Producing the “Kumbaya” Artifact

Topic: CRS Version
The cast has been assembled, and now is the time to direct its actions in producing the first songbook to contain “Kumbaya.”  The curtain rises on the 1954 Buckeye Recreation Workshop held in Urbana, Ohio.

This most likely is when Kathryn Thompson Good [1] heard “Kumbaya” and first thought about having Lynn Rohrbough print a songbook for her Methodist, family camp in Columbus.  In addition to whatever singing occurred during the week, someone held a session on “community group singing.” [2]

Lynn was there at least one day when he talked about play-parties.  Others from Delaware, Ohio, like Mary Lea Bailey, may have been there for the folk dancing.  Mary Lea or Lynn probably had a display of wooden games offered by World Wide Games, [3] and CRS, no doubt, had samples of its songbooks available.

Someone from the Indianola Church had to have contacted CRS, and signed some kind of agreement.  While both Rohrbough and Larry Holcomb have discussed the production of songbooks, this business aspect was not mentioned. [4]  Two factors were included in setting the price: the number of pages and the number of original plates.  Pages were in multiples of eight, [5] with 64 pages the most common size for small songsters I own. [6]  The number of songs usually was greater.

In 2016, John Blocher recalled he “worked with Tommy [Kathryn Thompson Good] and  Lynn Rohrbough” and that he did “not remember receiving any outside advice beyond what Tommy and I brought to the table.” [7]

Blocher did not remember when they sent their package to CRS, but did recall “my notation would have been penciled onto printed staff paper, of which I had a supply.” [8]

When the packet was received, Lynn said “music editing was supervised by Katherine Rohrbough” and that the manuscript for “Kumbaya” would have been turned over to Jane Keen. [9]

Keen was using curved tails on the eighth notes, and italics for the tempo instructions.  Her treble clef signs all are at different angles.  She must have believed “Kum ba yah” was a foreign word, because she treated it with italics.  While the font was sans-serif, the “K” had a finial on its leg.  The leg was attached to the ascender, and that connected with the stem below the x-height line.  The thin ascender, whose length varied, drew the eye itself. [10]

The song then went to Sara Bailey.  She normally added “the body-text and footnotes” with the vari-type machine described in the post for 8 May 2022. [11]  “Come by Here” is in the style used by that machine, but the subtitle must have been done by Keen: it has the same “K” as the text.

The footnote font differs from the verses below it.  The “c” in the note reaches below the baseline, while the “c” in “crying” does not.  The leg comes from the ascender, which is attached to the stem at the x-height line.  It rises at a more acute able than the leg, which has no finial.  If this were prepared for off-set, Bailey would have assembled the pieces.

Following Rohrbough’s process description, the credit and pronunciation information must have come from Katherine Ferris Rohrbough.  It was not on the manuscript Blocher sent.  Where she got it is speculation, but most likely was someone from CRS who attended the 1954 Buckeye Workshop.

Sara then began the layout process.  The first step was finding another song on the list approved by Good and Blocher that would fit on the page.  By one of the odd coincidences that occur, she chose “Dona Nobis Pacem,” which CRS translated as “give us peace” in 1944. [12]  This pairing was not permanent.  In the 1957 example below, the song is placed with “Jacob’s Ladder.”

The next step was the most complex.  The pages were twice the width and folded, with songs on both halves and both sides.

I do not have a complete copy of Indianola Sings.  This example is taken from a later songbook.

Page layout was part of the complete organization of a songster, since many grouped genres like hymns and folk songs together.  Once those decisions were made, page numbers could be added.

 

 

The index could now be compiled, and the design for the cover complete.  Most songbooks had the index on the inside covers, and sometimes on the last page or back inside cover.  The example is on the inside and outside of the back cover with a classification of songs.

The individual paired pages were grouped on larger sheets of four pairs or eight pages, [13] depending on how one counts.  The copy was ready for printing.  Decisions about paper and ink colors were made, perhaps with advice from customers.  More important, someone decided which presses to use for the body and the cover—offset or letterpress.  Oscar Bailey handled the one, while John Leininger and Hugh Macmillan operated the other. [14]

Since the order from Indianola may have been comparatively small, the letter press may have been selected early.  This would have given Keen more freedom in her lettering.

The process of assembly involved several machines.  One cut the large pages into individual paired pages.  Next, Rohrboughs said:

“The flat sheets were folded into 4x7-inch signatures by Dan Warner on an automatic folder.  The three pats making up the booklet were next collated and stitched by Violet Dewitt and Doris Warner and made ready for the cutter.  The folded edges were trimmed on three sides by Howard Blanchard.” [15]

“Pats” seems to refer to material from different press runs.  Normally, the cover and the body needed to be brought together, but sometimes an insert was printed on different colored paper.

Indianola Sings probably bypassed the shipping department.  More than likely, Good or Blocher drove up from Columbus to pick up the finished songsters.

All this was provided to the Indianola Church for about $70.00.  In 1963, CRS charged $.19 for a single 64-page book, or $36.36 for 200 copies.  The plates for new music cost $12 each, and Blocher sent two: “Kumbaya” and the camp’s song, which he had written. [16]  Then the artwork for the cover cost $8.75. [17]

Graphics
Map.  David Benbennick.  “Delaware County, Ohio.”  Uploaded to Wikimedia Commons on 12 February 2006.

Original version of “Come By Here”/“Kum Ba Yah.”  Indianola Sings, edited by Kathryn Thompson Good and John Blocher, Jr. for Camp Indianola, sponsored by the Indianola Methodist Church, Columbus, Ohio.  Delaware, Ohio: Cooperative Recreation Service, 18 March 1955.  38.  Date from Lynn Rohrbough. [18]  Copy provided by John Blocher, Jr.

1957 version of “Come By Here”/“Kum Ba Yah.”  The Bridge of Song, edited by Max V. Exner for the Iowa State College Extension Music Program.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service, 1957.  30.  This book was chosen because I had two copies and it was safe to take one a part.

End Notes
1.  Kathryn Thompson Good is discussed in the post for 10 October 2021 and her photograph appears on the PicK tab.

2.  Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  87.

3.  Mary Lea Bailey and World Wide Games are discussed in the post for 22 May 2022.

4.  By the time Holcomb was working with Lynn, “most of the business records before 1960 have been destroyed.” [19]

5.  L. Rohrbough. “Spring report to cooperative songbook patrons,” Spring 1962.  1.  Quoted by Holcomb.  124.

6.  Among the books I have that are 64 pages are ones from The Methodist Church, [20] Camp Winnipesaukee, [21] and the Church of the Brethren. [22]  National organizations seem to have created larger books: the Camp Fire Girls’ Joyful Singing is 80 pages, [23] Exner’s The Bridge of Song is 96, and the YWCA’s 1951 edition of Sing Along the Way is 128. [24]

7.  John Blocher, Jr.  Email, 25 June 2016.  His photograph and biography appear on the PicK tab.

8.  John Blocher, Jr.  Email, 20 June 2016.

9.  “How a Sampler Is Made.”  Song Sampler, Number 3:7–8: July 1956.  Quoted by Holcomb.  134.  “The music autographs were hand-drawn by Jane Keen.”  Keen is discussed in the post for 24 April 2022.

