July - AmericanRadioHistory.Com

the flat bottoms of Tennessee.
WSM, situated in the exact center of
these rural areas, has been drawing this
local talent since the inception of the
four -hour show. The men come into town
just once a week- Saturday -get together
for the gala occasion, stay up late afterwards,
then make their way back to the
farm, to begin the new week's labor.
That's why listeners in every other state
sit before their loudspeakers on Saturday
rocking and humming to the songs of The
Grand Ole Opry. Such human, mellow
notes strike a responsive chord.
But let's come to the colorful characters,
the individuals, who make up this
sparkling, enduring show.
First the most colorful, perhaps, of
all -Uncle Dave Macon, known as the
"Dixie Dewdrop." Just past his sixty third birthday, Uncle Dave continues his
cutting of capers before the microphone -
capers which would quickly exhaust a
man half his age.
Other old -timers whose names are
household words in many homes throughout
the land include Paul Warmack and
his Gully Jumpers; George Wilkerson and
his Fruit Jar Drinkers; Dr. Humphrey
Bate and his Possum Hunters; De Ford
Bailey, and Arthur Smith with his Dixie
Liners.
Among the newcomers who have com-
RADIO MIRROR
The "Grand Ole Opry"
(Continued from page 15)
manded wide following through their appearance
on the Grand Ole Opry at WSM
are the Delmore Brothers, Smiling Jack,
and his Missouri Mountaineers, and
Asher and Little Jimmie, the Singing
Sizemores.
The Delmore Brothers came up from
Athens, Alabama, two years ago, were
presented on the Grand Ole Opry for one
performance and made such a hit they've
been on regularly singe. During the week
they farm in Athens, and every Saturday
they return to WSM for the Opry. Often
they bring a new composition they've
beaten out to the rhythm of the plow as
they worked in the fields on their farm.
Perhaps the most phenomenal feature
of the entire production, however, is
Asher and Little Jimmie, the Singing
Sizemores. This is merely a little boy,
six years old, with his Dad, singing the
songs ,óf the Hills of Kentucky. Asher
and Little Jimmie have actually become
national figures and their broadcast
periods, three times weekly in addition
to the Opry appearance, are followed by
devout listeners throughout the country.
Many people have wondered how the
Grand Ole Opry came to be thus christened.
There are many versions, of
course. Here, however, is the straight
dope from none other than the Solemn
Old Judge himself.
A regular feature of WSM in the early
days of the station was an hour's concert
by Dr. Walter Damrosch and the New
York Symphony Orchestra which was
broadcast from 7 until 8 o'clock each
Saturday night. Awaiting the cue to open
the program one Saturday night. the
Solemn Old Judge overheard Dr. Dam -
rosch introduce a number: "While we
think that there is no place in the classics
for realism, nevertheless I have a manuscript
here before me sent in by a young
composer in Iowa depicting the onrush
of a locomotive." Following the rendition
of this very charming musical number,
Dr. Damrosch said good evening and
closed his program.
Then the barn dance came on and the
Solemn Old Judge explained to the audience
that the following feature would be
nothing but realism and that it would
be a case of "shooting them close to the
ground" throughout the evening. He
called on DeFord Bailey, the little colored
boy, to play his harmonica and to give his
realistic interpretation of the "onrushing
locomotive." The contrast was so-marked
that the Judge was prompted to say that
the barn dance, of course, could not be
classed as an opera even though it was
folk music, but it could be called "opry."
Whereupon it was called the "Grand Old
Opry." The name has stuck and is
known throughout the United States and
several foreign lands as such.
How to Get More Fun Out of Music
(Continued from page 48)
There isn't a small town in the whole
United States that isn't within driving
distance of some beautiful wooded spot,
some stretch of country that is quiet, and
inspiring and lovely to look at. The
thing to do is to drive leisurely to that
spot, park the car, tune in the concert,
and hear the music in exactly the same
kind of surroundings as the actual concert
-goers are hearing it.
