Topic: Theology - Evangelicals
Pentecostals and Fundamentalists were not the same people. Indeed, in the aftermath of the trial of John Scopes for teaching evolution in a Tennessee pubic school, [1] the World’s Christian Fundamentals Association condemned the "‘tongues movement,’ and the present wave of fanatical and unscriptural healing which is sweeping the country today." [2]
The two movements were rooted in divergent religious traditions that responded differently to changes in intellectual methods in the nineteenth century. Pentecostals were applying scientific criteria when they sought proof of salvation in resurrecting practices of the original church of the apostles. [3] Fundamentalists, who were devoted to sermons that explicated the word, were dismayed when the application of scientific methods to the original texts of the Bible produced interpretations that did not match their beliefs. [4]
The groups remained isolated from one another until World War II. Then, the Federal Council of Churches persuaded the two major radio networks "not to sell time to religious broadcasters, but to allot free time to ‘recognized’ faith communities" like its Methodist, Presbyterian, Lutheran, and northern Baptist members. [5]
Harold Ockenga and Elwin Wright organized an opposing National Association of Evangelicals in 1943. Ockenga focused on beliefs the groups shared, rather than points of doctrine that separated them, and invited Pentecostal groups to join. The defining point of faith was their belief the Bible was "the inspired, the only infallible, authoritative Word of God." [6]
The 1945 NAE convention limited its role to facilitating shared goals, rather than arbitrating doctrinal disagreements. It decided the organization would not sponsor crusades, but its regional offices could support individual efforts. The group’s historian noted, the result was "those who had been looking to the NAE for a more direct role in evangelism began to look elsewhere to parachurch agencies such as Youth for Christ and its promising first evangelist, Billy Graham." Graham became the de facto spokesman for this coalition called evangelicals. [7]
Youth for Christ began with a 1944 Chicago rally held by Torrey Johnson. [8] It promoted a view that being a Christian was fun, [9] and used popular music to attract potential adolescent converts. When traditionalists complained, Johnson responded, the rallies were not church services. [10] Editors of the first songbook "reminded users of the songbook that ‘the components of any religious experience are heart and mind’ and that ‘both are needed’." [11]
Ralph Carmichael became its most important muse when he staged productions [12] at the association’s annual conventions at Winona Lake, Indiana, and wrote scores for Graham films. [13] Maintaining the balance between the competing elements of the evangelical alliance was not easy. He was not asked to continue after his Winona Lake productions were criticized as too "Hollywood" and too "worldly." [14]
By the late 1950s, he was working for Sacred Records, [15] who rented facilities from Capital Records. That led to his being asked to make arrangements for one of Capital’s artists, Nat King Cole. [16] This time, his church told him they would not renew his ordination. [17]
Word Records of Waco, Texas, bought Sacred in the early 1960s. [18] It had hired Kurt Kaiser in 1959 to produce records. [19] Bill Pearce, a performer from Chicago, remembered Carmichael raised the company’s artistic level when he hired professional musicians to work as session men. [20]
The rise of rock ‘n’ roll created the same problems for evangelicals as it did other religious groups. Thomas Bergler suggested they feared the ecstatic release that occurred in rock concerts would compete with religious emotion. [21]
The commercial folk-music revival provided a more acceptable alternative. In 1969, Carmichael and Kaiser collaborated on one of the first successful Christian folk musicals, Tell It Like It Is. [22] The next year, the two produced an album and songbook for Cliff Barrows, Graham’s music director, that included two songs from the show, one from a Graham film, and a version of "Kumbaya." [23]
They used the standard crying/singing/praying verses. Then, to make the version unique and eligible for copyright, they added a final verse that placed it in the evangelical tradition. It assured listeners that He would listen to their prayers.
The melody for burden between singing and praying verses was sung "in 2nd." This use of a tenor lead was borrowed from early Protestant music in this country and perpetuated in the sacred-harp song books discussed in the post for 21 December 2017.