10.  Keen used upright type for the Latin “Dona Nobis Pacem” and the sung syllables in “Holla Hi.”  The terminology for typography is explained in the post for 8 May 2022.

11.  “How a Sampler Is Made.”

12.  “Done Nobis Pacem.”  Songs of Many Nations, for the Evangelical and Reformed Church, Philadelphia, Pennsylvania.  Delaware, Ohio: Cooperative Recreation Service, Custom Printed Songs, 1944.  3.  “Dona nobis pacem” is from the “Agnus Dei section” of the Roman Catholic Latin mass. [25]  The source of the canon is unknown. [26]  The songbook is discussed in the post for 6 March 2022.

13.  “How a Sampler Is Made.”

14.  “How a Sampler Is Made.”  Oscar Bailey, John Leininger, and Hugh Macmillan are discussed in the post for 1 May 2022.  Leininger was the compositor and Macmillan the printer. [27]

15.  “How a Sampler Is Made.”  Stitching involved stapling the books together.  Two were used.  Photograph from Bridge of Song.

16.  John Blocher, Jr.  Email, April 28, 2016.  “She and I assembled the Camp Song Book,  Indianola Sings for which I wrote the camp song Indianola.”

17.  Rohrbough, 1962.  1.

18.  Lynn Rohrbough.  Letter to Shawnee Press.  16 February 1959.  Copy provided by Bruce Greene, World Around Songs, Burnsville, North Carolina.  “We published it this way March 18, 1955.”

19.  Holcomb.  104.

20.  Sing It Again!, for The Methodist Church, Nashville, Tennessee.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  This is discussed in the post for 9 February 2020.

21.  In Harmony.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  It has a reference to the United Catholic Youth Ministries and camps on Lake Geneva and the Winnipesaukee River.

22.  Come Up Higher, for Church of the Brethren, Elgin, Illinois.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.

23.  Joyful Singing, for The Campfire Outfitting Company, New York City.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  This is discussed in the post for 20 February 2022.

24.  Sing Along the Way, edited by Marie Oliver for the YWCA, New York City.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service, 1951, fifth printing.  This is discussed in the posts for 13 March 20220 and 20 March 2020.

25.  “Dona Nobis Pacem.”  Wikipedia website.
26.  “Dona Nobis Pacem (Round).”  Wikipedia website.
27.  Holcomb.  135.

CRS Community

Topic: CRS Version
In the 1930s, Lynn Rohrbough talked about turning Cooperative Recreation Service into a true cooperative enterprise. [1]  However, his experiments with Carl Hutchinson, mentioned in the post for 26 September 2021, had shown some ideals do not translate well into complex organizations.  In 1954, when he was in his mid-50s, Rohrbough formally incorporated his business. [2]

By then, his children were grown, and grandchildren were beginning to visit.  One son-in-law bought land next to the Rohrboughs’ farm and built a recreation complex in 1948. [3]  In 1939, [4] Lynn had converted his barn into an area for square dances by adding a concrete floor and fireplaces. [5]  However, as mentioned in the post for 1 May 2022, the expanding print shop had encroached on the space.

His wife, the former Katherine Ferris, recalled that something that had begun as extension of their recreation work had become a “three-ring circus, what with making a living by day and running parties for various groups every evening and on Saturday.”  She added that “when our son-in-law became interested enough to propose taking over all the parties, we were glad to have him do it.” [6]

Then, in 1953 Rohrbough turned his wooden-game manufacturing operations over to Oscar Bailey’s brother, Warren.  Warren’s wife, Mary Lea, had been a roommate of one of Rohrboughs’ daughters at the Quaker’s Earlham College. [7]  She had spent the summer of 1948 in Delaware where her job was “to teach folk dances to group requests that came to Lynn and Katherine.” [8]

Both the son-in-law and Mary Lea became CRS’s representatives to the Buckeye Recreation Workshop. [9]  They probably began by attending sessions as vendors. [10]  In 1963, both were on the board along with Bruce Tom and Kathryn Thompson Good. [11]

Everyone who worked with CRS says the company hired neighbors.  Larry Holcomb was more specific.  He wrote, in 1960, “neighbors and high school students often helped during the busiest months of the spring and summer, and foreign students studying at nearby colleges often worked for the CRS during vacations and holidays.” [12]

David Jarrett lived in Delaware when he was a young boy, from 1939 to 1948.  In 2008, he published a novel set in Delaware in 1944.  The plot and characters are products of his imagination, but he admitted he used details of his personal life to describe the main character.  He called the town Wyandota while Ohio Wesleyan University became Ohio Polytechnic Institute.

He mentioned Rohrbough by name.  Jarrett said Rohrbough’s “‘Campfire Song Books’ were found in the back pockets of boys and girls in Kentucky, West Virginia, Pennsylvania, New York: even as far east as Vermont, and Marie Swenson Parrot help him put them there.” [13]  His mother, like Marie, “directed the choir at the Methodist church.” [14]

From this, I assume his mother was one of the “neighbors” who helped out in the shipping department.  It was the one area of CRS’s operations that did not require any special skills, and the one that would need extra help when the presses were running full time.

The use of the word “neighbors” is rhetorical. [15]  The Rohrbough’s farm was just that, a farm located five miles [16] northwest of Ohio Wesleyan’s campus.  Farmers have few neighbors if the word is construed to mean those living on the next pieces of land.  In 1941, members of the Wesleyan Peace Fellowship “hiked” to the farm for a steak fry, and returned in hay wagons. [17]  A university bus took members of the International Students Association to a picnic at the farm in 1953. [18]

While the Rohrboughs always stressed their recreation center was open to everyone, it is clear Jarratt is correct when he says its “staunchest supporters came from the faculty of Ohio Poly.  Department Heads wagered their members could dance rings around that of a rival department.” [19]

In 1939, Nancy Oldfield said Rohrbough “directs the square dancing at the faculty hours held on Friday evening at the dance studio” on the Ohio Wesleyan campus. [20]  A few years later, a woman, who had been on the English faculty since 1921, [21] told readers of the Methodist’s Highroad magazine, that “Rohrbough holds open house at his home once a month for college students faculty members of universities and youth groups.” [22]

Later, a chemistry professor at OWU recalled “from twenty to fifty people came once a month, year round.  We danced outside sometimes but usually in the barn.  A printing press and a cow were the only things in the barn. [. . .]  The adults brought their children, and they danced and played easier games.  We had pot-luck suppers.” [23]

There is nothing inconsistent in the Rohrboughs saying their square dance evenings were open to all and the perception of a young boy that a certain amount of quiet coercion was directed toward new faculty members, like his father, to participate.  For, it is likely that, while the invitations were open, the attendees were a self-selected group.  This is the nature of small communities that form within the social boundaries of larger ones.

