# Hold the Fort!/Notes

Notes
* The best published account of the battle is Fred E. Brown's "The Battle of Allatoona," Civil War History, vol. 6 (September 1960), pp. 277–297; more attention to signaling is given, however, in Paul J. Scheips, "The Battle of Allatoona: A Preliminary Draft" (unpublished).
* The railway, still owned by the state of Georgia but leased to the Louisville & Nashville Railroad, had to be relocated in 1948 because of a dam and reservoir project that created Allatoona Lake on the site of the old railroad pass. Letters: A. C. Randall, secretary, Georgia Public Service Commission, Atlanta, to Paul J. Scheips, 30 January 1956; and D. S. Huggins, secretary-treasurer, Nashville, Chattanooga & St. Louis Railway, Nashville, Tennessee [a former lessee], to Scheips, 1 February 1956. See also Moody's Transportation Manual (1966, 1968, 1969), pp. 251, 268, 591, respectively.
* These two messages are in United States War Department, The War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies (1880–1901) [hereafter cited as OR, all references being to series 1], vol. 39, pt. 3, p. 78.
* OR, vol. 39, pt. 3, p. 97. On the several messages, see John Q. Adams, "Hold the Fort!" in War Sketches and Incidents as Related by the Companions of the Iowa Commandery, Military Order of the Loyal Legion of the United States (1898), vol. 2, pp. 167–168 [texts of two of the messages slightly different from the official published versions]; Lloyd Lewis, Sherman: Fighting Prophet (1958), pp. 426, 427; J. Willard Brown, The Signal Corps, U.S.A., in the War of the Rebellion (1896), p. 547; and Alonzo L. Brown, History of the Fourth Regiment of Minnesota Infantry Volunteers During the Great Rebellion 1861–1865 (1892), pp. 593–594. Bartlett's Familiar Quotations (14th edition, 1968), p. 705a, describes "Hold the fort! I am coming!" (or "Hold the fort, for I am coming!" [p. 777b]) as the "popular version" of what Sherman signaled from Kennesaw on 5 October 1864, but asserts that he actually signaled: "Hold out. Relief is coming." Earlier, on 3 October, Sherman advised Lieutenant Colonel John E. Tourtellotte at Allatoona that if Hood "moves up toward Allatoona I will surely come in force" (OR, vol. 39, pt. 3, p. 53).
* On Frankenberry, see Alfred M. Claybaugh, "'Hold the Fort—I am coming,'" in Out West, new series, vol. 1 (April 1911), pp. 305–309; A. D. Frankenberry, "Visiting War Scenes," National Tribune (Washington, D. C.), 16 January 1896, p. 2; Frankenberry's records of service in Company K, 15th Pennsylvania Volunteer Cavalry, and in the Signal Corps, Record Group [RG] 94, National Archives; Mrs. Mary A. Frankenberry's pension file, Widow Certificate [WC] 685711, RG 15, National Archives; J. Willard Brown, The Signal Corps, p. 773 and plate opposite p. 496 [Brown, p. 773, gives Kennesaw Mountain as Frankenberry's station in September ​and October 1864, whereas the muster rolls for those two months give Atlanta]; and Proceedings of the Reunions Held in 1900 by the Association of Survivors Seventh Regiment Illinois Veteran Infantry Volunteers Held at Chicago and Springfield, III. [hereafter cited as Seventh Illinois Reunion Proceedings, with particular year added] (1901), pp. 28–29.
6. OR, vol. 39, pt. 3, p. 75.
7. Message from Sherman to Commanding Officers at Allatoona, Kingston, and Rome, 4 October 1864 (OR, vol. 39, pt. 3, p. 75). On Corse's instructions and actions prior to the Battle of Allatoona, see his report to Dayton, Sherman's aide-de-camp, 27 October 1864 (OR, vol. 39, pt. 1, pp. 761–762) and the following messages (OR, vol. 39, pt. 3, pp. 8–9, 31, 53): Sherman to Corse, 1 October 1864; Sherman to Smith, 1 October 1864; Corse to Sherman, 1 October 1864; Corse to Smith, 2 October 1864; Corse to Sherman, 2 October 1864; Sherman to Corse, 3 October 1864; and Sherman to Commanding Officer, Allatoona [Tourtellotte], 3 October 1864.
8. Frankenberry, "Visiting War Scenes."
9. Photographic descriptions and historical statement by George Carr Round, together with General Order No. 1, United States Veteran Signal Corps Association, 21 July 1914 (George Carr Round papers, in possession of Round's daughter, Mrs. Emily R. Lewis, Manassas, Virginia). See also "Tattered Signal Flags Are Used," Sunday Star (Washington, D.C.), 12 October 1913, p. 18. Claybaugh (p. 307) claims that the flag pictured in his "'Hold the Fort—I am Coming'" is the one that Frankenberry gave to the adjutant general of Pennsylvania. Compare Claybaugh's illustration with the picture of the flag that accompanies Frankenberry's "Visiting War Scenes" and with the one of the large flag which Round borrowed from the Pennsylvania authorities and subsequently returned. Efforts by the author to locate the flag in Harrisburg have been unsuccessful. See J. Willard Brown, The Signal Corps, p. 116, for colored illustrations of United States Army signal flags of the Civil War period. There are some authentic Union signal flags from that conflict among the Myer memorabilia in the Signal Corps Museum, Fort Monmouth, New Jersey.