Performers
Vocal Soloist: none
Vocal Group: scored for SATB
Vocal Director: Kurt Kaiser
Instrumental Accompaniment: harpsichord
Rhythm Accompaniment: none
Credits
Songbook
African Melody
Arr. By Ralph Carmichael
Album
P.D. [public domain]
Notes on Lyrics
Language: English
Pronunciation: the written melody for the word "kumbaya" used two eighth-notes followed by a dotted-eighth; their Southern propensity to stress the first syllable of a word led the choristers to treat it more like a dotted-eighth sixteenth dotted-eighth. [24]
Verses: kumbaya, crying, singing, praying, own verse
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: burden-verse
Verse Repetition Pattern: none
Ending: none in text
Unique Features: special verse emphasized the efficacy of prayer
Notes on Music
Opening Phrase: 1-3-5
Time Signature: 3/4
Tempo: Carmichael specified "Moderately slow"; Kaiser used a quicker tempo on the recording
Key Signature (songbook)
Kumbaya - no flats or sharps
Verse - 5 flats
Verse - 2 sharps
Verse - 5 flats
Verse - no flats or sharps
Basic Structure: repetition with variations in key and use of male and female voices
Singing Style: one syllable to one note except for final "Lord." They sang the last line much slower.
Harmony: in the first verse set, Carmichael relied of parallel third chords. In the singing verse he used parallel fifths for the verse and more complex chords for the burden. Instead of repeating the burden before the last verse, the choristers hummed. He also varied the parts by gender, so the men sang the opening verse, followed by the women. Later, the sopranos and altos hummed while the tenors and basses sang.
Vocal-Accompaniment Dynamics: the score showed the piano accompanying the group with chords. On the recording, the harpsichord simulated a banjo and only played chords when a stringed instrument would have been strummed. Occasionally, it added arpeggios above the melodic line.
Notes on Performers
Carmichael was raised in an Assembly of God household, and attended its college to become a minister like all the men in the family. [25] However, his father encouraged his interest in music and hoped he would become a professional violinist. [26] He had become a part owner of Lexicon music when it was associated with Sacred Records, and remained a half owner when it was acquired by Word. [27]
Kaiser’s family were members of the Plymouth Brethren, a British precursor of the Pentecostal movement discussed in the post for 25 December 2017. He studied music at the American Conservatory of Music and Northwestern. While he was with Word, he directed Baylor University’s Religious Hour Choir from 1965 to 1970. [28]
Baylor was a Baptist school located in Waco. [29] The Kurt Kaiser Singers most likely were Baylor students. One choir member said they were called the Kurt Kaiser Singers on Word’s recording of Tell It Like It Is in 1969. [30] Another remembered Word was auditioning students for another musical in the fall in 1970, [31] after Kaiser no longer was the director. The record was not dated, but the songbook was copyrighted in 1970.
Availability
Album: Kurt Kaiser Singers. Cliff Barrows Now! Word WST-8500-LP.
Songbook: Cliff Barrows Now. Arrangements by Ralph Carmichael and Kurt Kaiser. Waco, Texas: Lexicon Music, Inc, 1970. 21-27.
End Notes
1. Wikipedia. "Scopes Trial." The trial occurred in 1925.
2. Convention resolution, 1928. Quoted by Vinson Synan. The Holiness-Pentecostal Tradition. Grand Rapids: William B. Eerdmans Publishing Company, 1997 edition. 208. He may have been thinking of Aimee Semple McPherson who was then popular.
3. The quest for evidence of salvation was discussed in the post for 7 December 2017.
4. The unintended consequences of European Biblical research are discussed by Wikipedia. "Historical Criticism."
5. National Association of Evangelicals. "History." Its website. The FCC also included African-American conferences association with each group. It became the National Council of Churches in 1950. (Wikipedia. "Federal Council of Churches.")
6. NAE. "Statement of Faith (1943)." Quoted by Wikipedia. "National Association of Evangelicals." This use of evangelical differed from Martin Luther; most Lutheran synods did not affiliate with the organization.
