No doubt about it, the cover art for this sheet music is offensive, as is the title. The fact that we realize this is a good thing. What's strange is that the copyright for this piece is 1950. Now, I don't know if that was when it was first released or simply reissued. I can easily see this being something that was popular in the early part of the 20th century, but then I find a newspaper clipping indicating it was still popular in 1963.
Click on image to see it larger.
Let's not fool ourselves, offensive material is just as prevalent today, but it generally doesn't have the seal of approval by most people. Racism is alive and well on one news network and they would probably defend the art. And if we're talking offensive, nothing can match videos for rap music where women are degraded verbally and visually.
Offensive material that belittles someone to make an idiot feel superior will always be around. It's like whack-a-mole trying to rid ourselves of it. Just when one thing disappears another takes its place. Racism is again raising its ugly head with the blessing of far too many ignorant people.
So why would I post this? It's a reminder and each person who views it brings their own conclusion as to how they feel about it.
Click here to read about the publishing company, Theodore Presser, which is located in King of Prussia, Pennsylvania.
Click on images to see them larger.
Looking through Wikipedia I found it strange that there is no listing for the Log Cabin Boys. Instead I found a listing on the German Wikipedia site. Go figure. Here, for your viewing pleasure, is the Google "translation" of the German site.
The Log Cabin Boys were an American old-time duo and later String Band . Later, she also appeared as a Log Cabin Log Cabin passage or girls.
More Frankie was born on 22 June 1906 on the Uncle Sam Plantation in Louisiana born. Of a field worker, he learned guitar and banjo playing and later sang in the church choir. With various shows, he traveled through the United States and thus began his career as a musician. In 1924 he joined WLS in Chicago , and entered the 1920s with singer and musician Freddie Owen as a Log Cabin Boys National Barn Dance on WLS on. Their repertoire consisted mainly of traditional ballads and songs such as Big Rock Candy Mountain.
On 13 More and Owen held in October 1933 in Chicago for the American Record Corporation its first session, the pieces were rehearsed on a variety of labels such as banner Records , Conqueror Records or Oriole Records published. From September 1934, the Log Cabin Boys took to the newly founded record label Decca Records , whereby images such as New Crawdad Song, Answer to Twenty-One Years or a cover of That Silver Haired Daddy of Mine (originally by Gene Autry and Jimmie Long) emerged. Your last recording session was held on 7 Held in May 1935.
More and Owen came after some time continue to (among other things on WHAS), but broke up after that. More came in 1936 Wheeling , West Virginia , where he uses the name of the duo for his own bands. Saturday evening he appeared regularly in the WWVA Jamboree on the Log Cabin passage, the Log Cabin Boys or Girls with the Log Cabin. The latter consisted among other things of Little Shoe and Cousin Emmy and sang songs like Do not Forget Me Little Darlin 'or their version of Lamp Lighting Time in the Valley. Even Pee Wee King , Dale Cole and Dolph Hewitt was a long time member of the Log Cabin Boys. The band's popularity helped More to engagements throughout Kentucky and Indiana to get. In addition, they were given a place in the Crazy Water Barn Dance on WHAS.
However, Frankie More's band broke up later. Cousin Emmy went to Atlanta , Little Shoe traveled around and settled in 1946 in Little Rock , Arkansas , down un Pee Wee King was a successful western swing musicians of the 1940s and 1950s (Tennessee Waltz). More 1941 moved to Nashville , where he worked as a manager until his death. For a short time he returned in 1948 to WWVA back.
A little digging online revealed that C. W. Krogmann was an American woman composer named Carrie William Krogmann. She was born in 1863 and died in 1943. That's the extent of the biographical information I found. Click here to see a list of her compositions.
The original copyright date for the piece featured here, The Little Prince, was 1898 for the B. F. Wood Music Company. The copyright was renewed and transferred to G. Schirmer, Inc. in 1926.
I was a bit more successful finding information about the publisher, G. Schirmer, Inc.
G. Schirmer Inc. is an American classical music publishing company based in New York City, founded in 1861. It publishes sheet music for sale and rental, and represents some well-known European music publishers in North America, such as the Music Sales Affiliates ChesterNovello, Breitkopf & Härtel, Sikorski and many Russian and former Soviet composers' catalogs
The company was founded in 1861 in the United States by German-born Gustav Schirmer, Sr. (1829-1893), the son of a German immigrant. In 1891, the company established its own engraving and printing plant. The next year it inaugurated the Schirmer's Library of Musical Classics. The Musical Quarterly, the oldest academic journal on music in the U.S., was founded by Schirmer in 1915 together with musicologist Oscar Sonneck, who edited the journal until his death in 1928. In 1964, Schirmer acquired Associated Music Publishers (BMI) which had built up an important catalog of American composers including Elliott Carter, Henry Cowell, Roy Harris, Charles Ives, Walter Piston, and William Schuman, adding to a Schirmer's ASCAP roster which had already included Samuel Barber, Leonard Bernstein, Morton Gould, Gian Carlo Menotti, and Virgil Thomson, as well as composers from the earlier part of the century such as Charles Tomlinson Griffes, Charles Martin Loeffler, John Alden Carpenter, and Percy Grainger.