10. OR, vol. 39, pt. 3, p. 113.
11. Lewis, Sherman: Fighting Prophet, pp. 599–600.
12. Samuel G. French, Two Wars: An Autobiography of General Samuel G. French . . . (1901); and letter from French to Julius L. Brown, 20 June 1901, in Joseph M. Brown papers, Atlanta Historical Society. [A copy of French's letter was obtained through the kindness of Fred E. Brown of Houston, Texas.]
13. Headquarters, Military Division of the Mississippi, Special Field Order 86 (OR, vol 39, pt. 1, pp. 771–772).
14. The West story is from an item by J. L. Eby, a veteran of the 7th Illinois, in National Tribune (no date) as reprinted in the Seventh Illinois Reunion Proceedings (1903), p. 32. On Myer's brevet commission, see letter from J. C. Kelton to Myer, 16 June 1868, enclosing commission of 10 June 1868 (rank dating from 13 March 1865) (Albert James Myer papers, Fort Monmouth, New Jersey); and Paul J. Scheips, "Union Signal Communications: Innovation and Conflict," Civil War History, vol. 9 (December 1963), pp. 414–415.
15. "The Flag that Talks" was published in Harper's New Monthly Magazine, ​vol. 32 (May 1866), pp. 733–737, and reprinted in J. Willard Brown, The Signal Corps, pp. 553–558 [verses quoted here are from p. 554].
16. Joseph M. Brown, The Battle of Allatoona, October 5, 1864 . . . (1890), pp. 15–16, 23.
17. J. M . Brown, Battle of Allatoona, pp. 24–25. "The Lone Grave" does not appear in The Songs of Paul Dresser (1927), but compare therein, pp. 28–32, "He Fought for the Cause He Thought Was Right."
18. Judson Kilpatrick and J. Owen Moore, Allatoona, an Historical and Military Drama in Five Acts (acting edition; "French's Standard Drama," No. 376 [1875]), p. 46.
19. Samuel H. M. Byers, Allatoona, a Play in Four Acts (1905), p. 62 and following pages.
20. Memoirs of Philip P. Bliss, edited by D. W. Whittle (1877), pp. 68–70. Substantially the same account has been published in a number of places; see, for example, the historical note on the sheet music cited in note 30, below, and Ira D. Sankey, My Life and the Story of the Gospel Hymns and of Sacred Songs and Solos (1907), pp. 168–170. None of these accounts is quite accurate. [The author is indebted to William H. Klusmeier, general manager of the Rockford Newspapers, Inc., for locating the report of the convention in The Rockford Register (30 April 1870, p. 4) and thereby correctly fixing the date of the convention.]
21. There is some difference of opinion as to what Bliss's first two initials stood for, although the principal accounts accept Whittle's conclusion—based upon a Bliss family genealogy signed "P. P. Bliss, 1861," which Whittle found among Bliss's papers—that they stood for Philip Paul (Memoirs of Philip P. Bliss, pp. 15, 16).
22. Memoirs of Philip P. Bliss, pp. 42, 70.
23. Information on Whittle's military service can be found in his pension file in the National Archives, Soldier Certificate [SC] 995511, RG 15, and in OR as follows: vol. 24, pt. 2, pp. 298, 682, and pt. 3, p. 537; vol. 38, pt. 4, p. 461; vol. 39, pt. 3, p. 96; vol. 44, pp. 74–75, 603–604; and vol. 47, pt. 2, pp. 25–26. The citation is quoted from Brigadier General Thomas E. G. Ransom's report, Near Vicksburg, 26 May 1863 (OR, vol. 24, pt. 2, p. 298). Whittle's brevet majority was for "faithful and meritorious service during the campaign against the city of Mobile and its defences" (War Department General Order 148, 14 October 1865, Section III, p. 58).
24. Letter, Howard to H. Clay Evans, commissioner of pensions, 9 September 1899, in Whittle's pension file, SC 995511, RG 15, National Archives.
25. Memoirs of Philip P. Bliss, pp. 68–70.
26. Unaddressed communication concerning a Confederate deserter that was prepared by Captain and Assistant Provost Marshal General D. W. Whittle at Headquarters, Department and Army of the Tennessee, near Marietta, Georgia, 5 October 1864 (OR, vol. 39, pt. 3, pp. 95–96).
27. Scheips, "Battle of Allatoona," p. 39.
28. Memoirs of Philip P. Bliss, p. 43; Victor Charles Detty, P P Bliss, July 9, 1838–December 29, 1876, a Centennial Sketch of His Life and Work, 1838–1938, with Selected Gospel Hymns [hereinafter cited as Centennial Sketch] (1938), p. 16.
29. Sankey, My Life, p. 170.
​30. A copy of the original sheet music edition of Bliss's "Hold the Fort!" (Sheet Music Copyright No. 4736, 10 December 1870), as reproduced here, is in the Music Division, Library of Congress, as is an 1898 edition copyrighted 1898 (No. 41751–2) by Bliss's sons and heirs, P. P. and G. G. Bliss. The latter is in "Our National War Songs" series published by The John Church Co., Cincinnati, Ohio. The title of the song was printed with an exclamation mark on the cover sheet of the original sheet music, but was printed generally thereafter without the mark, as, indeed, was the case on the very first page of the original itself. Accordingly, unless called for by a quotation or some other reason, the title "Hold the Fort" appears in these pages without the exclamation mark.