7. NAE, History.
8. Wikipedia. "Youth for Christ."
9. Thomas E. Bergler. "‘I Found My Thrill’: The Youth for Christ Movement and American Congregational Singing, 1940-1970." 123-149 in Wonderful Words of Life: Hymns in American Protestant History and Theology. Edited by Mark A. Noll and Richard J. Mouw. Grand Rapids: Wm. B. Eerdmans Publishing, 2004. 128. "Billy Graham repeatedly told Youth for Christ audiences that ‘the young people around the world today who are having the best time are the young people who know Jesus Christ’."
10. YFC Leaders Conference, 1945, said "Y.F.C. is a youth rally, rather than a church service." Quoted by Bergler. 128.
11. Singing Youth for Christ. Edited by Frank C. Phillips, Robert A. Cook, and Cliff Barrows. Chicago: Youth for Christ International, 1948. Quoted by Bergler. 127-128.
12. Bergler. 126.
13. Wikipedia. "Ralph Carmichael."
14. Bergler. 126.
15. "Sacred Records." Discogs website. The first recordings they dated for Carmichael were from 1958.
16. Marc Myers. "Interview: Ralph Carmichael (Part 1)." All About Jazz website.
17. Wikipedia, Carmichael.
18. Don Cusic. The Sound of Light: A History of Gospel Music. Bowling Green, Ohio: Bowling Green State University Popular Press, 1990. 136.
19. Wikipedia. "Kurt Kaiser." Technically, he was responsible for what was termed A&R, or artists and repertoire.
20. Wikipedia. "Bill Pearce." Pearce recorded for Word.
21. Bergler. 141.
22. Wikipedia, Carmichael. The first folk musical was Good News in 1965. (Cusic, 127)
23. The songs from the musical were "Pass It On" and "Love Is Surrender." The one from the film His Land was "The New 23rd."
24. Erik R. Thomas said the Southern speech area spread from the Atlantic to west Texas and parts of eastern new Mexico, and at least as far north as the north flowing tributaries of the Ohio river. Within that area there was a "tendency to place stress to the initial syllable of particular words," which elsewhere were pronounced with the accent on the second syllable. "Rural White Southern Accents." 300-324 in A Handbook of Varieties of English. Edited by Bernd Kortmann and Edgar W. Schneider. Berlin: Mouton de Gruyter, 2004.
25. Wikipedia, Carmichael.
26. Myers.
27. Cusic. 136.
28. Wikipedia, Kaiser.
29. Wikipedia. "Baylor University."
30. M. J. Wofford. Post on BRH Choir Alumni Public Group Facebook page.. 14 August 2017.
31. Betty Newman. "On a Natural High with Kurt Kaiser." White Bluff Chapel, Whitney, Texas, website. 3 May 2012.
Showing posts with label Carmichael Ralph. Show all posts
Showing posts with label Carmichael Ralph. Show all posts
Friday, December 15, 2017
Saturday, August 19, 2017
Helmut Lotti - Kumbaya My Lord
Topic: Seminal Versions
Mechanical reproduction of music began in the 1880s with piano rolls. [1] In 1908, the Supreme Court ruled they were unique creations and not subject to royalty payments. Composers responded by advocating passage of the 1909 copyright law that forced reimbursements for rolls, cylinders, and the newer photograph records. [2] Their professional organization later was able to establish their rights to reimbursement for music played by radio stations. [3]
The 1909 law was written specifically to meet the needs of professional composers working for the popular stage. It stipulated songs that were not registered with the government office and did not carry proper ownership notices fell into the public domain, available for use by anyone.
