suntones, 1962.January/Febtiiaiy). 238 November/December). In February, 1979, they not only performed but Gene Cokecroft

also spoke at a Young Men in Harmony Workshop. They gave 15 quartets copies of their

Touch of Gold album and a songbook (News about Quartets, 1979, May/June).

When asked about their average performance fees, Harlan Wilson (Personal

communications, summer, 1998) supplied rather complete information. They charged $800 during 1960-1965, $1,000 during 1966-1970, $1,200 during 1971-1975, $1,600

during 1976-1985 and $2,200 during 1990-1993. They made a distinction between

barbershop shows and "Commercial Gigs.” For the commercial type of performance, the

group charged between $1,0(X) and $1,500 during the 1960's and $2,000-$5,000 during

the 1970's, 1980's and 1990's. While it was not mentioned specifically, it is assumed that

these fees were exclusive of out of pocket expenses incurred by the quartet.

When asked about their major influences as quartet singers and performers, both

Cain and Cokecroft (Personal communications, summer, 1998) mentioned the Buffalo

Bills, Mid-States Four and the Four Freshmen. Early in the quartet's development, the Hi

Los were also an influence. The Suntones won the International Contest with no coaching. They did, however, receive some coaching in subsequent years from Sid

Schuman, a member of the West Palm Beach Chapter of the Society.

The Suntones were well-known for their tailor made arrangements, most of which were written by Gene Cokecroft Early arrangements were supplied by their original baritone. Bill Wyatt, who continued to write for the group after he left (Cokecroft, 1962,

May/June). Walter Latzko also supplied them with arrangements that were harmonically diverse compared to those of many other arrangers. He arranged their medley of West

Side Story songs that became one of their best known and most popular pieces.

According to Cokecroft (lürr, 1991, March), "We always used to say that Walter didn't arrange, he orchestrated for voices — Every time we sang West Side Storv. it was probably the highlight of all our performances." While other writers' works were 239 occasionally used. Gene Cokecroft wrote the majority of the Suntones' repertory (B.

Cain, 0. Cokecroft & H. Wilson, personal communications, summer, 1998).

The quartet recorded extensively with nine LP recordings and cuts on 14 compilation records. The AIC's Masterworks series has produced compact discs and cassette tapes of re mastered performances taken from these earlier analog recordings.

They recorded 112 out of their vast repertoire of 114 songs. From these, they were asked to choose their top three signature songs. The three respondents to the questionnaire (B.

Cain, 0. Cokecroft & H. Wilson, personal communications, summer, 1998), chose

"Danny Boy" and the medley from "Fiddler on The Roof." Two of them listed the "West

Side Story Medley" and one, their championship signature song, "A Little Street Where

Old Friends Meet."

Anecdotal Accounts

The Suntones had many peiformance situations that were noteworthy. When asked what they would consider to be their most famous, they immediately referred to their perfonnances with Jackie Gleason. In addition to their many live camera appearances, they also sang background vocals for live television segments. According to Wilson (Personal communications, summer, 1998), "The Suntones were dubbed and billed as Jackie Gleason's favorite quartet." Bill Cain (Personal communications, summer, 1998) also remembers the birthday party/golf tournaments they performed "... with a star studded lineup of music, movie and sports celebrities." They performed at these functions for four years.

Once, in the mid-1970's, after taking a VIP tour of the White House, the four men were on the sidewalk near the wrought iron fence when a woman came up to them saying she couldn't believe her eyes! She repeated over and over how delighted she was to be standing next to her favorite quartet All the while the Simtones were standing taller and more proud as the woman said she couldn't believe she was next to her .. favorite 240 quartet, the Dealer's Choice” (H. Wilson, personal communications, summer, 1 9 9 S ).^

There was also the time they were performing for Jackie Gleason's sixtieth birthday party and everyone got a laugh when the senior Bob Hope got to drive the younger Tony

Bennett home (Afterglow with the Suntones, 1976, spring).

The Suntones' happiest occasion is reported to be winning the gold medal in 1961

(B. Cain & 0. Cokecroft, personal communications, summer, 1998). What may be

interesting to note is the manner in which they arrived in Philadelphia for the contest.

They had chosen to travel on an unscheduled flight out of Miami that left less than 24 hours before they were scheduled to appear on the contest stage. The trip was miserably

hot and overcrowded. Delays occurred, and when they did arrive in Philadelphia, they

had to wait for their bags. Upon arriving at their hotel, they found the reservation had

been mismanaged and the hotel had them arriving the next day. They were eventually

taken to a large suite where Bob Franklin started putting blankets over the blinds to keep

the light of dawn, just a few hours away, from disturbing their sleep. Suddenly, the four of them found themselves laughing as down came the blinds, blankets and Franklin into a

heap on the floor (Cokecroft, 1962, May/June).

The quartet also had quite a time with their appearance in the Orange Bowl

Parade on New Year's Day, 1973 (Afterglow with the Suntones, 1973, spring, p. 5).

They were dressed in "Gay 90's" outfits and perched upon a float sponsored by the

Schlitz/Oid Milwaukee Beer Company. Shortly after they passed the network television cameras, the whole float broke down. Sandwiched between the Notre Dame and

Nebraska bands, they had to do something fast Onlookers were commandeered to help move the float out of the way and, according to the Suntones, "We finished the rest of the

^ The Dealers Choice was Ibe 1973 Iniemaliaaal Oumpian Quartet fiom Dallas, Texas (Hicks, 1988, p. 97). 241 parade of [on] foot and immediately thereafter went in search of some of our sponsor's well chilled product." In the area of special moments, Cokecroft (1962, May/June) tells of the time the entire Thoroughbred Chorus from Louisville, Kentucky, met them at the airport at 4:30 in the morning. Bill Cain (Personal communications, summer, 1998) also told of a little girl who, from the age of four, became enamored with the q u a rte t. 23® Whenever they would be near her hometown of New Orleans or at conventions, her parents would bring her so she could sing a song to the quartet and they would return in kind. Cain spoke of how they hoped the five of them could meet again. Harlan Wilson (Personal communications, summer, 1998) speaks of another shared situation involving his cancer stricken nephew. Circa 1980, the quartet visited his nephew's Detroit hospital room at 8:30 in the morning and performed for him. He died later that same year.

When asked how his association with an international champion quartet impacted his life. Gene Cokecroft (Personal communications, summer, 1998) said it opened doors and changed his life socially, financially and spiritually. He said it would appear as though it had influenced everything he had ever accomplished. Harlan Wilson (Personal communications, summer, 1998) alluded to acquiring additional confidence, a national network of friends and admirers and an "enviable bag of coaching techniques ___" Bill

Cain (Personal communications, summer, 1998) said.

Having won the gold has opened many doors in life • the opportunity to travel extensively to meet and associate with our fellow barbershoppers worldwide and the many audiences who revere our craft and what we provide for them - to entertain them, let them reminisce, make them laugh and cry. To be recognized as the best by all because of our hard work, dedication and good fortune. To be able to encourage and teach other quartets and even reach the youth of today in song. To be able to meet and associate with other entertainers, celebrities and their various art

^ T b e gill's name was Suzanne, daughter of barbershopper. Bill McKamey. 242 forms. My employers through the years have recognized the accomplishment which has added stature; and, they have come to realize that our art is one of the very finest hobbies known to man. Finally, it has given me great pleasure to associate and enjoy the camaraderie of my peers who also have worked so hard to achieve the same success.

Aural Comparisons and Influences

With the Suntones came a warm sounding quartet that could also sing big tags with a loud brassy tone. In "A Little Street Where Old Biends Meet" (Best of

Barbershop, n.d.). Gene Cokecroft's tenor sound was produced from a falsetto voice with an extreme amount of focus. Bright, yet well placed, Cokecroft seemed to be in constant contention for the dominant position in the quartet's balance. Bob Franklin produced a lead tone that could be warm and cello-like during soft passages and similar to a trumpet in vocal timbre during loud sections of the example. He showed evidence of vibrato during the ends of softer phrases but sang straight toned most of the time. Harlan

Wilson's tonal production was another example of chameleon-like baritone singing.

Within the quartet, he added but did not draw attention to the composite sound. As a soloist, Wilson was well-known for both his quality and height of range. Bill Cain's bass sound was broad while possessing a forward focus. His was a big voice that added warmth to the quartet's overall sound.

The example studied was a ballad in triple meter. The rubato treatment in this performance did not mask the meter as was the case in the Evans Quartet's performance.

Still, the classification of the meter as simple or compound was impossible to determine due to this rubato treatment The Suntones sang well-connected phrases and used singable consonants to accomplish that effect As an interpretive effect, the "m" in the word "tumbled” was elongated rather than the vowel. Their articulation was soft although it became more aggressive in louder passages. They migrated their sound on the word "but" to a darker vowel similar to "aw." Their sound production overall was straight toned, and they exhibited good tuning throughout 243 The quartet's balance seemed particularly interesting in that it would change

depending upon the dynamic level being sung. During softer sections of the piece, the

quartet balanced lead, bass, tenor and baritone from loudest to softest respectively. When

the quartet would sing loudly, this would change. The loudest voice then became the

tenor with the lead, bass and baritone following respectively. The quartet also seemed to

use elongation of words to give appropriate emphasis to meaningful words within the

text.

1962, Gala Lads

Dave Panther (Tenor); Tom Keehan(Lead);

Gordon "Gordie" Lees (Baritone); Bill Cockrell (Bass) The twenty-fourth champion of the Barbershop Society was a foursome from

Alhambra, California. They called themselves the Gala Lads. Formed in 1958, the

quartet consisted of tenor. Jack Lang; lead, Tom Keehan; baritone, Gordon Lees; and

bass, Walt Larson. In September of I960, Dave Panther replaced Lang and Bill Cockrell

became the bass.^ This foursome was a rather experienced group of individuals in that

among them, they had been in 16 quartets and had 53 years of barbershopping experience by the time they won the International Championship (Huston, 1963).^* They started out as Far Western District Champions the fall of 1960 with just one month of preparation (T. Keehan, personal communications, summer, 1998). By the summer of

1961, they had finished sixth in their first International Contest. They went on to win the

^ Bill CoclotU came to the Gala Lads from the West Coasteis, 1957 Intemadomal Silver Medalists (Gala Lads Had Expetience, 1968, November/December).

The Gala Lads was Dave RmibeA seventh quartet. He was 26-yeais-ald when be joined the quartet (Gala Lads Had Experience. 1968, November/December). 244 1962 International Quartet Contest in Kansas City where 45 groups were judged by a panel of 15 judges (Gala Lads and Thoroughbreds, 1962, July/August; Gala Lads Had,

1988, November/December; Hicks, 1988, p. 96) In the summer of 1964, Tom Keehan was seriously injured in a motorcycle accident that left him unable to actively participate in the quartet for a year and a half.^^^

In the meantime, Walt Eby filled in for the ailing lead singer (News about Quartets, 1964,

September/October; D. Panther, personal communications, summer, 1998). According to

the Harmonizer (Gala Lads Had, 1968, May/June), Joe May stepped in for Dave Panther

for an undetermined length of time. Pictured in the Harmonizer ( 1988. July/August, p.

49) with Panther back in the tenor spot, the Gala Lads performed on the AIC Show of

Champions at the 1988 Convention as part of the Society's 50 year celebration. The

quartet is still together today. Although not actively seeking performance opportunities,

they are active in attending the annual Society conventions and participating in the A1C.2«

Musical Background

Dave Panther grew up in Bell Gardens, California, where he sang in both his

church and high school choirs. He also was part of his high school's quartet and was a

cellist in junior high school. In college, he continued to sing in choral ensembles (D.

Panther, personal communications, summer, 1998). He sang in six barbershop quartets

prior to joining the Gala Lads and had been a Society member for ten years upon winning the championship (Huston, 1963).

While uddng a test ride oo his son's new motorcycle, Keehan was Ihrowo over a chain-link fence into a near-empty stonn drain which resulted in fractuies of the pelvis, rihs, back and jaw. He also dislocated his shoulder (News about Quartets, 1964, September/October).

^ They have perfotmed for a few 50-year anniversary chapter shows. In September. 1997. the Gala Lads perfonned at Bill Cockrell's ei^tieth birthday party as well as at Tom and Jannette Keehan's fiftieth anniversary celebration in November of the same year (T. Keehan, G. Lees & D. Panther, personal communications, summer, 199%. 245 Tom Keehan brought eighteen years of Society experience into the Gala Lads'

championship. A native of Green Bay, Wisconsin, he had no formal training in music.

His family were the mainstays of his hometown church choir and sang around the piano during his youth (T. Keehan. personal communications, summer, 1998). The Gala Lads

was his sixth quartet (Huston, 1963). Gordie Lees had eleven years of Society membership when the Gala Lads won.

According to Lees, he sang in his church and high school choirs and "sang up a storm at home" (Personal communications, summer, 1998). At the age of twelve, he learned to play the marimba in his hometown of Beaver, Pennsylvania. He was previously a member of three other quartets before joining the Gala Lads (Huston, 1963).

Bill Cockrell had seventeen years of Society experience when they hung the gold medal around his neck. Bom and raised in the quartet's home of Alhambra, California, he sang in his high school glee club as well as the choir at his church. Prior to winning the championship, he played the viola with the Pasadena Symphony Orchestra fora period of thirteen years as well as four years with the orchestra's string quartet. He was a member of two other quartets prior to joining the Gala Lads singing lead in one and bass in the other (Huston, 1963).

The amount of Society experience this quartet brought to the competition stage was considerable, with each member averaging over 13 years in the Society. This seems especially the case when considering that the Society itself was in its 24* year. Two of its singers had joined the Society during its first seven years of existence. At an average age of 35 years^, these men were in the prime of their individual vocal development

^ At Ibe time cf Iheirchmmpiooship, Dave Panlher was 28-years-old: Tom Keehan, 35; Gordie Lees, 36; and Bill Cbckrell 45 (Huston, 1963). 246 and brought to the stage the fruits of performing experiences that were as diverse as their

occupations.^ Performance Practices

The Gala Lads met several celebrities in their travels around the counuy. They

performed with Jane Russell on three of her "cabaret shows" held in Hollywood (T. Keehan, personal communications, summer, 1998). They were guests on Tennessee

Ernie Ford's television show in 1963. They were also guest performers on the Andy

Williams Show where they shared the stage with Sammy Davis Jr. and the Osmond

Brothers. It was the first appearance of the Osmonds on the Andy Williams Show. The

Gala Lads were to pose as the Osmonds’ fathers as they first sang a song. The boys then

sang while the Gala Lads hummed behind them. Other notable performers they met

during their career included Art Baker, Bob Barker, Mitzi Gaynor, Jane Powell, Jayne

Mansfield, Pamela Mason and Jonathan Winters (News about Quartets, 1963,

July/August; T. Keehan, G. Lees & D. Panther, personal communications, summer,

1998).

The "Lads" performed in some 31 states as they performed, on average, 24

Society shows a year. With as many as 50 non-Society engagements during the same

time period, they covered the United States from coast to coast and performed in Canada

and Mexico (T. Keehan, G. Lees & D. Panther, personal communications, summer,

1998). According to Tom Keehan, they sang on 18 Society shows in 1960,22 in 1961,

24 in 1962,31 in 1963 and 26 during 1964. For these Society Chapter shows, they would

command a fee of $300-$400. They charged a fee for approximately 80% of their

^ Dive Plniber was a foranan for a consiructica company. Tom Keehan was a manufactuiei's fcpRsentaUve for a hardware line while Gordie Lees made his living as a design draftsimn Bill Cockrell was the manager of the shoe area in a department store (Huston, 1963). 247 engagements while the other 20% were either without a charge or at an amount set by

their hosts. The group had many role models in the art of quartet singing. Two of the three

respondents to the questionnaire cited the Buffalo Bills and the Confederates among their

major influences. Also named were the Suntones, Orphans and the Sacramento

Statesmen. In the area of coaching, they received help both prior to and after winning the

gold medal. Their coaches included A1 Hicks, Art Huston, Bob Ortel, Mo Rector, and Burt Staffen. They tended to use written arrangements over woodshedded versions of songs and had many sources for these handcrafted pieces. Interestingly enough, many of their arrangers were also their coaches such as Val Hicks, Art Huston, Bob Ortel, Mo

Rector, and Burt Staffen. They also used arrangements of Dr. Dale Carpenter (T.

Keehan, G. Lees & D. Panther, personal communications, summer, 1998). Their rehearsals were a 35-mile round trip for Lees and a 75-mile trip for Panther. Even though they were seeing each other practically every weekend during their championship year, they still rehearsed at least once a week (Huston, 1963, May/June). Huston noted that their repertoire consisted of songs written from 1905 through 1945. Also mentioned was the need to contact the Society's International office which handled all their bookings.

Their singing is included on six recordings including their own namesake recording. Gala Lads*. Anecdotal Accounts

When asked about the group's most famous moment, other than the winning of the International Championship, two of the three respondents mentioned the winning of the Far Western District Quartet Championship after being together but one month. Two of them also mentioned appearing on the nationally broadcast Tennessee Ernie Ford

Show. They also had the pleasure and challenge of singing Lida Rose, in the round, before a packed house at the Long Beach Convention Center. While they sang the 248 standard song, a soloist sang the obbligato. The soloist was Mitzi Gaynor (T. Keehan, 0.

Lees & D. Panther, personal communications, summer, 1998). While performing at an afterglow in Bakersfield, California, a cocktail waitress told them that there were two men in the lounge who wanted to hear them sing. They went into the bar area and sang a few songs for these two strangers. The following

Monday, Tom Keehan's wife took a call from Johnny Manns who wanted to hear more of the quartet. They were invited to his home fora "singing session." After hearing them at his home, Manns offered them a 16 week performing contract in Las Vegas with The

Young Americans. The money he offered was not enough for the quartet to quit their jobs so they had to turn down the offer. They later found out that the other man with

Manns was Henry Mancini (T. Keehan, personal communications, summer, 1998).

On a lighter note, the Gala Lads had a few close calls that later became memorable points of levity. Upon arriving for a performance in Los Angeles, the group discovered Bill Cockrell's red jacket was so wrinkled it would never pass as being acceptable for the stage. They went into their dressing room and found that there was a shower attached. Hot water was turned on full blast while the jacket was hung on the shower rod to let the steam take care of the wrinkles. When they returned a few minutes later, the coat had slipped off the hanger and was lying soaked in the water. Since "the show must go on," the quartet appeared with Cockrell in his wet, wrinkled coat standing behind the other three. On another occasion, the four were to perform on a two-day show in San Diego, California. After performing on Friday, they decided to go into Mexico on

Saturday morning for some fishing near Insanada. On the return trip, they found themselves floundering in thiee-flve foot swells when the engine quit Someone noticed a wallet in the water about 35 feet from the boat Dave Panther recognized it as his and, without a thought kicked off his shoes and jumped into the water, clothes and all. Once reaching the wallet he turned around to see he was over 150 yards from the boat and no 249 longer had the strength to swim back. He yelled to the others for help while they jokingly

say they began discussing who should be enlisted to replace him for the evening show.

They poured gasoline into the carburetor and were able to reverse the craft and save their

friend. It wasn't until they were on stage that evening that Panther thought about the very

real possibility of sharks (T. Keehan, G. Lees & D. Panther, personal communications,

summer, 1998).

The Gala Lads also reported travel stories. There was a time when their plane

could not stop due to icy runway conditions. After sliding back and forth, they had to power up again prior to running out of landing strip. The second attempt was successful.

Another weekend, they ran a travel marathon. On Friday, they performed in Spokane,

Washington. Saturday evening they appeared in, Dallas, Texas, and then traveled on to

Defiance, Ohio for a Sunday afternoon performance prior to returning to California.

There are many special moments shared by these men. For Gordie Lees, the most

memorable moment was standing on the stage in Kansas City while acknowledging the

crowd as 1962 Champions (Personal communications, summer, 1998). Tom Keehan

remembers the last day of their being current champions. They were to sing their swan

song, "May Each Day," later that evening. He said, "On Saturday, before the final shot,

we sang the song to our wives. Mo Rector, and Bob H afer.^ Everyone cried, it was a

very close moment" (Personal communications, summer, 1998). As for Dave Panther

(Personal communications, summer, 1998), he said.

As 1 am writing, the Gala Lads and wives are still living. Bill 80, Tom 70, Gordie 72, Dave 64. It has been 38 years of love and affection for each

Bob FWer was the Sodely's second Executive Secretary foUowing Carroil Adams. The title later became Executive Director. He held this post from 193 until 1963 when Barrie Best succeeded him. He was well-known for his work in introducing the publication of training materials and stressed the importance of administrative efficiency at the chapter and Society levels. In 193, he signed a contract with Decca Records for their recordmg and marketing LP discs of the Society's top quartets and chonwes (V Hicks, 1989, pp. 118-119). 250 other and continues. We still sing from time to time and have never stopped. We were together for Bill's eightieth birthday October, 1997 and Tom & Jannette's fiftieth wedding anniversary November, 1997. What a festive occasion to reflect our relationship together (with) the Gala Lads, wives, family, and great friends. These moments continually make up heartfelt moments. And for myself, God blessed me when 1 met Tom Keehan, Bill Cockrell and Gordie Lees. Other memorable occasions include singing the "Hawaiian Wedding Song" at

Dave Panther's daughter's wedding, a request she had made when she was quite young.

Also, noteworthy was being presented with a proclamation from the California State

Senate acknowledging them as International Champions (T. Keehan & G. Lees, personal

communications, summer, 1998). As for the impact of becoming an International Champion has had on these men,

they speak of extended families through barbershop and of friends and places they might

not have otherwise experienced. Lees refers to "... priceless associations and a lifetime

of memories.” Each mentions the special relationship he shares with the other Gala Lads

(T. Keehan, G. Lees & D. Panther, personal communications, summer, 1998).

Aural Comparisons and Influences

The Gala Lad's performance of "I'll Be Walking with My Honey Down

Honeymoon Lane" (Best of Barbershop, n.d.) was examined for this study. In this

performance, the dominant voice was Bill Cockrell's bass. His sound was strong with a

natural resonance and a trace of tremolo. This focused sound was featured in this performance with many moving bass lines adding to Cockrell's dominant role in the quartet's balance. Dave Panther's tenor appeared to be full voiced much of the time and near equal in balance to Tom Keehan's lead. Keehan had a light, lyric quality to his voice that was reminiscent of a crooner's sound yet he possessed more power with his instrument than these crooners would normally display. Gordon Lee's baritone seemed to be in compliance with the baritone sounds of the champions who immediately preceded him. Lee "filled” the sound. That is to say, his role was more to be supportive of the 251 quartet's sound than to be heard. He did this well as his voice was nearly imperceptible

to most listeners. He balanced the softest within the quartet for the majority of the time.

The performance featured a song in compound quadruple meter with changes in

tempo being the primary interpretive variance throughout This performance featured no

swipes and sung phrases were half phrases from a lyrical standpoint. This performance also fashioned a unison pickup for the entire quartet that had not been heard previously in

this study. Long "oo" sounds were migrated toward an "ih" sound as were long "e"

sounds. The quartet's tuning and over all ensemble technique was good while they

employed a soft articulation. The dynamic contrasts in this performance were less than

that of the previous few examples as a loud dynamic level was maintained the vast

majority of the time.

1963, Town & Country Four

Michael L. "Leo" Sisk (Tenor); Larry Autenreith (Lead) d: July 8,1992;

Jack Elder (Baritone) d: November 18, 1986;

Ralph Anderson (Bass) d: February 27, 1976

The twenty-fifth champion of the Barbershop Society was the Town & Country Four (T&C) (T&C Four Won, 1988, November/December). This group, consisting of

Leo Sisk, Larry Autenreith, Jack Elder and Ralph Anderson sang the tenor, lead, baritone and bass respectively as they won the 1963 championship. They did not, however, start out singing the same parts as they did in 1963 (T&C Four Won, 1988,

November/December).

In the early 1930's, Jack Elder's father, Earl "Pbte" Elder, began singing in a vaudevillian quartet that later became a medalist in the SocieQr's International

252 Competitions (Conard. 1960, January; Sisk, 1987, Januaiy).^^ This group, the Westinghouse Quartet, lasted for twenty-five years and had a profound impact on Jack as

the offspring of a competitive barbershopper. Wanting some of the opportunities his

father enjoyed, he paired up with Leo Sisk and, along with Jim Brown and Doc Young,

they started a quartet called Maestro's in the early part of 1953 (Brandt, 1992, August;

Conard, 1960, January). That October, they competed in the Johnny Appleseed District

(JAD) Quartet Contest and finished in fifteenth place out of 45 quartets competing. The

following spring, the Maestro's broke up and the duo of Elder and Sisk began looking for

another combination of voices with which to sing. By this time. Elder and Sisk shared a

common dream to which the two friends committed themselves. They wanted to become

International Quartet Champions (Sisk, 1987, January). Soon, they combined with Jack

Hamly on bass and Rip Rorison, who performed the lead duties. This quartet was called

the Gateway Four. This foursome competed in the JAD International Preliminary

Contest of 1955. At contest's end, they were ranked in eleventh place which was a

disappointment for them. They disbanded, after only a year, shortly following the 1955

Preliminary Contest In the mean time, two particularly talented men had joined the

Pittsburgh Chapter during 1954.2^ Their names were Larry Autenreith and Ralph

Anderson (Brandt, 1992, August). In the summer of 1955, the Town & Country Four

began.

The T&C first sang at a picnic during August of 1955. While woodshedding some songs, they found they liked the sound and enjoyed singing together (Please meet

2 ^ Accoidiiig to Ificks (1968, pp. 94-95), the Westinghouse Quartel finished Uhid place in 1944, second place in 1945, fifth place in 1947 and founh place in 1948.

2 ^ AD four of the Tomi & Couniry Four were memben of this chiner as were the members of the Pittsburghers. When the T&C woo in 1963. the Pittsburgh Chapter was able to claim being the only cluqNer in the Society with two active champions, that were also the oldest and newest champnn« (Sisk, 1963, November/December). 253 the Town, n.d.). Anderson had a robust bass voice. Sisk was a natural tenor. Larry

Autenreith possessed a baritone voice as did Jack Elder. Since Autenreith was a novice to barbershop singing, they decided to move Bder to the lead spot while Autenreith learned more about the barbershop style. They entered a novice quartet contest held in

New Castle, Pennsylvania, during October, 1955. They placed second in the contest and

immediately set about making preparations for the JAD Preliminary Contest the

following spring. At the 1956 JAD Preliminary Contest, they placed in the top ten

quartets. While their placement did not allow them to advance to International Competition, they were enthused. In the fall, they placed second to the Babbling Brooks

from East Liverpool, Ohio, at the JAD District Quartet Contest The 1957 Preliminary

Contest yielded their first qualification to advance to the International Contest.^^ That

July, they placed twenty-seventh out of the 41 quartets competing (Hicks, 1988, p. 96).

When returning to the JAD District Contest in the fall, they were again in second place.

This time they finished behind the HiFi Four from Cleveland, Ohio. The 1958

Preliminary Contest yielded a first place ranking with an eighth place finish at the

following International Contest. The following district event proved to be their contest as

the Town & Country Four became JAD Champions in October, 1958 in Charleston, West

Virginia (Brandt, 1992, August; Conard, 1960, January). It was during this time that they decided that Larry Autenreith had acquired enough experience in singing barbershop music. He moved to lead and Jack Bder to baritone.