31. For an excellent history of Root & Cady which (with one exception) lists all the registered sheet music the firm published for Bliss, see Dena J. Epstein, "Music Publishing in Chicago Prior to 1871: The Firm of Root & Cady, 1858–1871" (M.A. thesis in library science, University of Illinois, 1943), published serially under the general title of "Music Publishing in Chicago before 1871," Music Library Association Notes (series 2), vol. 1 (June 1944), pp. 3–11, September 1944, pp. 43–59; vol. 2 (December 1944), pp. 16–26, March 1945, pp. 124–148, June 1945, pp. 201–226, September 1945, pp. 310–314, 317–324; and vol. 3 (December 1945), pp. 80–98, 101–109. Also, see George F. Root, The Story of a Musical Life (1891). Root was the author of the well-known Civil War songs "Just before the Battle Mother" and "Tramp, Tramp, Tramp."
32. These words, with their capitalization and punctuation, are quoted from the original sheet music edition cited in note 30, above.
33. See Memoirs of Philip P. Bliss, p. 114; Sankey, My Life; Nicholas Smith, Hymns Historically Famous (1901), pp. 260–262; Elias Nason, The American Evangelists, Dwight L. Moody and Ira D. Sankey, with an Account of Their Work in England and America; and a Sketch of the Lives of P. P. Bliss and Dr. Eben Tourjée (1877), pp. 269–273; Richard Ellsworth Day, Bush Aglow: The Life Story of Dwight Lyman Moody, Commoner of Northfield (1936), pp. 133–134; and Theron Brown and Hezekiah Butterworth, The Story of Hymns and Tunes (1907), pp. 431–432.
34. Memoirs of Philip P Bliss and Detty's Centennial Sketch are the principal sources for biographical information on Bliss. Among other sources, several of which are cited above, George C. Stebbins, Reminiscences and Gospel Hymn Stories (1924) is especially good. A brief biographical sketch, not otherwise mentioned in these pages, appears in the National Cyclopaedia of American Biography, vol. 8, pp. 443–444. See also Root, Story of a Musical Life, pp. 138–139, 162; and Ernest K. Emurian, Living Stories of Famous Hymns (1955), pp. 66–68, 80–82. Willard A. Heaps and Porter W. Heaps, in The Singing Sixties: The Spirit of Civil War Days Drawn from the Music of the Times (1960), p. 347, quote lines from the Civil War song "Good-bye, Jeff" [Jeff, of course, being Jefferson Davis], for which Bliss wrote the words and music.
35. The first verse and chorus as found in Memoirs of Philip P. Bliss, pp. 30–31. Charles Harris arranged this song for the guitar.
36. Memoirs of Philip P. Bliss, p. 51.
37. Memoirs of Philip P. Bliss, p. 41.
​38. On Moody, see, among other references, Day, Bush Aglow, and the two editions of the biography by his son William R. Moody, The Life of Dwight L. Moody (1900); and D. L. Moody (1930). For scholarly accounts, see Luther Allan Weigle in Dictionary of American Biography [hereafter cited as DAB], vol. 13, pp. 103–106; Herbert W. Schneider's article on religious revivals in the Encyclopaedia of the Social Sciences, vol. 13, p p . 365, 366; and Bernard A. Weisberger, They Gathered at the River: The Story of the Great Revivalists and Their Impact upon Religion in America (1958), passim.
39. Memoirs of Philip P. Bliss, pp. 49–52.
40. On the royalties from Bliss's and Sankey's joint and separate publications and on the famous Gospel Hymns (which grew out of their publications and eventually, with different collaborators, went through six principal editions) see Memoirs of Philip P. Bliss, p. 332; Day, Bush Aglow, pp. 176–177, 178; W. R. Moody, Dwight L. Moody, pp. 198–209, 418; A Dictionary of Hymnology . . . edited by John Julian (2 vols., 1957), vol. 1, p. 150; and Brown and Butterworth, Story of Hymns and Tunes, p. 418. Harris E. Starr's sketch of Bliss (in DAB, vol. 2, p. 376) incorrectly attributes Bliss's book Gospel Songs (1874) to both Bliss and Sankey, and attaches the royalties of $60,000 to that book instead of to Gospel Hymns and Sacred Songs (1875), which Bliss and Sankey jointly compiled.
41. Detty, Centennial Sketch, p. 17; and Stebbins, Reminiscences, p. 268.
42. Quoted in Moody: His Words, Work, and Workers . . . Sketches of His Coworkers, Messrs. Sankey, Bliss, Whittle, Sawyer, and Others; and an Account of the Gospel Temperance Revival, with Thrilling Experiences of Converted Inebriates, edited by William H. Daniels (1877), p. 497.
43. Memoirs of Philip P. Bliss, pp. 52, 67–68.
44. On Bliss's last days and the accident, see Memoirs of Philip P. Bliss, pp. 90–94, 290–296; Root, Story of a Musical Life, p. 162; and Stephen D. Peet, The Ashtabula Disaster (1877). The spelling of young Phillip Paul Bliss's name with two l's is from a photograph of him in the frontispiece in Memoirs of Philip P. Bliss.
45. Root, Story of a Musical Life, pp. 139, 162.
46. Starr, in DAB, vol. 2, p. 376; and Weisberger, They Gathered at the River, p. 232.
47. From an editorial in the Chicago Inter-Ocean (no date) as quoted in Memoirs of Philip P. Bliss, p. 298.
48. Memoirs of Philip P. Bliss, p. 30; Detty, Centennial Sketch, p. 14; and Stebbins, Reminiscences, pp. 221–230. Stebbins succeeded McGranahan as Whittle's associate (Stebbins, Reminiscences, pp. 268–269).