Individuals who performed traditional works would add a bit of melody, a special orchestration, or supplemental words so they could copyright their particular versions, and more important, protect themselves from some rival’s lien on their proceeds. Thus, Ralph Carmichael could copyright his version of "Kum-ba-yah" in 1969 because it had some unique words along with a piano and vocal arrangement. [4]
Sometime after the Beatles emerged, the value of copyrights increased in value and so did the number of lawsuits. In summer camps, youth sang the songs of the commercial folk revival without paying royalties, just as they had been doing with other music for generations. However, more vigilant royalties seekers began complaining. The Girl Scouts published their own songbook in 1973 that had all the correct permissions. [5] Rather than rely upon an older source for "Kumbaya," they published James Leisy’s version because it protected them from liabilities with a copyright justified by an additional verse. [6]
The law was rewritten in 1976, and copyrights came to be seen as intellectual property inherited through the generations by those who had not registered their rights properly under the previous law. Public domain turned into a dangerous swamp, and anyone singing "Kumbaya" on a record or in a live performance needed a protected version.
Most of the copyrighted additions, liked the verses added by Carmichael and Leisy, never were sung. They did not exist for that reason. People were still free to sing selected parts so long as their paid for songbooks.
I do not know if people stopped publishing or recording "Kumbaya" after that law went into effect in 1978, or if I simply have not found references to versions from the 1980s and 1990s. There was a hiatus in my research between 1980 and 2015.
While the newer copyright law had a repressive effect on public domain versions of both "Kumbaya" and "Come by Here," it also stimulated creative changes. Most innovations were forgotten soon after they were recorded or performed, but sometimes one became so popular others imitated it and it acquired a set form. They became islands in the sea of tradition surrounded by small eddies of followers. [7]
The version used by José Carreras and José Medrado was one of those special archetypes. As mentioned in the post for 4 August 2017, they used one associated with Helmut Lotti. He and Wim Boherts treated "kumbaya" as the chorus for a new song. The distinctive words included "for the sun that rises in the sky."
The lines followed no rhyme pattern. Instead they recalled phrases from a prayer to the creator of the natural world. Since English was not the primary language of either of the credited writers, I do not know if the recording was a translation of something that followed literary conventions in another language. Although Lotti said he preferred singing in English, he still might have thought in Dutch. [8]
The official credits suggested the usual tangle of business relationships that ensued from the copyright laws. Profits from most records were small, and performers were only paid for their sessions. The ones who earned the most were the composers, who were given a royalty every time a song was played by some media outlet. It was common for singers and company owners to list themselves as co-authors to earn more. In this case, Lotti was primarily a singer, while Boherts was a pianist and arranger. The company that controlled the rights was owned by Lotti’s manager, Piet Roehling.
Lotti’s version seemed to be most popular in Brazil. It also had been used by a Fox Networks subsidiary for a cartoon aimed at young children in Portuguese, Spanish, Polish, Turkish, and English. [9] This version might replace earlier ones simply because it will be the first many hear.
Performers
Instrumental Accompaniment: Golden Symphonic Orchestra, conducted by André Walschaerts
Credits
Arrangement: Helmut Lotti and Wim Bohets
Copyright: Piet Roelen Publishing
Notes on Lyrics
Language: English
Pronunciation: cum-ba-yah with emphasis on last syllable
Pronoun: none
Term for Deity: Lord
Format: verse-chorus (VV C VV C VV)
Verse Rhyme Patterns: last lines have internal rhyme
Line Meter: iambic tetrameter, with strong first and last syllables
Rhetorical Devices: contrasts of sun/rain, great/small
Notes on Music
Basic structure: two repetitions of the chorus, the second beginning on a higher note, followed by a verse that returned to the original base note.
Ending: repeated last line twice, then repeated the word kumbaya with each syllable on a higher tone, with the very last sustained.
Style: one syllable to one note with the last notes of phrases sustained. Ornamentations rarely were used, and most were in the ending. He stayed in his middle range except at the end.
Solo-Group Dynamics: choral group either sang the same words and notes as Lotti, or some repeated his kumbaya’s that ended lines.
Vocal-Orchestral Dynamics: the full orchestra was used sparingly. When it was heard, it was playing the same melody at Lotti. A flute or horns provided flourishes after Lotti’s sung phrases.
Rhythm: the recording began with strong rhythmic pulses by the strings. Then, only a soft drum or voices imitating a soft drum were deployed to mark phrases, not beats.