The 1959 preliminary brought another first place finish and an appearance at the

International Contest where they finished third. For the next three years, 1960,1961 and

1962, the T&C finished first in the JAD Preliminary Contest and second at the

^ The T&C placed in fourth posiiioo in this preliminary contest with the top four advancing. Accoiding to Leo Sisk's interview grandi, 1992, August), they were one point behind the Unrd place group and one point in front cf the fifth place quartet, yielding Iheir qualification lo advance by the narrowest of margim. 254 International Contest. Again, they finished first at the Preliminary Contest in 1963. The summer convention that followed, proved to be different, however. On July 6, at the

O'Keefe Center, in Toronto, Canada, the Town and Country Four won the 1963 International Championship over 44 other competitors (Brandt, 1992, August; Conard,

I960, January; Hicks, 1988, p. 96; Please meet the Town, n.d.; Sisk, 1963,

November/December).^® According to Leo Sisk (Personal communications, summer, 1998), the group continued to sing together for a year and a half after winning the championship. The group had a "break-up" at the end of 1964 which resulted in two quartets (News about

Quartets, 1965, January/February). Sisk and Anderson combined with Hut Spangler, lead, and Herb Costolo to form a quartet called Point Four. Meanwhile, Autenreith and

Elder enlisted bass Nick Kason and tenor Phil Beeson and continued as the Town &

Country Four. It was reported that by late summer of the same year. Jack Elder was singing with the Pittsburgh Four (News about Quartets, 1965, September/October) and

Autenreith was with the Travelers (News about Quartets, 1966, March/April). By late fall, the Town & Country Four was retooled with Sisk on tenor. Art Lazar on lead, John

Haberlein as the baritone and Anderson, once again singing bass (News about Quartets,

1965, November/December; News about Quartets, 1966, March/April). In late 1966

(News about Quartets, 1967, January/February), E "Pete" Boyle replaced John Haberlein as the baritone in the T&C. Then, in the spring of 1967, Ralph Anderson needed to slow down due to health restrictions. Leo Sisk combined with Pete Boyle, Art Lazar and Larry

Brown to recreate Point Four while Larry Autenreith continued to sing with Travelers and Jack Elder with the Pittsburgh Four (News about Quartets, 1967, May/June).

^ At the time of their win, the T&C were Leo Sisk, 1 37-ycar-old chief clerk of the Allegheny County Health Department; Larry Autenreith, a 33-year-old executive for his family run chain of variety stores; Jack Elder, a salesman for Eugene DietzgenCompany at46 years of age; and Ralph Anderson, an assessor for AUeÿieny County, was 40 (Please Meet The Town, n d.; Sisk, 1963. November/December). 255 Musical Background

Leo Sisk came from a family where there was little in musical skills to hand

down. With no musicians in his family, his early exposure to singing came through his

involvement in grade school and high school choirs and glee clubs while he attended Catholic schools in the Homewood section of Pittsburgh. Around 1947, he joined the Holy Rosary Church Men's Choir at age 21. Choir members went out to McPoland's

Tavern following rehearsals where the proprietor, Ed McPoland, would constantly entice

everyone to sing. Even though he had never heard barbershop harmony, Sisk started to

instinctively sing harmony above the melody. McPoland had a quartet called the Melody

Macs and would, upon occasion, call upon Sisk to fill in for their regular tenor for some

banquet performances. In 1948, he joined with lead singer Tom O'Malley, baritone Matt Dignan and bass singer, Rohan Schmitt to form the Four Harps.^^i This group,

according to Sisk (Brandt, 1992, August), gave him an opportunity to sing with three

“... experienced woodshed barbershoppers." This lasted for about 18 months. When he

married, he stopped singing entirely for two years until 1951, when he sang with the

Melody Men for one year. In 1952, he met Jack Elder and joined the Maestro's (Brandt,

1992, August; L Sisk, personal communications, summer, 1998).

Larry Autenreith became a self-taught arranger soon after joining the Society's

Pittsburgh Chapter.^ An accomplished pianist and ukulele player, his musical skills were considerable when joining the Society a few months prior to the beginning of the

Town & Country Four. He was a skilled accompanist who was sought after by singers

O’Malley became the lead of the Pitlsbiiighers. later known as the Pillsburgh Four, from 1953 until his death in 1983.

^ As a tiifauie to the quality of his ananging skills, two o f his T&C arrangements weie sung in the 1992 International Conqietitioo. The thirteenth place quartet. Ricochet, sang the T es Sir. That's My Baby/Ain’t She Sweet?" medley and the champion quartet. Keepsake, sang "Down Where The Swanee River Flows* (Sisk. 1992. September/October). 256 throughout the Pittsburgh area during the 50's and 60's (Sisk, 1992, September/October).

Autenreith wrote all but one of the arrangements sung by the T&C (Brandt, 1992,

August, p. 8; Sisk. 1963, November/December, L Sisk, personal communications,

summer, 1998).^ He continued to improve his arranging skills under the watchful eye

of Maurice E. "Molly" Reagan whose skill as an arranger, teacher of barbershop craft and judge was unparalleled (Brandt, 1992, August, p. 8; Hicks, 1988, p. 50). Autenreith later

became a chorus director and coach for other quartets in and around the Johnny

Appleseed District and coached the 1961 Sweet Adeline Champion Quartet, Gibson Girls

(Conard, 1960, January; Sisk, 1992, September/October).

Jack Elder joined the Society sixteen years prior to winning the gold medal with

the T&C. His exposure to barbershop singing through his father had obvious advantages.

While listening to his father's group, the Westinghouse Quartet, he learned much about

this genre from an early age. He grew up in a time when Pittsburgh had many top quality

quartets for him to hear. In addition to the Westinghouse Quartet, he heard the

Pittsburghers, the Four Maldehydes and the Steel City Four. He had sung in Maestro's

and Gateway Four prior to the T&C and later performed in the Pittsburghers and

Pittsburgh Four. Although little else was found on his musical training, Leo Sisk

reported that he played the piano (Personal communications, summer, 1998).

Ralph Anderson was described by Leo Sisk as an "asthmatic bass with

tonsils. . . color them purple" (1963, November/December). It would appear that Sisk's comment is in reference to the immense size of Anderson's voice. While in high school, he played the trombone. Little else has been found about his musical past prior to becoming a barbershop singer. He was the Town & Country Four's soloist and was well

^ The exceptioD to Autemeilb's amngemenis was the Renee Craig rendidoa of "South." Craig was the lead of the 195B Sweet Adeline Champion, Craciter Jills(f .. Si«lr,nemnnat cnmmiMwgalinn!», Mmwwer, 1998). 257 known throughout the Society for his vocal quality, yet he was so humble he did not think he was a very good singer. Sisk referred to him as "genius" (Brandt, 1992, August, pp. 19-20). He was a voracious reader with a photographic memory.

Performance Practices

The T&C was a quartet that worked from written arrangements. Even though they were all able woodshedders, their performances were carefully crafted by

Autenreith's pen. He would either suggest songs or simply decide whether or not a song fit the quartet's range. This was not much of a problem as they had a high tenor and a low bass, giving them a rather wide selection of songs from which to choose. Earlier

Autenreith arranged nothing but barbershop harmonies which fashioned a large number of dominant seventh chords (Brandt, 1992, August, p. 18).2^

Immediately after the 1962 International Contest, they wrote a letter to the judges asking for pointers on how to advance from their second place standing (Brandt, 1992,

August, pp. 9-10). They also attended the first Harmony Education Program (HEP) and received coaching from many of the Society's best judges and coaches. Here, they changed their standing arrangement by putting the baritone voice next to the lead singer and placing the bass on the end of the foursome. This allowed the two strongest voices to be on the outside and reinforced the full singing of the lead and baritone to achieve better balance and blend within the ensemble.

As they prepared for their championship year's swan song, T&C decided to be creative by learning several songs specifically for that evening. Since they were in San

Antonio, three of them wore cowboy hats while Anderson fashioned an oversized sombrero. At the end of their performance, they threw the hats to the audience as mementos for whomever desired them (Brandt, 1992, August, pp. 11-12).

^ Ivcm these dominent seventh choids, the hannanic movement would tmdtttooeUy be downward by the interval of a fiflhuntO aniving back to the tonic chord. 258 The Town & Country Four met several famous personalities including Arthur

Godfrey, Janet Blair, Ted Lewis, James Gregory, The Buffalo Bills, Vaughn Monroe, Chester Morris, John Reed King, Tony Martin, The Osmond Brothers, George Shearing,

The Chordettes and Sid Caesar (Please meet the Town, n.d.). In addition, the quartet

performed upon several occasions with the Pittsburgh Pops Orchestra (News about

Quartets, 1961, November/December). They also met Arnold Palmer while making an

appearance at his golf club (L. Sisk, personal communications, summer, 1998).

Charitable appearances included hospital performances. Press Old Newsboys Fund for

Children's Hospital, The American Cancer Society and the United Fund.

Traveling from Maine to Florida and California to New York, the T&C appeared

in 24 states along with many performances in Canada. On performance activity, Sisk

reports an average of 25-30 weekends per year from 1958 through 1964. In addition to

these weekends, they sang many weekdays in and around Pittsburgh. Their average

number of appearances in a year was about 70. They set a fee for approximately 50% of their appearances while accepting donations for roughly 20%. The remaining 30% were

at no charge. Prior to mid-1959, their charge per performance was in the range of

$150.00. Afterward through 1964 it was circa $300.00 (L. Sisk, personal

communications, summer, 1998).

The T&C had several influential people and quartet role models that affected

them through their years together. Molly Reagan was, according to Leo Sisk, "Mr.

Barbershopper of the 1940's, 50's and 60's" (L Sisk, personal communications, summer,

1998). He was their coach and advisor. The Pittsburghers were mentioned as being very

influential in their development as was the Westinghouse Quartet Other coaches included Dutch Miller and Bill Brooks. They sought coaching prior to winning the championship but did not afterward (L. Sisk, personal communications, summer, 1998).

259 Songs that were considered by Leo Sisk to be signature songs were "I wish I had

My Old Gal Back Again;" a solo by bass singer, Ralph Anderson, "Old Man River;" and

the medley, "Yes Sir, that's My Baby/Ain't She Sweet." With appearances on six

recordings and a repertoire of 34 songs, the Town & Country Four did not take advantage of making their own recording. All of the recordings on which they appear were through a Society contract with Decca Records (L. Sisk, personal communications, summer,

1998).

Anecdotal Accounts

Besides winning the Society championship, Leo Sisk cites the T&C's appearance on the Arthur Godfrey Show as their most famous moment (Brandt, 1992, August, pp. 6- 7; L. Sisk, personal communications, summer, 1998). They appeared on the show around

May, 1958. When they arrived in New York City, by airplane, members of the

Manhattan Chapter met the group. They were to transport them around town but made a stop along the way at Grand Central Station. The local men escorted them up to a balcony that overlooked the busy terminal. "Sing one," one of them said, so they started singing "Yes Sir, That's My Baby/Ain't She Sweet." The crowd below stopped in their tracks and listened. The applause at their finishing the song was "tremendous." As soon as they started a second song, they were interrupted by the police who said, "Gentlemen, please, don't sing any more. You're going to ruin the whole operation here. Most of the people down here are on 30 second schedules" (L. Sisk, personal communications, summer, 1998). After competing for the first prize on the Godfrey show, they, once again, came in second place. Another rather famous moment came in Chautauqua, New

York, while performing at the 10,000-seat auditorium. With 9,000 people in the house and 1,000 behind the Town & Country Four, the quartet proceeded to sing a swipe with

Sisk on a high note. Even though it was in the middle of the song, the audience gave

260 them a standing ovation (Brandt, 1992, August, p. S ) . ^ In late 1961 or early 1962, the

T&C made history when they were asked to sing a song while taking a tour of the Triton.

They became the first barbershop quartet to perform on a nuclear powered submarine

(News about Quartets, 1962, March/April). In the area of travel, Sisk relayed an account where in 1960 they were scheduled

to perform at Society Mid-Winter Convention in Hartford, Connecticut. They were slated

to arrive in Hartford at 5:00 P.M., but a storm with ten inches of snow hit western

Pennsylvania. Upon arriving at the airport, they found all major flights were canceled.

They somehow got on a DC-3 and with six to seven stops made their way to New York

City. It was then 7:00 P.M. They found passage on an 8:00 P.M. flight, arrived in

Hartford at 9:(X) P.M. and made their way to the hall arriving at 9:30 P.M., approximately

ten minutes before they were to appear on stage (L. Sisk, personal communications,

summer, 1998).

One of the most memorable moments of closeness as a group came with their win

in Toronto in 1963. To quote Leo Sisk, "No one knows what it's like to be second three

times, unless you've been there. It wa^ a long struggle for eight years but 1 must admit,

well worth the effort" (L Sisk, personal communications, summer, 1998). Conversely,

he cites the break-up of the quartet as their saddest moment saying, "In retrospect, it was a mistake. If 1 had it to do over again 1 would have kept going forever." As for the '

impact the Town & Country Four had on his life he said, "I believe this experience

helped give me a sense of purpose. It proved to me that if you set a goal, and are willing

to work hard, good things can happen to improve your lot in life."

^'T taglinie Cowboy Joe” was the song dial earned (be T & C a standing ovilioo in the nudde of the song. 261 Aural Comparisons and Influences

The Town & Country Four was a big singing quartet as the volume they created at

upper dynamics was large. They consisted of the full voiced tenor of Leo Sisk who had a

very bright sound and power to spare. Larry Autenreith's lead sound was that of a voice

that was placed well for optimum resonance. His voice possessed a warmth that allowed

for softer musical phrases to be musically presented. Ralph Anderson possessed a bass

voice that was very big and resonant. In the example studied, "1 Wish I Had My Old Gal

Back Again" (Best of Barbershop, n.d.), Anderson showed an ability to blend and support as well as to sing a bass pickup with a soloistic quality that set him apart from many of

his contemporaries (M. Sisk, personal communications, September, 1999). Jack Elder

sang a baritone that was able to blend with these three huge instruments in a way that

allowed the quartet to sing quite loud with their softer range of dynamics being more of a

mezzo piano rather than a pianissimo. At the end of the tag. Elder sings with what appeared to be all he had in the way of volume in order to come close to the balance needed to accompany the other three.

The song studied was in simple triple meter, the first of this meter to be studied.

Their vowel matching was good as was their tuning. They used a soft articulation with the exception of the lead voice, which was produced with a straight tone. Some of their sung phrases were segmented into halves or thirds from a text standpoint. Still, they were able to sing with an apparent emotion to their song through word-stressed singing and dynamic changes. They did not, however, lake advantage of the breath as a mood generating connector between phrases. As mentioned earlier, the balance of the quartet was such that the bass, lead and tenor singers were quite loud and nearly equal in balance, while the baritone voice sang the least loudly yet filling the chord structure to a desired level.

262 CHAPTERS

DISCUSSION, CONCLUSIONS AND RECOMMENDATIONS FOR FURTHER

STUDY

Summary of Champion Quartets

The first champions, the Bartlesville Barflies, from Bartlesville, Oklahoma, exhibited a folk style that was often equated with a Westem-American influence. Soft articulations and a lack of overly stated vibrato were two of their trademarks. The Flat

Foot Four, with an Irish tenor as lead singer, followed the Barflies. This second champion featured a sound with considerable amounts of vibrato in the upper two voices.

An even balance was maintained between the lower three voices while the tenor floated his part above the rest With the Chord Busters came a bigger sounding group led by

Tom Masengale’s bass voice. Fashioning the short endings to songs that seemed to be prevalent, this group introduced the bell chord which became a barbershop trademark for the future.

With the Elastic Four in 1942 came a new approach to barbershop quartet singing.

Prior to this time, the singers themselves arranged the majority of songs being sung. The songs were arranged by ear with no written record of the score. With bass singer Frank

Thome came the establishment of a methodology for written arrangements and rehearsal practices. The Elastic Four produced a clean, well-rehearsed sound with arrangements that were void of unneeded chord doublings or weak voicings. Chord worship was less

263 prevalent, and a legato line prevailed with sensitivity to the interpretation of the text. The

beginning of musical structure in the Barbershop Society came with the Elastic Four. Next came the Four Harmonizers with their homespun harmony and straight-tone

sound that was to be more the desired norm for barbershop through the coming years.

Even though they scooped into pitches, they did it as a unit. In 1944, came the Harmony

Halls with a tall well-matched vowel production that allowed their composite sound to be more than the sum of their parts. With them came expanded sound as a result of their

homogenous tone, balance and vowel matching. The Misfits that followed them sang

with bravura and a straight tone. The result was a choppy interpretive effect and often

resulted in chord worshipping. Their influences, both positive and negative, were

obvious on the Garden State Quartet who followed them in 1946. This group must have

studied their predecessors as their presentation was void of the space that the Misfits

allowed between and within their phrases. The latter group produced a more lyrical line

in their singing with a better vowel match throughout

With the 1947 Champions, Doctors of Harmony, came a smoothness of sound and

even greater agreement on vowel production around the ensemble. The clipping of

vowels to singable consonants was prevalent as they chose vowel colors that were

unaffected and natural to the listener’s ear. The Pittsburghers brought a bel canto lead

sound supported aptly by the rest They did not scoop into pitches as much as their

predecessors. The light sounding lead voice continued with the Mid-States Four. With

them came the era of the competitive show quartet. Their antics both on and off the stage

left an indelible mark on the stage performances of quartets that followed and those yet to

come. While the lead sound was of a lighter tonal color, the overall sound of the Mid- States was larger than their immediate predecessors.

The Buffalo Bills rewrote the rules for quartets in many ways. Their sound was as huge as four full voiced singers would allow. They were showmen or at least they 264 became showmen as their performance situations gave them opportunity and reason to go beyond the normal barbershop quartet in blend, ensemble technique and stage appeal.

They sang long, loud tags that became a trademark not only for them but also for

barbershop quartets in general. All of these things, along with their stage and screen appearances in the Music Man. made them the most influential barbershop quartet of all

time.

The Schmitt Brothers brought exceptionally well blending voices to their quartet. Their vocal consonance with each other was at first a product of heredity, but these

brothers continued to work within this framework to develop a sound that was smooth

and consistent. Their influence was felt on many but not nearly as much as with their

immediate replacement to the barbershop throne, the Four Teens. These 1952

Champions had a vocal match that rivaled that of the Schmitts. With the Four Teens

came a movement of youthful exuberance and meticulously matched vowel sounds.

They sang with no vibrato and an energized use of singable consonants that set a new

level for those who followed. Their use of whole phrases as interpretive elements over specific words or half phrases was new to the barbershop community and was well rewarded with a gold medal.

In 1953 came the Vikings and with them a more mature overall sound than the

Four Teens before them. This quartet took the use of singable consonants to the next level by using them as a connecting device, thus adding forward motion to the interpretive line. Their use of this technique was presented as a part of the overall presentation and not as an entity unto itself. In other words, they allowed the technique to enhance the music rather than draw attention to itself. The Vikings also began singing longer phrases than the quartets they followed into the International Championship.

The Orphans arrived as a Gold Medal Quartet in 1954 and accomplished what few champons can claim as they were arguably the most successful at synthesizing the 265 lessons established by quartets before them. Their sound was exceptional with a bass

singer as their baritone adding much to the group’s depth of resonance. Natural

articulations, expertly performed ensemble technique, impeccable tuning and vowel matching were their trademarks. Their understanding of varied styles and interpretation

was exceptional. It is unfortunate that this group’s career did not last longer so others

could learn more from them. The next two champion quartets, the Four Hearsemen and the Confederates,

brought their own individual visual presentations to the stage. From a sound standpoint,

though, the Hearsemen had a taller warm sound while the Confederates sang brighter the

louder they sang. With the Lads of Enchantment came longer tags and more classically

trained articulations.

By now the Society and its singers were more interested in preserving the

integriQf of a song’s melody line and text over displays of vocal technique. The Gaynotes

brought additional contrast in dynamics within phrases and clarity of the melody tine yet

maintained a good blended sound. By breathing less frequently, the Four Pitchikers

produced phrases that continued to become longer and longer. They were also proficient

at using this technique to connect textually driven thoughts together.

With the Evans Quartet came an odd throwback to the style of barbershop in that

the sound of the quartet was based upon the three brothers’ locked timbres with Gene

Smith’s voice acting as the glue to bridge the upper two voices together with the bass.

The bass sound was filled with vibrato which, while affecting the overall sound, was

presented with such emotion that it effectively drew in the listener.

In 1961, showmanship and a youthful exuberance much like the Four Teens

reappeared in the Suntones. They sang with a balance that was classic barbershop, except for the tags. Here, they allowed their full voiced tenor to take over as the dominant voice, often exciting their audiences. In kind, others who followed them quickly learned that 266 while the song must be sung with traditional balance, this rule was not applicable to the tag. The Gala T aHs and Town & Country Four finished out the 25 quartets with full voiced tenors as prominent voices within their groups. The Society has gone through a metamorphosis over the last 60 years and it continues to find ways to promote and encourage barbershop quartet singing today. Ed

Gaikema said, in reference to the Barbershop Society (Snyder, 1970, June, pp. 12-13),

I have thought for many years that we lose track of the one thing that we can offer to the American public; our distinctive type and style of American singing. There is no such thing anywhere in the world typical to our barbershop quartet type of singing. Four basic tones on every chord. And no one else does it. No one. I sometimes think we lose sight of that when we try to become comics and try to compete with TV in our witty remarks and so forth. As with all witty remarks, they soon degenerate and lower themselves. And I think we lose sight of the fact that what we have to offer is music. A distinctive type of music. And the more of that we offer, and as we elevate ourselves to distribute our type of music to the general public, so will our Society prosper.

While interviewing the lone surviving member of the Evans Quartet, Pres Evans, 1 found a man deeply concerned that the preservation of this art form be reassessed by the both the Society and the AIC. He expressed concerns over the proliferation of jazz harmonies in quartet competition and AIC performances. He also voiced regret over an apparent shift in the judging system that places emphasis on the non-singing elements of the contest performance at the expense of the singing of barbershop. Evans referred to the impact of role models and, in the case of the AIC, the presence of negative modeling as barbershop champions sing little barbershop music in their performances. He further voiced concern as to the impact this has on the preservation of the style. This would certainly make an interesting topic for further study.

Today, many of these champions continue to attend International Conventions and to promote barbershopping as performers, coaches and keynote speakers for various functions within the Society. According to Kerr (1991, June lb, p. 31), the Society 267 approved payment of all expenses for any champion quartet member who reaches the fiftieth anniversary of his championship to attend the Society convention in celebration of his accomplishment. It seems appropriate to honor these champions who have set the stage for those who follow. Observations

Throughout this study, numerous observations have been made. These include observations in the following areas: the effectiveness of the research vehicle

(questionnaire), the manner in which the Society thrived, geographical implications on the Society, influences of contests and changing rules, the advent of written arrangements, music education through the Society, the Past Champion’s Club and the metamorphosis/preservation of the barbershop style.

The questionnaire provided much of the new information solicited for and through this study.2* Many of the returned questionnaires were accompanied by letters expressing gratitude that this work was being done on the quartet men’s behalf. It is hoped that the questionnaire will act as a model for future research into the history of barbershop quartet singing.

The Society’s growth in its infancy appeared to be the result of several events and social-economic situations. The country was in a time of post-depression. Leisure time along with a more affluent life style was something new to middle-class Americans.

Country clubs and men’s clubs were available only to the affluent. With the Barbershop

Society came an opportunity for the common man to be involved in an entertaining activity at a low cost The events around which the Society began received wide newspaper coverage, which in the pre-television era was monumental in its influence upon the American public. America was in a state of transition between the parior piano

^ I was contacted by the Society’s Semon Champions’ Association for feconunendations for them to begin the documentation of their history in a MmiUr manner to this work. 268 as entertainment and the increased use of electronic media. Even though the radio was in use, the enjoyment of making music was still a vital part of the social climate. In

addition, singing barbershop was a wholesome activity in which any man could involve

himself without fear of damaging his personal credibility. Middle-class men now had the

opportunity to perform where they otherwise might not have had a form of public, artistic

expression.

It was also interesting to note the changing geographical centers of

barbershopping activity. The beginning came in Tulsa, Oklahoma, from where the first

three Society Champions hailed. The Society continued to expand and found a new

center of activity in the Chicago area, which claimed more of the champions of the

1940’s than any other locality. With the 19S0’s and beyond, the Society and its

champions became less localized as quality barbershop groups expanded from coast to

coast.

Contests became part of the barbershop scene as early as the Society’s first

convention in 1939. Arguably, these contests seemed to yield many advantages to the

Society and the art of barbershop singing in general. The competitive spirit generated by

these events acted as a catalyst for groups to improve their skills. They studied their art

in more detail in order to gain competitive advantages over other quartets and later, choruses. These events also aided the Society in gaining constant publicity as these competitions were viewed as newsworthy by radio, newspapers, newsreels and the like.

Meanwhile, the SocieQr’s membership continued to boom. The organization eventually refined its rule to state that no championship quartet could re-compete to win the

International Championship as a group. No member of the first 25 International

269 Champion Quartets repeated as an individual champion while singing in another quartet during those 25 years.2^7 With the Elastic Four came written arrangements of songs in the barbershop style. Prior to the efforts of Frank Thome to document the score of every arrangement the

Elastic Four sang, these quartet pioneers sang nearly everything by ear. A score was not used and thus, a record of any of these quartet’s arrangements was lost if not recorded by some audio medium. After the Elastics’ success, more quartets began using prewritten arrangements. Today there is very little ear singing (woodshedding) that occurs within the modem barbershop singing community. With the written arrangements, however, came more standardized, well-constructed harmonies and voice-leadings.

Another observation focuses on the development of educational trends and services that expanded within the Society. At the onset of the organization, the standard was that of impromptu singing with little to no rehearsal. Standards for performance were non-existent The Society brought structure. The community within the organization grew and with it, the expertise of its membership. Member began helping member until a network of coaches began to emerge. Soon, the Society itself began to hire staff people to go out into the barbershop community and teach about the art of barbershop singing and related techniques. According to Tom Neal (Personal communications, autumn, 1999), the Intemational Headquarters staff was comprised of 8 people in 1948. Today’s staff is made up of 50 employees (D. Minn, personal communications, March, 2000). This networking trend continues to the present day where the Society spends much of its working budget on music education for its membership and employs several staff members devoted specifically to educational endeavors.

^ Mo Rector of the Gayndes later repealed as a champion with the Mark IV quartet in 1969. 270 One of the main offshoots of the Society was that of social camaraderie. The

implementation of the Past Champions Club was a direct result of the barbershop singers’

and, in this case, champions’ need to gather together. Large parties (afterglows) went

late into the night often into the next day following barbershop shows. This need to gather contributed to the increased popularity of the Society’s conventions throughout the

membership. At these events, singers would woodshed with others who they may have

met just a few moments before. Old friends would reunite and many new friendships as

well as quartets would be started, at least for the duration of the convention.

It is also important to realize how the Society centered much of its administrative

energies on growth, issues surrounding the global community, and the inclusion of its

style within it. The first 25 years of the Society found the United States in World War II

and the Korean War. The use of barbershop quartets within USO tours and the Society’s

active involvement in the promotion of its quartets as performers for U.S. service

personnel was a prime example of this community spirit that prevailed during that time.

One consistent observation throughout this research has been the presence of a passion by these early pioneers to preserve the tradition of barbershop harmony and woodshedding. These early singers believed that true barbershop harmony had to be created by ear in an improvisatory fashion or it was not true to the style. As time passed, many became more receptive to the presence of written arrangements, but the importance of woodshedding as an exercise and active part of the barbershop culture remained. In

1982, a group called the Barbershop Pioneers was formed and began holding annual gatherings with the expressed purpose of singing in the style of the early quartets.

Woodshedding and chord worship abounded at these meetings. Its membership consisted of both former and current Society members. These men viewed the modernization of the barbershop sQrle as inconsistent with the intentions of the Society’s founders and detrimental to the preservation of the style (T. Neal, personal communications, autumn, 271 1999). In a letter written by founder, Tom Neal, and sent to perspective members of his

soon to be formed organization (Personal communications, 1982), Neal wrote.

Dear Old Time Barbershoppen If you’ve had it with today’s version of SPEBSQSA, you are not alone. There are literally thousands of veteran harmonizers in the woodwork who have dropped out or became mere dues payers out of old loyalties because of dissatisfaction with our once grand society. Neal continued to then list many of what he viewed as the “Old Time

Barbershopper’s” chief complaints about the metamorphosis of the Society. Among

them were the over sophistication and organization of the Society’s efforts. His

criticisms included the following;

A competition crazed environment; Frantic super choruses; Quartets that all sound the same; No woodshedding; The “Stage Presence’’ category (currently worth 1/3 of the score - NOW REALLY!); Smug high school music teachers running around explaining how barbershop really works; High dues; A huge staff of society employees; Heavy debt; Stagnant membership; Dull singing; The music under the complete control of a very few egotistical men with very doubtful credentials; Pbople who brag about the great number of PhD’s in music who have infiltrated the judging ranks; Incredibly dull arrangements that emanate from Headquarters, and the attendant strong suggestions that quartets use them exclusively for contests; Absolute and complete over-organization of every opportunity for a get-together; A society dedicated to PRESERVE barbershop harmony that has succeeded in making it obsolete, and in its place has substituted a completely new musical form (all in the good name of progress).