49. Stebbins, Reminiscences, pp. 263–271; David J. Beattie, The Romance of Sacred Song (1931), pp. 161–164; and Day, Bush Aglow, pp. 175–176.
50. See Whittle's pension file, SC 995511, RG 15, National Archives.
51. On Moody's colleague Sankey, probably the most famous of the gospel singers, see Sankey, My Life; Stebbins, Reminiscences, pp. 201–220; Charles Ludwig, Sankey Still Sings (1947); The Ira D. Sankey Centenary: Proceedings of the Centenary Celebration of the Birth of Ira D. Sankey together with some Hitherto Unpublished Correspondence (1941); Helen F. Rothwell, Ira D. Sankey: A Great Song ​Leader (1946); and Starr's sketch of Sankey's life in DAB, vol. 16, pp. 352–353. There are relatively few references to Sankey in W. R. Moody, D. L. Moody (although there are more than the five indicated by the index) and they are not all complimentary, although Ludwig (pp. 142–147) states that Moody and Sankey got along "on the best of terms," but perhaps the same was not true of their families.
52. Philip P. Bliss, Gospel Songs: A Choice Collection of Hymns and Tunes, New and Old, for Gospel Meetings, Prayer Meetings, Sunday Schools, Etc. (1874), p. 79.
53. Edgar J. Goodspeed, A Full History of the Wonderful Career of Moody and Sankey, in Great Britain and America . . . (1876), p. 60.
54. As quoted from the issue of 22 June 1875, in W. R. Moody, D. L. Moody, p. 215.
55. Weigle, in DAB, vol. 13, p. 104.
56. Dwight Lyman Moody's Life Work and Gospel Sermons as Delivered by the Great Evangelist in . . . Great Britain and America. Together with a Biography of His Co-Laborer Ira David Sankey, edited by Richard S. Rhodes (1900), p. xxii. Day (Bush Aglow, p. 190) reports that "with four revival centers" the "total attendance" was 2,330,000. Weigle (in DAB, vol. 13, p. 104) puts the attendance at 2,530,000, and Weisberger (They Gathered at the River, p. 201) puts it at 1,500,000.
57. Narrative of Messrs. Moody and Sankey's Labors in Great Britain and Ireland, with Eleven Addresses and Lectures . . ., edited by Anson D. F. Randolph (new edition, 1875), pp. 10–11 [this work compiled from material in the British Evangelist and The Christian, two weekly journals published in London]. Beattie (Romance of Sacred Song, p. 146; claims that the American singer Philip Phillips, the "Singing Pilgrim," introduced the new type of gospel songs into England prior to Moody's and Sankey's work in that country.
58. Randolph, Moody and Sankey's Labors in Great Britain and Ireland, p. 11.
59. Stebbins, Reminiscences, p. 211.
60. Goodspeed, History of the Wonderful Career of Moody and Sankey, p. 58.
61. Day, Bush Aglow, pp. 167–168, 171.
62. Narrative of Messrs. Moody and Sankey's Labors in Scotland and Ireland; Also in Manchester, Sheffield, and Birmingham, England, edited by Anson D. F. Randolph (1875), p. 93. [This work, like that cited in note 57, above, was compiled from the British Evangelist and The Christian.]
63. Sankey, My Life, pp. 73–74. This story is also in Beattie, Romance of Sacred Song, p. 147; Ludwig, Sankey Still Sings, p. 86; and Stebbins, Reminiscences, p. 218; and it is referred to in Smith, Hymns Historically Famous, p. 263.
64. The story that the clowns were put out with Moody and Sankey for having "interfered with . . . attendance at the Royal Circus" a few weeks before appears in Smith, Hymns Historically Famous, p. 263.
65. Day, Bush Aglow, p. 190.
66. Daniels, Moody, p. 45.
67. As quoted by Day in Bush Aglow, p. 190.
68. Sankey, My Life, p. 175.
69. Goodspeed, History of the Wonderful Career of Moody and Sankey, p. 225; and Sankey, My Life, p. 170.
​70. Nason, American Evangelists, p. 122.
71. Sankey, My Life, pp. 150, 173–175.
72. Sankey, My Life, p. 170.
73. Detty (Centennial Sketch, pp. 24–28) gives an account of the unveiling ceremony and a photograph of the monument or cenotaph.
74. See Fanny J. Crosby, Memories of Eighty Years: The Story of Her Life . . . History of Her Songs and Hymns (1906), p. 128; and Stebbins, Reminiscences, p. 210.
75. Day, Bush Aglow, p. 177.
76. Thus did Fanny Crosby (Memories, p. 128) refer to them, but in England, according to Sankey (My Life, p. 77) and Ludwig (Sankey Still Sings, p. 14), a penny edition of his Sacred Songs and Solos was known as "little Sankey's." William R. Moody, however, gave his father such credit for the publication of Sacred Songs and Solos and for Bliss's and Sankey's Gospel Hymns and Sacred Songs that he referred to them collectively as the "Moody and Sankey Hymnbook" (W. R. Moody, Life of Dwight L. Moody, pp. 170–181, and D. L. Moody, pp. 198–209). Compare Sankey's different account of the origin of Sacred Songs and Solos in his My Life, pp. 47, 53–54. Day (Bush Aglow, p. 178) combines W. R. Moody's account with Sankey's.