The community that the Rohrboughs built included customers from all parts of the country, and a few who continued to work with him as advisors.  Many were Methodists, because, after all, Rohrbough was not just a Methodist, but one with a degree from a church seminary.  Some, like Olcutt Sanders, mentioned in the post for 13 February 2022, and the Bailey brothers were Quakers who, as mentioned in the post for 1 March 2020, overlapped with Methodists in some ways.

Ernest Amy arrived at Ohio Wesleyan before Rohrbough was a student.  It was a period when the department hired “able young assistants” for short periods of time.  Amy was able to survive by taking over the administrative work when his supervisor became dean of the college in 1917. [24]  In 1957, when he was part of the old guard at OWU, he wrote a glowing description of Rohrbough’s company that claimed his idealism carried “well beyond the publishing business.” [25]  He remembered that:

“until a bolt of lightening destroyed their cattle barn, the Rohrbough farm was a collection and shipping center of the Heifer Project” which sent animals to European farmers who lived in areas devastated by World War II. [26]

This was the brainchild of Jack Eberly and the Church of the Brethren. [27]  Eberly was a friend of Edward Schlingman, [28] who met Rohrbough through commissioning a songbook for the Evangelical and Reformed Church in 1940 [29] that went through many editions. [30]

Like the monthly square dances, the community that coalesced around the Rohrboughs’ Cooperative Recreation Service included a core of people who shared many interests, and a larger group who cared about a certain kind of music.  Many of the latter were the one-time visitors and one-time customers who kept the presses running and people like the Baileys employed.

Notes on Performers
Warren Oliver Bailey was two years younger than Oscar, [31] and born in 1926 in Tacoma, Ohio.  He graduated from Olney Friends School in 1945, and trained as a hardwood lumber inspector in 1951. [32]  Mary Lea remembered that he worked for a sawmill and was “an excellent woodworker.” [33]

Mary Lea Wolfe’s father, who was born in Grafton, West Virginia, [34] became an electrical engineer.  His work for Forest Service and the Rural Electrification Administration made him an itinerant. [35]  He married Eugenia Rosskopf in Saint Clair, Illinois. [36]  Mary Lea was born in 1927.  By 1929, her parents were living in Cleveland, Ohio. [37]  They were reported in Newago, Michigan, in 1940, in Washington, DC, in 1945 [38] and Circleville, West Virginia, in 1947. [39]  The last seems to have become the family home, at least for her sister Laurie. [40]

Dance may have been a family tradition.  Her mother’s high-school yearbook recalled she and another girl did a “Dance of the Fairies” at a festival in a Saint Louis, Missouri, park. [41]  Mary Lea danced at summer camps and, at Earlham, she and Rohrbough’s daughter were in charge of choreography for a production of Richard Sheridan’s The Rivals. [42]  Her first job after graduating from Earlham in 1947 was teaching folk dancing at the Oglebay Park in Wheeling, West Virginia.  This is where she met Warren. [43]  Her work is discussed briefly in the post for 29 May 2022.

In 1986, the Baileys sold World Wide Games to a similar company in Connecticut. [44] Warren became active with the American Kite Flyers Association, [45] of which Oscar was a member.  She was president of the Columbus Folk Dancers in 1996. [46]  He died in 2016, but she is very much alive.  “She still seeks any opportunity to dance (now with the help of a walker.” [47]

David Arthur Jarratt’s parents probably met as music students at Saint Olaf College: [48] she was a voice teacher and he became a concert tenor. [49]  David was born in Greencastle, Indiana, [50] when his father was on the faculty of DePauw University. [51]  While living in Delaware, his father sang tenor in the Messiah produced annually in Massillon, Ohio, [52] while his mother taught in the public schools. [53]  It was during this period that David would have absorbed his parent’s impressions of pressures placed on faculty members and their wives.

His father did not return to Delaware from his time World War II service in the navy, [55] and David and his mother moved to Newton, Massachusetts, in 1949.  David earned a music degree from St. Olaf before serving in the Army. [56]  He later studied music at Southern Methodist University.  David continued flying while working as a professional singer.  He died in 2012. [57]

Graphics
Mary Lea and Warren Bailey, in 1950.  Published in her retirement community’s newsletter, and reprinted with permission from Mary Lea Bailey and Cathy B. Courtice on behalf of the retirement community.

End Notes
1.  Nancy Oldfield.  “Rohrbough 22 Provides Novel Recreation Center.”  The Ohio Wesleyan Transcript, Ohio Wesleyan University, 1,4:14 March 1939.  4.

2.  Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  112.

3.  Holcomb.  94–95.
4.  Oldfield.  1.
5.  Holcomb.  92.

6.  Katherine Ferris Rohrbough.  “Good Times as a Career.”  Wellesley Alumnae Magazine 84–86:January 1956.  Quoted by Holcomb.  95.

7.  Holcomb.  98.
8.  Mary Lea Bailey.  Email to John Blocher, Jr.  25 June 2016.
9.  The Buckeye Recreation Workshop is discussed in the post for 3 October 2021.

10.  I only have detailed information on attendance for 1955.  Neither name appears on the workshop roster for that year, but Rohrbough’s name does. [58]  One did not get elected to the board the first year one attended a workshop; their leadership roles in 1963 imply they had been involved for some time.

11.  Item.  Lancaster Eagle-Gazette, Lancaster, Ohio, 15 February 1963.  13.  Bruce Tom is profiled in the post for 3 October 2021, and mentioned in ones for 12 September 2021, 19 September 2021, 3 October 2021, and 17 October 2021.  Kathryn Thompson Good is featured in the post for 10 October 2021 and her photograph appears on the Photos K tab.

12.  Holcomb.  135.  Katherine wrote: “gradually, though, the business grew, and we began to hire some of our neighbors.” [59]  Donald Frye recalled in the 1940s “various neighbors and the three Rohrbough [children] were frequently needed to augment the staff.” [60]

13.  David Arthur Jarratt.  Quarry.  Xlibris, 2008.  167.  The information on shipping locations is narrower than the list of songbooks published by CRS would suggest.  If Jarratt’s mother did work in the shipping department, that is when he may have heard about the distribution of CRS songbooks.  She died in 1968, [61] so any specific information would have come from his memories and those of his younger sister.

14.  Jarratt.  7.

15.  Around 1949, the Rohrboughs purchased a nearby farm and turned it into housing development; [62] lots in Homestead Acres were sold at cost.  Among those who lived there were two of their printers, Oscar Bailey and Hugh Macmillan.  Some Ohio Wesleyan faculty members also purchased home sites. [63]

16.  “Prints Drennan Article.”  The Ohio Wesleyan Transcript, Ohio Wesleyan University, 17 March 1942.  1.