Neal’s answer to these stated woes within the same letter was to hold a “good old fashioned convention like we had in the glorious past replete with little or no organization, no choruses, around the clock woodshedding, political types to irritate us, furmy people and plenty of ice-cold beer." The Barbershop Pioneers held their first convention at the Peabody Hotel in Memphis, Tennessee, in September of 1982. With the expressed intention to “ . . . not compete with SPEBSQSA”; they continue to have annual conventions to present day (T. Neal, personal communications, July, 1999).

272 Val Hicks (1974. November/December) spoke of sophistication of the barbershop

medium as dangerous when he wrote.

When we boast that our barbershop music has acquired musical sophistication we are, in reality, saying that it has lost its original naturalness and simplicity. And this is what worries me, because sophistication has been the death warrant for more than one folk-art form. Barbershop harmony has always possessed a virility untouched by the more complicated and esoteric choralistic techniques. . .

The choralist and concert vocalist have always relied more on technique than have Barbershoppers, but technique can be dangerous, because it tends toward abuse. The essence of art is subjugation or disguising of technique, and much of our technique is blatantly apparent The not-so-subtle “turning of the vowel” that we hear today has been abused, as have other practices such as the Waring ‘Tone Syllable” system.

Hicks further commented on these dangers as being threefold. He warned against

barbershoppers competing with commercial show business since the type of music

barbershoppers provided was what most people did not hear from the professionals.

Secondly, he warned against losing the stylistic identity of barbershop music by becoming more like choral organizations. Here he used an analogy and equated barbershop to the “slightly-rough-hewn appearance” of a hand-crafted piece of furniture compared to a “factory-made” piece. Finally, he called for the style to be represented with virility when he said, “A truly masculine right is to stand, lirm of foot and voice and burst forth in song, song that is unimpeded by pseudo-dramaticism, dynamic gimmickry, tempo tampering and complicated technique." It appears that many of the early barbershop singers viewed themselves as folk artists with a vocal style that was unsophisticated by design and definition, a definition that may becoming lost by barbershop singers after 1963.

273 Ancillary Comments and Opinions

Although the purview of this study ended in 1963, questionnaires and interviews

brought forth considerably strong opinions regarding the Society today. It is already

evident that the Barbershop Society has changed since its inception in 1938 and, along

with it, the style of singing employed by its quartets. From this study, it has been found

that a conflict exists in the issue of the preservation of the barbershop style as opposed to

the evolution of this style. This conflict within the Society began with the inception of

the organization’s contests. The Barbershop Pioneers were a direct result of this conflict

as they maintain that the Society lost its focus on the preservation of the barbershop style

while striving for growth in membership and acceptance within the educated music

community.

It appears that the competitive structure within the organization became a strong

catalyst for improvement of performance skills and thus, better definitions of desired

performance outcomes. Those who entered competitions wanted to know how to be

successful. In a quest for progress, dissection of the style began and the end result was a

formula approach to barbershop singing and its harmonizations. The resultant

performances and arrangements were no longer harmonized by ear. Quartets were not developing their own arrangements through woodshedding, and the barbershop chorus started to take a prominent role for many singers that may have otherwise sung in quartets.

The barbershop chorus brought even greater numbers of men who no longer could improvise within their performance medium. A reasonable analogy would be to compare barbershop singing with that of instrumental jazz. The combo or small swing band was an early version of jazz. These groups had but one of each instrument. This was important in order to allow each performer freedom to improvise his part within the harmonic framework of the melody. Then came the big band era with multiple players

274 within a section of each instrument. With 18 to 20 musicians all playing at the same

time, improvisation within the band had to be limited to soloists in designated portions of

the performance. All other parts were written or arranged out of necessity. Similarly, the barbershop chorus had many men singing the same four parts at the same time, thus requiring the music to be arranged. Woodshedding could only be done with a quartet.

As more men joined the Society and became chorus members, the art of woodshedding

started to fade from prominence.

This same analogy can be used to further hypothesize why barbershop music has

never gained the type of popularity that has been afforded to jazz music. Both idioms are

personally rewarding for the musician and enjoyable to be heard by an audience.

However, there is a major difference in these two styles of music that precludes joint

popularity. With a small jazz combo, one is expected to improvise, and the audience

rewards the individual performance on the basis of the player’s improvisational

performance and creativity. It is expected that no two performances will sound exactly

alike. The improvisation is many times possible due to the polyphonic nature of the

harmonic improvisations that are acceptable in jazz. With a barbershop quartet, the

harmonizations are homophonie in nature. In other words, the parts call for the same

words and rhythms to be executed simultaneously by the performers. Woodshedding allows one to develop these harmonies but in rough form for an audience. The act of woodshedding is challenging and enjoyable to the singer but not as interesting for the listener to hear. Rehearsal is needed to create a reasonable level of performance ensemble. Consequently, the act of woodshedding seems to be more of a participatory activity for the singer than an observable event for the listener.

Additionally there seems to be a trend toward the inclusion of the swing style from the songs of the 1940’s. Contestants in the Intemational and District level quartet contests are using more swing style songs in their performances today than were accepted 275 in the first 25 years of the Society. The use of triplet rhythms based on the beat (i.e.

quarter note triplets in common time) was never accepted as being within the barbershop

style until the latter 1990’s. The inclusion of these rhythms, as well as a prevalence of

swing tunes that have a compound time classification (meter), will most likely result in a reassessment by the Society as to what it will accept as being within the barbershop style. The Society may need to take a stand as to whether they are the purveyors of a style or

the promoters of male a cappella singing in general. Otherwise, the outcome may be a

further erosion of the style as it was known in the first 25 years of its existence.

Membership in the Society has suffered a declining enrollment during the 1990’s.

According to Chuck Watson (Personal communications, March, 2000), the Society’s membership was at 38,000 in the latter 1980’s and is now at approximately 33,000.^

This trend may continue with the social and cultural implications of a multi-media

society. The making of music may have taken a subservient role to that of the

consumption of it In other words, the music consumer has much more access to music in

many forms today as opposed to that of the late 1930’s when the Society began. Our

culture has changed in that the making of music is no longer necessary at a community

level for the masses to be entertained. Consequently, the future of barbershop singing

may be directly tied into the rediscovery of the intrinsic values associated with the

making of music. Skills that otherwise may become extinct, should be further developed

through the preservation of the barbershop as a performance style rather than an archive.

The accessibility of the barbershop style has grown and should continue in this manner. The Old Songs Library in Kenosha, Wisconsin, has become the major repository for written arrangements in the style as well as for sheet music for songs written during the late Nineteenth and Twentieth Centuries. The number of arrangers

^ Quick Waisoo became ihe Society I¥esident in January, 2000. 276 within the style has grown in spite of recent declines in Society membership. The continued outreach in music education by the Society staff in Kenosha, Wisconsin, has

continued to build upon skills of barbershop singers in the Twenty-first Century. There

are now more schools and clinics available to improve barbershop skills including ‘Top

Gun Schools," which are designed to improve the skills of the more gifted quartets as

they strive for higher levels of performance. In addition, the Society is continuing its

outreach to other countries. These include New Zealand, Australia, Great Britain,

Germany, Sweden and Russia.^^ All of these outreach activities should contribute to the

growth of barbershop singing around the world.

The AIC will likely face continued declining membership. This will be the result

of attrition as members die at a faster rate than new members are gained, partially due to

the recycling of champions. As mentioned earlier, the llrst 25 championship quartets yielded 100 men. Today, there are multiple individual champions that have won the

contest twice with different quartets; although to date, there is no one who has achieved

the winning of three quartet championships. Although its membership may decline, the

AIC will continue to be involved with charitable endeavors and will become more critical

to the future of the Society as they invest both time and resources into the ideals of the

Society.

In an effort to perpetuate itself, the Society instigated a College Quartet Contest

This may help to keep the performing of barbershop singing alive in the future. This event has gained in popularity at the annual International Convention and is drawing

larger numbers of college age quartets into competition with each passing year.

According to Chuck Watson (Personal communications, March, 2(XX)), "getting youth

259 iq sununer, 1999, The Ritz quiitct. 1991 Imemmdooel Chmmpicms, along with Dr. Greg Lyne of the Society stalT taught and peifonned in S t Peterslwig, Russia, as an outreach venture for the Society. This was the first time a barbershop quartet performed in the recital hall attached to the Russian National Music Conservatory 277 involvement is the Society’s salvation.” He further alluded to the tradition of barbershop singing at Bowling Green State University as being an example that has fostered a collegiate barbershop movement across the nation along with heightened participation in the college quartet contests.^

Recommendations for Further Study

In using the questionnaire for a future study, it is recommended that additional questions be added. First, the survey instrument should ask the respondent how old he was at the time of winning and/or his birth date. Additionally, the birth and death dates of all quartet members should be part of the query. These questions would better facilitate acquiring this information as the only other options may be through the collection of public records and obituaries from newspapers around the country or beyond.

Upon naming a new Intemational Quartet Champion, the Society should document, by use of the expanded questionnaire, as much of the information from that quartet as possible. This information would greatly assist future studies and document vital information about each quartet champion in a timely manner. Additional information could always be sought at a later time. The situation experienced in this research, with more than half of the researched subjects having already died at the time of the inquiry, could have been avoided and should be for future researchers.

Of the championship quartets not included in this study (1964-1999), currently all of them have at least two living members with most quartets being fully intact. It is recommended that these latter champions be surveyed as soon as possible for future study.

^ H k Bowling Green Simie Univeisity (BGSU) Men’s Chonis under the direcdon of Richard Maibey has included barbershop music in its repertoire since the early 1970’s. Since that dme, BGSU alumnican claim 12 Inlemaliooal Champion Quartet Medalists and one Inlemadooal Champiooslnp Chorus Directorship. 278 A future study should also be conducted to explore the longevity of championship

quartets after winning the championship. Events surrounding their performance activity

or lack of performance activity could be explored as well as types of performance criteria

that may have had an influence on longevity as a performing group. Another study could be conducted to determine the type and amount of performance activity championship quartets have had outside of barbershop shows,

including the number of symphony performances, television appearances, stage

performances, etc. a quartet was involved with outside of the standard barbershop chapter

show.

It could be helpful to survey former Society members to discern why they non­

renewed their membership in the organization. This could yield much in the way of

social and musical implications related to the topic and could be of assistance to the

Society in membership retention.

A study should also be done comparing the amount of music education among the

winning members of intemational quartet contests and the members of the other top five

or ten winners. This study could look at the effect of music education on varied levels of success in barbershop quartet contests.

The members of the Barbershop Pioneers should be surveyed as to their opinions

on the preservation of the style as well as the history of its change to current standards.

Much could be learned from these singers as to how the style has evolved from their

perceived standard as their tmdocumented opinions could soon be lost to attrition as the members continue to age.

A study on the ethnicity of barbershop singing should also be done. The effect of

the African-American singing tradition upon barbershop music has not been fully

explored. Additionally, the facts surrounding the low number of minorities in the Society could be examined from an historical and present day perspective as well. 279 A study could be done to determine what impact role models have upon others within the barbershop singing community. Both positive and negative effects could be explored as well as the degree of impact champions of the AIC may have on other quartets and their performance practices.

It would be interesting to expose some young men to woodshedding and to gather information on their reactions to the activity. Also, a study could be conducted where reactions to hearing barbershop music were studied with half of those exposed being non- participants in any kind of barbershop singing and the other half going through a tag singing session prior to listening. The statistical effect of participation in barbershop singing upon interest levels and perceptions of subjects listening to barbershop music could then be gathered and studied.

With ear singing being a part of early barbershop singing it would be interesting to study older harmonizers who sang by ear to see if their pitch perception is more acute than a musician of the same age who played a fixed pitch instrument such as a piano. A similar comparison with singers who sang accompanied music could also yield some interesting results regarding pitch perception and awareness.

Barbershop music’s history and its effects on those who participate in singing it are topics that could withstand much further research. This American musical art form has barely been touched as one looks at its potential for useful information on its social and musical implications on America and beyond.

280 APPENDIX A

AIC Questionnaires

281 A ie Questionnaire, Part 1

Place label here

1. Date of the quartet’s forming (your best guess):

2. List all of the men in your quartet including the dates of their involvement with the quartet: (Check the appropriate boxes if they were an original or replacement singer as well as part of your championship foursome.)

Name Voice Part Date Started Date Left Original Member Replacement Member Winning Member

3. If any of your quartet members are now deceased, please provide the names and contact information for any of their family survivors.

Deceased's Name Survivor's Name Survivor's Address Survivor's Phone # Relationship

4. Provide any and all names by which your quartet was known along with approximate dates for each name.

282 A ie Questionnaire, Part 1

5. What was the musical background (i.e., sang in church or school choir, played in a band etc.) of any of your deceased quartet members?

6. What is your own personal background in music?

7. Who were your quartet’s most used arrangers of barbershop music?

8. Give a brief account of your quartet’s most famous moment (besides winning the gold).

283 A ie Questionnaire, Part 1

9. Give a brief account of your quartet’s funniest moment.

10. Give a brief account of your quartet’s most memorable travel situation.

11. Give a brief account of your quartet’s most heartfelt moment

284 A ie Questionnaire, Part 1

12. Give a brief account of your quartet's saddest occasion.

13. Give a brief account of your quartet’s happiest occasion.

14. List the names of famous people your quartet met or with which it shared the stage and give a brief account of each occurrence.

285 A ie Questionnaire, Part I

15. How long was the quartet together prior to winning the international championship?

16. How long was the quartet together after winning the international championship?

17. In how many states did the quartet perform?

18. Please list the furthest range of states (North, South, East and West) to which the quartet traveled.

NORTH

WEST EAST

SOUTH

19. Please list any foreign countries (including Canada) in which your quartet performed.

20. How often (on average) did you perform in a year’s time?

286 A ie Questionnaire, Part 1

21. Briefly describe how your association with an international champion quartet has impacted your life?

22. Prior to joining the quartet could you read music?

Check one: YES I I NO I

23. If you answered no to #22, did you learn to read music after joining the quartet?

24. Has your association with barbershopping improved your music reading ability?

Check one: YES NO

287 A ie Questionnaire, Part 1

Please rate the following ways of learning music as they applied to you when you won and as they apply to you today on a scale of 1-5. Circling the 1 should be used if it applies to you all always and 5 if it does not apply to you at all. Please circle the number that seems most correct for when you won and Ihcn for you today.

25. Rote: (someone sings or plays your part for you and you learn it from them)

When you won Today

12345 12345 I------1------1------1------1 I------1------1------1------1 Always Mostly Often Seldom Never Always Mostly Often Seldom Never

26. Learning tapes: (someone sings or plays your part on a tape for you to review and learn from later)

When you won Today 12345 12345 I------1------1------1------1------I------1------1------1------1 Always Mostly Often Seldom Never Always Mostly Often Seldom Never

27. You play your part on a keyboard or other instrument:

When you won Today

12345 12345 I------1------1------1 1 I------1------1------1------1 Always Mostly Often Seldom Never Always Mostly Often Seldom Never

28. You read your part by using solfège syllables (do re mi fa sol la ti etc.):

When you won Today

12345 12345 I------1------1------1------1 I------1------1------1------1 Always Mostly Often Seldom Never Always Mostly Often Seldom Never

288 A ie Questionnaire, Part 1

29. You read your part by using numbers;

When you won Today 3 4 2 3 4 h + 4 - 4 - H 4 - 1------h H Always Mostly Often Seldom Never Always Mostly Often Seldom Never

30. You make up your part by ear

When you won Today

1 2 3 4 5 3 4 I------1------1------1------1 h 1----- 4 - Always Mostly Often Seldom Never Always Mostly Often Seldom Never

31. What instruments do/did you play?

32. To the best of your knowledge, out of every 10 performances what number would be:

Gratis/no charge _____

For a fee set by the quartet _ (the total of these three categories should be 10)

Donation/fee set by others _____

33. What would you say was the average fee your quartet would receive for a paid show performance?

289 A ie Questionnaire. Part I

34. Who were your quartet’s major influences (role models)?

35. What would be your best guess as to the number of performances your quartet did for primarily school age children?

36. Rank the top three “signature songs’’ for which your group was most known:

# 1. ______

#2 . ______

#3. ______

37. Did your quartet receive any coaching prior to your winning the international championship?

Check one: YES INO

38. Did your quartet receive any coaching after you won the international championship?

Check one: YES I I NO I

39. If you answered yes to either of the last two questions list any coaches with which your quartet worked.

290 A ie Questionnaire, Part 2

Place label here

Provided with this questionnaire is a list of songs that have been found through current research to be part of your quartet’s repertoire. Those listed with a recording title were found on that recording. Others were mentioned in letters. The Harmonizer or other publications. Please take a few more minutes and add the title of any song that your quartet ever sang not already on this list. We want to have a complete repertoire list for your quartet as well as a list of all of the recordings on which you have appeared. If there is a recording not already listed, please add its tide, label name (company that recorded it), songs listed by side A and B, type (33.3,78, CD or cassette) and the ID number on the recording. Please make corrections and additions to the list and return it with the questionnaire in the self-addressed envelope provided. The envelope is pre-stamped with ample postage so it can be sealed and dropped into any post office mailbox.

Getting this back to me will result in a “timeless piece” by which you and your friends will always be remembered. Photos that have not been previously published will be considered for the AIC book and can be sent to my address with this package. Please mark each photo or piece of memorabilia as to whether it is to be sent on to the Heritage Hall Museum or to be returned to you.

I encourage you to donate your memorabilia to the Heritage Hall Museum in Kenosha. Ruth Blazina-Joyce is the curator and is doing a wonderful job of preserving our hobby.

Thank you for taking the time and effort to share your gifts with the world of barbershop singing. As a fellow champion, I applaud your past efforts and look forward to documenting them for all time.

Please turn the page and review your quartet repertoire list.

291 Be sure to make corrections and especially, additions to this list

AIC Deceased Quartet Questionnaire

Place label here

The following quartets are no longer with us. If you knew these men well enough to answer any of the following questions on their behalf, please take a few minutes and share your thoughts with us to allow their memory to live on.

Bartlesville Barflies: George McCaslin, Harry Hall. Bob Durand and Herman Kaiser

Flat Foot Four “Johnny” Whalen, Britt Stegal, “Red Elliott and Sam Barnes

Four Harmonizers: Charles Schwab, Leo Ives, Huck Sinclair and Fred Stein

Harmony Halls: Ed Gaikema, Bob Hazenburg, Ray “Curly” Hall and Gordon Hall

Misfits: Joe Munin, Arthur Bielan, Ellis “Cy” Perkins and Pete Buckley

Garden State Quartet: Ted Rau, Bob Freeland, Jack Briody and Joe Marrese

1. If you know how to reach any of their survivors, please fill in the blanks below.

SiKvivnf'% Nam* S(irvivnr'« ArMr*s* Simrivnr'a Phon* « R*lafin*

292 A ie Deceased Quartet Questionnaire

2. Provide any and all names by which these quartets were known along with approximate dates for each name.

Bartlesville Barflies: Flat Foot Four Four Harmonizers: Harmony Halls: Misfits: Garden State Quartet:

3. Who were the following quartets’ most used arrangers of barbershop music?

Bartlesville Barflies: Flat Foot Four Four Harmonizers: Harmony Halls: Misfits: Garden State Quartet:

4. Give a brief account of one of the most famous moments (besides winning the gold) for the following quartets.

Bartlesville Barflies:

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

293 A ie Deceased Quartet Questionnaire

5. Give a brief account of one of the funniest moments for the following quartets. Bartlesville Barflies:

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits;

Garden State Quartet:

6. Give a brief account of one of the most memorable travel situations for the following quartets.

Bartlesville Barflies:

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

7. Give a brief account of one of the most heartfelt moments for the following quartets.

Bartlesville Barflies:

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

294 A ie Deceased Quartet Questionnaire

8. Give a brief account of the saddest occasions for the following quartets.

Bartlesville Barflies:

Flat Foot Four.

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

9. Give a brief account of the happiest occasions for the following quartets.

Bartlesville Barflies:

Flat Foot Four.

Four Harmonizers:

Harmony Hails:

Misfits:

Garden State Quartet:

10. List the names of famous people that the following quartets met or with which they shared the stage and give a brief account of each occurrence.

Bartlesville Barflies:

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

295 A ie Deceased Quartet Questionnaire

11. Please list any foreign countries (including Canada) in which the following quartets performed.

Bartlesville Barflies:

Rat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

12. What instruments did the following quartet members play?

Bartlesville Barflies: George McCaslin. Harry Hall, Bob Durand and Herman Kaiser

Rat Foot Four. “Johnny” Whalen, Britt Stegal, “Red Elliott and Sam Barnes

Four Harmonizers: Charles Schwab, Leo Ives, Huck Sinclair and Fred Stein

Harmony Halls: Ed Gaikema, Bob Hazenburg, Ray “Curly” Hall and Gordon Hall

Misfits: Joe Murrin, Arthur Bielan, Ellis “Cy” Perkins and Fete Buckley

Garden State Quartet: Ted Rau, Bob Freeland, Jack Briody and Joe Marrese

296 A ie Deceased Quartet Questionnaire

13. Rank the top three “signature songs” for which each group was most known;

Bartlesville Barflies: #1------

#2 ..

#3..

Flat Foot Four #L.

#2 ..

#3..

Four Harmonizers: #1..

#2 ..

#3._

Harmony Halls: #1..

# 2 ._

#3..

Misfits: #1..

#2 ..

#3..

Garden State Quartet: #l._

#2 ..

#3._

297 A ie Deceased Quartet Questionnaire

14. List any song sung by these quartets that you have not already mentioned.

Bartlesville Barflies;

Flat Foot Four

Four Harmonizers:

Harmony Halls:

Misfits:

Garden State Quartet:

*****************************$***********************$******************

Thank you for helping with this project! Please place this questionnaire along with the two-part questionnaire on your own quartet into the self addressed, stamped envelope and drop the entire package in the mail.

I look forward to receiving your package so the AIC First 25 International Champion Quartets book can be printed and available as soon as possible.

298 APPENDIX B

CHAMPION QUARTET REPERTOIRE AND DISCOGRAPHY. 1939 - 1963

299 Bartlesville Barflies Song Title Type Recording Title Recording Ubel Alouette unrecorded By the Light of the Silvery 78 Barber Shop Ballads Decca Moon By the Watermelon Vine, 78 Barber Shop Ballads Decca Lindy Lou Darkness on the Delta unrecorded Far Way in the South unrecorded Just a Dream of You, Dear 78 Barber Shop Ballads Decca Love Me and the World is 78 Barber Shop Ballads Decca Mine (Medley includes title song. Just A Dream of You Dear and When the Harbor Lights are Burning) Mandy Lee unrecorded Medley: Wait Till the Sun 33.3 Best of Barbershop, Decca Shines Nellie-By the The (25 Years of Watermelon Vine, Lindy Winners) Lou-By the Light of the Silvery Moon Ragtime Cowboy Joe unrecorded Wait Till the Sun Shines, 78 Barber Shop Ballads Decca Nellie When the Harbor Lights Are 78 Barber Shop Ballads Decca Burning When Uncle Joe Plays a Rag unrecorded on his Old Banjo White Wings unrecorded

Buffalo Bills Song Title Type Recording Title Recording Label Abide with Me 33.3 We Gather Together Columbia Ain't She Sweet unrecorded Alexander's Ragtime Band 333 Barbershop Battle! Decca All Hail the Power of Jesus' 33.3 We Gather Together Columbia Name As Time Goes By 333 Happy Days! Columbia Ballin' the Jack unrecorded 300 Band Played On, The unrecorded Barney Google 33.3 Shut the Door! Decca (They're Comin' Through the Window) Beautiful Dreamer 33.3 Remembering Time RCA with the Buffalo Bills Beil in the Lighthouse. The unrecorded Bicycle built for two unrecorded Birth of the Blues, The 33.3 Barbershop Battle! Decca Blue Room 33.3 Home Is Where the Columbia Heart Is By the light of the silvery unrecorded moon Bye, Bye Blackbird 33.3 Happy Days! Columbia Carolina Moon keep shining unrecorded Church's One Foundation, 33.3 We Gather Together Columbia The Cigareetes, Whusky, and 33.3 Shut the Door! Decca Wild Women (They're Cornin' Through the Window) Coney Island Baby unrecorded Cruising Down the River 33.3 Happy Days! Columbia Cup of Coffee, a Sandwich 33.3 Barbershop! Columbia and You, A Cup of Coffee, A Sandwich 33.3 Barbershop! The Columbia and You, A Buffalo Bills with Banjo Dardanella 33.3 Barbershop Battle! Decca Darkness on the Delta 33.3 Barbershop's Best Decca with the Buffalo Bills Does the Spearmint Lose Its 33.3 Shut the Door! Decca Flavor (On the Bedpost Over (They're Comin' Night) Through the Window) Don't Bring Lulu 33.3 Shut the Door! Decca (They're Comin' Through the Window) Down at Thoity Thoid and unrecorded Thoid Dream, A 33.3 Barbershop Battle! Decca Drink to Me Only with Thine 33.3 Barbershop's Best Decca Eyes with the Buffalo Bills Dry Bones unrecorded Emaline 33.3 Barbershop! Columbia

301 Emaline 33.3 Barbershop! The Columbia Buffalo Bills with Banjo Empty Saddles 33.3 Barbershop's Best Decca with the Buffalo Bills Fairest Lord Jesus 33.3 We Gather Together Columbia Faith of Our Fathers 33.3 We Gather Together Columbia Fit as a Fiddle 33.3 Happy Days! Columbia Forgive Me 33.3 Barbershop "Champs" Decca Forgive Me 33.3 Barbershop Favorites Decca Girl That I Marry, The 33.3 Barbershop! Columbia Girl That I Marry, The 33.3 Barbershop! The Columbia Buffalo Bills with Banjo Going South Recordable Disk Good Bye Rose unrecorded Goodbye Old Dixie Goodbye 78 Barber Shop Neff Recording Harmonies (1950 Co. Medalists) Goodbye, Old Dixie, 33.3 Best of Barbershop, Decca Goodbye The (25 Years of Winners) Goofus 33.3 Happy Days! Columbia Great Smoky Mountains In unrecorded Dixie Gypsy Love Song (Slumber 33.3 Barbershop Favorites Decca on. My Little Gypsy Sweetheart) Halls of Ivy, The 33.3 Barbershop "Champs" Decca Halls of Ivy, The 33.3 Barbershop Favorites Decca Happy Days Are Here Again 33.3 Happy Days! Columbia Hard Hearted Hannah 33.3 Barbershop Battle! Decca Harrigan unrecorded Hello, Dolly! 33.3 Remembering Time RCA with the Buffalo Bills Hi Neighbor unrecorded Home 33.3 Home Is Where the Columbia Heart Is I Don't Mind Being All 78 Buffalo Bills Presto Alone I Had A Dream Dear unrecorded

302 I Left My Heart in San 33.3 Remembering Time RCA Francisco with the Buffalo Bills I Love a Piano 333 Shut the Door! Decca (They're Comin' Through the Window) I Love to Tell the Story 33.3 We Gather Together Columbia I Need Thee Every Hour 33.3 We Gather Together Columbia I Want a Girl (Just Like the 33.3 Barbershop Battle! Decca Girl That Married Dear Old Dad) I Want a Girl (Just Like the 33.3 Remembering Time RCA Girl that Married Dear Old with the Buffalo Bills Dad) I Wonder What's Become of 33.3 Remembering Time RCA Sally? with the Buffalo Bills I'd Love to Live in Loveland 33.3 Barbershop! Columbia I'd Love to Live in Loveland 33.3 Barbershop! The Columbia (With a Girl UkeYou) Buffalo Bills with Banjo I'll Take You Home Again, 33.3 Barbershop's Best Decca Kathleen with the Buffalo Bills I'm a Ding Dong Daddy 33.3 Shut the Door! Decca (They're Comin' Through the Window) I'm Always Chasing 33.3 Barbershop "Champs" Decca Rainbows I'm Always Chasing 33.3 Barbershop Favorites Decca Rainbows I'm Goin' South 78 Barbershop Gems Decca (Sung by the Buffalo Bills) I'm Sitting On Top of The unrecorded World I'm Sorry I Made You Cry 33.3 Barbershop "Champs" Decca I'm Sorry I Made You Cry 78 Barbershop Gems Decca (Sung by the Buffalo Bills) If I Could Be with You One 33.3 Barbershop! Columbia Hour Tonight If I Could Be with You One 33.3 Barbershop! The Columbia Hour Tonight Buffalo Bills with Banjo If You Were the Only Girl 33.3 Barbershop! Columbia