77. The correspondent probably was William Earl Dodge, the elder, who was very close to Moody, but it could have been his son, whose interests were similar to his father's. On the elder Dodge (1805–1883), see William B. Shaw's biographical sketch in DAB (vol. 3, pp. 352–353) and the unsigned sketch in the National Cyclopaedia of American Biography (vol. 3, pp. 174–175). On the younger Dodge (1832–1903), see National Cyclopaedia of American Biography, vol. 13, p. 352; Day, Bush Aglow, pp. 178–179; and W. R. Moody, Life of Dwight L. Moody, pp. 173–175, 572–575; and D. L. Moody, pp. 202–204.
78. Letter, Sherman to Dodge, 22 June 1875, in reply to a letter of 12 June. French, Two Wars, p. 262; and Fred E. Brown, "The Battle of Allatoona," p. 297.
79. See "The Great Revival," Harper's Weekly, vol. 20 (11 March 1876), pp. 201, 210.
80. Daniels, Moody, pp. 60–61. Exterior and interior views of the Boston Tabernacle are in Nason, American Evangelists, pp. 206, 208.
81. Daniels, Moody, p. 510.
82. Nason, American Evangelists, p. 211.
83. See I. A. M. Cumming, Tabernacle Sketches (1877); and Ludwig, Sankey Still Sings, p. 111.
84. Cumming, Tabernacle Sketches, p. 11. The words of this song, also known as "Sowing the Seed" and sometimes attributed to Bliss, were by Emily Sullivan Oakey, although Bliss wrote the music. See Sankey, My Life, p. 336, and Hymns Historically Famous, p. 245; Memoirs of Philip P. Bliss, pp. 63–64 [where Mrs. Oakey is referred tn as Emily L. Oakey]; and Appleton's Cyclopaedia of American Biography (revised edition, 1898), vol. 4, p. 548.
85. Cumming, Tabernacle Sketches, p. 11.
86. Cumming, Tabernacle Sketches, pp. 18–19.
87. On Tourjée, see Nason, American Evangelists, pp. 291–300.
88. Cumming, Tabernacle Sketches, pp. 76–77.
​89. Ludwig, Sankey Still Sings, p. 111; Daniels, Moody, p. 63; and Weisberger, They Gathered at the River, p. 319, note 69.
90. P. P. Bliss, "Hold the Fort," illustrated by L. B. Humphrey and Robert Lewis (1877), unpaged. [A perfect copy of this book in the general collections of the Library of Congress was called to the author's attention by Colonel Albert F. Moe, USMC (retired); a somewhat mutilated copy is among the Albert James Myer papers in the Manuscript Division, Library of Congress.]
91. See Sånger till Lammets lof. Sånger sjungna af Ira D. Sankey (1877), no. 6. The song's melody is given as that of "Ho! my comrades, see the signal," which is, of course, the first line of "Hold the Fort." [James S. Beddie, formerly of the Department of State, has verified for the author that "Hållen Fästet" is a free translation of "Hold the Fort," which he knows.]
92. Memoirs of Philip P. Bliss, p. 331, as quoted from E. P. Goodwin's memorial address on Bliss.
93. Memoirs of Philip P. Bliss, pp. 63, 92. Compare with Nason, American Evangelists, p. 275.
94. W. R. Moody, D. L. Moody, p. 205.
95. For a brief biographical sketch of William Ashley (Billy) Sunday, see Who Was Who in America (1897–1942), vol. 1, p. 1206.
96. Seventh Illinois Reunion Proceedings (1908), p. 18.
97. Homer A. Rodeheaver, Hymnal Handbook for Standard Hymns and Gospel Songs (1931), p. 150. [Copyright 1959, Renewal. The Rodeheaver Co., Owner. Used by Permission.] On Rodeheaver, see Who Was Who in America (1951–1960), vol. 3, p. 737. Rodeheaver participated in the 1938 centennial commemoration in Rome, Pennsylvania (Detty, Centennial Sketch, p. 3).
98. See The Broadman Hymnal; Great Standard Hymns and Choice Gospel Songs New and Old . . . , edited by B. B. McKinney (1940), no. 303. [Fred E. Brown called this hymnal to the writer's attention.]
99. Fifty Great Songs of the Church, compiled by Charles A. Kent (1942), pp. vii–ix.
100. Letters: Dorothy C. Higgins, Theodore Presser Co., Bryn Mawr, Pennsylvania, to Scheips, 22 May 1956; and John W. Hottenson, Theodore Presser Co., to Scheips, 16 April 1959.
101. Alden Todd, personal communication, 17 June 1960, regarding telephone conversation with a representative of the Billy Graham Crusade in Washington, D.C.
102. Radio Station WRC, Washington, D.C., 19 April 1961.
103. Unsigned and undated comment from Gospel Publishing House in response to a letter of inquiry from Scheips dated 10 November 1967.
104. Hayes and Wheeler Song Book, [compiled by] Union Republican Congressional Committee (1876), p. 9. [Copy in Yale University Library.] For this and various other references to secular uses of "Hold the Fort" the author is indebted to Irwin Silber of New York City, who has been very generous with his time and knowledge.