17.  “Fellowship Group To Hike Saturday.”  The Ohio Wesleyan Transcript, Ohio Wesleyan University, 14 October 1941.  1.

18.  Item.  The Ohio Wesleyan Transcript, Ohio Wesleyan University, 13 May 1953.

19.  Jarratt.  167.  The preceding sentence indicates Jarratt had done a little research on CRS.  He wrote Rohrbough’s center “was a little-known but growing Mecca of folk songs, games and dances, and Friday nights were his to share with his neighbors in Wyandota and environs.”

20.  Oldfield.  1.
21.  “Marie Drennan.”  Le Bejou, Ohio Wesleyan University yearbook, 1948.  61.
22.  “Drennan Article.”

23.  Dr. Roy Bossert.  Interviewed by Larry Nial Holcomb on 7 January 1972.  Quoted by Holcomb.  93.

24.  Henry George Hubbart.  Ohio Wesleyan’s First Hundred Years.  Delaware, Ohio: Ohio Wesleyan University, 1943.  211.  Amy wrote The Text of Chaucer’s Legend of the Good Women in 1918.  [WorldCat entry.]

25.  Ernest Amy.  “Cooperative Recreation Service: A Unique Project.”  Midwest Folklore 7:202–206:1957.  205.

26.  Amy.  205.
27.  “I:  How it all began: 1949-1957.”  International Cultural Youth Exchange website.
28.  ICYE.
29.  Edward Schliming is discussed in the post for 6 March 2022.

30.  Songs of Many Nations, published for Evangelical and Reformed Church, Philadelphia, Pennsylvania.  Delaware, Ohio: Cooperative Recreation Service, Custom Printed Songs.  The editor probably was Edward Schlingman.  It is discussed in the post for 20 February 2022.

31.  Elizabeth J. (Hall) Hartley.  Descendants of Moses Hall, John Dounda, and Benjamin Hall (Quaker Families of Belmont County, Ohio, from Virginia & North Carolina).  Denver, 1958, second private printing.  Oscar and the Bailey family are discussed in the post for 1 May 2022.

32.  “Warren O. Bailey.”  The Delaware Gazette, Delaware, Ohio, 13 July 2016.

33.  Mary Lea Bailey.  Interviewed by staff of her retirement home, and published in its newsletter.

34.  “Harry Cunningham Wolfe.”  Mormon’s FamilySearch website.
35.  “Henry C. Wolfe, Engineer.  Papers.”  West Virginia University website.
36.  “Harry Cunningham Wolfe.”

37.  “Laurie Jean Murray.”  Basagic Funeral Home, Franklin, West Virginia, website, December 2020.

38.  “Changes Made in Play Cast.”  The Palladium-Item, Richmond, Indiana, 25 February 1945.  4.

39.  “Former Earlham Coed Weds New Yorker In Eastern Rites.”  The Palladium-Item and Sun-Telegram, Richmond, Indiana, 7 September 1947.  Mary Lea was a bridesmaid.

40.  “Laurie Jean Murray.”  She graduated from Circleville High School and was living there when she died in 2020.  Her obituary said she died “in her father’s home in the same room that she slept in as a child.”

41.  The Beacon.  Grover Cleveland High School, Saint Louis, Missouri, yearbook.  January 1917.  29.

42.  “Changes Made.”
43.  Retirement home newsletter.  Oglebay Park is discussed in the post for 15 May 2022.

44.  Carolyn Battista.  “Specialty Games, Puzzles Have World Wide Appeal World Wide Appeal.”  The New York Times News Service, 22 March 1989.  In 1966, [64] the Baileys had purchased the recreation center built by Rohrbough’s son-in-law, [65] and turned it into a manufacturing plant and show room. [66]

45.  Masthead.  American Kite Flyers Association AKA News 7(1):3:January 1985.  Warren was second vice-president.  Oscar’s interest in kites is mentioned in the post for 1 May 2022.

46.  Dagmar Clanell.  “Folk Dancers Keep Their Art Alive and Have a Great Time.”  The Lantern, Ohio State University, 12 August 1996.

47.  Retirement home newsletter.

48.  This is a surmise.  Since she was Norwegian [67] and a singer, it would have been a logical choice for her to study at St. Olaf.  Its choir is discussed in the post for 12 August 2018.

49.  “Clayton, Jarratt Appear Tonight.”  The Campus, Allegheny College 85(11):1:11 January 1951.  He began studying aeronautical engineering at Augustana College in South Dakota, before transferring to St. Olaf for his junior year.

50.  “David Arthur Jarratt.”  Boston Globe, 22 March 2012; reprinted by Legacy website.
51.  Mirage, DePauw University yearbook, 1937.
52.  “Messiah Facts 1938–1992.”  Massillon Museum, Massillon, Ohio, website.

53.  Connie Jones Maguire.  Comment on Legacy website, 11 April 2012.  “His mother Ingeborg was our music teacher.”

Kay E. Conklin.  “The Rec Center at the old North School.”  The Willis Class of 1961 website.  “His mother was a singing teacher and came to my grade school classroom once a week to teach group singing.”  She cites the description of “the Friday Square Dances at Rohrbaugh’s” to say “it’s a lot more fun to read a book with references to your home town.”

54.  Allegheny College.  Howard went to New York to study under Joseph Reneas, and, in 1947, married Betty Targett.  She graduated from Ohio Wesleyan in 1945.  Their marriage ended in 1966. [68]

55.  Quarry.  Back cover.  It says he retired “US Army Lt. Colonel, Master Army Aviator.”  His obituary says he was in “a second lieutenant in the Air Force.”

56.  Howard was named chairman of the SMU’s Opera Department in 1962. [69]  By 1970, he was general manager of the Dallas Symphony Orchestra. [70]  Since David does not say when he was studying in Dallas, it is not clear if he was there when his father was on the faculty.  He stayed closed enough to his father to have his step-sisters mentioned in his obituary.

57.  David Jarratt obituary.

58.  “Buckeye Recreation Workshop – 1955.”  Mimeographed sheet.  Copy courtesy of Barry Jolliff, Buckeye Leadership Workshop.

59.  Katherine Ferris Rohrbough.  64.  Quoted by Holcomb.  108.

60.  Donald Frye.  Interviewed by Larry Nial Holcomb on 7 January 1972.  Cited by Holcomb.  109.

61.  Athanatos. “Ingebord Larsen Jarratt.”  Find a Grave website, 13 June 2015.
62.  Katherine Ferris Rohrbough.  Quoted by Holcomb.  110–111.

63.  Grace Goulder.  “Good Neighbors in Action.”  Cleveland Plain Dealer Pictorial Magazine.  Copy provided by Oscar Bailey’s family.  Notes on the date of this publication appear in the post for 1 May 2022.