Influences: the vocalized drum was like the one used on the 1958 recording of "The Little Drummer Boy" by the Harry Simeone Chorale. Some melodic motifs were from the Seekers.
Viewers’ Perceptions
Raphael Gutemberg uploaded a video to YouTube that featured speeded-up pictures of clouds moving over mountains behind the lyrics in Portuguese and English. Unlike most, the Brazilian translated Lord as senhor. He also was the only one to treat "kumbaya" as a translatable word. He wrote the song meant: "‘Come to us Lord or Pass by here Lord’. A Singing Praise." He described himself as someone interested in "Editing Messages, Spirituality Prayers, and Romantic Songs." [10]
Notes on Performers
Lotti was born in Ghent in 1969 where Dutch was his native language. [11] He began as an Elvis impersonator. The Belgian had the usual problem of artists who toiled for years in the lower levels of the music industry: when he changed recording companies and became successful singing classics, his previous employer flooded the market with unauthorized collections. [12]
In a 2015 interview promoting a different album, he said:
"‘I noticed that religion also reared its head in other songs,’ he says. "I wouldn’t call it an album about religion, though, more one about ways of living: What do we cling to when life turns sour? What are life’s traps? And what makes one a better human being?’" [13]
Lotti added: "The duality between good and evil is fascinating." [14]
Availability
CD: Out of Africa (Polydor) and Out of Africa (Coeur de Lion). 1999.
YouTube: uploaded by Raphael Gutemberg, 27 November 2015
End Notes
1. Wikipedia. "Piano Roll."
2. Wikipedia, Piano.
3. Their organization was the American Society of Composers, Authors and Publishers, which did not recognize blues, country, or gospel music writers. In 1939, radio stations formed Broadcast Music Inc, to give themselves an alternative to the ASCAP monopoly. BMI recruited non-mainstream popular music composers. The representation did not stop Black or Southern white artists from being cheated by their record companies or music publishers, but it was a step toward fairer reimbursement. (Wikipedia. "Broadcast Music, Inc.")
4. Ralph Carmichael. "Kum-ba-yah." Copyright 1969 by Lexicon Music. In Cliff Barrows Now! Waco, Texas: Lexicon Music, Inc., 1970. 21-27.
5. "Kum Ba Ya." Sing Together. Edited by Constance L. Bell, et alia. New York: Girl Scouts of the U. S. A., third edition, 1973. 143.
6. The credit line read: The Folk Song Abededary, by James F. Leisy. © 1966 by Hawthorn Books, Inc. Reprinted by permission of Hawthorn Books, Inc., 70 Fifth Avenue, New York, N. Y. 10911.
7. Common language changed with the 1976 copyright law. Before, when composers were primary, artists simply recorded their songs. In the 1950s white popular music performers made copies of records by blues and country artists that made slight modifications in style to sell the creative efforts as their own. They were called "covers" and more unprintable nouns. Recently, people have been using the term "cover" to refer to any song that was not originated by the performer, as if singing anything from the popular repertoire was somehow disreputable.
8. Christophe Verbiest. "Helmut Lotti Offers Hopeful Message for Dark Times." Flanders Today, 13 December 2015.
9. BabyTV. "Kumbaya." Different language versions with same animation. YouTube.
10. Translations by Google.
11. Wikipedia. "Helmut Lotti."
12. Marc Maes. "Helmut Lotti Wins Law Suit." Billboard website. 13 April 2007.
13. Verbiest.
14. Verbiest.
Mechanical reproduction of music began in the 1880s with piano rolls. [1] In 1908, the Supreme Court ruled they were unique creations and not subject to royalty payments. Composers responded by advocating passage of the 1909 copyright law that forced reimbursements for rolls, cylinders, and the newer photograph records. [2] Their professional organization later was able to establish their rights to reimbursement for music played by radio stations. [3]
The 1909 law was written specifically to meet the needs of professional composers working for the popular stage. It stipulated songs that were not registered with the government office and did not carry proper ownership notices fell into the public domain, available for use by anyone.