105. "Republican Campaign Song" (first verse), Hayes and Wheeler Song Book, p. 46. Other 1876 Republican campaign songs sung to the tune of "Hold the ​Fort" were "Hayes, Wheeler a n d Victory," "Victory in the Air," and "Round Our Banner," for which see, respectively: Hayes and Wheeler Campaign Song Book, for the Centennial Year . . . (1876), pp. 20–21, Hayes & Wheeler Campaign Songster Including Biographical Sketches & Constitution for Campaign Clubs (1876), p. 39 [a copy of each of these two books is in Library of Congress]; and the text and citations, below, at note 107.
106. Garfield and Arthur Campaign Song Book, 1880, [compiled by] Republican Congressional Committee, 1879–1881 (1880), p. 15. [Copy in Library of Congress.]
107. Garfield and Arthur Campaign Book, p. 7; Hayes and Wheeler Song Book, p. 11; and Hayes & Wheeler Campaign Song Book, pp. 38–39.
108. Blaine and Logan Campaign Song-Book, 1884, compiled and edited by F. Widdows (1884), p. 16. [Copy in Library of Congress.]
109. Garfield and Arthur Campaign Song Book, p. 11.
110. Blaine and Logan Campaign Song-Book, p. 12.
111. The Prohibition Songster, Words and Music for Prohibition Campaign Clubs, Temperance Organizations, Glee Clubs, Camp-Meetings, Etc., Etc., compiled by J. N . Stearns (1884), no. 28. [Copy in Library of Congress.]
112. Prohibition Songster, no. 55. Other temperance songs of the time and to the tune of "Hold the Fort" were "The Temperance Standard" and J. B. Vinton's and W. Warren Bentley's "Storm the Fort," of which there were two printings with very slight differences. Entire lines in both of these songs were lifted from "Hold the Fort" without acknowledgment. See Band of Hope Songster: A Collection of Temperance Songs . . . , compiled by J. N. Stearns (1885), pp. 7, 62 [copy in Library of Congress]; and Prohibition Songster, no. 10.
113. National American Woman Suffrage Association, Victory—How Women Won It: A Centennial Symposium, 1840–1940 (1940), p. 66. This work contains chapters by Carrie Chapman Catt and others.
114. "Songs of the Suffragettes." Sung by Elizabeth Knight accompanied on the guitar by Sol Julty, Folkways Record Album No. FH 5281 (1958), with notes by Irwin Silber on "A Brief History of the Woman's Suffrage Movement."
115. Compare "Columbia's Daughters" in "Songs of the Suffragettes" with "Hark! The Sound of Myriad Voices" in Booklet of Song, A Collection of Suffrage and Temperance Melodies, compiled by L. May Wheeler (1884), no. 1, pp. 20–21, from which the first verse and chorus are quoted.
116. Booklet of Song, pp. 21–22; and Henry W. Roby, The Suffrage Song Book: Original Songs, Parodies and Paraphrases Adapted to Popular Melodies (1909), p. 10.
117. On Populist songs and Mrs. Lease, see Elizabeth N. Barr, "The Populist Uprising," in William E. Connelley, History of Kansas State and People (5 vols., 1928), vol. 2, pp. 1165–1167; John D. Hicks, The Populist Revolt: A History of the Farmers' Alliance and the People's Party (1961; a reprint of Hicks's 1931 study), pp. 159–160, 167–170; John Greenway, American Folksongs of Protest (Perpetua edition, 1960), pp. 57–63, 210–211; W. G. Clugston, Rascals in Democracy (1940), ​pp. 91–95; and C. S. White, The People's Songster for Campaign Purposes and a Jolly Time Generally (1892), p. 16.
118. Quoted from Federal Writers' Project, More Farmers' Alliance Songs of the 1890's ("Nebraska Folklore," 30 pamphlets in 2 vols., 1937–1940), no. 20, p. 16. [Typewritten copy provided through courtesy of Mrs. Thelma I. Kuhl, assistant librarian, State Library of Nebraska. Since Mrs. Kuhl's death in 1967, the folklore pamphlets, together with the other historical materials in the state library, have been transferred to the Nebraska State Historical Society in Lincoln.] The "Howe" referred to in the chorus was undoubtedly Edgar Watson Howe (1853–1937), the publisher of The Atchison Globe. Howe, known as "The Sage of Potato Hill," viewed the Populists as more or less akin to cyclones and grasshoppers, and they returned the compliment. See Calder M. Pickett, Ed Howe: Country Town Philosopher (1968), pp. 116, 117, 120, 131, 132–133, 216.
119. Wilbur Fisk Crafts, Song Victories of "The Bliss and Sankey Hymns" . . . (1877), p. 153, citing the report in "a missionary letter" that "Hold the Fort" had been heard in the Zulu language.
120. Sing Out!, vol. 7 (summer 1957), p. 29. Quoted by permission of Sing Out! An earlier article by Alexander Walgren related, with some common errors of fact, "The Story of 'Hold the Fort'" (Sing Out!, vol. 5 [spring 1955], pp. 22–23).
121. Philip S. Foner, History of the Labor Movement in the United States (4 vols., 1947–1965), vol. 2, pp. 60–61, and p. 443 (note 18, citing S. W . Foss in Tid-Bits, undated clipping in Scrapbooks on Labor, New York Public Library). [Words used by permission of International Publishers, Inc.] The italics in which Foner sets the quoted verse have been dropped. The same verse and chorus are quoted, with very slight differences, in Foster Rhea Dulles, Labor in America: A History (1955), p. 142; and the chorus alone is quoted in Edith Fowke and Joe Glazer, Songs of Work and Freedom (1960), p. 37.