64.  Richard Fisher.  “World Wide Games – Delaware Ohio.”  Delaware O History website, 25 December 2019.

65.  Jeffrey T. Darbee.  Delaware and Delaware County.  Charleston, South Carolina: Arcadia Publishing, 2012.  52.

66.  Fisher.
67.  Athanatos.  Her father was Lauritz Larsen.
68.  “Betty Jarratt.”  Portland Press Herald, Portland, Maine, 8 October 2017.
69.  Betty Jarratt obituary.

70.  Anshel Brusilow and Robin Underdahl.  Shoot the Conductor: Too Close to Monteux, Szell, and Ormandy.  Denton: University of North Texas Press, 2016.  229.

CRS Offset Typography

Topic: CRS Versions
Lynn Rohrbough made a major change in his print operations in 1951 when he purchased an offset press and hired Oscar Bailey to operate it.  This brought changes to the organization, including Oscar’s wife, Sara, who handled page layout. [1]

As mentioned in the post for 1 May 2022, offset images are not as clear as those of a letter press.  This does not seem to have affected the music plates made by Jane Keen, but it did affect the titles.  The Varityper machine still was used, but a simpler font was selected.

If one compares the heading with that from an earlier edition discussed in the post for 8 May 2022, one can see that the capital “C” is similar, although the differences in line width are less pronounced.

The new font is sans-serif and the vertical lines are all straight.  The leg and the ascender on the capital “K” join the stem below the x-height line, so the ascender is longer and thinner.  The lower-case “k’s” are identical with the upper-case one.

The same font was used when CRS published “The Keeper” in a 1955 songbook for the Canadian Council of Churches.  The bars on the lower-case “e’s” are horizontal, rather than slanted as they are in the verses.  Coincidentally the capital “T” in the title is very close to the Keen’s handwritten one in the lyrics.

While the typefaces are simpler, the actual work of composing the page was more complex.  When the letter press was used, the physical properties of lines of type kept the components of a page aligned.  With offset, it was the skill of Sara Bailey that did that.  The title for the “Cuckoo” is right on the edge of the plate and parallel to the staff lines.

The difference in skill is obvious from the heading for “Over the Meadows” published after Sara and Oscar left CRS.

Someone, perhaps Keen, wrote the credit for Augustus D. Zanzig.  Then, that person or another, pasted it onto plate at a slight angle.  Keen didn’t always keep all her letters on a baseline, but she also did not write on an incline.  It looks like the addition wasn’t aligned.  This is not an error Bailey or Keen would have made.  They were better artisans.

Notes on Performers
Sara Besco was born in Portsmouth, Ohio, and raised in the county north of Wheeling, West Virginia, where she was active in 4-H.  Sewing was one of her main projects. [2]  Sewing with a paper pattern requires eye-and-hand coordination to match each piece with a fabric’s design so that seams are not visible when a garment is completed.  That is a key skill she used when she was doing layouts for CRS.  In later life, she turned to quilting, which required even more manual dexterity. [3]

In West Virginia, the top award winners in each county were awarded scholarships to the state 4-H camp.  She went five times. [4]  It probably was there that she met Jane Farwell, who was a recreation specialist for the state extension office in Morgantown. [5]  They may have met again when Bailey attended West Virginia University.  Her family remembers she was a bit overwhelmed by the school, and went to the 4-H offices for help. [6]

Farwell led the folk dancing program at Oglebay Park in Wheeling, where Sara met her future husband.  A photograph of them at Oglebay appears with the post for 1 May 2022.  She later wrote an appreciation of Farwell that was included in a collection published by CRS. [7]

Unlike most members of the CRS staff, Bailey was interested in music.  She organized a 4-H chorus, and was active in the local Methodist church. [8]  She later became a Quaker, so her children could be full member’s of her husband’s church.  However, her family recalls she “remained partial to old hymns.”  When she was older, and her memory was failing she still “knew all the words and harmony to any song we could find in an old hymnal.”  They added, “She knew quite a bit about singing, developing a voice, how to ‘tune’ voices to one another.” [9]

The details of her work illustrated in the post for 29 May 2022.

Graphics
1.  “Cuckoo - (Kuckuck),” English by K. K. R., copyright 1953, Cooperative Recreation Service.  63 in Lift Every Voice, edited by Larry Eisenberg for Inter-Division Committee of the General Board of Education of the Methodist Church.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  KFR is Katherine Ferris Rohrbough.  The copyright was nullified by publications like that for the YWCA, which did not carry the copyright notification as required by law.  The song is discussed in the post for 8 May 2022.

2.  “Kuckuck (Cuckoo).”  61 in Sing Along the Way, edited by Marie Oliver for the YWCA’s Woman’s Press.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  See the post for 8 May 2022 for more details on the songbook.

3.  “The Keeper.”  52 in Lift Your Voices, edited by Kenneth S. Willis for Department of Christian Education, Canadian Council of Churches.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service, sixth edition, 1955.

4.  “Over the Meadows.”  8 in Sing Along, edited by Mary Wheeler, Lura Mohrbacher, and Augustus D. Zanzig for the YWCA’s National Board, Bureau of Communications.  More details on the songbook are in the post for 24 April 2022.

5.  Sara Besco, at left, with members of the Seminole 4-H Club Chorus, Ohio County, West Virginia.  Copy courtesy of her family.  The capes probably were a club sewing project.

End Notes
1.  “How a Sampler Is Made.”  Song Sampler Number 3:7–8:July 1956.  Quoted by Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  134.

2.  “Know Your Neighbor: Miss Sarah Besco.”  Newspaper clipping in scrapbook of Sara Besco Bailey, 24 May 1939.  Copy provided by her family.

3.  Sara Besco Bailey’s family, email, 27 February 2022.

4.  “xxx H Girl Wins High Recognition.”  Newspaper clipping in scrapbook of Sarah Besco Bailey.  Copy provided by her family.  Top corner with headline partly obscured; after 1941.

5.  “Jane Farwell.”  Wikipedia website.
6.  Sara Besco Bailey’s family, email, 24 February 2022.

7.  Sara B. Bailey.  “Introduction.”  2–3 in Folk Dances for Fun.  Delaware, Ohio: Cooperative Recreation Service.  The songbook seems to have been published first by the West Virginia state extension office. [10]  Bailey may have been responsible for the CRS edition, which was published sometime after 1956 when Farwell had toured Japan.  The book contains no credits, but it seems possible Bailey did the blue-on-white cover design and added some artwork to the pages. [11]  This book sold for .25.  A later edition, with a wedgewood blue cover that sold for .50, has a different introduction.

8.  “Know Your Neighbor.”
9.  Sara Besco Bailey’s family, email, 24 February 2022.