303 If You Were the Only Girl 33.3 Barbershop! The Columbia Buffalo Bills with Banjo In old New York unrecorded Inka Dinka Doo 33.3 Happy Days! Columbia It's a Sin to Tell a Lie 33.3 Barbershop "Champs" Decca It's a sin to Tell a Lie 33.3 Barbershop Favorites Decca It's You 33.3 Music Man, The Capitol Records Josephine, Please No Lean 33.3 Shut the Door! Decca on the Bell (They're Comin' Through the Window) Largo AI Factotum (Quartet unrecorded from Figaro) Lead, Kindly Light 33.3 We Gather Together Columbia Let Me Call You Sweetheart unrecorded Let's Put Out the Lights 33.3 Home Is Where the Columbia Heart Is Lida Rose & Will I Ever Tell 33.3 Music Man, The Capitol Records You Little Annie Rooney unrecorded Love Me & the World Is 78 Buffalo Bills Presto Mine Love Me and the World Is 33.3 Barbershop Favorites Decca Mine Mad Dogs and Englishmen 33.3 Shut the Door! Decca (They're Comin' Through the Window) Mandy 33.3 Barbershop! Columbia Mandy 33.3 Barbershop! The Columbia Buffalo Bills with Banjo Mary's a grand old name unrecorded May the Good Lord Bless 33.3 Barbershop's Best Decca and Keep You with the Buffalo Bills Me and Mv Brother Bill unrecorded Meet Me Tonight in 33.3 Remembering Time RCA Dreamland. Dear Old Girl with the Buffalo Bills Might Fortress Is Our God, 33.3 We Gather Together Columbia A Minnie the Mermaid 78 Buffalo Bills Presto Minnie the Mermaid 78 Human Relations for unknown Industry

304 Miss You 33.3 Home Is Where the Columbia Heart Is Moon River 33.3 Remembering Time RCA with the Buffalo Bills Music Man Medley unrecorded My Baby Just Cares for Me 33.3 Barbershop! Columbia My Baby Just Cares for Me 33.3 Barbershop! The Columbia Buffalo Bills with Banio My Blue Heaven 33.3 Home Is Where the Columbia Heart Is My Gal Sal 78 Barber Shop Neff Recording Harmonies (1950 Co. Medalists) My Gal Sal 33.3 Barbershop's Best Decca with the Buffalo Bills My Honey's Lovin' Arms 33.3 Barbershop! Columbia My Honey's Lovin' Arms 33.3 Barbershop! The Columbia Buffalo Bills with Banjo My Indiana 33.3 Barbershop's Best Decca with the Buffalo Bills Now the Day Is Over 33.3 We Gather Together Columbia O Master Let Me Walk with 33.3 We Gather Together Columbia Thee o r Man River 33.3 Barbershop's Best Decca with the Buffalo Bills Old Man River 78 Buffalo Bills Presto Old Songs, The unrecorded Onward, Christian Soldiers 33.3 We Gather Together Columbia Over the Rainbow 33.3 Barbershop "Champs" Decca Over the Rainbow 33.3 Barbershop Favorites Decca Penthouse Serenade 33.3 Home Is Where the Columbia Heart Is Pick-A-Utüe, Talk-A-U tde 33.3 Music Man, The Capitol Records & Goodnight Ladies Preacher and the Bear, The 33.3 Shut the Door! Decca (They're Comin' Through the Window) Ramona 33.3 Remembering Time RCA with the Buffalo Bills Remembering Time 333 Remembering Time RCA with the Buffalo Bills

305 Rigoietto unrecorded Rose of the Rio Grande 33.3 Barbershop! Columbia Rose of the Rio Grande 33.3 Barbershop! The Columbia Buffalo Bills with Banjo Roses of Picardy 33.3 Barbershop "Champs" Decca Roses of Picardy 78 Barbershop Gems Decca (Sung by the Buffalo Bills) Roses of Picardy 33.3 Ten Years of Decca Barbershop Champions Sam, You Made the Pants 33.3 Shut the Door! Decca Too Long (Lawd You Made (They're Comin' the Night Too Long) Through the Window) Shine on harvest moon unrecorded Shut the Door! (They're 33.3 Shut the Door! Decca Comin' Through the (They're Comin' Window) Through the Window) Sincere 33.3 Music Man, The Capitol Records Somebody Else is Taking unrecorded My Place Something to Remember 33.3 Home Is Where the Columbia You By Heart Is Story of a rose. The unrecorded Sweet Adeline unrecorded Sweetheart of Sigma Chi, 33.3 Remembering Time RCA The with the Buffalo Bills Take Time to Be Holy 33.3 We Gather Together Columbia Tea for Two 33.3 Home Is Where the Columbia Heart Is That Tumble Down Shack in 33.3 Barbershop "Champs" Decca Athlone That Tumble Down Shack in 78 Barbershop Gems Decca Athlone (Sung by the Buffalo Bills) There's a Small Hotel 33.3 Home Is Where the Columbia Heart Is They Didn't Believe Me 33.3 Happy Days! Columbia Till we meet again unrecorded Too Fat Polka 33.3 Shut the Door! Decca (They're Cornin' Through the Window)

306 Toot, Toot, Tootsie 33.3 Barbershop! The Columbia Buffalo Bills with Banjo Toot, Toot, Tootsie! 33.3 Barbershop! Columbia Trail of the Lonesome Pine, 33.3 Barbershop "Champs* Decca The Trail of the Lonesome Pine, 33.3 Barbershop Favorites Decca The True Love 33.3 Happy Days! Columbia Wait Till the Sun Shines 78 Human Relations for unknown Nellie Industry Wait Till the Sun Shines, 33.3 Remembering Time RCA Nellie with the Buffalo Bills Walkin' with My Honey 33.3 Happy Days! Columbia Way Back Home 33.3 Home Is Where the Columbia Heart Is We Gather Together 33.3 We Gather Together Columbia We Three 78 Human Relations for unknown Industry Wedding bells are breaking unrecorded up that old gang of mine When Day Is Done 78 Human Relations for unknown Industry When 1 Lost You 33.3 Barbershop "Champs" Decca When I Lost You 78 Barbershop Gems Decca (Sung by the Buffalo Bills) When I'm Walking with My 78 Barbershop Gems Decca Sweetness (Down Among (Sung by the Buffalo the Sugar ciane) Bills) When Irish Eyes Are Smiling 33.3 Barbershop "Champs" Decca When Irish Eyes Are Smiling 78 Barbershop Gems Decca (Sung by the Buffalo Bills) When Uncle Joe Plays a Rag 33.3 Barbershop Battle! Decca on His Old Banjo When You're a Long, Long 33.3 Home Is Where the Columbia Way from Home Heart Is Where the Blue of the Night 33.3 Home Is Where the Columbia Meets the Gold of the Day Heart Is Why Do I Love You? 33.3 Happy Days! Columbia With Plenty of Money and 33.3 Happy Days! Columbia You ------307 World Is Waiting for the 33.3 Barbershop "Champs" Decca Sunrise. The World Is Waiting for the 78 Barbershop Gems Decca Sunrise, The (Sung by the Buffalo Bills) World Is Waiting for the 33.3 Remembering Time RCA Sunrise. The with the Buffalo Bills Yankee Doodle Boy 78 Buffalo Bills Presto You're Only A Bird in a unrecorded Guilded Cage Your Eyes Have Told Me So 33.3 Barbershop! Columbia Your Eyes Have Told Me So 33.3 Barbershop! The Columbia Buffalo Bills with Banjo

Chordbusters Song Title Type Recording Title Recording Label 23"* Psalm unrecorded A Mother Waiting in Home unrecorded Sweet Home Back Home Again in Indiana unrecorded Back in the Days 78 Chord Busters RCA National Champions of 1941. The Baggage Coach Ahead unrecorded Big Bass Viol unrecorded Brahm s Lullaby unrecorded Bye Bye Blues 33.3 Best of Barbershop. Decca The (25 Years of Winners) Bye Bye Blues 78 Chord Busters RCA National Champions of 1941, The Coney Island Baby unrecorded Cornfield unrecorded Daddy Get Your Baby out of uiurecorded Jail Dear Old Girl unrecorded Far Away in the South unrecorded Flow Gently unrecorded Frivolous Sal unrecorded

308 Garland of Old Fashion 78 Chord Busters RCA Roses, A National Champions of 1941, The Home on the Range unrecorded Honey unrecorded Hush; Hush (Spiritual) unrecorded I Saw a Field of Cotton unrecorded I'll Take You Home Again. 78 Chord Busters RCA Kathleen National Champions of 1941, The I’m Always Chasing unrecorded Rainbows I’ve Been Listenin' 78 Chord Busters RCA National Champions of 1941, The In Memory unrecorded Irish Eyes 78 unknown (1941) Robinson Recording Laboratories Jingle Bells unrecorded Little Close Harmony, A unrecorded Little David 78 Chord Busters RCA National Champions of 1941, The Lord's Prayer, The unrecorded Lost Chord, The unrecorded Mandy Lee unrecorded Medley 78 unknown (1941) Robinson Recording Laboratories Meet Me in S t Louie, Louie unrecorded Meet Me To-Night in 78 Chord Busters RCA Dreamland National Champions of 1941, The Moon Song, The unrecorded My Gal Sal unrecorded My Rosary unrecorded Old Man River unrecorded Old Songs, The (Close unrecorded Harmony) Shine on Me unrecorded Song of the Pioneers unrecorded Strawberry Blond unrecorded

309 Swing Low Sweet Chariot 78 Chord Busters RCA National Champions of 1941. The To Mother unrecorded Wagon Wheels unrecorded Were You There? unrecorded When Bees Are in the Hive 78 Chord Busters RCA National Champions of 1941, The When I Get to Heaven unrecorded (Spiritual) When Irish Eyes Are Smiling 78 Chord Busters RCA National Champions of 1941, The White Cliffs of Dover unrecorded

Confederates Song Title Type Recording Title Recording Label Blue Skies unrecorded Boy of Mine 33.3 Confederate Encores Champ Recording Co. Boy of Mine CD Confederate Encores None Brother can you spare a dime unrecorded Chloe 33.3 Confederate Encores Champ Recording Co. Chloe CD Confederate Encores None Confederate Encores 33.3 Confederate Encores Champ Recording Co. Creole Cutie 33.3 Confederate Encores Champ Recording Co. Creole Cutie CD Confederate Encores None Dear little boy of mine unrecorded Dinah unrecorded Down Where the South 33.3 Confederate Encores Champ Begins Recording Co. Down Where the South CD Confederate Encores None Begins Follow The Sun unrecorded Good-bye, Dixie, Good-bye 33.3 Ten Years of Decca Barbershop Champions 310 Goodbye, Old Dixie, 33.3 Barber Shop Winners Decca Goodbye (1956) I'll Always Remember You unrecorded I'm Looking Over a Four 33.3 Confederate Encores Champ Leaf Clover Recording Co. I'm Looking Over a Four CD Confederate Encores None Leaf Clover If I Had My Way unrecorded Just as Y our Mother Was 33.3 Barber Shop Quartet Decca Winners (1955 Medalists) Just in Case You Change 33.3 Confederate Encores Champ Your Mind Recording Co. Just in Case You Change CD Confederate Encores None Your Mind Lord's Prayer 33.3 Confederate Encores Champ Recording Co. Lord's Prayer CD Confederate Encores None Mammy O' Mine 33.3 Confederate Encores Champ Recording Co. Mammy O' Mine CD Confederate Encores None Mandy Lee 33.3 Barbershop Battle! Decca Mobile 33.3 Barbershop Battle! Decca My Indiana unrecorded Nightingale Sang in 33.3 Confederate Encores Champ Berkeley Square. A Recording Co. Nightingale Sang in CD Confederate Encores None Beikeley Square, A Now 1 Can Cry Since You've 33.3 Barbershop Battle! Decca Gone Pal of My Cradle Days 33.3 Confederate Encores Champ Recording Co. Pal of My Cradle Days CD Confederate Encores None Quartet from Rigoletto unrecorded Redhead 33.3 Confederate Encores Champ Recording Co. Redhead CD Confederate Encores None Rock-A-Bye Baby with a 33.3 Barber Shop Winners Decca Dixie Melody (1956) Roguish Eyes unrecorded Save Your Confederate 33.3 Barbershop Battle! Decca Money, Boys South Rampart Street Parade 333 Barbershop Battle! Decca

311 Summertime 33.3 Barbershop Battle! Decca Sunshine of Y our Smile. The 33.3 Barber Shop Winners Decca (1956) Sunshine of Your Smile, The 33.3 Best of Barbershop, Decca The (25 Years of Winners) To Think You've Chosen 33.3 Barber Shop Quartet Decca Me! Winners (1955 Medalists) Together unrecorded Twelfth Street Rag 33.3 Confederate Encores Champ Recording Co. Twelfth Street Rag CD Confederate Encores None Wonderful Days Gone By 33.3 Barber Shop Quartet Decca Winners (1955 Medalists)

D octors o f H arm ony Song Title Type Recording Title Recording Label A Shanty in Old Shanty 78 Doctors of Harmony: Wolverine Town a Collection of Recording Barbershop Ballads Corporation At The County Fair unrecorded Dixie medley unrecorded Dreams of Dixieland imrecorded Dreamy Wabash River 78 Doctors of Harmony: Wolverine a Collection of Recording Barbershop Ballads Corporation Fields of Cotton unrecorded Heart of My Heart unrecorded Honey Gal Recordable unknown (Detroit Neff Recording Disk Convention 1944) I Love You The Best of All unrecorded Kentucky Babe Newsreel Pathe News Clip Lord's Prayer, The 78 Doctors of Harmony: Wolverine a Collection of Recording Barbershop Ballads Corporation Mary, Your the Sweetest unrecorded Girl I Ever Knew Mary, You're Mine All Mine, unrecorded Medley

312 Mississippi Moon unrecorded No One Knows (How Much 333 Best of Barbershop, Decca I Love You) The (25 Years of Winners) Someday 78 Barber Shop Quartet Neff Recording Harmonies Co. Someday 78 Doctors of Harmony: Wolverine a Collection of Recording Barbershop Ballads Company Sweet Adeline Medley 78 Doctors of Harmony: Wolverine a Collection of Recording Barbershop Ballads Company That Old Quartet Medley Recordable unknown (Detroit Neff Recording Disk Convention 1944) When It's Darkness on the 78 Doctors of Harmony: Wolverine Delta a Collection of Recording Barbershop Ballads Corporation

Elastic Four Song Title Type Recording Title Recording Label Back Home Again in Indiana 33.3 Elastic Four. The SPEBSOSA Back Home in Indiana 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Because unrecorded Bells of S t Mary’s unrecorded Bright Was the Night unrecorded By the Mill Where They 78 A Group of Musical RCA Made Sweet Cider Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. By the Mill Where We Made 33.3 Elastic Four, The SPEBSQSA Sweet Cider Coney Island Baby 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Darkness on the Delta 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Darkness on the Delta 33.3 Elastic Four, The SPEBSQSA

313 Don’t Cry My Coney Island 78 Elastic Four Music Branch, Baby Barbershop Quartet, Special Services The Division, War Department, G. S. Down by the Old Mill 78 A Group of Musical RCA Stream Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Down by the Old Mill 33.3 Elastic Four, The SPEBSQSA Stream East Side, West Side, and 33.3 Elastic Four, The SPEBSQSA Sweet Rosie 0 ’Grady End of a Perfect Day, The unrecorded Feudin’, Fightin’ and Fussin’ unrecorded For Me and My Gal 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book III Co. For Me and My Gal 33.3 Elastic Four, The SPEBSQSA Goodbye My Coney Island 33.3 Elastic Four, The SPEBSQSA Baby Hail to the Orange Recordable Audiodisc Disk Heart of My Heart 78 Elastic Four Music Branch, Barbershop Quartet, Special Services The Division, War Department, G. S. 1 Get the Blues When It 78 A Group of Musical RCA Rains Numbers by the Manufacturing Elastic Four Book 111 Co. 1 Get the Blues When It 33.3 Elastic Four, The SPEBSQSA Rains 1 Hope to Die 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. 1 Hope to Die 33.3 Elastic Four, The SPEBSOSA I’m Dreaming of a White 78 A Group of Musical RCA Christmas Numbers by the Manufacturing Elastic Four Book I Co., Inc. I’m so blue when 1 unrecorded Indiana (Back Home Again 33.3 Best of Barbershop, Decca in Indiana) The (25 Years of Winners) Irish Lullaby 33.3 Elastic Four, The SPEBSOSA 314 Just a Dream of You Dear 33.3 Elastic Four, The SPEBSQSA Just a Dream of You, Dear 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Lazy River 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Lazy River 78 Elastic Four Music Branch, Barbershop Quartet, Special Services The Division, War Department, G. S. Lazy River 33.3 Elastic Four, The SPEBSQSA Lord’s Prayer 33.3 Elastic Four, The SPEBSQSA Lord’s Prayer, The 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Lord’s Prayer, The Recordable Audiodisc Disk Lost Chord, The unrecorded Maple Leaves (When the 33.3 Elastic Four, The SPEBSQSA Maple Leaves Were Falling) Martins and the Coys, The unrecorded Maybe 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book III Co. Maybe 33.3 Elastic Four, The SPEBSQSA Mood Indigo 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Mood Indigo 33.3 Elastic Four, The SPEBSQSA Mood Indigo Recordable Audiodisc Disk Now the Day Is Over 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Now the Day Is Over 33.3 Elastic Four, The SPEBSQSA Pass the Biscuits Mirandy 33.3 Elastic Four, The SPEBSQSA Pass the Biscuits, Mirandy 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Pkggy O’Neil 33.3 Elastic Four, The SPEBSQSA

315 Peggy O’Neill 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Sidewalks of New York 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book I Co., Inc. Sidewalks of New York 78 Elastic Four Music Branch, Barbershop Quartet, Special Services The Division, War Department, G. S. Silent Night 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book I Co., Inc. Silent Night 33.3 Elastic Four, The SPEBSQSA Sweet Roses of Mom’ unrecorded Sweet Rosie 0 ’Grady 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Sweet Rosie 0 ’Grady 78 Elastic Four Music Branch, Barbershop Quartet, Special Services The Division, War Department, G. S. Tell Me You’ll Forgive Me 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. Tell Me You’ll Forgive Me 33.3 Elastic Four, The SPEBSOSA That’s An Irish Lullaby 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book I Co., Inc. Three Little Pigs (Who’s unrecorded afraid of the Big Bad Wolf) Up a Lazy River Recordable Audiodisc Disk Wait for Me Mary 33.3 Elastic Four, The SPEBSOSA Wait for Me, Mary 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book III Co. Way Down South 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book III Co. Way Down South 33.3 Elastic Four, The SPEBSOSA

316 We Three 78 A Group of Musical RCA Numbers by the Manufacturing Elastic Four Book III Co. We Three 33.3 Elastic Four, The SPEBSOSA When the Maple Leaves 78 A Group of Musical RCA Were Falling Numbers by the Manufacturing Elastic Four Book 1 Co., Inc. White Christmas 33.3 Elastic Four, The SPEBSQSA

Evans Quartet Song Title Type Recording Title Recording Label ‘Till There Was You unrecorded A bundle of old love letters unrecorded After the Roses are faded unrecorded Away Alabamy Bound unrecorded All the World Will Be unrecorded Jealous of Me Am I Wasting my Time unrecorded Among My Souvenirs unrecorded Athlone unrecorded Auld Lang Syne 33.3 Merry Christmas - Decca Barbershop Style Auctioneer Song, The unrecorded Baby Face unrecorded Back in the Roaring unrecorded Twenties Ballin’ the Jack unrecorded Banjo’s Back in Town 33.3 Bonanza ‘77 SPEBSOSA Banjo’s Back in Town, The 33.3 Barbershop Quartet Decca Winners (1959 Medalists) Boy of mine unrecorded Butterfly caught in the rain unrecorded Butterfly in the rain unrecorded Bye. Bye. Blues unrecorded Carolina Moon unrecorded Carolina Sunshine unrecorded Christmas Medley unrecorded Cradle Days unrecorded Dark Town Strutter’s Ball unrecorded

317 Dear Little Boy of Mine 333 Best of Barbershop, Decca The (25 Years of Winners) Dear Little Boy of Mine 333 Top Ten Barbershop Decca Quartets of 1960, The Dear Old Girl unrecorded Dinah unrecorded Do You Miss Me Tonight unrecorded Down on San Francisco Bay 333 Bonanza ‘77 SPEBSQSA Down on the Ohio unrecorded Frisco ftl 333 Bonanza ‘76 SPEBSQSA Frisco Pal 333 Evans Quartet, The Frosty the Snow Man 333 Merry Christmas - Decca Barbershop Style Get Out and Get Under the unrecorded Moon Girl Who Was Stolen from unrecorded Me, The Harrigan unrecorded Have Yourself a Meny Little 333 Merry Christmas - Decca Christmas Barbershop Style Hear Us Sing/Barbershop 333 Member Benefit SPEBSQSA Demo Program 1960 Record Highways are Happy Ways unrecorded Hootenanny (Special) unrecorded 1 Ain’t Got Nobody unrecorded I Believe unrecorded 1 Get the Blues When it unrecorded Rains I Lost My Rib unrecorded I Never See Maggie Alone unrecorded I Used to Call Her Baby, unrecorded Now She is Mother to Me I Wish I Had My Old Gal Tape Back Again I Wonder Who’s Kissing Her unrecorded Now I’d Love to Fall Asleep and 333 Top Ten Barbershop Decca Wake Up in My Mammy’s Quartets of 1960, The Arms I’ll Fly to Hawaii unrecorded I’ll Take Care of Your Cares unrecorded I’ll Take Her Back 333 Evans Quartet, The 318 I’m a Ding Dong Daddy unrecorded from Dumas I’m All Dressed Up With A unrecorded Broken Heart I’m Forever Blowing unrecorded Bubbles I’m goin’ back to Frisco Bay unrecorded I’m In Love Again 33.3 Evans Quartet The I’m Looking Over A Four- unrecorded Leaf Clover I’m So Alone with the unrecorded Crowd I’m Sorry I Made You Cry unrecorded Ida 33.3 Barbershop Bonanza SPEBSQSA Ida, Sweet As Apple Cider 33.3 Evans Quartet, The Ida, Sweet As Apple Cider 33.3 Happiness Is SPEBSQSA Barbershop Singing (Volume 1) If You Knew Susie Like I unrecorded Know Susie Indiana 33.3 Barbershop Quartet Decca Winners (1958 Medalists) Indiana 33.3 Bonanza ‘76 SPEBSQSA It Had to be You unrecorded It’s the Girl unrecorded Jeepers Creepers unrecorded Jingle Bells 33.3 Merry Christmas - Decca Barbershop Style Jolly Old S t Nicholas 33.3 Meny Christmas - Decca Barbershop Style Just a Bird’s Eye View of my unrecorded Old Kentucky Home Just a Girl that Men Forget 33.3 Barbershop Quartet Decca Winners (1959 Medalists) Just Like a Butterfly 33.3 Evans Quartet The Last Night on the Back unrecorded Porch I Loved Her Best of All Let’s Harmonize 333 Evans Quartet The Lets Get Away from it All unrecorded Lida Rose unrecorded

319 Lindy, Lucky Lindy, The unrecorded Hero of the USA Little Bit old Fashioned unrecorded Mary Little Lady Make Believe unrecorded Loneliest Gal in Town unrecorded Love Me and the World is unrecorded Mine Love’s Old Sweet Song 33.3 Mandy, Make Up Your Mind 33.3 Barbershop Quartet Decca Winners (1959 Medalists) Mickey, Pretty Mickey unrecorded Minnie the Mermaid unrecorded Mule Song unrecorded My Ever Lovin’ Sugar Babe 33.3 Barbershop Quartet Decca Winners (1958 Medalists) My Home Town 33.3 Evans Quartet, The My Indiana unrecorded My Wonderful One 33.3 Evans Quartet. The Never Had that Feeling in unrecorded the Moonlight Now is the Hour unrecorded Oh What a Pal was Mary unrecorded Old days unrecorded Old Pals Are the Best Pals unrecorded After All One rose that’s left in my unrecorded heart Opener Medley 33.3 Bonanza ‘76 SPEBSQSA Pal of My Cradle Days unrecorded Ptg 0 ’ My Heart unrecorded Powder your Face with unrecorded Sunshine Quanta La Gusto unrecorded Red Rose Rag 33.3 Association of SPEBSQSA International Champions Red Rose Rag 33.3 Barbershop Bonanza SPEBSQSA River Stay Way from My 33.3 Evans Quartet, The Door Roll On Missouri 33.3 320 Rudolph the Red-Nosed 33.3 Merry Christmas - Decca Reindeer Barbershop Style Santa Claus Is Cornin’ to 33.3 Merry Christmas - Decca Town Barbershop Style Shanty in Old Shanty Town, unrecorded A Shine Medley unrecorded Silent Night 33.3 Merry Christmas - Decca Barbershop Style Silver Bells 33.3 Merry Christmas - Decca Barbershop Style Smile Medley unrecorded Special Closer unrecorded Spirit of Christmas, The umecorded Sunrise, Sunset unrecorded Sweetheart of Sigma Chi unrecorded There were Bells on the Hill unrecorded There’ll Be No New tunes on unrecorded this Old Piano There’ll Be Some Changes 33.3 Barbershop Bonanza SPEBSQSA Made Time After Time, I’ve Told unrecorded You Utah Trail unrecorded We Wish You A Merry 33.3 Merry Christmas - Decca Christmas Barbershop Style When (If) You’re Irish unrecorded When I Lost You 33.3 Evans Quartet, The White Christmas 33.3 Merry Christmas - Decca Barbershop Style White Cliffs of Dover unrecorded Winter Wonderland 33.3 Merry Christmas - Decca Barbershop Style You Tell Me Your Dream unrecorded You’re in Love with 33.3 Evans Quartet, The Everyone You’re in love with everyone unrecorded You’re the One Rose That’s 33.3 Evans Quartet, The Left in My Heart Zip-A-Dee-Do-Da unrecorded

321 Flat Foot Four Song Title Type Recording Title Recording Label (When You and I Were 78 Barber Shop Melodies Columbia Young) Maggie Blues by the Flat Foot Four Records Annie Laurie 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Annie Laurie 33.3 Best of Barbershop, Decca The (25 Years of Winners) Daddy Four-Way Song Harbor Lights Yodel 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Home On the Range Irish Eyes Mary Don’t You Weep No More My Mother's Rosary 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Oh Joe 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Old Aunt Dinah 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Ride Tenderfoot Ride 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Shine 78 Barber Shop Melodies Columbia by the Flat Foot Four Records Four Harmcnlzers Song Title Type Recording Title Recording Label After Dark unrecorded Bowery, The unrecorded Can’t You Hear Me Callin’, 78 Four Harmonizers, National Caroline The Recording & Film Corp. Chloe unrecorded Curse of an Aching Heart, Recordable Robinson The Disk Recording Laboratories