122. Fowke and Glazer, Songs of Work and Freedom, p. 37.
123. Norman J. Ware, The Labor Movement in the United States, 1860–1895: A Study in Democracy (1929), pp. 68–69.
124. Ware, Labor Movement in United, pp. xi, 66, 371–373.
125. Among the many writings on Joe Hill are Philip S. Foner's The Case of Joe Hill (1965), a highly sympathetic account that lists articles, plays, poems, and other items about Hill, some of which are unfavorable; and the same author's edition of The Letters of Joe Hill (1965) and his History of the Labor Movement in the United States, vol. 4, pp. 151–155, 455 (note). Other references: Ture Nerman, Arbetarsångaren Joe Hill, Mördare eller Martyr? (1951); Barrie Stavis, The Man Who Never Died; A Play about Joe Hill with Notes on Joe Hill and His Times (1954); Ralph Chaplin, Wobbly, the Rough and Tumble Story of an American Radical (1948), passim; George Hardy, Those Stormy Years: Memories of the Fight for Freedom on Five Continents (1956), passim; Patrick Renshaw, The Wobblies: The Story of Syndicalism in the United States (1967), passim; and Melvyn Dubofsky, We Shall Be All: A History of the Industrial Workers of the World (1969), passim. For the words and music of the song "Joe Hill," together with some historical notes, see Fowke and Glazer, Songs of Work and Freedom, pp. 20–21. On its use at the Reuther funeral ​and memorial service, see Jerry M. Flint, "Reuther Praised in Funeral Rites; Old Ballad Ends Service for U.A.W. Chief and Wife," The New York Times, 16 May 1970, p. 25; "'They Made Us Better People,'" UAW Solidarity, vol. 13, June 1970 (memorial issue), p. 14; and "A Memorial Service for Walter and May Reuther, Friday, May 22, 1970, Washington Cathedral, Mount Saint Alban, Washington, D.C."
126. John G. T. Spink, Judge Landis and Twenty-Five Years of Baseball (1947), p. 1. "Kenesaw" was a common misspelling of Kennesaw during the Civil War and afterward.
127. See Renshaw, The Wobblies, pp. 215–271; Dubofsky, We Shall Be All, pp. 423–444, 472; Hardy, Those Stormy Years, pp. 85–122; the decision of the United States Circuit Court of Appeals, 7th Circuit, in Haywood et al. v. U.S., 268 F. 795; the United States Supreme Court's refusal to issue a writ of certiorari in the Haywood case, 256 U.S. 689; and "Ralph H. Chaplin of IWW Is Dead," The New York Times, 29 March 1961, p. 33.
128. See also Ralph H. Chaplin, When the Leaves Come Out and other Rebel Verses (1917), and his Somewhat Barbaric: A Selection of Poems, Lyrics and Sonnets (1944).
129. Quoted from Songs of the Workers: On the Road, in the Jungles, and in the Shops (14th edition, April 1918) by permission of Industrial Workers of the World, Carl Keller, general secretary-treasurer, Chicago, Illinois. The words appear opposite the frontispiece—a photograph of Joe Hill.
130. Upton Sinclair, Singing Jailbirds: A Drama in Four Acts (1924), pp. 5, 6, 10, 87–95.
131. The formal title of this (15th) edition of "The Little Red Song Book" is the same as that of the 14th edition, cited as Songs of the Workers in note 129, above.
132. For complete words see Songs of the Workers (15th edition, 1919), pp. 16–17. Verses are quoted by permission of Industrial Workers of the World, Carl Keller, general secretary-treasurer, Chicago, Illinois.
133. The 1919 IWW program is reproduced in Rebel Voices: An IWW Anthology, edited by Joyce L. Kornbluh (1964), p. 330. Information concerning the publication of the modern labor version of "Hold the Fort" in the 28th (1945) edition of "The Little Red Song Book" is contained in a letter (enclosing the words of the song) from William R. Morgan of the general library, University of Michigan, Ann Arbor, to Scheips, 1 May 1956.
134. Quotation from Songs of the Workers to Fan the Flames of Discontent (31st edition, May 1964, p. 33) by permission of Industrial Workers of the World, Carl Keller, general secretary-treasurer, Chicago, Illinois. The title of this edition of Songs of the Workers is slightly different from that of the 1918 edition, which is cited in note 129, above. Some planning for a new edition of "The Little Red Song Book" had been accomplished by early 1969 for publication upon exhaustion of the existing supply of the old edition (letter, Keller to Scheips, 12 February 1969). On the history of this famous little songbook, whose first edition carried "Hold the Fort," see Richard Brazier, "The Story of the IWW's 'Little Red Songbook,'" Labor History, vol. 9 (winter 1968), pp. 91–105. Brazier was a member of the committee that collected and published the first (1909) edition in Spokane, Washington, under the inspiration of ​J. H. Walsh. The songbook was preceded by a four-page song card, which sold for 5 cents and which included "Hold the Fort" along with "The Red Flag" and "The Marseillaise."