10.  Ron Houston.  “Folk Dances for Fun.”  The Society of Folk Dance Historians website, 2018.

11.  Grace Goulder mentions Sara was a silk-screen artist in “Good Neighbors in Action.”  Cleveland Plain Dealer Pictorial Magazine, Cleveland, Ohio.  Copy provided by Sara Besco Bailey’s family.  The post for 1 May 2022 has details on its possible publication in 1951.

CRS Early Typography

Topic: CRS Versions
Type fonts are one of those things that only interest people who are amused by running their cursor down a computer’s menu and watching a word change from Algerian to Blackadder to Windsor.  However, when you are a publisher you are aware it is the first thing people notice subliminally.

Lynn Rohrbough and his wife, the former Katherine Ferris, made decisions for Cooperative Recreation Service (CRS) in the 1940s that gave their songbooks an identifiable style.  Below are excerpts from the indexes of two booklets created in 1944.  The top one may have been done by a commercial printer, and the other by their own press.

I am going to concentrate on “K,” the first letter in “Kumbaya.”  It is composed of three strokes.  The upright post is called the “stem,” while the section that reaches upward and outward is an “ascender.”  The lower line that reaches outward is the “leg.”  The height of lower-case letters is termed the “x-height” and “stressed” is used to identify fonts with lines that vary in thickness. [1]

Beyond the obvious difference in size between the two examples, the main distinguishing feature between them is the use feet or serifs on the left index.  David Carson says such types tend to be used by newspapers, while san-serif fonts are favored by digital publications. [2]  The default in Word and Excel documents, Calibri, has no flourishes, while Times New Roman does.   

The leg and the ascender for the “K” on upper example are equally long and both come from the x-height point on the stem.  All are straight lines, and equally thick.  In other index, done for Songs of Many Nations, the ascender extends beyond the height of the stem and is longer than the leg.  Both come from x-height point on the stem, but the ascender may be slightly thicker—it gets more ink.

The text for an individual song is composed of three parts: the title, the headnotes, and the lyrics. Below the music staff, it might have additional verses and/or a footnote.  In Joyful Singing, the above example, each has a different font.  Jane Keen still was working from South Dakota, and so at least two people worked on the version of “The Keeper” [4] below.

Keen produced a plate with obvious hand lettering.  The stem on the initial “k” in the first verse is curved toward the right, while the “d” in “would” has two curves and the “f” in “first” leans left.  The stem on the “k” is as tall as the capital “T,” but the “d” in “would” is noticeably shorter.  The stem and ascender are plain, but the leg has a finial that points upward. The arms on the capital “T’s” are horizontal.  The one beginning the second verse is not as straight.

The headnote was produced by the same typeset as the index.  The title is a blocky form of sans-serif.  The “K” forms a oblong box, with the ascender and leg coming from the x-height point on the stem.

Keen had remade the plate for “The Keeper” by the time it appeared in the 1944 edition of Songs of Many Nations.  As mentioned in the post for 24 April 2022, the Rohrboughs were creating their own style that included compressing songs so more than one could appear on a page.  The new rendition has three, rather than two, measures in the first line.  Keen did not change her lettering much, although she spaced the notes so they were aligned with the words.

She probably did the headnote, and may also have done the title.  It imitates the block style of the earlier version, but the “K” is more stylized.  The lines on the “K” vary in thickness, with the ascender the widest.  It connects to the stem below the x-height point, and the leg extends from it, not the stem.

Keen moved to Ohio in 1947, and at some time Rohrbough purchased a Varityper machine. [5]  This was a typewriter that allowed multiple fonts, decades before IBM introduced the spinning ball on its Selectric machines. [6]  It was used for the title of “Cuckoo” [7] published in the late 1940s or early 1950s by the YWCA.

Richard Polt was told the “fonts were a half-moon shape and after hammering on the characters toward the center of the font for a couple of years, the fonts had a nasty tendency to lose some of their curvature.” [8]  This can be seen in the capital “C” which is stressed so no two parts of the letter are the same thickness.

The three strokes on the capital “K” are different thickness, with the stem the boldest.  The thin ascender connects to the post below the x-height line, and the leg curves from it with a finial serif.  The headnote was done by Keen: the letters are not even with a base line.  Some of her letters in the verse are more elaborate, but the lower-case “e” and the upper-case “T” only differ from her earlier work in the way hand lettering varies.

Later, Keen seems to have incorporated elements of the Varityper font used by CRS into her own style.  When “The Keeper” was included in the Camp Fire Girls’ edition of Joyful Singing in the early 1950s, the plate remained unchanged.  What changed was the title.  The stems on the capital letters are heavily stressed.

Notes on Performers
Jane Keen is profiled in the post for 24 April 2022.  More examples of her work appear in the posts for 15 May 2022 and 29 May 2022.

Graphics
1.  Index for Joyful Singing, published for The National Convocation of the Methodist Youth Fellowship.  Delaware, Ohio: Cooperative Recreation Service, Custom Printed Songs.  As mentioned in the post for 20 February 2022, the “Introduction” refers to songbooks published in 1942; the MYF meeting probably was held in 1944.  It also is discussed in the post for 24 April 2022.

2.  Index to Songs of Many Nations, published for Evangelical and Reformed Church, Philadelphia, Pennsylvania.  Delaware, Ohio: Cooperative Recreation Service, Custom Printed Songs, 1944.  The editor probably was Edward Schlingman.  It is discussed in the posts for 20 February 2022 and 24 April 2022.

3.  “The Keeper.”  9 in Joyful Singing, 1944.

4.  “The Keeper.”  24 in Songs of Many Nations.

5.  “Kuckuck (Cuckoo)”.  61 in Sing Along the Way, edited by Marie Oliver for the YWCA’s Woman’s Press.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  This has the same cover and most of the same songs as the 1951, fifth printing.  I assume this was earlier, and the date was added for the fifth printing to avoid confusion.  This songbook is discussed in the post for 20 March 2022.

6.  “The Keeper.”  9 in Joyful Singing, Campfire Girls Edition.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.  Dark colored cover.  Copy provided by Josephine Weber of the Winnebagoland CFG Council, Oshkosh, Wisconsin.  Published sometime between 1946 and 1955; I assume in the early 1950s.  The songbook is discussed in the post for 20 February 2022.

End Notes
1.  I am using definitions from Orana Velarde.  “A Visual Guide to the Anatomy of Typography [Infographic].”  Visme website, 30 November 2017.  I found similar information in “Learn: Anatomy of a Typeface.”  Typedia website.

2.  David Carson.  “Serif vs. Sans Serif Fonts: Differences Between the Font Types.”  Master Class website.

4. Camp Songs, Folk Songs provides a short history of “The Keeper” on page 231.

5.  “How a Sampler Is Made.”  Song Sampler Number 3:7–8:July 1956.  Quoted by Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  134.