The company was owned by the Schirmer family for over 100 years until Macmillan, a major book publisher, purchased it in 1968. Macmillan then sold G. Schirmer (except for its reference division, now part of Gale) to its current owner, Robert Wise, in 1986, the owner of popular music publisher, Music Sales, Inc. According to a spokesman, the purchase price was around USD $7 million. (SOURCE: Wikipedia)
Here we have some old sheet music published by the Keith Prowse & Co. Ltd. located in London, England in 1947. Unfortunately I can't find any definitive information about the company other than this listing at Wikipedia which says nothing about sheet music. Thus, I don't know if the Wikipedia post is actually about this company. I haven't found anything about the composer Stuart Wade.
Click on images to see them larger.
I do enjoy the little "people" made from notes. The music was obviously meant for children.
William Christopher Handy (November 16, 1873 – March 28, 1958) was a blues composer and musician.He was widely known as the "Father of the Blues".
Handy remains among the most influential of American songwriters. Though he was one of many musicians who played the distinctively American form of music known as the blues, he is credited with giving it its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.
Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers.
Handy was born in Florence, Alabama. His father was the pastor of a small church in Guntersville, another small town in northeast central Alabama. Handy wrote in his 1941 autobiography, Father of the Blues, that he was born in the log cabin built by his grandfather William Wise Handy, who became an African Methodist Episcopal (AME) minister after emancipation. The log cabin of Handy's birth has been saved and preserved in downtown Florence.
Growing up he apprenticed in carpentry, shoemaking and plastering.
Handy was a deeply religious man, whose influences in his musical style were found in the church music he sang and played as a youth, and in the natural world. He later cited the sounds of nature, such as "whippoorwills, bats and hoot owls and their outlandish noises", the sounds of Cypress Creek washing on the fringes of the woodland, and "the music of every songbird and all the symphonies of their unpremeditated art" as inspiration.
Handy's father believed that musical instruments were tools of the devil. Without his parents' permission, Handy bought his first guitar, which he had seen in a local shop window and secretly saved for by picking berries, nuts and making lye soap. Upon seeing the guitar, his father asked him, "What possessed you to bring a sinful thing like that into our Christian home?" Ordering Handy to "Take it back where it came from", his father quickly enrolled him in organ lessons. Handy's days as an organ student were short lived, and he moved on to learn the cornet. Handy joined a local band as a teenager, but he kept this fact a secret from his parents. He purchased a cornet from a fellow band member and spent every free minute practicing it.
Studying the Blues
In 1902 Handy traveled throughout Mississippi, where he listened to the various black popular musical styles. The state was mostly rural, and music was part of the culture, especially of the Mississippi Delta cotton plantation areas. Musicians usually played the guitar, banjo and to a much lesser extent, the piano. Handy's remarkable memory enabled him to recall and transcribe the music heard in his travels.
After a dispute with AAMC President Councill, Handy resigned his teaching position to rejoin the Mahara Minstrels and tour the Midwest and Pacific Northwest. In 1903 he became the director of a black band organized by the Knights of Pythias, located in Clarksdale, Mississippi. Handy and his family lived there for six years. In 1903 while waiting for a train in Tutwiler in the Mississippi Delta, Handy had the following experience:
"A lean loose-jointed Negro had commenced plunking a guitar beside me while I slept... As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars....The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard."
About 1905 while playing a dance in Cleveland, Mississippi, Handy was given a note asking for “our native music”. He played an old-time Southern melody, but was asked if a local colored band could play a few numbers. Three young men with a battered guitar, mandolin, and a worn-out bass took the stage.
“They struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps “haunting” is the better word.”
Handy noted square dancing by Mississippi blacks with "one of their own calling the figures, and crooning all of his calls in the key of G." He remembered this when deciding on the key for "St Louis Blues".
"It was the memory of that old gent who called figures for the Kentucky breakdown—the one who everlastingly pitched his tones in the key of G and moaned the calls like a presiding elder preaching at a revival meeting. Ah, there was my key – I'd do the song in G."
In describing "blind singers and footloose bards" around Clarksdale, Handy wrote, "[S]urrounded by crowds of country folks, they would pour their hearts out in song ... They earned their living by selling their own songs – "ballets," as they called them—and I'm ready to say in their behalf that seldom did their creations lack imagination."
Click here to read more.