322 Dust Off That Old Pianna! 33.3 Best of Barbershop, Decca (Oh Suzanna) The (25 Years of Winners) Here Comes That German unrecorded Band I Told them All About Y ou unrecorded (possibly same as: Whippoorwill) I'm Always Chasing 78 Four Harmonizers, National Rainbows The Recording & Film Corp. In A Shanty In Old Shanty unrecorded Town Lindy Lou unrecorded Little Bit of Heaven, A Recordable Robinson Disk Recording Laboratories Little Bit of Honey. A unrecorded Melancholy Baby unrecorded Minor Dream of Home, A unrecorded Oh, Susannah, Dust Off That 78 Four Harmonizers, National Old Piano The Recording & Film Corp. Old Songs and Shine, The 78 Four Harmonizers, National (Medley) The Recording & Film Corp. Rollin’ Home (a.k.a., 78 Four Harmonizers, National Singapore) The Recording & Rim Corp. Tell Me You’ll Forgive Me Recordable Robinson Disk Recording Laboratories That Tumbled Down Shack 78 Four Harmonizers, National in Athlone The Recording & Film Corp. Way Back When Recordable Robinson Disk Recording Laboratories Whippoorwill (possibly same unrecorded as: I Told them All About You) You Dear unrecorded You’s My Sweet Picanny, unrecorded That’s All 323 Four Hearsemen Song Title Type Recording Title Recording Label All by Myself umecorded Anytime unrecorded Beyond the Blue Horizon unrecorded Bless this House unrecorded Blessed is He that Readeth unrecorded Carolina in the Morning unrecorded Charmaine 78 Barber Shop Winners Decca (1954 Medalists) Climbin’ Up the Mountain unrecorded Coney Island Washboard umecorded Roundelay Confessin’ unrecorded Daddy’s Little Girl umecorded Diane unrecorded Georgia on My Mind 33.3 Barber Shop Winners Decca (1955 Medalists) Got no Time umecorded Hush unrecorded 1 am in the Doghouse unrecorded 1 Believe 33.3 Barber Shop Winners Decca (1955 Medalists) I Believe 33.3 Ten Years of Decca Barbershop Champions 1 Miss You Most of all unrecorded I Want My Life to Tell for unrecorded Jesus I’d Love to Live in Loveland 33.3 Barber Shop Winners Decca (1955 Medalists) I’d Love to Live in Loveland 33.3 Best of Barbershop, Decca (With a Girl Like You) The (25 Years of Winners) I’m Always Chasing unrecorded Rainbows I’m Goin’ Back to Whur I unrecorded Cum From I’m Sitting on Top d* the unrecorded World

324 I’m so Glad Trouble Don’t unrecorded Last Always In the Valley of the Moon unrecorded It Takes a Long and Tall unrecorded Brown Skinned girl to Make a Preacher Lay His Bible Down Jeanine, I Dream of Lilac unrecorded Time Just Keep Smilin’ unrecorded Little Liz 1 Love You unrecorded Lord’s Prayer, The unrecorded Margie unrecorded Mary’s a Grand Old Name unrecorded May the Good Lord Bless unrecorded and Keep You My Heart Stood Still unrecorded Oh by Jingo unrecorded Old Rugged Cross unrecorded Ole Ark’s a Moverin’ unrecorded Rag Mop unrecorded Religion is a Fortune unrecorded Rock of Ages unrecorded Rootin’, Tootin’, Shootin’ unrecorded Man from Texas Row, Row, Row unrecorded September Song unrecorded Side by Side unrecorded Sin unrecorded Skip to My Loo unrecorded Softly and Tenderly unrecorded Some Little Bug Will Find unrecorded You Someday Somebody Stole My Gal unrecorded S t Louis Blues unrecorded Sunshine of Your Smile, The unrecorded Sweet Emalina, My Gal unrecorded Take me Out to the Ballgame unrecorded Take Me Up with You unrecorded Dearie Tennessee Waltz, The unrecorded There’s Always Room at Our unrecorded House 325 Timber Trail unrecorded Too Many Irons in the Fire unrecorded Undecided unrecorded When You’re a Long, Long 78 Barber Shop Winners Decca Way from Home (1954 Medalists) When You’re a Long, Long 33.3 Golden Barbershop Decca Way from Home Ballads Where the Mountains Meet unrecorded the Moon Whistle and Blow Your unrecorded Blues Away

Four Pitchikers Song Title Type Recording Title Recording Label Alexander’s Ragtime Band 33.3 Barbershop Quartet Decca Winners (1957 International Medalists) Alexander’s Ragtime Band 33.3 Barbershop Quartet Decca Wiimers(1959 Medalists) Alexander’s Ragtime Band cass./CD Barbershop Quartets; Universal DQC All die Music Music, 1998 America Loves Best Beautiful Music Co. Universal City, CA 91608 An Apple Blossom Wedding unrecorded Apple Blossom Time unrecorded Autumn Leaves, The unrecorded Baby Your Mother (Like She 33.3 Barbershop Quartet Decca Babied You) Winners (1957 International Medalists) Be My Little Baby Bumble unrecorded Bee Berkeley Square unrecorded Blues in the Night unrecorded California Here We Come unrecorded Climb Every Mountain unrecorded Dirty Hands. Dirty Face 33.3 Let’s Bust One! Chord Flower, the He and the She 33.3 Let’s Bust One! Chord Buzz. The

326 For All We Know unrecorded Giannina Mia unrecorded Goodbye My Coney Island unrecorded Baby Gypsy Sweetheart unrecorded He 33.3 Let’s Bust One! Chord Hello (Theme Song) unrecorded Hello Dolly unrecorded 1 Believe unrecorded I Left My Heart in San unrecorded Francisco I’d Love to Live in Loveland unrecorded I’llGetBy unrecorded I’ll Never Smile Again unrecorded I’m in the Mood for Love unrecorded I’ve Got A Pücket Full of unrecorded Dreams If You Were the Only Girl in 33.3 Barbershop Quartet Decca the World Winners (1958 Medalists) If You Were the Only Girl in cass./CD Barbershop Quartets: Universal the World DQC All the Music Music, 1998 America Loves Best Beautiful Music Co. Universal City, CA 91608 It’s A Blue World unrecorded Laura Bell Lee 33.3 Barbershop Quartet Decca Winners (1959 Medalists) Lazy River unrecorded Lead Me to that Rock unrecorded Lets Have A Little Talk with unrecorded Jesus Lida Rose unrecorded Little Child 33.3 Let’s Bust One! Chord Loia-Belle Lee 33.3 Best of Barbershop, Decca The (25 Years of Winners) May the Good Lord Bless unrecorded and Keep You Medley: I’m So All Alone, 33.3 Let’s Bust One! Chord What’ll I Do, All Alone by the Telephone

327 Meet Me Tonight in unrecorded Dreamland Perfect Day, A 33.3 Barber Shop Winners Decca (1956 Medalists) Pop Com Song 333 Let’s Bust One! Chord Ramona 33.3 Barber Shop Winners Decca (1956 Medalists) Shine unrecorded Smile. Smile, Smile unrecorded Stay As Sweet As You Are 33.3 Let’s Bust One! Chord Streets of Laredo 33.3 Let’s Bust One! Chord That Lucky Old Sun unrecorded That Old Gang of Mine 33.3 Barbershop Quartet Decca Winners (1958 Medalists) That Old Gang of Mine cass./CD Barbershop Quartets: Universal DQC All Üie Music Music, 1998 America Loves Best Beautiful Music Co. Universal City, CA 91608 That Old Gang of Mine 33.3 Golden Barbershop Decca Ballads That Tumble Down Shack in 33.3 Barbershop Quartet Decca Athlone Winners (1959 Medalists) That Tumble Down Shack in 33.3 Ten Years of Decca Athlone Barbershop Champions There’s Going to be a Great 33.3 Let’s Bust One! Chord Day This Ole House unrecorded Those Wedding Bells are unrecorded Breaking up That Old Gang of Mine Three bells unrecorded To Be Alone unrecorded Waitin’ for the Robert E. Lee 33.3 Let’s Bust One! Chord We’ll Meet Again 33.3 Barbershop Quartet Decca Winners (1958 Medalists) West of the Great Divide unrecorded

328 Why Don’t My Dreams unrecorded Come True Yes, I’m Satisfied unrecorded You are My Special Angel unrecorded

Four Teens Song Title Type Recording Title Recording Label Bells of Saint Mary’s unrecorded By the Sea unrecorded Cain Killed Abel unrecorded Carry Me Back to Old unrecorded Virginy Cocktails for Two 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Coney Island Washboard 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Crusin’ in Along in Our Old unrecorded Model-T Down by the Riverside 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Down on the East Side of unrecorded Thirty Third and Third Dry Bones 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Gravy and Bread unrecorded Great Smoky Mountains in unrecorded Dixie Hello There, We’re from Eau unrecorded Claire How Ya Gonna Keep ’Em unrecorded Down on the Farm I Believe unrecorded I Wonder What’s Become of unrecorded Sally If I had My Way unrecorded

329 Irish Lullaby 78 Barber Shop Neff Recording Harmonies (1952 Co. Medalists) Keep Your Eye on the Giriy unrecorded You Love Lets Fall in Love All over unrecorded Again Lora-belle Lee unrecorded Macon G.A. unrecorded Mandy unrecorded Meet Me Tonight In unrecorded Dreamland Mississippi Mud 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Music, Maestro, Please 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Muskrat Ramble 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The My Eveline unrecorded O’Brien Has No Place to Go unrecorded O’Brien is tryin' to Learn to unrecorded Talk Hawaiian Over the Rainbow unrecorded Rich Maharajah of Magadore 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Rose of Tralee, The unrecorded Sweet Adeline unrecorded Take Me In Your Arms unrecorded Tea for Two 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Tie Me to Your Apron 78 Barber Shop Neff Recording Strings Again Harmonies (1952 Co. Medalists) Tie Me to Your Apron 33.3 Best of Barbershop, Decca Strings Again The (25 Years of Winners)

330 T ooRa-Loo-Ra-Loo-Ral 33.3 Ten Years of Decca (Irish Lullaby) Barbershop Champions Undecided 33.3 Four Teens Sing Audio-Craft Barber Shop Favorites, The Wait Till the Sun Shines, 33.3 Four Teens Sing Audio-Craft Nellie Barber Shop Favorites, The We’ll Meet Again unrecorded When that Mobile boy plays unrecorded the Memphis Blues Whiffenpoof Song unrecorded White Christmas unrecorded World is waiting for the unrecorded sunrise, The

Gala Lads Song Title Type Recording Title Recording Label Bring Back those Good Old 33.3 Gala Lads Chord Days Cabin on the Hilltop 33.3 Gala Lads Chord California, Here 1 Come 33.3 Gala Lads Chord Dear One the World is unrecorded Waiting for the Sunrise Hawaiian Wedding Song 33.3 Gala Lads Chord 1 Believe unrecorded 1 Love the Ladies 33.3 Gala Lads Chord I’ll Be Walking with My 33.3 Best of Barbershop, Decca Honey Down Honeymoon The (25 Years of Lane Winners) I’ll Be Walking with My 33.3 Top ten Barbershop Decca Honey Down Honeymoon Quartets ‘62, The Lane In the Shade of the Old 33.3 Gala Lads Chord Apple Tree Lord’s Prayer. The unrecorded Mandy Medley 33.3 Gala Lads Chord Mandy Medley 33.3 Happiness Is SPEBSQSA BaAershop Singing May Each Day 33.3 Gala Lads Chord Millionaire unrecorded 331 My Funny Valentine unrecorded My Ideal 33.3 Golden Barbershop Decca Ballads My Ideal 33.3 Top ten Barbershop Decca Quartets ‘62, The Old Gang of Mine unrecorded Old Gang on the Comer unrecorded Out on the Lone Prairie unrecorded Over the Rainbow unrecorded Red Head unrecorded Red, Red, Robin unrecorded Sail Along Silvery Moon 33.3 Gala Lads Chord South Rampart Street Parade unrecorded That German Band 33.3 Gala Lads Chord That Old Ace in the Hole unrecorded When I Leave the World 33.3 Gala Lads Chord Behind Where the Black-eyed 33.3 Barbershop Quartets Decca Susans Grow of I96I (The Top Ten) World Is Waiting for the 33.3 Gala Lads Chord Sunrise, The World is Waiting for the unrecorded Sunrise, The

Garden State Quartet Song Title Type Recording Title Recording Label Anna from Indiana unrecorded Don’t Cry Little Girl unrecorded Down on Thoidy Thoid and unrecorded Thoid Down Our Way unrecorded Gang That Sang “Heart of 33.3 Best of Barbershop, Decca My Heart”, The The (25 Years of Winners) Got No Time Recordable Disk Heartof My Heart Recordable Detroit Convention Disk 1944 Heart of My Heart Medley Recordable Neff Recording Disk I’m so used to the Rain unrecorded It’s Great to Meet a Friend 78 Albums 332 Minnie the Mermaid unrecorded My Mother’s Rosary 78 Album 8 My Mother’s Rosary Recordable Detroit Convention Disk 1944 My Mother’s Rosary Recordable Neff Recording Disk Ole’ Swimming Hole. The 78 Album 8 Walking with My Honey 78 Album 8 Way Down in Georgia 78 Barber Shop Quartet Neff Recording Harmonies Co. When You Wore A Tulip unrecorded Where the Dreamy Wabash 78 Barber Shop Quartet Neff Recording Flows Harmonies Co. Whiffenpoof Song 78 Album 8 Yona from Arizona unrecorded

G aynotes Song Title Type Recording Title Recording Label 76 Trombones 33.3 Strictly Barbershop Chord Across That Mason-Dixon 33.3 Strictly Barbershop Chord Line All-American Girl 33.3 Strictly Barbershop Chord Bye Bye Blues 33.3 4 for the Show Garrison Recording Co. Bye Bye Blues 33.3 Barbershop Quartet Decca Winners (1957 International Medalists) Cabaret 33.3 Strictly Square Can’t You Hear Me Callin’ 33.3 Barbershop Quartet Decca Caroline Winners (1957 International Medalists) Carolina in the Morning 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Creole Cutie 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat

333 Cruising Down the River 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Don’t Say Nothin’ At All unrecorded Firefly 33.3 Strictly Barbershop Chord Football Hero unrecorded Gee, 1 Wish That 1 Had a 33.3 Barbershop Quartet Decca Girl Wiimers (1958 Medalists) Georgia 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Give Me a Straw Hat and a 33.3 Strictly Square Cane Hello Dolly 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat 1 Don’t Know Why 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat 1 Left My Heart in San 33.3 Strictly Swinging Francisco Barbershop Harmony with an Instrumental Beat 1 Wish 1 Had a Girl 33.3 Best of Barbershop, Decca The (25 Years of Winners) I Wish You Love 33.3 Strictly Square I’m All That’s Left of That 33.3 Strictly Square Old Quartet I’m Forever Blowing unrecorded Bubbles In the Arms of Love 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Keep Your Sunny Side Up 33.3 Barbershop Quartet Decca Winners (1958 Medalists)

334 Last Night on the Back 33.3 Barbershop Quartet Decca Porch Winners (1958 Medalists) Last Night on the Back 33.3 Ten Years of Decca Porch (I Loved Her Best of Barbershop All) Champions Let’s Get Together Again unrecorded Lida Rose 33.3 Strictly Barbershop Chord Marne 33.3 Strictly Square Merry-Go-Round 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Mister Sandman 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Oklahoma 33.3 Strictly Barbershop Chord On a Wonderful Day Like 33.3 Strictly Square Today Silent Night unrecorded Sonny Boy 33.3 Strictly Barbershop Chord Stars Fell on Alabama 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Stormy Weather 33.3 Strictly Swinging Barbershop Harmony with an Instrumental Beat Take My Hand, Precious 33.3 Strictly Square Lord Tell Me You Love Me 33.3 Strictly Barbershop Chord Try a Little Tenderness 33.3 Strictly Square We’ll Meet Again 33.3 Strictly Barbershop Chord When It’s Darkness on the 33.3 Strictly Square Delta When It’s Sleepy Time 33.3 Strictly Square Down South When There’s Love at Home 33.3 Strictly Square With a Song in My Heart 33.3 Strictly Barbershop Chord

335 You Brought Ireland right 33.3 Strictly Barbershop Chord Over to Me You’ll Never Know 33.3 Strictly Square You’re Nobody Till 33.3 Strictly Barbershop Chord Somebody Loves You

Harmony Halls Song Title Type Recording Title Recording Label Begin the Beguine 78 Harmony Halls Harmony Halls Records Dream Medley Recordable Neff Recording Disk Girl I Used to Know Recordable Audiodisc Disk Happy Valiev unrecorded I Love the Silver Recordable Audiodisc Disk I Love You the Best of All 78 Harmony Halls Harmony Halls Records Lord’s Prayer, The 78 Harmony Halls Harmony Halls Records Mandy and Me 78 Harmony Halls Harmony Halls Records Meet Me In St. Louis unrecorded O’Brien Has No Place to Go unrecorded Old Songs, The unrecorded Rock and Roll 78 Harmony Halls Harmony Halls Records Sailin’ Away on the Henry 78 Harmony Halls Harmony Halls Clay and Rock and Roll Records You Don’t Seem Like the 33.3 Best of Barbershop, Decca Girl I Used to Know The (25 Years of Winners You Don’t Seem Like the 78 Harmony Halls Harmony Halls Girl I Used to Know Records You’ll Never Know unrecorded

336 Lads of Enchantment Song Title Type Recording Title Recording Label Cocktails for Two unrecorded Falling Leaves, The unrecorded George M. Cohan Medley unrecorded Give Me A Band For My unrecorded Baby Hoop-De-Do 33.3 Barbershop Quartet Decca Winners (1957 International Medalists) I Believe unrecorded I Dream of Jeanie with the unrecorded Light Brown Hair I’ll Take You Home Again unrecorded Kathleen It Looks Like Rain in Cherry 33.3 Barber Shop Winners Decca Blossom Lane (1956 Medalists) Just A Closer Walk With unrecorded Thee Just Like A Butterfly Who’s unrecorded Caught In The Rain Just The Way Y ou Look unrecorded Tonight Love Me and the World Is 33.3 Barber Shop Winners Decca Mine (1956 Medalists) Love Me and the World Is 33.3 Golden Barbershop Decca Mine Ballads Mandy unrecorded Muskrat Ramble unrecorded My Indiana Home unrecorded On the Road to Mandaly unrecorded Ro-Ro-Rolling Along 33.3 Barbershop Quartet Decca Winners (1957 International Medalists) Ro-Ro-Rolling Along 33.3 Best of Barbershop, Decca The (25 Years of Winners) Smile Dam Ya Smile unrecorded

337 There’s A Rose on Your 33.3 Barbershop Quartet Decca Cheek Witmers (1957 International Medalists) There’s a Rose on Your 33.3 Ten Years of Decca Cheek Barbershop Champions ‘Twas Only an Irishman’s unrecorded Dream Way Down in Georgia unrecorded You’ll Never Walk Alone unrecorded

Mid-States Four Song Title Type Recording Title Recording Label (The Torch) The Gang’s All CD& Reminiscing with the Gone Cassette Mid-States Four Alabama Jubilee 33.3 Association of SPEBSQSA International Champions 45* International Convention: The Show of Champions in Seattle Allegheny Moon CD& Reminiscing with the Cassette Mid-States Four Anytime unrecorded Ayuh, Ayuh CD& Reminiscing with the Cassette Mid-States Four Belle of the Monon 78 Monon Monon Railroad Bring back those Good Old unrecorded Days By the Sea unrecorded (Zarolina Sunshine 78 Barber Shop Harmony London The Mid-States Four Records (Carolina Sunshine 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Carolina Sunshine Recordable Disk Dear Old Girl unrecorded

338 Dinah 78 Mid-States Four RCA Presents (in Modem Barber Shop Harmony) Dixieland Ball unrecorded Do You Believe 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Do you remember when unrecorded Don’t Go in the Lion’s Cage unrecorded Tonight Down on the Island unrecorded Dreaming 78 In Modem Barber Universal Shop Harmony Recordings Fidgety Feet unrecorded Fingerprints upon the 78 Barber Shop Neff Recording Window Pane Harmonies (1949 Co. Medalists) Fingerprints upon the 78 Barber Shop Harmony London Window Pane The Mid-States Four Records Fingerprints upon the 33.3 Best of Barbershop, Decca Window Pane The (25 Years of Winners) Fingerprints upon the CD& Reminiscing with the Window Pane Cassette Mid-States Four Florida Calling/Were having unrecorded fun in Miami Follow The Sun unrecorded Freckles unrecorded Frog Kissin’ CD& Reminiscing with the Cassette Mid-States Four Full Time Job 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Gang’s all gone. The unrecorded Gee boys, it’s great to lead a unrecorded band” Gee but there’s class to a giri unrecorded like you Give Me Those Good Old 78 Barber Shop Harmony London Days The Mid-States Four Records Happy Valley Recordable Disk Heartof My Heart 33.3 Memories, Madness Champ Record and the Midstates 4 Co.

339 I don’t know why unrecorded I Love the Whole United 33.3 Memories, Madness Champ Record States and the Midstates 4 Co. I Love You So CD& Reminiscing with the Much/Drifting and Dreaming Cassette Mid-States Four I Want a Full Time Job CD& Reminiscing with the Cassette Mid-States Four 1 Want a Girl 78 Barber Shop Harmony London The Mid-States Four Records I Want A Giri 78 Mid-States Four RCA Presents (in Modem Barber Shop Harmony) 1 Want a Giri (Just Like the 78 Barber Shop Quartet Rudolph Girl That Married Dear Old Harmonies Wurlitzer Dad) Company I’m a Fool to Care CD& Reminiscing with the Cassette Mid-States Four I’m Sittin’ on Top of the unrecorded World I-Tsu-Mo 33.3 Memories, Madness Champ Record and the Midstates 4 Co. If 1 Could be with You unrecorded Indiana is so Rich 78 Monon Monon Railroad It Had to be You unrecorded Josephine 78 Barber Shop Harmony London The Mid-States Four Records Josephine CD& Reminiscing with the Cassette Mid-States Four Josephine Recordable Disk Last Call for Dinner unrecorded Lazy Bones 78 unknown Universal Recording Corp. Let’s Hannonize CD& Reminiscing with the Cassette Mid-States Four Limestone Quarry CD& Reminiscing with the Cassette Mid-States Four Lullaby Medley unrecorded Muskrat Ramble 33.3 AIC 46th International SPEBSQSA Convention Recording - - -

340 Muskrat Ramble 33.3 Memories, Madness Champ Record and the Midstates 4 Co. My Blue Heaven unrecorded Oklahoma Indian Jazz 33.3 Association of SPEBSQSA International Champions 1985 Show of Champions Oklahoma Indian Jazz 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Old Black Joe Unrecorded On Moonlight Bay unrecorded Peggy 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Rockin’ Mockin’ Bird CD& Reminiscing with the Cassette Mid-States Four Roll on Mississippi unrecorded Row Boat 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Rural Rhythm 78 Barber Shop Harmony London The Mid-States Four Records Rural Rhythm 78 unknown Universal Recording Corp. Sidewalk Waltz 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Sittin’ on top of the world unrecorded Somebody knows unrecorded Someday you’ll want me to unrecorded want you Summertime Medley unrecorded Sunbeam on a rainy day unrecorded Swanee CD& Reminiscing with the Cassette Mid-States Four Swanee River 33.3 Memories, Madness Champ Record and the Midstates 4 Co. Sweet Roses of Mom unrecorded Tenderly CD& Reminiscing with the Cassette Mid-States Four That’s a’ plenty unrecorded Tiger Rag CD& Reminiscing with the Cassette Mid-States Four Tip Toe through the Tulips unrecorded

341 Together/Oh, How I Miss CD& Reminiscing with the You Tonight Cassette Mid-States Four Up a lazy river unrecorded Up and Down the Monon 78 Monon Monon Railroad Up and Down the Moon 78 Barber Shop Harmony London The Mid-States Four Records We’ll Wear Our Glad Rags unrecorded Tonight We’re All Ready for the unrecorded Summertime When I Lost You 78 Barber Shop Harmony London The Mid-States Four Records Whiffenpoof Song. The 78 In Modem Barber Universal Shop Harmony Recordings Yearning 78 Unknown Universal You’ll Never Go Wrong with CD& Reminiscing with the a Song Cassette Mid-States Four

Misfits Song Title Type Recording Title Recording Label Ain't She Sweet unrecorded Back Home Again In Indiana unrecorded Cohan medley unrecorded Did You Ever get that unrecorded Feeling in the Moonlight Get Out and Get Under the unrecorded Moon Hawaiian Isles of Beauty unrecorded Here Comes That German unrecorded Band I Wish I Had Died In my unrecorded Cradle: Before 1 Grew Up to Love You I'm Waiting for Ships that unrecorded Never Come In If All My Dreams Were unrecorded Made of Gold Indiana Medley Recordable Neff Recording Disk Into Thy Tender Mercy unrecorded Last Night Was the End of unrecorded the World 342 Little Grass Shack Recordable Neff Recording Disk Little Red Bam unrecorded Lost Child, The (possibly the Recordable Neff Recording Lost Chord [misprinted]) Disk My Little Grass Shack in 33.3 Best of Barbershop, Decca Kealakekua, Hawaii-Sweet The (25 Years of Leilani Medley Winners) Oceana Roll unrecorded On the Banks of the Wabash unrecorded School Days unrecorded Side By Side unrecorded Story Book Ball unrecorded Sweet Adeline unrecorded Sweetheart unrecorded That Old Gang of Mine unrecorded Time After Time unrecorded Tuck Me to Sleep Recordable Neff Recording Disk When the Bell in the unrecorded Lighthouse Rings

O rp h an s Song Title Type Recording Title Recording Label “Our Farewell Song” 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. 12* Street Rag 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Baby Your Mother Like She unrecorded Babied You Baby, I'll Be Waitin’ 78 Barber Shop Winners Decca (1954 Medalists) Cuddle Up A Little Closer 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. For All We Know 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co.

343 I Believe 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. In an Old Dutch Garden 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Knee Deep In Daisies 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Let the good Lord bless and unrecorded keep you Lord’s Prayer, The 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. On The Road to Mandalay 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Side By Side 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Sittin’ On Top of The World 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Smilin’ Through 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. Somebody stole my gal unrecorded Somewhere Over The 33.3 The Orphans “Red The Orphans, Rainbow Record” C.P. MacGregor Co. Stephen Foster Medley; 78 Barber Shop Winners Decca Swanee River-De Camptown (1954 Medalists) Races - O Susannah - My Old Kentucky Home Stephen Foster Medley: 33.3 Best of Barbershop, Decca Swanee River-De Camptown The (25 Years of Races-Oh Susannah-Old Winners) Kentucky Home Sweetheart of Sigma Chi, 78 Barber Shop Winners Decca The (1954 Medalists) Sweetheart of Sigma Chi, 33.3 Ten Years of Decca The Barbershop Champions

344 Two eyes of blue come unrecorded smilin’ thru at me Until we meet again unrecorded When the Bell in the unrecorded Lighthouse Rings Ding- Dong Whiffenpoof Song 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co. You’ll Never Walk Alone 33.3 The Orphans “Red The Orphans, Record” C.P. MacGregor Co.