135. Schneider, in Encyclopaedia of the Social Sciences, vol. 13, p. 366.
136. Letter to Scheips, 31 July 1959.
137. Schneider, in Encyclopaedia of the Social Sciences, vol. 13, p. 366.
138. See Nason, American Evangelists, pp. 104, 108, 111, 113, 117–118, 123; and Daniels, Moody, pp. 48–49. These references do not necessarily controvert the view that the middle classes provided Moody's chief stronghold but they do indicate that Moody was not inattentive to the masses.
139. See V. L. Allen, Trade Union Leadership Based on a Study of Arthur Deakin (1957).
140. Letter, McCullough to Scheips, 31 May 1956, and, as enclosed therein, a copy of a letter from Colonel Archer Wiggins, editor-in-chief, The Salvation Army, International Headquarters, London, to McCullough, 14 July 1955.
141. Letter, McCullough to Scheips, 31 May 1956.
142. Letters from Joe Glazer, education director, United Rubber, Cork, Linoleum, and Plastic Workers of America, AFL–CIO, to Scheips, 27 January and 18 June 1959. Glazer stated that he had "no idea" where Bliss got the tune for his song.
143. Footnote to verses and choruses of "Hold the Fort" in a mimeographed book of labor songs compiled by Edith Berkowitz, probably for the International Ladies' Garment Workers' Union (ILGWU). [This book, with cover and title page missing, was loaned to the author by his union friend and colleague Vincent H. Demma, to whom he is also indebted for the loan of several other ephemeral old labor song books used in this study.] On the 1928 Paterson, New Jersey, strike, see The New York Times, 3, 4, 10, 11, 12 October and 6 November 1928, pages 53, 19, 1, 56, 27, and 3, respectively.
144. Rebel Song Book: Eighty-Seven Socialist and Labor Songs for Voice and Piano, compiled and edited by Samuel H. Friedman, with music edited by Dorothy Bachman (1935); and Labor Songs, compiled and edited by Zilphia Horton (about 1939). The latter work also includes "The Steel Workers' Battle Hymn," dedicated to John L. Lewis, with words by W. H. Crawford, and sung to the tune of "Hold the Fort."
145. UAW–CIO Songs (cited in letter from Morgan to Scheips, 1 May 1956); Dixie Union Songs (mimeographed, no date); Everybody Sings (1942); Let's Sing! (2nd edition, no date); and Songs of the Workers (cited in note 134, above).
146. This undated album was distributed by the CIO department of education and research, Washington, D.C. The words are printed on the inside of the back cover. [Tom Glazer is not related to Joe Glazer.]
147. The full title of the album by the Almanac Singers is The Original "Talking Union" with the Almanac Singers and other Union Songs with Peter Seeger and Chorus (Folkways FH 5285, undated). Songs for Victory are in Asch Album 346 (undated). These albums are listed in Fowke and Glazer, Songs of Work and Freedom, pp. 204, 205, and in Greenway, American Folksongs of Protest, p. 317.
148. CIO Song Book (revised edition, 1954); Amalgamated Song Book (1958?); ​and AFL–CIO Song Book (6th printing, undated). The latter is a slightly revised edition of the old CIO Song Book.
149. Fowke and Glazer, Songs of Work and Freedom, pp. 36–37. Probably inadvertently, Bliss's name is given as Philip H. Bliss.
150. As quoted in and paraphrased from "'Troubadour of Labor' Sees Passing of Singing Worker for Hum of Motor," The Washington Post Times Herald, 20 May 1961, p. A3.
151. "'Troubadour of Labor,'" The Washington Post Times Herald, 20 May 1961, p. A3; Nicholas Gage, "Farm Workers Union Puts Its Own Show on Road Raising Funds," Wall Street Journal, 19 July 1967; Henry Santiestevan, "El Teatro Campesino—Right Off the Picket Lines" and "Delano—A New Harvest for Migrants," IUD Agenda, vol. 3 (February 1967), pp. 16–17, 22; Bill Boyarsky, "Pacts Bring Labor Peace to Vineyards at Delano," The Washington Post Times Herald, 30 July 1970, p. A9; and Steven V. Roberts, "Chavez and His Grape Workers 'Overcome,'" The New York Times, 2 August 1970, sec. 4, p. 2.
152. On "We Shall Overcome," see "The Talk of the Town" in The New Yorker, vol. 41 (27 March 1965), pp. 37–38, and the recording by Joan Baez (with commentary by Harry Fleischman, together with the words) in the United Automobile Workers album This Land Is Your Land: Songs of Social Justice (produced in 1964 by Joel O'Brien Productions, Inc., and UAW education department), no. 9. For the words and music of the labor version, "We Will Overcome," together with historical notes, see Fowke and Glazer, Songs of Work and Freedom, pp. 33–34.
153. Letter, Glazer to Scheips, 2 December 1959. For words and music of these more popular songs, together with notes about them, see Fowke and Glazer, Songs of Work and Freedom, pp. 12–13, 38–39, 44–45.
154. As quoted in and paraphrased from David Anderson, "Washington Sq. May Day Rally Turns into a Battle of Singers," The New York Times, 2 May 1961, p. 16.
155. On Joe Glazer and his songs, see Fowke and Glazer, Songs of Work and Freedom, passim; Greenway, American Folksongs of Protest, pp. 302–309; and Michael Kernan, "Glazer's Songs Still Work for Labor," The Washington Post Times Herald, 1 May 1970, pp. C1, C2.
156. Telephone interview with Glazer in Washington, D.C., 19 December 1967.
157. Fowke and Glazer, Songs of Work and Freedom, pp. 10, 37.