6.  Richard Polt.  “Varityper.”  Xavier University website.

7.  “Cuckoo” is one of the case studies in Camp Songs, Folk Songs, 178–186.  If one were ranking songs introduced by CRS by their importance in camp tradition, it would come second to “Kumbaya.”  It is the only one to spawn a parody as popular as the original: “An Austrian Went Yodeling.”

8.  Former Varityper employee quoted by Polt.

CRS Print Shop

Topic: CRS Versions
The production of custom songbooks by Lynn Rohrbough’s Cooperative Recreation Service (CRS) involved more than the compilation of a list of available songs.  It also required the creation of a physical plant to produce the booklets at low cost with reasonable quality.

Before the Rohrboughs moved to Delaware, Ohio, they used commercial printers in Chicago [1] and, before that, in Boston. [2]  They probably used someone local when they first relocated, but soon after bought a “small hand-fed press.”  Rohrbough’s wife, Katherine Ferris Rohrbough, recalled, they “put it in the barn and hired one man to operate it. [3]

Most likely it was a letterpress printer.  Usually, type was set and the pages laid out.  Then, copper-sheet molds were made that were used by the press. [4]  They could have been setting the type themselves or hiring the work done.  In 1937, Lynn said CRS had four employees, plus some who worked part-time. [5]  The latter probably helped with shipping.

The introduction of music added a level of complexity.  Jane Keen’s drawings were transferred to copper plates with light-sensitive coatings.  Then, like photograph negatives, they were exposed while electrical impulses etched the lines.  These thin sheets often were backed by chrome so they could withstand long press runs. [6]

The Rohrboughs hired William Detwiler to operate the press, [7] and probably sent the artwork to Van Bolt Kreber Electrotype in Columbus. [8]  Frank Kreber bought out the interest of George Van Bolt in 1938, and his son continued to run the company. [9]  By 1957, the Electrotypers Union was supplying chrome-plated copper printing plates. [10]

Newer presses were added to the hand-fed one, until Donald Frye remembered there were four in the barn. [11]  In 1948, Grace Goulder described them as “thundering, up-to-date presses” that could “ turn out as many as 30,000 booklets at a time.” [12]  John Leininger set the type and Hugh Macmillan ran the letter press. [13]

In 1951, Rohrbough introduced offset printing. [14]  Oscar Bailey photographed completed pages, and exposed the negatives “under arc-light in contact with aluminum printing plates in a vacuum frame.” [15]  In 1957, the Photoengravers Union of Newark Engraving Company was supplying zinc etchings. [16]

Offset printing images are not as clear as those of letterpress, [17] but involve less labor.  More important, the technology provides more flexibility.  When I was in high school in the early 1960s, our yearbook was produced by a commercial offset printer. [18]  All the photographs and lines of text were rubber cemented onto large pieces of paper marked by light blue graph lines, then shipped off to the printer.

This means that, whenever CRS produced a new songbook, all the shop had to do was take Keen’s original autograph, [19] or a photograph of it, and lay out a new page with new page numbers and whatever changes were required in the headings.  After the songster was mocked up, Bailey could create new plates.  There was no need to redo Keen’s work, and no need for outside skilled labor.

Because offset printing relied on photography, it allowed artwork to be incorporated at little cost.  However, CRS did not exploit these uses.  The only artistic book produced by the company was a reissue of Flora McDowell’s collection.  The cover of the 6 5/8" x 8 5/8" book has a drawing by McDowell’s son. [20]

Rohrbough never produced separate plates for different colors, [21] but instead, within the technology of a single plate, created effects with different colored inks and papers.  Oscar’s wife, the former Sara Besco, made sketches that appeared at the bottoms of pages of McDowell’s book.

Keen redrew the music, and used curved tails for the eighth notes.  The clef sign also is more upright than in her 1940s autographs. [22]  In what had become a small artistic community, each person rose to the levels of the others.

Notes on Performers
William Detwiler’s grandfather [23] moved to Thompson Township, in the northwestern corner of Delaware County, Ohio, where he opened a tavern in the 1830s. [24]  William was born in 1913, [25] so he would have been in his twenties when he began working for Rohrbough.  He and his wife moved to Alabama while he served in the military in World War II, when Rohrbough would have needed someone else to run his press.  The Detwilers returned after the war. [26]  I do not know when he retired.  He died in 1981. [27]

John A. Leininger was a former Unitarian minister who worked as a compositor for the Rohrboughs.  He graduated from the Harvard Divinity School. [28]

Hugh MacMillan was from Berlin Township, south of Delaware. [29]

Oscar Wilson Bailey’s Quaker ancestors moved to Belmont County, Ohio, from North Carolina in the early 1800s. [30]  He graduated from the denomination’s Wilmington College in 1951 and went to work for “a commercial printer in Delaware, Ohio” [31] where he “learned offset printing.” [32]

Bailey met his wife when he attended folk dances sponsored by the Oglebay Park in Wheeling, West Virginia. [33]  Their interest in dance may be one reason that devoted such attention to the McDowell revision.

He left in 1956 to pursue a master’s degree in fine arts from Ohio University.  He taught photography at State University College in Buffalo and the University of South Florida.  While he was teaching, Bailey’s reputation as an artist grew.  Ohio Wesleyan University exhibited his works in Delaware in 1964. [34]

Oscar and Sara [35] moved to the North Carolina mountains near Burnsville [36] after he retired in 1985. [37]  His interest in art turned to more manual ones: he designed their home, built furniture, and designed kites, which he called “wind-supported sculptures.” [38]  A member of the Society for Photographic Education recalled: “Oscar was a fun and exciting person to be around.  He liked to figure out how things worked and then explored how he could integrate these qualities with his ideas.” [39]  Bailey died in 2010. [40]

The Newark Engraving Company was founded by James Dean Mackey in 1926.  He was born near Marietta, Ohio, but lived in Columbia, South Carolina, and Parkersburg, West Virginia, before returning to Ohio.  In each city he worked as a professional musician and ran engraving companies.  He patented some improvements in the design of clarinets. [41]

Graphics
1.  Flora L. McDowell.  Folk Dances of Tennessee And Other Authentic Folk Material.  Delaware, Ohio: Cooperative Recreation Service.  Cover by Jack McDowell.  Music autographs by Jane Keen.  Typesetting, layout, and sketches by Sara Bailey.  Photography by Orville Joyner.  Printing by Oscar Bailey.  Editorial Supervision by Lynn Rohrbough.  McDowell is discussed in the post for 12 December 2021.  As suggested then, this booklet may have been published in 1953, or shortly thereafter.

2.  Bottom line of “Shuckin’ of the Corn.”  Credits and other illustrations of this music appear in the posts for 372 12 December 2021, 13 February 2022, and 22 February 2022.