Pittsburghers Song Title Type Recording Title Recording Label Barefoot Days CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Chinese Honeymoon CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Cop on the Beat CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Cop on the Beat, The 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Curse of an Aching Heart CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Curse of an Aching Heart, 33.3 Barber Shop At Its Corona Records The Best Curse of the Aching Heart 33.3 4 for the Show Garrison Recording Co. Darktown Strutters' Ball 33.3 Pittsburghers Gateway Barbershop Quartet. Recordings, Inc. The Darktown Strutters' Ball CD The Pittsburghers: Joker's Wild (with Italian verse) 1948 National Quartet Champions Dear Old Gal CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions 345 Dear Old Girl 33.3 Barber Shop At Its Corona Records Best Dixie Lou/Henry Clay CD The Pittsburghers; Joker's Wild Medley 1948 National Quartet Champions Dixie Medley 333 Barber Shop At Its Corona Records Best Dixie Medley 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Don't Put a Tax on the unrecorded Beautiful Girls Down in the Old unrecorded Neighborhood Down Our Way CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Dream, Dream, Dream unrecorded Every Streets a Boulevard In unrecorded My Home Town Gee! But There's Class to a 78 Barber Shop Quartet Randolph Girl Like You Harmonies Wurlitzer Company Gee, But There's Class to a metal plate unknown SPEBSQSA Girl Like You Give Me a Night in June 78 Barber Shop Quartet Randolph Harmonies Wurlitzer Company Give Me a Night in June 33.3 Best of Barbershop, Decca The (25 Years of Winners) Give Me a Night in June CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Give Me a Night in June Recordable Disk Good Little Bad Little You CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Good Little Bad Little You metal plate unknown SPEBSQSA Grand Old Steamboat Ball CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions

346 Home Again Blues 33.3 Barber Shop At Its Corona Records Best Home Again Blues CD The Pittsburghers: Joker's Wild (misprinted as "Ball" on 1948 National Quartet label) Champions I Love the Whole United unrecorded States I Wish that I Could Hide CD The Pittsburghers: Joker's Wild inside this Letter 1948 National Quartet Champions I'm Sitting on Top of the 33.3 Pittsburghers Gateway World Barbershop Quartet, Recordings, Inc. The Isle of Wahoo CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Jungle Town Recordable Disk Kill 'Em with Kindness 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Kill 'em with Kindness CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Killamey 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Make Yourself at Home 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Make Yourself at Home at CD The Pittsburghers: Joker's Wild My Home 1948 National Quartet Champions Many Many Tears Ago CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Many Tears Ago 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Minnie the Mermaid 33.3 Barber Shop At Its Corona Records Best Minnie the Mermaid Medley CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions 347 My Little Grass Shack in unrecorded Kealakekua, Hawaii-Sweet Leilani Medley My Mother’s Rosary 333 Barber Shop At Its Corona Records Best My Mother’s Rosary CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Never Can be Sure About the CD The Pittsburghers: Joker’s Wild Ladies 1948 National Quartet Champions Oahu (Wahoo) 333 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Oh What a Girl was CD The Pittsburghers: Joker's Wild Mary/Mary was a Grand Old 1948 National Quartet Name Champions Oh What a Pal Was Mary 333 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Old Killamey CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Pebble in a Pool CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Pebble in a Pool, A 333 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Please Don’t Talk About Me 333 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Please Don’t Talk About Me CD The Pittsburghers: Joker's Wild When I'm Gone 1948 National Quartet Champions Sailin' on the Henry Clay unrecorded Side by Side CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Sittin' on Top of the World CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions

348 Somebody Knows 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Somebody Knows CD The Pittsburghers; Joker's Wild 1948 National Quartet Champions Somebody Stole My Gal 33.3 Barber Shop At Its Corona Records Best Somebody Stole My CD The Pittsburghers: Joker's Wild Gal/When I Lost You 1948 National Quartet Champions Spread a Little Sunshine 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Spread a Little Sunshine CD The Pittsburghers: Joker's Wild (where the sun never shines) 1948 National Quartet Champions Sweet Adeline 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Sweet Adeline CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Sweet Sixteen 33.3 Pittsburghers Gateway Barbershop Quartet, Recordings, Inc. The Sweet Sixteen CD The Pittsburghers: Joker's Wild 1948 National Quartet Champions Take Me Out to the Ball CD The Pittsburghers: Joker's Wild Game 1948 National Quartet Champions When I Lost You unrecorded When Your Old Wedding 33.3 Barber Shop At Its Corona Records Ring Was New Best When Your Old Wedding CD The Pittsburghers: Joker's Wild Ring Was New 1948 National Quartet Champions Yankee Doodle/I love the unrecorded whole USA opener You Made Me Love You unrecorded

349 Schmitt Brothers Song Title Type Recording Title Recording Label ‘Til Tomorrow 333 Round the Old Decca Striped Pole ‘Til Tomorrow 333 Silver Favorites ‘Twas Only a Irishman’s 333 Silver Favorites Dream ‘Twas Only an Irishman’s 333 Barbershop Ball Decca Dream Abide with Me 333 Brighten the Comer Decca (Where You Are) Abide with Me 333 Golden Favorites Daniel Company Alabama Jubilee 333 Barbershop Ball Decca Alabama Jubilee 333 Bonanza ‘75 SPEBSQSA Alexander’s Ragtime Band 333/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Alexander’s Ragtime Band 33.3 Bonanza ‘76 SPEBSQSA All Through the Night 33.3 Round the Old Decca Striped Pole All Through the Night 33.3 Silver Favorites Always unrecorded America the Beautiful 33.3 Golden Favorites Daniel Company America the Beautiful 33.3 Schmitt Brothers Decca Barbershop America, the Beautiful 33.3 Bonanza ‘74 SPEBSQSA Animals, The unrecorded Asleep in the Deep 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Asleep in the Deep 33.3 Happiness Is SPEBSQSA Barbershop Singing Ave Maria unrecorded Baby Your Mother 33.3 Silver Favorites Baby Your Mother (Like She 33.3 Round the Old Decca Babied You) Striped Pole Believe Me If All Those 333 Round the Old Decca Endearing Young Charms Striped Pole

350 Believe Me If All Those 33.3 Silver Favorites Endearing Young Charms Bendemeer’s Stream 33.3 ‘Round the Old Decca Striped Pole Bless This House 33.3 Brighten the Comer Decca (Where You Are) Bless This House 33.3 Golden Favorites Daniel Company Brahm's Lullaby 33.3 Golden Favorites Daniel Company Brahms’ Lullaby 33.3 Barbershop Ball Decca Brighten the Comer Where 33.3 Brighten the Comer Decca You Are (Where You Are) Brighten the Comer Where 33.3 Silver Favorites You Are Bringing in the Sheaves 33.3 Brighten the Comer Decca (Where You Are) Carol of the Bells unrecorded Carry Me Back to Old 33.3 Barbershop Ball Decca Virginny Carry Me Back to Old 33.3 Silver Favorites Virginny Cotton Fields unrecorded Disagreement unrecorded Down by the Old Mill 33.3 Schmitt Brothers Decca Stream Barbershop Down by the Old Mill 33.3 Silver Favorites Stream Dry Bones 33.3/Cass./ 23 Y ears of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Edelweiss 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Every Time I Hear That Old 33.3 ‘Round the Old Decca Time Melody Striped Pole Galway Bay 33.3 Golden Favorites Daniel Company Galway Bay 33.3 Schmitt Brothers Decca Barbershop Gee, But It’s Great to Meet a 33.3 Round the Old Decca Friend from Your Home Striped Pble Town

351 Gee, But It’s Great to Meet a 33.3 Silver Favorites Friend from Your Home Town Girl That I Marry, The unrecorded God Bless America 333/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers God Bless America 33.3 Association of SPEBSQSA International Champions 45* International Convention; The Show of Champions in Seattle Great Smokey Mountains in 33.3 Bonanza ‘77 SPEBSQSA Dixie Great Smoky Mountains in 33.3 Association of SPEBSQSA Dixie International Champions 1982 International Convention He unrecorded Hittin’ the Trail to My Home 33.3 Round the Old Decca Sweet Home Striped Pble Holy Holy Holy 33.3 Silver Favorites Holy, Holy, Holy, Lord God 33.3 Brighten the Comer Decca Almighty (Where You Are) Home 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Home on the Range 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers How I Wish I Could Help 78 Barber Shop Neff Recording The Sandman Harmonies (1951 Co. Medalists) How 1 Wish I could Help the 33.3 Silver Favorites Sandman How I Wish That I Could 33.3 Barbershop Ball Decca Help the Sandman 1 Love the Way You Roll 33.3 Bonanza‘76 SPEBSQSA Your Eyes

352 I Love the Way You Roll 78 Barber Shop Neff Recording Your Eyes Harmonies (1951 Co. Medalists) I Love the Way You Roll 33.3 Best of Barbershop, Decca Your Eyes The (25 Years of Winners) 1 Love the Way Your Roll 33.3 Barbershop Bonanza SPEBSQSA Your Eyes I Need Thee Every Hour 33.3 Bonanza ‘77 SPEBSQSA I’ve Been Floating Down the 33.3 Schmitt Brothers Decca Old Green River Barbershop I’ve Been Floating Down the 33.3 Silver Favorites Old Green River If God Left Only You 33.3/Cass./ 23 Years of Harmony SPEBSQSA S ir. with the Schmitt Brothers If I Had My Way 33.3 Barbershop Ball Decca If I Had My Way 33.3 Silver Favorites If We All Said a Prayer 33.3/Cass./ 23 Years of Harmony SPEBSQSA S ir. with the Schmitt Brothers Jesus, My Lord, My God, 33.3 Brighten the Comer Decca My All (Where You Are) Jesus, My Lord, My God, 33.3 Silver Favorites My All Juravit You are A Priest unrecorded Forever Just in Case You Change unrecorded Your Mind Keep in the Middle of the 33.3/Cass./ 23 Years of Harmony SPEBSQSA Road S ir. with the Schmitt Brothers Keep in the Middle of the 33.3 Bonanza ‘75 SPEBSQSA Road Lazy River 33.3 Barbershop Ball Decca Lazy River 33.3 Silver Favorites Lead, Kindly Light 33.3 Brighten the Comer Decca (Where You Are) Let Me Call You Sweetheart 33.3 ‘Round the Old Decca Striped Pole Let Me Call You Sweetheart 33.3 Association of SPEBSQSA International Champions

353 Let Me Call You Sweetheart 33.3 AIC 4 (f Annual SPEBSQSA Convention 1978 Let’s Sing Again 33.3 ‘Round the Old Decca Striped Pole Liebestraum 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Lord’s Prayer, The 33.3/Cass./ 23 Years of Harmony SPEBSQSA 8 Tr. with the Schmitt Brothers Love’s A Many Splendored unrecorded Thing Mass by Patreon unrecorded Mass of Joan of Arc unrecorded May the Good Lord Bless 33.3 Brighten the Comer Decca and Keep You (Where You Are) May the Good Lord Bless 33.3 Silver Favorites and Keep You Medley of Old Songs unrecorded Mighty Lak’ a Rose 33.3 Barbershop Ball Decca Mighty Lak’ a Rose 33.3 Golden Favorites Daniel Company Nearer My God to Thee 33.3 Brighten the Comer Decca (Where You Are) Nearer to the Heart of God 33.3 Brighten the Comer Decca (Where You Are) Nearer to the Heart of God 33.3 Silver Favorites Old Black Joe 33.3 Golden Favorites Daniel Company Old Black Joe 33.3 Schmitt Brothers Decca Barbershop Panis Angelicas unrecorded Put on Your Old Grey 33.3 Bonanza ‘74 SPEBSQSA Bonnet Roll Dem Bones (Shine) 33.3 A IC 1981 SPEBSQSA International Convention Santa Claus is Coming to unrecorded Town Savior, Again to Thy Dear 33.3 Brighten the Comer Decca name (Where You Are) Scarlet Ribbons unrecorded Schmitt Brothers’ Disco unrecorded

354 Shine 33.3 Barbershop Ball Decca Shine 33.3 Bonanza *76 SPEBSQSA Shine 33.3 Silver Favorites Shine 33.3 Ten Years of Decca Barbershop Champions Side by Side 33.3 Schmitt Brothers Decca Barbershop Side by Side 33.3 Silver Favorites Softly and Tenderly 33.3 Brighten the Comer Decca (Where You Are) Softly and Tenderly 33.3 Silver Favorites Standing in the Need of 33.3 Barbershop Bonanza SPEBSQSA Prayer Standing in the Need of 33.3 Golden Favorites Daniel Prayer Company Standing in the Need of 33.3 Schmitt Brothers Decca Prayer Barbershop Standing on the Promises 33.3 Brighten the Comer Decca (Where You Are) Standing on the Promises 33.3 Silver Favorites Steppin’ Around 33.3 Barbershop Ball Decca Steppin’ Around 33.3 Barbershop Bonanza SPEBSQSA Sunshine of Your Smile, The 33.3 Barbershop Ball Decca sunshine of Your Smile. The 33.3 Silver Favorites Sweet Adeline unrecorded Tell Her You Love Her 33.3 Golden Favorites Daniel Today Company Tell Her You Love her 33.3 Schmitt Brothers Decca Today Barbershop Tell Me Why 33.3 Schmitt Brothers Decca Barbershop That Old Gal of Mine 33.3 ‘Round the Old Decca Striped Pole That Old Gal of Mine 33.3 Silver Favorites That Wonderful Mother of 33.3/Cass./ 23 Years of Harmony SPEBSQSA Mine 8 Tr. with the Schmitt Brothers There’s Always Room at Our unrecorded House These Will Be the Good Old 333 AIC 1981 SPEBSQSA Days International Convention

355 These Will Be the Good Old 33.3 AIC 1982 SPEBSQSA Days International Convention These Will Be the Good Old 33.3 AIC 41" International SPEBSQSA Days Convention Till We Meet Again 33.3 Golden Favorites Daniel Company Till We Meet Again 33.3 Schmitt Brothers Decca Barbershop True Love unrecorded Tuck Me to Sleep in My Old 33.3 Barbershop Ball Decca ‘Tucky Home Tuck Me to Sleep in My Old 33.3 Silver Favorites Kentucky Home Wabash Moon 33.3 ’Round the Old Decca Striped Pole We Three unrecorded Were You There? 33.3 Brighten the Comer Decca (Where You Are) Were You There? 33.3 Golden Favorites Daniel Company When I Leave the World 33.3/Cass./ 23 Years of Harmony SPEBSQSA Behind 8 Tr. with the Schmitt Brothers When the Bell in the 33.3 Bonanza ‘75 SPEBSQSA Lighthouse Rings Ding, Dong When the Bell in the 33.3/Cass./ 23 Years of Harmony SPEBSQSA Lighthouse Rings Ding dong 8 Tr. with the Schmitt Brothers When the Bell in the 33.3 Association of SPEBSQSA Lighthouse Rings, Ding International Dong Champions 41" International Convention When the Red Red Robin 33.3 Silver Favorites Comes Bob Bob Bobbin’ Along When the Red, Red Robin 33.3 Schmitt Brothers Decca Comes Bob, Bob Bobbin’ Barbershop Along When Your Old Wedding 33.3 AIC 4 (f Annual SPEBSQSA Ring Was New Convention 1978

356 When Your Old Wedding 33.3 AIC 41" International SPEBSQSA Ring Was New Convention Whiffen Poof Song 33.3 Golden Favorites Daniel Company Whiffenpoof Song, The 33.3 Schmitt Brothers Decca Barbershop Winter Song unrecorded Yankee Doodle Dandy unrecorded

S untones Song Title Type Recording Title Label A Bundle Of Old Love CD& Complete Works Acoustix Letters Cassette Volume II Productions A Little Street Where Old CD& Comfriete Works Acoustix Friends Meet Cassette Volume II Productions A Little Street Where Old CD& Suntones AIC Friends Meet Cassette Masterworks Series Adeline/Mandy/Frivolous unrecorded Sal After You've Gone 33.3 Afterglow (The Sunrise Records Suntones) After You've Gone CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions After You've Gone CD& Suntones AIC Cassette Masterworks Series Air Corps Song 33.3 Keep America Singing Freedom Productions All the Things You Are 33.3 Afterglow (The Sunrise Records Suntones) All the Things You Are CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions America 33.3 Touch of Gold, A Sunrise Records America the Beautiful 33.3 Keep America Singing Freedom Productions America the Beautiful CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions America The Beautiful CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Anchors A weigh 33.3 Keep America Singing Freedom Productions Annie Rooney/The band unrecorded played on 357 Armed Forces Medley CD& Suntones AIC Cassette Masterworks Series As Time Goes By 33.3 Bonanza 76 SPEBSQSA As Time Goes By 33.3 As Time Goes By Sunrise Records As Time Goes By CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 As Time Goes By CD& Suntones AIC Cassette Masterworks Series Baby Face 33.3 Association of SPEBSQSA International Champions 40th Annual Convention 1978 Baby Face 33.3 Where Is Love Sunrise Records Baby Face CD& Complete Works Acoustix Cassette Volume V Productions Battle Hymn of the Republic 33.3 Keep America Singing Freedom Productions Battle Hymn Of The CD& Complete Works Acoustix Republic Cassette Volume III, 1972 Productions Be My Love 33.3 Where Is Love Sunrise Records Be My Love CD& Complete Works Acoustix Cassette Volume V Productions Bicycle Built for Two (Little 33.3 Touch of Gold, A Sunrise Records Annie Rooney, The Band Played On) Bundle of Old Love Letters 33.3 Barbershop Bonanza SPEBSQSA By the Time 1 Get to Phoenix 33.3 Watch What Happens Sunrise Records By The Time I Get To CD& Complete Works Acoustix Phoenix Cassette Volume II Productions Bye Bye Blues 33.3 Association of SPEBSQSA International Champions Bye Bye Blues 33.3 Bonanza 77 SPEBSQSA Bye Bye Blues 33.3 Somewhere Sunrise Records Bye Bye Blues CD& Complete Works Acoustix Cassette Volume 11 Productions

358 Bye Bye Blues CD& Suntones AIC Cassette Masterworks Series Caissons Go Rolling Along 33.3 Keep America Singing Freedom Productions Carolina Moon 33.3 Touch of Gold, A Sunrise Records Carolina Moon CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Chordbuster's March. The 33.3 Touch of Gold, A Sunrise Records Cohan Medley CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Cohan Medley CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Cohen Medley 33.3 Afterglow (The Sunrise Records Suntones) Coney Island Baby unrecorded Daisy Bell CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Danny Boy 33.3 Bonanza 74 SPEBSQSA Danny Boy 33.3 Fiddler Sunrise Records Danny Boy CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Danny Boy CD& Suntones AIC Cassette Masterworks Series Doin' the Raccoon 33.3 Touch of Gold, A Sunrise Records Doin' The Raccoon CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Down the Lane of Memory 33.3 Addler Sunrise Records Down The Lane Of Memory CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Elmer's Tune / Sam's Song CD& Complete Works Acoustix Medley Cassette Volume V Productions Elmer's Tune/Sam's Song 33.3 My Fair Lady Sunrise Records Medley Emaline 33.3 Bonanza'77 SPEBSQSA Emaline 33.3 As Time Goes By Sunrise Records Emaline CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976

359 Emaiine CD& Suntones AIC Cassette Masterworks Series Emmaline 33.3 Bonanza 76 SPEBSQSA Fiddler on the Roof 33.3 Fiddler Sunrise Records Fiddler On The Roof Medley CD& Complete Works Acriustix Cassette Volume IV. 1973- Productions 1976 Finian's Rainbow Medley 33.3 Watch What Happens Sunrise Records Finian's Rainbow Medley CD& Complete Works Acoustix Cassette Volume II Productions Finian's Rainbow Medley CD& Suntones AIC Cassette Masterworks Series For All We Know 33.3 Touch of Gold, A Sunrise Records For All We Know CD& Complete Works Acoustix Cassette Volume 1.1962-1966 Productions For All We Know CD& Suntones AIC Cassette Masterworks Series Frivolous Sal unrecorded Give Me Your Tired, Your CD& Complete Works Acoustix Prior Cassette Volume III, 1972 Productions Give Me Your Tired, Your 33.3 Keep America Singing Freedom Poor Productions Give My Regards to 33.3 Keep America Singing Freedom Broadway Productions God Bless America 33.3 Keep America Singing Freedom Productions God Bless America CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Great Gettin' Up Momin' CD& Complete Works Acoustix Cassette Volume V Productions Great Gettin* Up Morning 33.3 My Fair Lady Sunrise Records Harrigan (Mary's A Grand 33.3 Touch of Gold, A Sunrise Records Old Name) Harrigan / Mary's A Grand CD& Complete Works Acoustix Old Name Cassette Volume III, 1972 Productions Heart of my heart unrecorded Hello Dolly 33.3 Afterglow (The Sunrise Records Suntones) Hello Dolly CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions 360 Hey Look Me Over 33.3 Afterglow (The Sunrise Records Suntones) Hey Look Me Over CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Hospitality 33.3 Bonanza 75 SPEBSQSA Hospitality 33.3 Watch What Happens Sunrise Records Hospitality CD& Complete Works Acoustix Cassette Volume II Productions I Had the Craziest Dream 33.3 Touch of Gold, A Sunrise Records I Had The Craziest Dream CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions I Left My Heart at the Stage 33.3 Where Is Love Sunrise Records Door Canteen I Left My Heart At The CD& Complete Works Acoustix Stagedoor Canteen Cassette Volume V Productions I love your lovin' arms unrecorded I Want a Girl 33.3 Association of SPEBSQSA International Champions 40th Annual Convention 1978 I Want To Hear A Yankee CD& Complete Works Acoustix Doodle Tune Cassette Volume IV, 1973- Productions 1976 1 Want to Hear a Yankee 33.3 Fiddler Sunrise Records Doodle Tune the Yankee Doodle Boy I'm Confessin' (That I Love CD& Complete Works Acoustix You) Cassette Volume 1,1962-1966 Productions I'm Confessin' That I Love 33.3 Touch of Gold, A Sunrise Records You I'm Going Back to Carolina 33.3 Somewhere Sunrise Records I'm Going Back To Carolina CD& Complete Works Acoustix Cassette Volume II Productions If CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 If I Fell 33.3 Watch What Happens Sunrise Records If I Fell CD& Complete Works Acoustix Cassette Volume II Productions If You Can't Tell the World 33.3 Afterglow (The Sunrise Records She's a Good Little Girl Suntones) If You Can't Tell The World CD& Cmnplete Works Acoustix She's A Good Little Girl Cassette Volume 1,1962-1966 Productions 361 If You Can't Tell The World CD& Suntones AIC She's A Good Little Girl Cassette Masterworks Series In old New York/The unrecorded Bowery In the Cool, Cool, Cool of 33.3 Where Is Love Sunrise Records the Evening In the Cool, Cool, Cool of CD& Complete Works Acoustix the Evening Cassette Volume V Productions Irving Berlin Medley 33.3 As Time Goes By Sunrise Records Irving Berlin Medley CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 It Had to Be You 33.3 My Fair Lady Sunrise Records It Had to Be You CD& Complete Works Acoustix Cassette Volume V Productions It's a Long Way to Tipperary 33.3 Keep America Singing Freedom Productions It's a Most Unusual Day 33.3 Association of SPEBSQSA International Champions 1981 International Convention It's a Most Unusual Day 33.3 Where Is Love Sunrise Records It's A Most Unusual Day CD& Complete Works Acoustix Cassette Volume V Productions It's A Most Unusual Day CD& Suntones AIC Cassette Masterworks Series Jean 33.3 Watch What Happens Sunrise Records Jean CD& Complete Works Acoustix Cassette Volume II Productions Jerome Kern Medley 33.3 Watch What Happens Sunrise Records Jerome Kern Medley CD& Complete Works Acoustix Cassette Volume II Productions Jezebel 33.3 Where Is Love Sunrise Records Jezebel CD& Complete Works Acoustix Cassette Volume V Productions Jezebel CD& Suntones AIC Cassette Masterworks Series Just a Bundle of Old Love 33.3 Somewhere Sunrise Records Letters Lazy Bones 33.3 Touch of Gold, A Sunrise Records 362 Lazy Bones CD& Complete Works Acoustix Cassette Volume 1, 1962-1966 Productions Let Me Call You Sweetheart 33.3 Touch of Gold, A Sunrise Records Let Me Call You Sweetheart CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Lida Rose 33.3 Watch What Happens Sunrise Records Lida Rose CD& Complete Works Acoustix Cassette Volume II Productions Little Annie Roonie CD& Complete Works Acoustix Cassette Volume 111, 1972 Productions Little Boy That Santa Claus 33.3 Touch of Gold, A Sunrise Records Forgot, The Little Street Where Old 33.3 Golden Barbershop Decca Friends Meet, A Ballads Little Street Where Old 33.3 Barbershop Quartets Decca Friends Meet, A of 1961 (The Top Ten) Little Street Where Old 33.3 Best of Barbershop, Decca Friends Meet, A The (25 Years of Winners) Little Street Where Old 33.3 Bonanza 75 SPEBSQSA Friends Meet, A Little Street Where Old 33.3 Somewhere Sunrise Records Friends Meet, A Little White Cloud That 33.3 Where Is Love Sunrise Records Cried, The Lollipops and Roses 333 Watch What Happens Sunrise Records Lollipops And Roses CD& Complete Works Acoustix Cassette Volume 11 Productions Lordy how I love the South unrecorded Make believe unrecorded Marine Corp Hymn 33.3 Keep America Singing Freedom Productions Marines' Hymn/Anchom 33.3 AIC 46th International SPEBSQSA aweigh/The Army Air Corps Convention Recording (Air Forec)/The Caissons Go Rolling Along (medley) May Each Day 33.3 Fiddler Sunrise Records May Each Day CD& Complete Works Acoustix Cassette Volume IV. 1973- Productions 1976 Meet Me Tonight in 33.3 Touch of Gold, A Sunrise Records Dreamland Meet Me Tonight In CD& Complete Works Acoustix Dreamland Cassette | Volume III, 1972 Productions 363 Memories CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Mighty Lak a Rose 33.3 Touch of Gold, A Sunrise Records Mighty Lak A Rose CD& Complete Works Acoustix Cassette Volume I, 1962-1966 Productions Moon Medley CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Mother Machree 33.3 Touch of Gold, A Sunrise Records Mother Machree CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions My Buddy 33.3 Keep America Singing Freedom Productions My Buddy 33.3 Somewhere Sunrise Records My Buddy CD& Complete Works Acoustix Cassette Volume II Productions My Buddy CD& Complete Works Acoustix Cassette Volume III, 1972 Productions My Country Tis of Thee 33.3 Keep America Singing Freedom Productions My Country Tis Of Thee CD& Complete Works Acoustix Cassette Volume III, 1972 Productions My Fair Lady Medley 33.3 My Fair Lady Sunrise Records My Fair Lady Medley CD& Complete Works Acoustix Cassette Volume V Productions My Gal Sal 33.3 Touch of Gold, A Sunrise Records My Gal Sal CD& Complete Works Acoustix Cassette Volume III, 1972 Productions My Way 33.3 My Fair Lady Sunrise Records My Way CD& Complete Works Acoustix Cassette Volume V Productions No No Nora CD& Complete Works Acoustix Cassette Volume II Productions No, No Nora CD& Suntones AIC Cassette Masterworks Series No, No, Nora 33.3 Somewhere Sunrise Records Nobody's Sweetheart 33.3 Barbershop Quartets Decca of 1961 (The Top Ten) Nobody's Sweetheart CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Oh How I Miss You Tonight 33.3 Top Ten Barbershop Decca Quartets of 1960, The 364 Oh Teacher 33.3 Touch of Gold, A Sunrise Records Oh! Teacher CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Old Folks 33.3 Watch What Happens Sunrise Records Old Folks CD& Complete Works Acoustix Cassette Volume II Productions Old Songs Medley CD& Suntones AIC (Cassette Mastenvorks Series Old Songs, The (In Old New 33.3 Touch of Gold, A Sunrise Records York, The Bowery, Coney Island Baby) Over There 33.3 Keep America Singing Freedom Productions Pack Up Your Troubles in 33.3 Keep America Singing Freedom Your Old Kit Bag Productions Pass Me By 33.3 Bonanza 75 SPEBSQSA Pass Me By 33.3 Afterglow (The Sunrise Records Suntones) Pass Me By CD& Complete Works Acoustix Cassette Volume 1 ,1962-1966 Productions River of No Return 33.3 Afterglow (The Sunrise Records Suntones) River Of No Renim CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Rose, The 33.3 My Fair Lady Sunrise Records Roses and Lollipops unrecorded Service Medley CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Sheik Of Araby CD& Complete Works Acoustix Cassette Volume II Productions Shiek of Araby 33.3 Watch What Happens Sunrise Records Shine on Harvest Moon (By 33.3 Touch of Gold, A Sunrise Records the Light of the Silvery Moon) Show Me Where The Good 33.3 Fiddler Sunrise Records Times Are Show Me Where The Good CD& Complete Works Acoustix Times Are Cassette Volume IV, 1973- Productions 1976 Show Me Where The Good CD& Suntones AIC Times Are Cassette Masterworks Series Shrimp Boats 33.3 Where Is Love Sunrise Records 365 Shrimp Boats CD& Complete Works Acoustix Cassette Volume V Productions Shrimp Boats CD& Suntones AIC Cassette Masterworks Series Side by Side Unrecorded Smile a while unrecorded Sound of Music Medley 33.3 As Time Goes By Sunrise Records Sound Of Music Medley CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 South 33.3 Afterglow (The Sunrise Records Suntones) South CD& Complete Works Acoustix Cassette Volume I, 1962-1966 Productions Speak Softly Love 33.3 Fiddler Sunrise Records Speak Softly Love CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Star Spangled Banner, The 33.3 Keep America Singing Freedom Productions Story of the Bells 33.3 My Fair Lady Sunrise Records Sweet Adeline 33.3 Barbershop Bonanza SPEBSQSA Sweet Adeline 33.3 Happiness Is SPEBSQSA Barbershop Singing (Volume III) Sweet Adeline 33.3 Touch of Gold, A Sunrise Records Sweet Adeline CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Sweet Georgia Brown 33.3 As Time Goes By Sunrise Records Sweet Georgia Brown CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Teacher unrecorded Tennessee Waltz 33.3 Barbershop Bonanza SPEBSQSA Tennessee Waltz 33.3 Somewhere Sunrise Records Tennessee Waltz CD& Complete Works Acoustix Cassette Volume II Productions Tennessee Waltz CD& Suntones AIC Cassette Masterworks Series That Old Black Magic 33.3 Touch of Gold, A Sunrise Records That Old Black Magic CD& Complete Works Acoustix Cassette Volume 1.1962-1966 Productions 366 That Old Black Magic CD& Suntones AIC Cassette Masterworks Series The Band Played On CD& Complete Works Acoustix Cassette Volume III. 1972 Productions The Chordbuster's March CD& Complete Works Acoustix Cassette Volume 1 ,1962-1966 Productions The Little Boy That Santa CD& Complete Works Acoustix Claus Forgot Cassette Volume 1 ,1962-1966 Productions The Little White Cloud That CD& Complete Works Acoustix Cried Cassette Volume V Productions The Old Songs Medley CD& Complete Works Acoustix Cassette Volume III. 1972 Productions The Rose CD& Complete Works Acoustix Cassette Volume V Productions The Star Spangled Banner CD& Complete Works Acoustix Cassette Volume III. 1972 Productions The Three Bells CD& Complete Works Acoustix Cassette Volume V Productions Their Hearts We're Full of 33.3 Watch What Happens Sunrise Records Spring Their Hearts Were Full Of CD& Complete Works Acoustix Spring Cassette Volume II Productions Their Hearts Were Full Of CD& Suntones AIC Spring Cassette Masterworks Series There'll Be No New Tunes 33.3 Afterglow (The Sunrise Records on This Old Piano Suntones) There'll Be No New Tunes CD& Complete Works Acoustix On This Old Piano Cassette Volume 1.1962-1966 Productions There's A New Gang on the 33.3 Afterglow (The Sunrise Records Corner Suntones) There's A New Gang On The CD& Complete Works Acoustix Comer Cassette Volume 1,1962-1966 Productions They Didn't Believe Me 33.3 Somewhere Sunrise Records They Didn't Believe Me CD& Complete Works Acoustix Cassette Volume II Productions They Wrote 'Em in the Good 33.3 Hddler Sunrise Records Ole Days They Wrote 'Em In The CD& Complete Works Acoustix Good Old Days Cassette Volume IV. 1973- Productions 1976 This Is My Country 33.3 Keep America Singing Freedom Productions 367 This Is My Country CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Those old love letters of unrecorded mine Through the Years Unrecorded Till We Meet Again 33.3 Touch of Gold, A Sunrise Records Till We Meet Again CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Time in a Bottle 33.3 Where Is Love Sunrise Records Time In A Bottle CD& Complete Works Acoustix Cassette Volume V Productions Together, Wherever We Go 33.3 As Time Goes By Sunrise Records Together, Wherever We Go CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Two Guy Medley CD& Suntones AIC (Cassette Masterworks Series Watch What Happens 33.3 Watch What Happens Sunrise Records Watch What Happens CD& Complete Works Acoustix Cassette Volume II Productions Watch What Happens CD& Suntones AIC Cassette Masterworks Series Way you look tonight. The unrecorded Wedding Bells (Are 33.3 Touch of Gold, A Sunrise Records Breaking Up That Old Gang of Mine) Wedding Bells (Are CD& Complete Works Acoustix Breaking Up That Old Gang (Cassette Volume III, 1972 Productions Of Mine) / Heart Of My Heart (The Story Of A Rose) West Side Story 33.3 Somewhere Sunrise Records West Side Story Medley CD& Complete Works Acoustix (Cassette Volume II Productions West Side Story Medley CD& Suntones AIC Cassette Masterworks Series Where Is Love 33.3 Where Is Love Sunrise Records Where Is Love CD& Complete Works Acoustix Cassette Volume V Productions Where Is Love CD& Suntones AIC Cassette Masterworks Series 368 Where or When 33.3 Afterglow (The Sunrise Records Suntones) Where or When CD& Complete Works Acoustix Cassette Volume 1,1962-1966 Productions Why do I love you/ Make unrecorded believe Without a Song 333 As Time Goes By Sunrise Records Without A Song CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 World War 1 medley CD& Complete Works Acoustix Cassette Volume III, 1972 Productions Yankee Doodle Boy 33.3 Keep America Singing Freedom Productions Yankee Doodle Boy CD& Complete Works Acoustix Cassette Volume IV, 1973- Productions 1976 Yankee Doodle Medley 33.3 Bonanza 74 SPEBSQSA You're a Grand Old Flag 33.3 Keep America Singing Freedom Productions You're Nobody's Sweetheart 33.3 Bonanza 76 SPEBSQSA Now You're Nobody's Sweetheart 33.3 As Time Goes By Sunrise Records Now Your Eyes Had Told Me So CD& Complete Works Acoustix Cassette Volume V Productions Your Eyes Have Told Me So 33.3 My Fair Lady Sunrise Records