BUT
you have this advantage: you are
not disturbed, as every concert -goer
is disturbed, by the people around you who
whisper noisily, rattle their programs at
the wrong moment, and stumble over your
feet on their way to a better seat. You
can be quiet if you wish. Or, you can take
your best girl, hold her hand, and look at
the moon while the greatest music in the
world pours out of your loudspeaker and
into your hearts. Juliet's balcony by
moonlight was no more romantic than
this.
Now then, what sort of music will you
probably hear on these summer -time
broadcasts? For the most part, the gayer,
lighter, easier -to-hear classics. And certainly
a lot of Verdi's music.
You know, I've always had a soft spot
in my heart for Giuseppe Verdi because
his name, translated into English, means
"Joe Green."
So this summer, when you listen to the
music of this Italian who has written so
many great operas and musical compositions
that he seems something of a god,
¡lust light up your cigarette and remember
that his name is Joe Green. That
ought to do a lot toward establishing easy
and pleasant relations between you and
the music and the composer.
Joe Green wrote "Aida," "La Forza del
Destino," and "Trovatore," three operas
that we've all heard about even if we
haven't exactly hard them. He also
82
wrote some little known things that are
very beautiful, and that we will probably
want to get acquainted with, such as "Falstaff"
and "Otello," two of his last operas,
and two of his best.
Aside from being a composer, Joe-1
mean Giuseppe -was a person. And, as a
person, he was very simple and straightforward
and what today is known as "a
good egg." He had his troubles too. At
the time he was writing all his operas and
thirsting for the praise and acclaim that
all great artists want, and need, Wagner
was at the peak of his popularity. And
Wagner overshadowed Verdi. Wagner,
the German, and Verdi, the Italian, were
constantly getting in each other's way.
Like so many of our great musical
geniuses, Joe sprang from very humble
parents who lived in a small town in
Italy. I should say there were not more
than 300 people in the town. Joe's father
was a carpenter and he tried to raise his
son to follow in his footsteps, but at a
very early age, Joe showed a great love
for music.
IN a neighboring town lived a rich merchant
who had a flare and a love of
musical talent, and quite by accident Joe
met this man and persuaded him to help
him. The merchant gave him a job, and
paid for his entire education. He also took
him into his home and treated him like a
son.
It was natural that Joe should fall
in love with the daughter of his benefactor,
and a few years later he married
Margarita Barezze, became the town organist
and started composing the operas
that have made his name famous all over
the world.
About his personal life, his love affairs,
we know little or nothing, because Joe
was a discreet fellow. He seems to have
fallen in love many times, usually with
the beautiful young sopranos who sang
leading rôles in his operas. but there never
has been a single love letter found with
his name signed to it.
After his first wife's death, he married
a famous prima donna, and lived with
her until his death, although there are
certain indications of a strong attachment
to a Madame Stoltz, singer, to whom
he paid great attention. His wife, however,
who must have had much 20th century
wisdom in her head, refused to interfere
and never attempted to leave him
or demand a divorce. It was better so.
And so we get "the feel" of Joe Green.
An ordinary enough fellow. with faults
and endearing qualities, troubles and brief
moments of happiness.
About his clash with Wagner, the
famous German composer who was
his
contemporary -Verdi felt that, although
Italy loved his operas and produced them
constantly, Wagner was better known
throughout the world. It was true. But
an interesting thing seems to be happening
regarding Verdi's music, a thing that
would delight the old boy if he were
here to see it: Verdi's operas are now
being produced in Germany more than
Wagner's. Last year, Verdi's operas had
1,420 performances throughout the theatres
of Germany, while Wagner trailed
slightly with 1,335. Not much of a lead,
but enough to delight Verdi enthusiasts.
You'll find Joe Green's compositions
holding major places on summer programs
this year, and it will be fun to
know the background against which .he
composed, the circumstances of his life,
and something of his character and personality
as you listen.
The music of Joe Green -Giuseppe
Verdi to you -is light. gay and especially
melodious. Listen to it!
See you next month!