3.  John A. Leininger.  Photograph by Grace Goulder for her “Good Neighbors in Action.”  Cleveland Plain Dealer Pictorial Magazine. Cleveland, Ohio.  Copy provided by Oscar Bailey’s family. [42]

4.  Hugh MacMillan.  Photograph by Grace Goulder for 1951 article.

5.  Sara Besco Bailey and Oscar Wilson Bailey at Oglebay Park, Wheeling, West Virginia.  Copy provided by their family.

End Notes
1.  Holland Press. [43]
2.  Old Dutch Press. [44]

3.  Katherine Ferris Rohrbough.  “Good Times as a Career.”  Wellesley Alumnae Magazine 84–86:January 1956.  84.  Quoted by Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  108.

4.  “Letterpress Printing.”  Encyclopædia Britannica website, 20 July 1998; last updated 30 October 2013 by Yamini Chauhan.  The plates were coated to preserve the lead type.

5.  Lynn Rohrbough.  “Cooperative Recreation Service.”  Consumers’ Cooperation 33(11):171–172:November 1937.  Cited by Holcomb.  108.

6.  “Electrotyping.”  Wikipedia website.  Katherine Rohrbough said “for a long time, I did all the music drawings from which electrotypes were made.” [45]

7.  Grace Goulder.  “Play Is Business for Delaware (O.) Couple Who Specialize in Group Recreation.”  Cleveland Plain Dealer, Cleveland, Ohio, 5 December 1948.  Cited by  Holcomb.  109.  Also, 108.

8.  The YWCA listed the unions involved with its 1957 songbook. [46]  There is no reason to believe Rohrbough changed contractors, once he found good ones.

9.  “The Evolution of Kreber.”  Company website.

10.  Forward to Revised Edition.”  1–2 in Sing Along, edited by Mary Wheeler, Lura Mohrbacher, and Augustus D. Zanzig for the Young Women’s Christian Association’s National Board.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service, 1957.  1.

11.  Donald Frye.  Interviewed by Larry Nial Holcomb on 7 January 1972.  Cited by Holcomb.  109.  Frye was born around 1928, [47] and began working for the company in the late 1930s mowing lawns.  He learned the printing trade, before leaving in 1950 to open his own business in Delaware. [48]

12.  Goulder, 1948.  Quoted by Holcomb.  109.
13.  Goulder, 1951.
14.  “Oscar Bailey.”  National Gallery of Art website.

15.  “How a Sampler Is Made.”  Song Sampler Number 3:7–8:July 1956.  Quoted by Holcomb. 134.

16.  YWCA.  1.

17.  Robert Lechêne.  “Printing.”  Encyclopædia Britannica website; revised 9 May 2000; last updated on 1 October 2020 by Aakanksha Gaur.

18.  Our school paper was produced by the local newspaper and went through the older printing processes that included  linotype machines.  I am drawing up my own knowledge of the two publications to fill gaps left by web articles that assume the reader either knows or does not care about details.  Many write about technological processes as they exist today, not as they did in the late 1940s and early 1950s.

19.  “Autograph” is the technical term for preparing a piece of music for print.

20.  Flora McDowell’s son was William Jackson McDowell.  He was living in Cincinnati, Ohio, when he died in 1994. [49]

21.  The one exception may be an African Song Sampler, which featured a multi-colored painting by Thango.  The 1958 edition was overseen by Walter F. Anderson of Antioch College and is twice as wide as a CRS publication.

22.  Keen’s early work is illustrated in the post for 24 April 2022.  Her later work is discussed in the posts for 8 May 2022, 15 May 2022, and 29 May 2022.

23.  Detwiler’s father was John Harry Detwiler. [50]  John Harry’s father was John Detwiler. [51]

24.  Illustrated Historical Atlas of Delaware County, Ohio.  Philadelphia: L. H. Everts and Company, 1875.  11.

History of Delaware County and Ohio.  Chicago: O. L. Baskin and Company, 1880.  546.

25.  “William L Detwiler.”  Ancestry website.

26.  “Margaret Elaine Detwiler.”  The Delaware Gazette, Delaware, Ohio, 25 October 2012.  She was William’s wife.

27.  “William L Detwiler.”
28.  Goulder, 1951.
29.  “Hugh McMullian in the 1940 Census.”  Ancestry website.

30.  Bailey’s mother was Rebecca Steer.  Her ancestor, Moses Hall, arrived from North Carolina in 1804. [52]  The Bailey line has been traced back to Lindley Patterson Bailey who was born in Belmont County in 1850. [53]  The movement of Quakers from North Carolina to Ohio is discussed in the post for 28 March 2021, which describes the ancestry of Varner Chance.

31.  National Gallery of Art.  Prabook makes clear the commercial printer was CRS. [54]

32.  Mary Lea Bailey.  Email to John Blocher, Jr.  25 June 2016.
33.  Email from Oscar Bailey’s family, 23 February 2022.
34.  National Gallery of Art.
35.  Sara Bailey is discussed in the post for 15 May 2022.
36.  Barbara Edwards.  Photograph on Flickr website.
37.  National Gallery of Art.

38.  “Remembering Oscar Wilson Bailey.”  Society for Photographic Education website, 30 January 2010.  Bailey was a founding member of the organization. [55]

39.  Society for Photographic Education.
40.  National Gallery of Art.

41.  Will Peebles.  “James Dean Mackey’s Clarinet Patents.”  The Clarinet 47(4):46–49:September 2020.

42.  Holcomb has the date as 1949, but 1951 is more likely.  Not only are the Baileys mentioned, but the Homestead Acres project is described as “three years ago.”  In note 15 for the post for 22 May2022, Holcomb says that project began in 1948.

43.  Holcomb.  63.
44.  Holcomb.  63.
45.  Katherine Ferris Rohrbough.  108.  Quoted by Holcomb.  84.
46.  YWCA.  1.

47.  “Donald Frye in the 1940 Census.”  Archives website.  He was living in Radnor, Township to the northwest of Delaware.

48.  Holcomb.  109.
49.  Steve Eskew.  “Fora E. Lassiter.”  His website; last updated 25 August 2021.
50.  “William L Detwiler.”

51.  “Delaware/OakGrove.”  Internment website.
“Detwiler Tavern.”  Past Perfect Online website.

52.  Elizabeth J. (Hall) Hartley.  Descendants of Moses Hall, John Dounda, and Benjamin Hall (Quaker Families of Belmont County, Ohio, from Virginia & North Carolina.  Denver, 1958, second private printing.  vii on Moses Hall, 1 on his son Moses Hall, 146 on Joseph Hall, 181 on Thomas Hall and David Hall, 182 on Linley Hall who married Millicent Bailey, and 183 Mary Hall who married William James Steer.

53.  “Oscar Joseph Bailey.”  Roots Web website.  Oscar Joseph was Oscar Wilson’s grandfather.  Oscar Wilson’s great grandfather was Lindley Patterson Bailey.

54.  “Oscar W. Bailey.”  Prabook website.
55.  National Gallery of Art.