Individuals who performed traditional works would add a bit of melody, a special orchestration, or supplemental words so they could copyright their particular versions, and more important, protect themselves from some rival’s lien on their proceeds. Thus, Ralph Carmichael could copyright his version of "Kum-ba-yah" in 1969 because it had some unique words along with a piano and vocal arrangement. [4]
Sometime after the Beatles emerged, the value of copyrights increased in value and so did the number of lawsuits. In summer camps, youth sang the songs of the commercial folk revival without paying royalties, just as they had been doing with other music for generations. However, more vigilant royalties seekers began complaining. The Girl Scouts published their own songbook in 1973 that had all the correct permissions. [5] Rather than rely upon an older source for "Kumbaya," they published James Leisy’s version because it protected them from liabilities with a copyright justified by an additional verse. [6]
The law was rewritten in 1976, and copyrights came to be seen as intellectual property inherited through the generations by those who had not registered their rights properly under the previous law. Public domain turned into a dangerous swamp, and anyone singing "Kumbaya" on a record or in a live performance needed a protected version.
Most of the copyrighted additions, liked the verses added by Carmichael and Leisy, never were sung. They did not exist for that reason. People were still free to sing selected parts so long as their paid for songbooks.
I do not know if people stopped publishing or recording "Kumbaya" after that law went into effect in 1978, or if I simply have not found references to versions from the 1980s and 1990s. There was a hiatus in my research between 1980 and 2015.
While the newer copyright law had a repressive effect on public domain versions of both "Kumbaya" and "Come by Here," it also stimulated creative changes. Most innovations were forgotten soon after they were recorded or performed, but sometimes one became so popular others imitated it and it acquired a set form. They became islands in the sea of tradition surrounded by small eddies of followers. [7]
The version used by José Carreras and José Medrado was one of those special archetypes. As mentioned in the post for 4 August 2017, they used one associated with Helmut Lotti. He and Wim Boherts treated "kumbaya" as the chorus for a new song. The distinctive words included "for the sun that rises in the sky."
The lines followed no rhyme pattern. Instead they recalled phrases from a prayer to the creator of the natural world. Since English was not the primary language of either of the credited writers, I do not know if the recording was a translation of something that followed literary conventions in another language. Although Lotti said he preferred singing in English, he still might have thought in Dutch. [8]
The official credits suggested the usual tangle of business relationships that ensued from the copyright laws. Profits from most records were small, and performers were only paid for their sessions. The ones who earned the most were the composers, who were given a royalty every time a song was played by some media outlet. It was common for singers and company owners to list themselves as co-authors to earn more. In this case, Lotti was primarily a singer, while Boherts was a pianist and arranger. The company that controlled the rights was owned by Lotti’s manager, Piet Roehling.
Lotti’s version seemed to be most popular in Brazil. It also had been used by a Fox Networks subsidiary for a cartoon aimed at young children in Portuguese, Spanish, Polish, Turkish, and English. [9] This version might replace earlier ones simply because it will be the first many hear.
Performers
Instrumental Accompaniment: Golden Symphonic Orchestra, conducted by André Walschaerts
Credits
Arrangement: Helmut Lotti and Wim Bohets
Copyright: Piet Roelen Publishing
Notes on Lyrics
Language: English
Pronunciation: cum-ba-yah with emphasis on last syllable
Pronoun: none
Term for Deity: Lord
Format: verse-chorus (VV C VV C VV)
Verse Rhyme Patterns: last lines have internal rhyme
Line Meter: iambic tetrameter, with strong first and last syllables
Rhetorical Devices: contrasts of sun/rain, great/small
Notes on Music
Basic structure: two repetitions of the chorus, the second beginning on a higher note, followed by a verse that returned to the original base note.
Ending: repeated last line twice, then repeated the word kumbaya with each syllable on a higher tone, with the very last sustained.
Style: one syllable to one note with the last notes of phrases sustained. Ornamentations rarely were used, and most were in the ending. He stayed in his middle range except at the end.