Town & Country 4 Song Title Type Recording Title Recording Label Ain’t she sweet unrecorded Daddy You’ve Been a 33.3 Top Ten Barbershop Decca Mother to Me Quartets of 1960, The Dear old girl unrecorded Dear Old Ad of Mine unrecorded Desert Pbte unrecorded Down Where the Swanee 33.3 Barbershop Quartets Decca River Flows of 1961 (The Top Ten) Down where the Swanee unrecorded River Flows I love the ladies unrecorded I love the South unrecorded

369 I Only Want a Buddy - Not a 33.3 Top Ten Barbershop Decca Sweetheart Quartets ‘62, The I Wish I Had My Old Gal 333 Best of Barbershop, Decca Back Again The (25 Years of Winners) 1 Wish I Had My Old Gal 33.3 Top Ten Barbershop Decca Back Again Quartets of 1963, The I Wish 1 Had My Old Gal 33.3 Top Ten Barbershop Decca Back Again Quartets of 1963, The I Wouldn’t Trade the Silver 33.3 Barbershop Quartets Decca in My Mother’s Hair of 1961 (The Top Ten) I’m Lonesome for You, 33.3 Barbershop Quartet Decca That’s All Winners (1949 Medalists) Ida Sweet As Apple Cider, If 33.3 Barbershop Quartet Decca You Knew Susie Winners (1949 Medalists) Johnny Appleseed unrecorded Medley: for Mandy and Me 33.3 Barbershop Quartet Decca Winners (1949 Medalists) Mississippi Mud 33.3 Top Ten Barbershop Decca Quartets of 1960, The Old Man River unrecorded South unrecorded Way Back When 33.3 Top Ten Barbershop Decca Quartets ‘62, The When My Sugar Walks 33.3 Top Ten Barbershop Decca Down the Street Quartets of 1963, The When My Sugar Walks 33.3 Top Ten Barbershop Decca Down the Street Quartets of 1963, The

Vikings Song Title Type Recording Title Recording Label Angel Eyes unrecorded Annabelle Lee unrecorded Anytime unrecorded Creole Cutie unrecorded Daddy's Little Girl unrecorded Dry Bones unreccnded Easter Parade unrecorded Egyptian Ella unrecorded 370 Goodbye My Coney Island unrecorded Baby Halls of Ivy unrecorded Happy-Go-Lucky Days unrecorded Hello My Baby unrecorded Hold Me unrecorded I Believe umecorded Jealous unrecorded Lonesome for You, 78 Barber Shop Winners Decca Annabelle (1953 Medalists) Mammy's Little Coal Black unrecorded Rose Minnie The Mermaid unrecorded Mississippi, Mud unrecorded Muskrat Ramble unrecorded New Ashmolian Band unrecorded Old Fraternity Pin unrecorded Roses of Picardy unrecorded September Song unrecorded Stormy Weather unrecorded There'll Be Some Changes 78 Barber Shop Neff Recording Made Harmonies (1952 Co. Medalists) Tie Me to your Apron unrecorded Strings Again Undecided unrecorded Vikings say ""Hello""" unrecorded Wabash Medley unrecorded Way Down Yonder in New unrecorded Orleans When 1 Lost You unrecorded When the Morning Glories 78 Barber Shop Winners Decca Wake Up in the Morning ( 1953 Medalists) When the Morning Glories 33.3 Ten Years of Decca Wake Up in the Morning Barbershop (Then 111 Kiss Your Two Champions Lips Goodnight) When You're Smiling 78 Barber Shop Winners Decca (1953 Medalists)

371 When You're Smiling (The 33.3 Best of Barbershop, Decca Whole World Smiles with The (25 Years of You) Winners) World Is Waitin' For The unrecorded Sunrise, The

372 REFERENCES

1942 National Quartet Champions the Elastic Four. (n.d.). [Web site]. Available: http://webpages.marshall.edu/~bennett7/thestation/quartets/elastic4.html.

1942: Elastic Fotu’ - champions in harmony and sartorial splendor, The. (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, W153140-5199).

1945 - Misfits. (Circa 1984). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Afterglow with the Suntones. (1973, Spring). Afterglow with the Suntones. 2 1 8. Unpublished manuscript. (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha, Wl 53140-5199).

Afterglow with the Suntones. (1976, Spring). Harmonizer. 36 (2), 16.

Air Force let Four Teens rehearse for 1952 gold. ( 1988, November/December). Harmonizer. 48 (6), 39-40.

Air Force quartet - Four Teens takes Society gold medals. ( 1952, September). ),3.

America's youth want to sing more barbershop harmony. (1956, June). i2fiLiÊ(2),3.

Army likes Korea film. (1952, March). Harmonizer. 11 (3). 47.

As kids, "Evans' sang song "Lucky Lindy" to Lindberg. (1988, November/December). Harmonizer. 48 (61.47.

Austin, J. M. (1992, February 2). Vem Reed service. Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

373 Background of quartet experience. (n.d.). Unpublished manuscript.. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 531^5199).

Baird, J. (1986, July/August). Historical notes about Roy Frisby. Attacks and Releases 17 - 19. (Available from the Heritage Hall Museum, ^ 1 5 Third Avenue, Kenosha, WI S 140-5199).

Baird, J. (1986, March/April). Conversations with Huck. Attacks and Releases. 13-15. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Baker, T. (1948). Pronouncing Pocket-Manual of Musical Terms (Rev. Ed.). New York: G. Schirmer.

Barflies re united. (1947, November). Harmonizer. 7 (2), 24.

Baritone, (n.d.). [Photograph and caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Bartlesville Barflies' name came from founder Cash. (1988, November/December). Harmonizer. 48 (6), 30.

Beeler, J. D. (1951, December). The Mid-States Four in Korea. Harmonizer. 11 (2 ), 0 -0.

Bennett, R. (1944, November). Harmony Halls - a tribute. The. Harmonizer 4. (2), 12.

Benoit, P. (1987, October). A trip down memory lane. Pitchburgh Press. 6-7. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Best of barbershop: 25 years of winners. The (n.d.). [record]. New York: Decca.

Bisio, R. (1989, March/April). Before the color fades. Westunes. 14. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199)

Blazina-Joyce, R. (1995, September/October). Society pays tribute to its 1945 international quartet champion - the Misfits. Harmonizer. 45 (5), 37.

Blazina-Joyce, R. (1996, May/June). Four boys from Jersey turn a pocket full of lemons into gold. Harmonizer. 56 (3), 6. (Available from the Society website: http://www.spebsqsa.org/Museum/gardenst.html).

Blazina-Joyce, R. (1997, September/October). The Doctors of Harmony. izCLjSZ (^ . 31.

374 Brandt, M. (1992, August). Interview with Leo Sisk. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (1992, August 10). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199.)

Brandt, M.H. (1993, March). Tom Palamone and the Pittsburghers: A living legend. Pitchburgh Press. 7. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Brandt, M.H. (1998, September). Tribute to the Pittsburghers. Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Brandt, M.H. (n.d ). Loafing on the avenue. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Briody, J. (1946, November). How to become a champion in 3 easy lessons.

Briody, J. (1947, August). My year as a "champeen." Harmonizer. 7 fn . 39.

Briody, J. (1947, November). Racking a year's pleasure into half a day. Harmonizer. 7 (21.16.

Brooks, R. (1983). Tom O'Malley: JAD hall of famer dead at 69. Pitchburgh Press. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Buckley, P., & Perkins, C. (n.d.). The Misfits-international champions 1945. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Buffalo Bills most famous of all champion quartets. (1988, November/December). Harmonizer. 48 (6), 37-38.

Buffalo Bills, The (n.d.). Unpublished manuscript from GAC Press Dept. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Buffalo Bills. (1960, March). An open letter. Harmonizer. 20 r2V 29

Canady, J. (Ed.). (1951, June/July). Congratulations to The Misfits ' Attacks and-Reigascs. 9. (Available from the Heritage Hall Museum, 6 3 15 Third Avenue, Kenosha, WI 53140-5199).

375 Carl Wright - "Lad of Enchantment.' (1990, October/November). The Castle. 16. (4). (Available from Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Carlson, D. (1969). A history of SPEBSQSA. Unpublished master’s thesis, Wisconsin State University, Wisconsin.

Champion Confederates left treasury of songs. ( 1988, November/December). Harmonizer. 48 (6), 44.

Champion quartet's baritone still in tune. (1988, April 9). Tulsa World. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Champion Suntones stayed together for 25 years. (1988, November/December). Harmonizer. 48 (6), 48.

Champs do K.P. (1952, September). Harmonizer. 12(1). 51.

Champs taken for a ride. (1948, December). Harmonizer. 8 (21. 18.

Chapters in action. (1991, September/October). Harmonizer. 51 (51.38.

Chicago quartet rechristened. (1946, February). Harmonizer. 5 f31.8.

Chord Busters 1941 national quartet champion. The. (n.d.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Cokecroft, G. (1962, May/June). Follow the Sun Tones. Harmonizer. 22 (3), 7-8.

Conard, D. (1960, January). Secret desire brings fame to Pittsburgh’s Town & Country Four. Harmonizer. 20 f n. 2-3.

Confederates, The. (1956, May). [Promotional material]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Confederates: 1956 international champions. (n.d.). Harmony Ga/ette 4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Congressional Record. (1951, June 26). Wisconsin, land of harmony. Washington, DC: U.S. Government Printing Office.

Connett, F. (1958, March). Exclusive interview with "The Buffalo Bills," An. Harmonizer. 18 (2), 21-22.

376 Conversation with Bob Lindley. (1988, June/July). Illinois District Bulletin. 25- 26. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Conway, W. (1949, September). Pittsburghers still "thrilled." Harmonizer. 9 (D.43.

Conway, W. (n.d.). One of a million memories. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Conway, W., & Palamone, T. (1989, January/February) Jiggs Ward 1908-1988. Pitchburgh Press. 3. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Conway, W., & Palamone, T. (n.d.) In memory of Jiggs Ward. Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Cook, W. (1965). Melodies for Millions. Kenosha, WI: SPEBSQSA, Inc.

Costello, J. (1952, July 6). Meet the new world champs of barbershop singing ~ Scott Air Force Base's'Four Teens.' St. Louis Globe-Democrat. pp. 1-4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Cox, J. (1985, May/June). Show honors arranger Walter Latzko. Harmonizer 45 (3). 12-14.

Dalmas, H. (1952, June). Act nobody can buy. The. Recreation. 140-141. (Available from die Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Deep bass voice. The. (n.d.). [Photograph and caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Dessauer, P. (1941, October 1). 5,000 acclaim Johnny Whalen memorial show: Tribute to late police singer hits entertainment high. The Daily Oklahoman. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Detail sheet The Orphans (1954). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

'Docs' prescribed hard work to win 1947 gold. (1988, November/December). Harmonizer. 48 (6), 35.

Dundalk wins new honors. (1962, July/August). Harmonizer. 22 (4V 29

377 Ed Sullivan show featured 1954 champion Orphans. (1988, November/December). Harmonizer. 48 (2). 42.

Edwin J. Gaikema. (1985, July). Harmonizer. 45 (4). 6.

Egan, M. (1968, June). Instant champs: The saga of the Four Teens. Barber Shop Harmony Hi-Lites. 21.2-4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-51W).

Elastics help sell $8,156,0(X) bonds. (1944, September). Harmonizer. 4 (1), 32.

Embury, P. (1951, August). Speaking of the Buffalo Bills. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Embury, P. (1952, December). Japan-Korea-Austria-Germany-Alaska. Harmonizer. 12 (2), 22-24.

Enmeier, N. T. (1944). Chord Busters "Bust one." [Letter to the Society President]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Ever-changing Hearsemen finally won gold in 1955. (1988, November/December). Harmonizer. 48 (6), 43.

Fergus, J. (1954, September). The society adopts Four Orphans Kansans win international championship. Harmonizer. 14(1). 30-33.

Flat Foot Four of Oklahoma City, The. (1943, September). Harmonizer. 3 (1), 15.

Rom, D. (1993). A very special gold medalist Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Fobart, L. (1967). Interview with Vernon Reed. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

For your listening pleasure. (1949, December). Harmonizer. 9 (21.41.

Founder. (n.d.). [Photograph and caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Founder's column. (1953, June). [Photograph and caption]. Harmonizer. 12 (4), 6.

378 'Four Barflies' win song crown; Bartlesville quartet is first in barber shop harmony contest. (1939, June 4). Tulsa Daily World, p. 2.

Four Bills to appear on SPEBSQSA show. (n.d.) (Available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha. WI S3140-5199).

Four Harmonizers...Chicago. 111.. The. (1944. March). Harmonizer. 3 (3), 9.

Four Hearsemen. Amarillo, take crown; Janesville. Wisconsin, chorus topper; Arthur Merrill elected president; Chorus contest may be abandoned. ( 1955. September).

Four Hearsemen. The. (1958. March 22). Amarillo's seventh annual parade of quartets: Souvenir program. 11. (Available from the Heritage Hall Museum, 6315 Third Avenue. Kenosha. WI 53140-5199).

Four teens history, (c. 1955/1956). Unpublished manuscript. (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha. WI 53140-5199).

Four Teens win world title in quartet singing. (1952, June). News Democrat, pp. 1, last page. (Available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha, WI 53140-5199).

Frank Thome, (n.d.). Unpublished manuscript (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha. WI 53140-5199).

Freund. R. (1984, March). An interesting and informative comment [Letter to the editor]. Salt Lake Chapter Spotlight. 1.3.4. (Available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha. WI 53140-5199).

Frisby. R. M. (n.d ). History of the Elastic Four. Unpublished manuscript. (Available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha, WI 53140-5199).

Gala Lads and Thoroughbreds capture trophies and audience. ( 1962. July/August). Harmonizer. 22 (4). 2.

Gala Lads had experience, talent to win gold in '62. (1988, November/December). Harmonizer. 48 (61.49.

Garden State members had showbiz backgrounds. (1988. November/December). Harmonizer. 48 (6). 34-35.

Garden State Quartet. (n.d.). Unpublished manuscript (Available from the Heritage Hall Museum. 6315 Third Avenue. Kenosha, WI 53140-5199).

379 Gaynotes in 1958 brought gold medals back to Tulsa. (1988, November/December). Harmonizer. 48 (6), 45-46.

Gaynotes. (n.d.) Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Grand Rapids convention big success; 60 quartets compete -15 in finals. ( 1942, September). Harmonizer. 2 (11.3.

Greer, R. M. (n.d.). Robert Milton Greer "Bob Greer." Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Grundy coached Pitchikers from Ozarks to 1959 gold. ( 1988, November/December). Harmonizer. 48 (6), 47.

Harmony Halls as they toured European army posts. (1950, September). HannenizeLJO (1), 49.

Harmony Halls' origin dated back to Lincoln. ( 1988, November/December). Harmonizer. 48 (3), 33.

Harmony Halls...Grand Rapids, Mich., The. ( 1944, May). Harmonizer. 3 (4), 24.

Harmony Records present The Four Harmonizers. ( 1946, May). Harmonizer. 5 (4), 23.

Harry Conte. ( 1986, January/February). Harmonizer. 48 (1). 3.

Hedrick, S. (1958, January 14). Buffalo Bills riding crest of Broadway fame. Buffalo Evening News, p.

Heiny, R.W. (n.d.). Amarillo harmony. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Helzer, T. (1959, May). The life, loves and laughs of the champs. Harmonizer. 12 (3), 8-9.

Helzer, T. & Staff (1954, September). The quartet that -almost Harmonizer. 14 (1), 34-36.

Herman W. Struble. (1957, December). Chicago Chapter newsletter, 9, 1. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Hicks, V. (1959, November). Evans Quartet starts rise to fame singing for "Lucky Undy" in 1927. Harmonizer. 19(71.3. 380 Hicks, V. (1974, November/December). Dangers of sophistication. The. ),9.

Hicks, V. (1988). Heritage of Harmony. Kenosha, WI: SPEBSQSA, Inc.

Hockett, K. (n.d.). 1955-The Four Hearsemen. Liner notes on Ten years of barbershop champions [record]. Decca Records.

Home town welcomes champs. (1946, August). Harmonizer. 6 (1). 39.

How the Misfits pick a song and rehearse it. (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 63 IS Third Avenue. Kenosha, WI 53140-5199).

Huston, A. (1963, May/June). It takes a heap of singing to produce a champion. Harmonizer. 23 (3), 8-9, 29.

Illness claims tenor Bob Mack of Mid-States. (1988, July/August). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

In memorium: Dr. Norman T. (Doc) Enmeier. (1994). Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

In memorium: Gordon Hall. (n.d.). Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI S3140-5199).

Ives, L. (1945, May). How the Harmonizers rehearse. Harmonizer. 4 (4), 13.

Johnny Whalen memorial show. (1941, November). Re-Chordings. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Johnny Whalen memorial show. (1941, September 30). Souvenir program. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kahl, D. (1990, March/April). The thrill never stops. Harmonizer. 50 flL 26.

Kerr, 0. (1988). Interview with Tom Masengale. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed ). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (1989a). Interview with N T. "Doc" Enmeier. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

381 Kerr, G. f 1989bV Interview with Tom and Jim McCaslin. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Kerr, G. (1990, Summer). The Roundup. 5-6. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (1991, June la). Interview with Gary Ives. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed ). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (1991, June lb). Interview with Mo Rector. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (1991, March). Celebrating the Suntones 30th anniversary. Sunburst. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (1993, April 26). Interview with Herb Ives. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed ). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Kerr, G. (Ed.). (1996). Golden memories: The complete history of the great Southwestern District. Dallas: Southwestern District of SPEBSQSA, Inc.

Keystone slate week. (1950, December). Harmonizer. 10 (2). 27.

Kidder, L (1962, February). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Knipes, J. (Ed.). (1943, December). The Bartlesville Barflies. Harmonizer. 1 (2 ).

Korea movie ready. (1951, December). Harmonizer. 10 f3). 63.

Lads of Enchantment made mark despite short reign. ( 1988, November/December). Harmonizer. 48 (6). 45.

Legend in his own time, A. (1993, Summer). Timbre. 4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Lindley, R. J. (1994, Winter). Vikings -1953 Champs. The Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, Wl 53140-5199).

Lynch, B. (1991, September/October). 1991 International Convention breaks attendance record: The Ritz, Vocal Majority win gold. Harmonizer. 51 (5), 4. 382 Malafarina,J. (1983). An examination of barbershop music. SPEBSQSA. and a q-technique study of whv barbershoppers joined SPEBSQSA. Unpublished master’s thesis, Pennsylvania State University, Pennsylvania.

Mairese.J. (1944, November). We wanted to give everybody a good look at this "Smoothest of the Smooth" quartets as they really appear The Garden State Quartet of Jersey City, N.J. 1944 fifth place winners. Harmonizer. 4 (2), 31.

Martin, C.T. (1948). Keep America Singing. Detroit, MI: SPEBSQSA, Inc.

Masengale, T. (1943, May). The Chord Busters -1941 national SPEBSQSA champions. Harmonizer. 2 (4), 12.

Masengale, T. (1983, First Quarter). Chord Busters again. SWD Roundup. 30 1. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Masengale, T. (n.d.). Chord Busters -1941 champions. The. Medallion. 5. (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha, WI 53140-5199).

Maurus, B. (1955, June). Vikings will call it a day. Harmonizer. 14 (4), 35.

McCaslin, G. (1975, June 6). The Barflies. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

McCaslin, G. (1979, March/April). Bob and me (a tribute). Harmonizer. 39 (2) 18.

McCaslin, G. (1983). In the beginning. Unpublished manuscript. (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha, WI 53140-5199).

McCaslin, G. (1984, May/June). Where are they now? Harmonizer. 44 (3). 22,28.

Memo from the editor to the editor. (1956, March). Harmonizer ifi ( i), 25.

Mendro, M. (1954, June). The Mid-States Four. Harmonizer. 13 r4V

Mendfo, M. (1995, June/July). College quartetters say thanks {Letter to the editor}. Aaaçks & R flm w . p. 4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha. WI 53140-5199).

Mendro, M. (c. 1995). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

383 Mendio, M. (n.d.) Story of the Mid-States Four, The. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Mid-States began career as Bell & Howell quartet. (1988, November/December). Harmonizer. 48 (6) 37.

Miller, J. (1955, June 19). Hearsemen sing way to barbershop title. Miami Herald. The. p. 2-A. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Misfit shorts. (n.d.). Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

"Misfits” take championship: Fifteen quartets in photo finish at Detroit smash all previous records for quality of performance. (1945, August). Harmonizer. 5 (1), 3-4.

Misfits "wake up and smile." (1947, February). Harmonizer. 6 (3), 34.

Misfits honored. (1945, August). Harmonizer. 5 (11.31.

Misfits in television broadcast. (1946, August). Harmonizer. 6 (11.6.

Misfits of Chicago, The. (1957, May). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Misfits, a busy quartet (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Misfits, a robust 4. (n.d.). Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

M'Millin, B. (1940, August 25). [Untitled newspaper article]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Morris, B. (1941). Barber shop harmony boys say, thanks.' Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

News about quartets. (1955, June). Harmonizer. 14 (4), 33.

News about quartets. (1955, March). Harmonizer. 48 (2), 30.

News about quartets. (1959, November). Harmonizer. 19(71.11.

News about quartets. (1961, July/August). Harmonizer 21 f4V 26

384 News about quartets. (1961, November/December). Harmonizer. 21 (6). 22.

News about quartets. (1962, March/April). Harmonizer. 22 (21.12.

News about quartets. (1963, Juiy/August). Harmonizer. 23 (4). 24.25.

News about quartets. (1964, November/December). Harmonizer. 24 (61.24.

News about quartets. (1964, September/October). Harmonizer. 24 (5). 21.

News about quartets. (1965 September/October). Harmonizer. 25 (51. 18.

News about quartets. (1965, January/Februaiy). Harmonizer. 25 il). 32.

News about quartets. (1965, November/December). Harmonizer. 26 (61.24.

News about quartets. (1966 May/June). Harmonizer. 26 (31.21.

News about quartets. (1966, March/April). Harmonizer. 26 (2). 20.

News about quartets. (1966, November/December). Harmonizer. 26 (61.21.

News about quartets. (1967, January/February). Harmonizer. 27 Hi. 27.

News about quartets. (1967, March/April). Harmonizer. 27 (21.18.

News about quartets. (1967, May/June). Harmonizer. 27 Gi. 20.

News about quartets. (1968, September/October). Harmonizer. 28 20.

News about quartets. (1971, September/October). Harmonizer. 31 f5>. 20.

News about quartets. (1975, March/April). HannQnizeL25 (2), 20.

News about quartets. (1979, May/June). Harmonizer. 39 (3), 23.

News about quartets. (1980, November/December). Harmonizer 40 (6), 31.

News about quartets. (1980,March/April). Harmonizer. 40 m 24.

News about quartets. (1982, May/June). Harmonizer. 42 (31.27.

News about quartets. (1995, September/October). Harmonizer 55 m lo.

News about quartets. (1968, January/February). Harmonizer. 28 (1), 22.

News about quartets. (1983, September/October). Harmonizer. 43 (2), 34.

385 On our cover. (1961, November/December). Harmonizer. 21 (6). 1.

Operation harmony. (1952, December). Harmonizer. 12 (2). 51.

Operation harmony. (1952, March). Harmonizer. 11 (3). 11.

Orphans (n.d.). Stephen Foster medley. On The best of barbershop: 25 years of winners [record]. New York: Decca.

Our 10 years as barbershop champs. (1960, September/October). Harmonizer. 20 (6), 5.

Our guest quartet: The Confederates, (n.d.) Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Paid in own coin. (1955, December). Harmonizer. 15 (4). 5.

Falamone, T. (1968 May/June). "You’re a grand old flag, you're a high flying flag and..." Harmonizer. 28 (3). 8-10.

Falamone, T. (n.d.a). Barbershop milestones in the life of John M. Jiggs Ward. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Perkins, C. (1945, November). A message from the Misfits. (1945, November). Harmonizer. 5 (2). 12.

Perkins, C. ( 1957, August). Joe Murrin. Attacks & Releases. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Perkins, E. V. (1943, December). Misfits . Chicago, 111., The. Harmonizer. 3 (2 ), 22 .

Peter M. Buckley, (n.d.) (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Pittsburghers never used sheet music or pitch pipe. (1988, November/December). Harmonizer. 48 (6). 36.

Please meet the Town & Country Four. 1963 International Champions, (n.d.). Promotional materials. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199.)

Popular Schmitt Brothers won gold medals in 1951. (1968, November/December). Harmonizer. 48 (61.38-39

386 Presenting the Mid States Four quartet. Unpublished manuscript [Press Relations release.] (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Preston, H. (1962, April). Male quartet took big show biz risk. St. Louis Post Dispatch. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Preston, R. (1954, June). Four Teens spotlight Eau Claire briefly. Harmonizer. 13(4). 15.

Publication Manual of the American Psychological Association (4* ed ). Washington, DC: American Psychological Association.

Quartet gets new bass. (1946, August). Harmonizer. 6 (1>. 35.

Quartets jailed after parade at Homell! (1947, November). Harmonizer. 7 (2), 17.

R.'Dad'Livesay of Viking quartet. (1988). Moline Daily Dispatch (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Rackham, R. (1945, May). Indiana's first state contest. Harmonizer. 4 (4). 28.

Ray & Cooke, (n.d.). The sunshine of your smile [Recorded by the Confederates]. On The best of barbershop: 25 years of winners Irecordl. New York: Decca.

Riedler.M. (1992). Barbershop: musical and social aspects of a cultural Phenomenon in the Anglo-Saxon world. Unpublished master’s thesis. College of Music and Performing Arts, Vienna, Austria.

Robert Greer, musician, dies. (1985, October 29). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Roberts, B. (n.d ). Salt Lake City service project attracts international attention. Harmonizer.

Schaefer, J. (1976, n.d ). Schmitts' aimiversary something to sing about. Manitowoc (Wis.) Herald-Times. pp. 1-2.

Schlaerth, J. D. (1961, October 30). Buffalo Bills now Godfrey regulars. Buffalo Evening News. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Schmitt Brothers Quartet (n.d.). Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI S3140-5199). 387 Schmitt, J. (1975, November/December). Qur championship year. Harmonizer. 25 (6), 22-23,34.

Schmitt, J. (1975, September/October). Toledo: The end of the beginning.' Harmonizer. 35 (5), 20-21,29.

Schmitt, J. (1976, March/April). The sixties - a decade of joy and sadness. Harmonizer. 36 (2), 24-25.

Schmitt, J. (1976, May/June). Rounding out a quarter century of singing. Harmonizer. 36 (3), 22-23.

Schmitt, J. (1976, January/February). Our first ten years. Harmonizer. 36 (1), 24-25.

Segue one. (1989, March/April). Westunes. 15. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Shea, A. (1951, December). Al Shea writes for the Buffalo Bills. Harmonizer. 11 (2), Special Section: F.

Show chairmen, convention chairmen, entertainment chairmen, (n.d.) Unpublished manuscript/promotional material. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Siebenmorgen, K. W. (1983). 1983 barbershop singing as a special phenomenon in American music. Unpublished master’s thesis. University of Dortmund, Germany.

Sinclair, H. (1989, June 6). History of the 4-Harmonizers our 1943 inti, champions. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Sinclair, H. (circa 1976). Recollections of Huck Sinclair. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Sisk, L. (1963, November/December). Eight years and twenty-eight medals later...the champs. Harmonizer. 23 (6), 2-3,28.

Sisk, L. (1987, January). Trip down memory lane, A. The Pittsburgh Press. 6-7. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199.)

Sisk, L. (1992, September/October). Larry Autenreith dead at 62. Harmonizer. a (6), 43.

388 Snyder, D. (1952). The Four Teens quartet. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Snyder, D. (1968). Interview with Rov Frisbv. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 531^5199).

Snyder, D. ( 1970, June, 27). Interview with Forrest Havnes. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI S3140-5199).

Snyder, D. (1971). Interview with George McCZaslin. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Soldier quartet nation's champ Four-Teens of Scott Field take 1952 gold medallions. (1952, July 1). Michigan Troubador. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Something Golden' happens as harmonies of barbershoppers ring out at Chautauqua. (1957, December). Harmonizer. 17 (4). 15.

Soto, L (n.d.). Harmonizer. 18,26.

South did rise again. The: The Confederates. (1956, September). Harmonizer. 16 (3). 8.

Sparks, W. (1988). Buffalo Bills, The. V. Hicks (Ed.). Heritage of Harmony (pp. 38-42). Kenosha, WI: SPEBSQSA, Inc.

Sparks, W. (n.d.). Garden State Four. [Photo and caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Speaking from experience: Tom M. Masengale. (1985, July/August).

Stamm, G. (1987). Interview with Vernon Reed. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Stanley, H. (1944, November). "Unpredictable Misfits." Harmonizer. 4 (2). 14.

Stefano, T. (1968, March/April). 2kbo gets a birthday surprise. (3), 20.

389 Sun Tones - "Chorus of The Chesapeake” walk off with 1961 crowns. (1961,

Sun Tones Quartet, The. (n.d.). Unpublished manuscript/Promotional material. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

T&C Four won crown with original personnel. (1988, November/December). Harmonizer. 48 (6), 50.

Tames, G. (1954, June 21) Music: Chordiality in Washington. Time. 46.

Tenor. (n.d.). [Photograph and caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Thome, P. (1943, March). The Elastic Four of Chicago. Harmonizer. 2 (3), 6,15.

Thome, F. (1944, November). How the Elastics rehearse. Harmonizer. 4 (2), 16-17.

Thome, F. (1954, December). Where did they get that name? Harmonizer. 14 (2), 32.

Those Doctors of Harmony. (1947, August). Harmonizer. 7 (1). 38.

Tribute to Harmony Halls. (1994). Unpublished manuscript (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

TV at its finest: Society indebted to Dundalk chapter for outstanding show. (1959, September) Harmonizer. 19 (61.2.

Vera Reed, last of the Bills. (1992, May/June). Harmonizer. 52 (3), 14.

Vikinp - International Champs - Detroit, 1953, The. (1991). The Medallion. 12-13. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Vikings bass Bob Livesay dies. (1988, July/August). Harmonizer. 48141. 18.

Wall, H. (1959, September). A salute to the Pitchikers - Determination, make them great champions. Harmonizer. 19 (61.13.

Ward, J. (1948a, September). How does it feel to be a champion? Harmonizer. 8 (1),4.

390 Ward.J. (1948b, September). With the international champions. Harmonizer. 8 (1 ),3 0 .

Ward, J. (1949, June). Off on the right foot Harmonizer. 8 (4). 37.

Ward, J. (1984, January/February). Where are they now? Harmonizer. 44 ( 1). 20.

Ward, J.( 1985, September). Taps for a champ. Pitchburgh Press. 2. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199)

Watson, B. (1991, January 4). Interview with Huck Sinclair. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Watson, W. (1988, September). Doctors of Harmony. 1947 champions. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Wayne "Scotty" Ward. (1989, March/April). Harmonizer. 49 (2). 30.

Whalen memorial says goodbye mortgage! (1941). The Daily Oklahoman. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

What memories these champions bring back. (1988, Juiy/August). Harmonizer. 48(4), 8.

Where are they now? (1984, July/August). Harmonizer. 44 (41.12.

Who's too loud?? You mean, what's too loud? (1953, June). Harmonizer. 12 (4), 47.

William "Bill" Conway. (1993). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

William Conway. (1993, February 10). [Obituary]. Courier-Standard Enterprise. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Williams, B. (1967, September/October). Evolution of a great quartet: The “Buffalo Bills.” Harmonizer. 27 2-3.

Wisconsin honors “Schmitts,” Bob Johnson. (1981, March/April). Harmonizer. 41(2), 19.

Wisconsin’s Schmitt Brothers take championship. (1951, September). Harmonizer. 11 fit 1,5. 391 With the international champions. (1947, May). Harmonizer. 6 (4). 20.

392 ADDITIONAL SOURCES CONSULTED

"Doc" Enmeier. (1994, March/April). Harmonizer. 54 (2). 25.

"Doctors" take own prescription and work to win contest (1947, August). Harmonizer. 7 (1). 1.4.

"Four-man team" is a quartet, A. (1953, September). Harmonizer. 13 (1). 13.

"The four bar flies" of Bartlesville, (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

"Voice expression" - society's new sound slide film available. ( 1956, June). Harmonizer. 16 (2). 6.

1945-46 int'l champion Misfits celebrate 10th year. (1951, June). Harmonizer. 10 (4), 46.

'A great friend'. (1985, January 24). Manitowoc (Wis.) Herald-Times. pp. 1-2.

Acord, E (n.d.) To Johnny. Unpublished manuscript (Available from the Heritage Hall Mu%um, 6315Thiid Avenue, Kenosha, WI 53140-5199).

Afterglow with the Suntones. (1975, Winter). Harmonizer. 35 (6). 12.

Albert E Shea, lead in Buffalo Bills, dies. (1968). [Obituary]. The Ridgewood N.J. Hcrald-News. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Albert E Shea. (1968, May/June). Harmonizer. 28 (3) 11.

All out for hannony: The Mid-States Four and other champions will take part in the tenth annual parade. (1955, April 17). [Newspaper unknown]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenoskt WI 53140-5199).

Art Bielan. (1952, December). Harmonizer. 12 (2Y 35

Arthur F. Bielan. (1952, October 5). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue. Kenosha, WI 53140-5199). 393 ASCAP presents annual award to Gala Lads and Thoroughbreds. ( 1962, July/August). Harmonizer. 22 (4). 5.

Attacks and Releases (1979, May/June). [Letter to the editor]. (Available from the Heritage Hall Museum. 6315 Third Avenue, Kenosha, WI 53140-5199).

Audiences love costumes. (1947, February). Harmonizer. 6 (3). 34.

Barber shop melodies. (1940, November 7). New Columbia Popular records, [record release]. Columbia Recording Corporation. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, vh 53140-5199).

Barbershopper of the month. (1968, June). Barber Shop Harmony Hi-Lites. 21. 1. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Before the Chord Busters drop to a duet - quartet takes a last fling. ( 1943, June 30). [Unknown newspaper]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Belle, C. (1943, March). Ode to the national champs: "To the Elastic Four.” Harmonizer. 2 (3) 11.

Bigelow, B. (1967). Strictly swinging [record liner notes]. Tulsa: Gaynotes.

Bill Spangenberg, original bass with Buffalo Bills, dies. (1963). [Obituary]. Buffalo Evening News, p. 48. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Bisio, B. (n.d.) 1939 convention and national open quartet contest. The Trillium. 1, back cover. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Blazina-Joyce, R. (1993, April 26). Interview with Herb Ives. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Bond, J. (1975, October). Bob Groom, lead of the Orphans, dies. (Available from the Heritage Hail Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199)

Book Doctors for series of engagements. (1989, March/April). Westunes. 15. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199)

394 Brandt, H. (1985, July). In memorium. [Eulogy]. Unpublished manuscripu (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Briody, John J. (1962, May 4). [Obituary]. The Jersey Journal. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Britt Stegall. (1961, October 13). Oklahoma City Times. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Buffalo Bills quartet history. (n.d.) Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Buffalo Bills will sing on Godfrey program. (1957, January 31). Western New Yorker. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Buffalo Bills, (n.d.) Unpublished manuscript [publicity material]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Buffalo Bills: At home and abroad, (circa 1955). [Unknown newspaper]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Champ barbershop quartet appears in contest tonight, (n.d.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Champion barber shop four. (1947, June/July). Farmers Guild News. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Changes from the chapters. (1956, December). Harmonizer. 16 (4V 37.

Changes from the chapters. (1959, September). Harmonizer. 19 (6>. 14.

Chord Busters to cease harmonies. (1943, July 8). Wichita Eagle. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Civic leader Joe Schmitt mourned. ( 1985, January 24). Manitowoc fWis.i Herald-Times. p. 1.

Clements, G. (1987, March). Jack Evans. [Obituary]. Salt Lake Chapter Spotlight. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Clyde "Red" Bliott. (n.d.). Harmonizer (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

395 Conard, D. (1960, January). Secret desire brings fame to Pittsburgh's Town & Country Four. Harmonizer. 20 (1). 2-3.

Confederates win quartet contest at Minneapolis. ( 1956, July). Hannony News. 6» 1,4. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Death takes John Loots - auto accident fatal following international. ( 1990, July). Founders Forte. 4. 1. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Doctors win top ranking at Milwaukee, (n.d.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-51W).

Donations allowed Vikings to attend first convention. (1988, November/December). Harmonizer. 48 (6), 40.

E. V. Perkins dies in Texas. (n.d.). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Ed Gaikema (Harmony Halls,'44 champs), (n.d.). Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Elastic Four to headline harvest of harmony. (1949, August 26). Sharp Notes. 4 (8), 1. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Ellis V. Perkins. (1968, March 31). The Grand Rapids Press, p. 47. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Embury, P. (1951, December). Buffalo Bills in Europe. Harmonizer. 11 (2), Special Section of Harmonizer A-E.

Enmeier-Dr. Norman T. (1993). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Evans, P. (1961, March/April). An open letter. Harmonizer. 21 (2). 31.

F. Wayne "Scotty" Ward. (1989, January). [Obituary] (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Flat Foot Four carries on. The. (1941, October 13). (Photo caption]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Follow the Sun-Tones. (1962, January/February). Harmonizer. 22 (\Y 32

Four abiliQr. (1959, September). Harmonizer. 19 (6), 12. 396 Four Harmonizers, The. (1947, November). [Photo] Harmonizer. 7 (2). 9.

Four Pitchhikers capture world barber shop title. ( 1959, July 3). Chicago Tribune. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Four Teens in Korea, The. (1953, December). Harmonizer. 13 (2), 42.

Frank H. Thome. (1956). [Obituary]. Chicago Tribune. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Frank Thome society's sixth president dies. ( 1956, December). Harmonizer. 16 (4), 4-5.

Fred Stein. (1950, March). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Gaikema, S. (1991). [Letter to the editor]. Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Garden Staters pay the price of fame. ( 1946, August). Harmonizer. 6 ( 1), 16.

George M. McCaslin. (1985, March/April). Harmonizer. 45 (2). 4.

Gielow, F. (1980). Laughter, love and a barbershop song. Woodstock, NY: Fred C. Gielow Jr.

Gil S. Wallace. (1985, July/August). Harmonizer. 45 (4). 7.

Gone but jiot forgotten. (1990, September). Voice of the Towns Men. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

Gracey. (1979, April 11). [Obituary] (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Gracey. (1979, May/June). [Obituary]. Attacks and Releases. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Glitter, C. (n.d.). Ed Gaikema, 1944 intemational quartet champion, passes. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140- 5199).

H. H. Smith dies at 78 in EUdiart (1969, June 29). [Obituary]. South Bend Tribute. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

397 Haeger.B. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Hanrahan, T. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Harmonizer. The. (1949, September). Harmonizer. 9(1). cover.

Harmony Halls to tour European army posts. (1950, June). Harmonizer. 9 (41.3.

Harry Hall dies; rites set Monday. (1960, July). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 5314C)-5199).

Hedrick, S. (1957, February 4). Wives inspired Buffalo Bills to Godfrey try. Buffalo Evening News. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Hemet, D. (n.d ). Singing Schmitt Brothers honored by educators. Two Rivers Reporter. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

How the Misfits were organized. (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Huck Sinclair. (1994, March/April). Harmonizer. 55 (2). 25.

In memoriam: John Loots. (1990). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

In memorium Harold "Huck" King Deaver Sinclair. (1994). Medallion 11. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha. WI 53140-5199).

In memory - Ed Gaikema. (1991, September/October). Harmonizer. 51 (51.29.

In memory. (1990, September/October). Harmonizer. 50 (5), 25.

Ingraham, H. (1963). [Town & Country Four Official news release]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199.)

Interview with Tom Masengale. (1996, Spring). 7 p. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Inti champion Buffalo Bills make TV movie with Faye Emerson. (1951, June). liZfiLJQ(4),40.

398 Ives, L. (1955, October/November). In memory of Charles F. Schwab. Attacks and Rpleases. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Jack Elder. (1976, March 3). Pittsburgh Press. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Jim Doyle. (1953, March). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Joe Schmitt the memories linger on. (1985, February/March). Land O' Lakes Pitch Piper. 36.7,14,22. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

John "Jiggs" Ward. (1985, July/August). Harmonizer. 45 (4). 4-5.

John Loots - baritone - the Gaynotes 1958 champions. (1985, July/August). Harmonizer. 45 (4), 5.

Jonathan "Jack" Evans. ( 1987, February 27). Tribune. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI S3140-5199).

Joseph J. Murrin. (1957). [Obituary]. (Available from the Heritage Hail Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Kerr, 0. (1991). A tribute to the Chord Buster's 50th anniversary. [Audio script for video tape]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Late breaking news: In memorium Bob Mack. Medallion. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Laurel, L. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Lee Kidder. (1985, March/April). Harmonizer. 45 (2), 4.

Leo F. Ives. (1977, July). Harmonizer. 37 ril. 21.

Leo Ives. (n.d.). [Obituary]. Chicago Tribune. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Lester, T. (1988, April 9). Barber shop society notes its 50th year. Tulsa World. A-1+. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

399 Liles, J. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Lindley, R. J. (1954, June). Last hours of the champions. Harmonizer. 13 (4). 22-23.

Ll Joseph Murrin. (1952, July 16). Chicago Tribune, p. 8. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Masengale, T. (1993, December, 29). Unpublished manuscript. [Speech transcript]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Maurus, B. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Means, J. Z. (1952, August). Report of Schmitt Bros, quartet in the Alaskan command. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Meet the Lads 1957 intemational champs! (1957, September). Harmonizer. 17 (3), 11.

Meet the new champs...the Gaynotes. (1958, July). Harmonizer. 18 (4). 6.

Memorial service in celebration and thanksgiving for the life of Vernon William Reed, Sr. (1992, February 1). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Mendenhall, N. (1986, October). Music Man memories. Tag Lines. 5. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Mid-States Four as seen by Beaudin, The. (1947, August). [Photograph]. HaimQnizeL-7 (i). 9.

Mid-States Four autograph records. (1949, March). Harmonizer. 8 (3), 48.

Mid-States Four feature television program. (1946, August). Harmonizer. 6 (1).31.

Mid-States Four, The. Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Misfits extend best to new champions. ( 1946, May). Harmonizer. 5 (4), 7.

400 Misfits. The. (1948, February 7). Second annual quartet concert: Souvenir program. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

More convention capsules. (1991, September/October). Harmonizer. 51 (5), 28.

Mr. Herman E Kaiser. (1965). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Mr. R. R. Durand services Tuesday. (1978, May 15). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Muncie's first parade of quartets: Souvenir program. ( 1946, November 2). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Neal, T. (n.d.). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

New champs look forward to exciting year. (1960, July). Harmonizer. 20 (4), 2.

News about quartets. (1955, December). Harmonizer. 15 (4). 35.

News about quartets. (1958, January). Harmonizer. 18(1). 19.

News about quartets. (1959, November). Harmonizer. 19 (7). 10.

News about quartets. (1960, July). Harmonizer. 20 (4). 8.

News about quartets. (1960, November/December). Harmonizer. 20 (7). 10.

News about quartets. (1960, September/October). Harmonizer. 20 (61.8.

News about quartets. (1962, January/February). Harmonizer. 22(11 15.

News about quartets. (1962, July/August). Harmonizer. 22 (4). 26.28.

News about quartets. (1963, January/February). Harmonizer. 23 (1). 21.

News about quartets. (1963, May/June). Harmonizer. 23 f31 22.

News about quartets. (1963, September/October). Harmonizer. 23 (51.24.

News about quartets. (1964, March/April). Harmonizer. 24 (2), 20.

News about quartets. (1965, May/June). [Obituary]. Harmonizer. 25 r31 22.

401 News about quartets. ( 1965 , September/October). Harmonizer. 25 (5). 18.

News about quartets. (1966, January/February). Harmonizer. 2 6 (1). 25.

News about quartets. (1966, September/October). Harmonizer. 26 (5). 19.

News about quartets. (1968, May/June). Harmonizer. 28 (3). 22.

News about quartets. (1968, November/December). Harmonizer. 28 (2). 26.

News about quartets. (1971, January/Febniary). Harmonizer. 31 (1). 21.

News about quartets. (1971, September/October). Harmonizer. 31 (5). 21.

News about quartets. (1977, January/February). Harmonizer. 37 (1). 22.

News about quartets. (1977, March/April). Harmonizer. 27 (2). 24.

News about quartets. (1977, May/June). Harmonizer. 37 (3). 27.

News about quartets. (1979, Juiy/August). Harmonizer. 39 (4). 20.

News about quartets. (1980, March/April). Harmonizer. 40 (2), 25.

News about quartets. (1990, July/August). Harmonizer. 50 (4). 23.

News about quartets. (1992, May/June). Harmonizer. 52 f3). 22.

News about quartets. (1993, July/August). Harmonizer. 53 (4). 17.

O. H. Bigham. (1976, June 24). Kansas City Times, p. 90.

Olde tymers quartet jamboree unique. (1959, July). Harmonizer. 19 (4), 3.

Olson, D. (Ed.). (n.d.). A man for all seasons. Land O' Lakes Pitch Piper. 2. 23. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Original champs will be at Toledo. (1951, June). Harmonizer. 10/4). 17.

Orphans'swan song. (1955, June). Harmonizer. 14 (4). 36 - 37.

Other four Milwaukee toppers. The. (1947, August). Milwaukee Journal. [Photograph]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Other four Oklahoma City toppers. The. (1948, September). Harmonizer. 8 (1),5. 402 Falamone, T. (n.d.b). Reminiscing with the Mid States Four. [Recording liner notes]. Mid States Productions.

Piano and voice recital. (1935, June 26). Souvenir program. (Available from the Heritage Hail Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Pikes Peak chapter quartet - "The Pusillanimous Posse." ( 1988, March 26). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199)

Pioneers in the Society. (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Pittsburghers, The. (1947, August). Harmonizer. 7 (11.53.

Preston, H. (1962, May/June). Columnist reports Spangenberg's departure from Buffalo Bills. Harmonizer. 22 (3), 10.

Preston, H. (1967, April 19). Swan song for a quartet. Cleveland Plain Dealer. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

R. D. Hazenberg, singer, dies at 58. (n.d.) (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Raymond Hall. (1963, September 21). The Grand Rapids Press, p. 19.

Rector, M. (n.d.) Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Richardson, D. (1983, July/August). Record review. Harmonizer. 43 (41. 9.

Robert Freeland, 84, vaudevillian singer. (1984, April 29). [Obituary]. Star- Ledger. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Robert Greer. (1986, January/February). Harmonizer. 46 Ml.

Robert Holbrook. (1983). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Robert P. Groom. (1975, October). [Obituary]. Ogden Standard Examiner. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Sam R. Barnes. (1958, October 7). Miami Daily News-Record. (Available from the Heritage Hall Museum, 6315 Third Avenue, Iknosha, WI 53140-5199). 403 Schmitt 'boys' harmonize again. (1964, August 14). Wisconsin Rapids Daily Tribute. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Schmitt boys win contest; champions of North America. ( 1951, June 11). Two Rivers Reporter. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Schmitt Bros. 11 (?) make financial news. (1962, July/August). Harmonizer. 22 (4), 12.

Schmitt Brothers at home or what champions do when they're not singing. The. (1952, June). Harmonizer. 11 (4). 26.

Schmitt Brothers say "thanks." (1952, June). Harmonizer. 11 (4), 6.

Schmitt Brothers will sing on Lawrence Welk TV show. ( 1957, March 18). Manitowoc (Wis.) Herald-Times. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Schmitt Brothers, The. (n.d.). Unpublished manuscript. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Schmitts will record. (1955, December). Harmonizer. 15 (4), 41.

Second term. (1969, October 14). Tulsa Tribune, p. 6A.

Set funeral tomorrow for H.W. Struble. (1957, November). [Obituary]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Shea, A. (1951, March). Shea of Bills writes. Harmonizer. 10 (3), 55.

Singing in church choir helped start Schmitts. ( 1952, January 20). The Milwaukee Journal, p. 4.

Sisk, L. In memory of Larry Autenreith. Medallion. 12. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Snyder, D. (1968, July 6). Interview with Huck Sinclair. Unpublished transcription of audio tape, R. Blazina-Joyce (Ed.). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

So long, A lt (1952, October). Attacks & Releases. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

404 Society indebted to Dundalk chapter for outstanding show. (1959, September). Harmonizer. 19 (6), 2.

Society mourns renowned members' loss: Ray Hall. (1963, November/December). Harmonizer. 23 (6), 5.

SPEBSQSA...Warner Bros...Music Man...a winning combination. ( 1962, November/December). Harmonizer. 22 (6), 14-15.

Steers, C. B. (1964, n.d ). Top barbershoppers not just quartet - they're movement. [Newspaper unknown.]. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Stem, J. (1942, September). Here's a picnic what am. Barber Shop Re- Chordings. 5. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Stem, j. (1942, September). Never yet finished out of the money. [Photo and caption]. Barber Shop Re-Chordings. 5. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Still champs: Schmitts honored; 8-cylinders repeat as "C octet winners. ( 1974, November). Hi-Lites Clipper City Chordsmen. 11 (1). (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Story of the "Mid-States Four," The. (c. 1949). p. 57. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Theodore W. Rau. (1971, September 13). [Obituary]. Sarasota H-T. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

To pick songs for Welk show. (1957, March IS). Manitowoc fWis.) Herald- Times. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Tune in the "Doctors." (1947, November). Harmonizer. 7 (2), 8.

Twas torrid night in June,'51. (1959, October 29). Manitowoc (Wis.i Herald- XimfiS- (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Ulcer, I., & Jitters, J. (1955, June). Hearsemen un-hoarsed, flyers grounded (just intime). Harmonizer. 14(4). 13.

VemReed. (1985, July/August). Harmonizer. 45 (4L 9.

VemReed. (1992, March/April). Harmonizer. 52 (lY 37. 405 Vemon William Reed Sr. (1992, January 27). [Obituary]. The Burlington Free Press. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

W. P. "Bill Conway. (1985, July/August). Harmonizer. 45 (4), 4.

Ward, J. (n.d ). Memories. Pitchburgh Press. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Welk show to be opened by Schmitt Brothers tonight. ( 1957, March IS). Manitowoc (Wis.) Herald-Times. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Wendel Heiny. (1985, July/August). Harmonizer. 45 (4). 6.

Whalen dies. (1941). The Daily Oklahoman. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

Whalen's death ends 17 year quartet career. He joined group even before he became officer. (1941). The Dailv Oklahoman. (Available from the Heritage Hall Museum, 6315 Third Avenue, Kenosha, WI 53140-5199).

What the medalists sang. (July, 1958). Harmonizer. 18 (4), 6.

Williams, W.R. (n.d ). I'd love to live in loveland, with a girl like you [Recorded by the Four Hearsemen]. On The best of barbershop: 25 years of winners [record]. New York: Decca.

With the intemational champions. ( 1947, November). Struble reports for Elastics. Harmonizer. 7 121.24.

With the intemational champions. ( 1947, November). Elastics new outfits. Harmonizer. 7 (2), 24.

With the intemational champions. (1947, November). Hall has harmony hall. Harmonizer. 7 (2), 24.

406