Solo-Group Dynamics: choral group either sang the same words and notes as Lotti, or some repeated his kumbaya’s that ended lines.
Vocal-Orchestral Dynamics: the full orchestra was used sparingly. When it was heard, it was playing the same melody at Lotti. A flute or horns provided flourishes after Lotti’s sung phrases.
Rhythm: the recording began with strong rhythmic pulses by the strings. Then, only a soft drum or voices imitating a soft drum were deployed to mark phrases, not beats.
Influences: the vocalized drum was like the one used on the 1958 recording of "The Little Drummer Boy" by the Harry Simeone Chorale. Some melodic motifs were from the Seekers.
Viewers’ Perceptions
Raphael Gutemberg uploaded a video to YouTube that featured speeded-up pictures of clouds moving over mountains behind the lyrics in Portuguese and English. Unlike most, the Brazilian translated Lord as senhor. He also was the only one to treat "kumbaya" as a translatable word. He wrote the song meant: "‘Come to us Lord or Pass by here Lord’. A Singing Praise." He described himself as someone interested in "Editing Messages, Spirituality Prayers, and Romantic Songs." [10]
Notes on Performers
Lotti was born in Ghent in 1969 where Dutch was his native language. [11] He began as an Elvis impersonator. The Belgian had the usual problem of artists who toiled for years in the lower levels of the music industry: when he changed recording companies and became successful singing classics, his previous employer flooded the market with unauthorized collections. [12]
In a 2015 interview promoting a different album, he said:
"‘I noticed that religion also reared its head in other songs,’ he says. "I wouldn’t call it an album about religion, though, more one about ways of living: What do we cling to when life turns sour? What are life’s traps? And what makes one a better human being?’" [13]
Lotti added: "The duality between good and evil is fascinating." [14]
Availability
CD: Out of Africa (Polydor) and Out of Africa (Coeur de Lion). 1999.
YouTube: uploaded by Raphael Gutemberg, 27 November 2015
End Notes
1. Wikipedia. "Piano Roll."
2. Wikipedia, Piano.
3. Their organization was the American Society of Composers, Authors and Publishers, which did not recognize blues, country, or gospel music writers. In 1939, radio stations formed Broadcast Music Inc, to give themselves an alternative to the ASCAP monopoly. BMI recruited non-mainstream popular music composers. The representation did not stop Black or Southern white artists from being cheated by their record companies or music publishers, but it was a step toward fairer reimbursement. (Wikipedia. "Broadcast Music, Inc.")
4. Ralph Carmichael. "Kum-ba-yah." Copyright 1969 by Lexicon Music. In Cliff Barrows Now! Waco, Texas: Lexicon Music, Inc., 1970. 21-27.
5. "Kum Ba Ya." Sing Together. Edited by Constance L. Bell, et alia. New York: Girl Scouts of the U. S. A., third edition, 1973. 143.
6. The credit line read: The Folk Song Abededary, by James F. Leisy. © 1966 by Hawthorn Books, Inc. Reprinted by permission of Hawthorn Books, Inc., 70 Fifth Avenue, New York, N. Y. 10911.
7. Common language changed with the 1976 copyright law. Before, when composers were primary, artists simply recorded their songs. In the 1950s white popular music performers made copies of records by blues and country artists that made slight modifications in style to sell the creative efforts as their own. They were called "covers" and more unprintable nouns. Recently, people have been using the term "cover" to refer to any song that was not originated by the performer, as if singing anything from the popular repertoire was somehow disreputable.
8. Christophe Verbiest. "Helmut Lotti Offers Hopeful Message for Dark Times." Flanders Today, 13 December 2015.
9. BabyTV. "Kumbaya." Different language versions with same animation. YouTube.
10. Translations by Google.
11. Wikipedia. "Helmut Lotti."
12. Marc Maes. "Helmut Lotti Wins Law Suit." Billboard website. 13 April 2007.
13. Verbiest.
14. Verbiest.
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