davidaulloa/AmericanStories huggingface dataset:
GÅ‚os polek. [volume] (Chicago, Ill.) 1902-current, 1916-09-28
KOBIETY -SIENKIEWICZA
No. 80.

7 tIliLI wszystkie warstwy narodu W
~ trzech Polski dzielnicach uczciiy -
ma hasfo dane przez czuj jna zawsze Wiel-
kOpolslle - 7O-lecie najwiekszego dis
Polskl pisarza, skfadajqc mu hold w Ii
cznych adresach i W ofiarach Ma Fun
dusz SicnkiewicZowski - to najbardziej
moze powofana jest do z1ozenia tego hof-
du WdzlecznOsci polska kobieta
Pred pol wiekiem przesz4o ~wiellki
poeta nasz Cypryan Norwid ubolewaf,
zc W llteraturZe polskiej brakujc pier
wiastku kobiecego, re poezya poIska ty-
pu nlewiasty pOlskiej ME wydaia. Isto-
tnie tworczO5G pisarzy polsllich wiel-
kich wieszcz0w, iak Mickiewicz, Kra-
si6Ski, Slowacki skonczonych charakte-
row niewieseich nam ME dafa, raczei II
{amkowe sylwetki. Pi6ra kobiet autorek
brak ten zape1nify najbardziej, wszela-
ko postacle zywe, artyzmu prawdy pei
ne, krwia gOracq ciafem, dusza od-
rebnq, swoistQ dafa nam tw6rczoSG VIE
ioletnia Henryka Sienlliewicza przede-
wszystkiem
Cd picrwszych wystep6w pisar-
skich znakomitcgo tw6rcy postaci ME
wie$cich spostrzcdz sic daje wyiatI1owa
subteInoSc pi6ra lego stosunku do
kObiety. DOtyka on naiprz6d ryIcem s}o-
wa swego charaktery ludu polskiego,
a 5wietnych swych "Szkicach we
GLEN" daje nam rzutach szerokich
typy mocne, poteane, w kt6rych pier
wotna prawda duszy kobiecej zrywa sic
krzykiem dna duszy wyrwanym i
$wadczy cechach podstawowych, VIE
cznych swej kobieco5c.
Pi6ro poety idzie dalei, wgfebia sic,
maczanc w prawdzie zycia, nabiera
barw odcieni subtelnych bez Iiku. Wi
dzimy kolei rycersl1ie dzieje narodu,
dobytc odleglei przesz}o5ci ma pefnq,
wspaniata jaSnie dnia, wysnute W cza-
rowna epopeje Trylogji historycznet,
kt6rej nerwem okrasa SO legendarne,
tax prawdziwe | zycia pelne bohaterh
przepyszne, jak: Helena Kurcewicz6wna
- 4 "Ogniem Mieczem', BaSka z
'Pana Wofodyiowsliego'' Olehka 2
"Potopu" caly szereg ubocznych,
swietnych postaei. Mieni sic dry po-
tokami swiatef barw, gra pi6ropuszy
swietnosci wspaniaIa opowies6 rycerska,
kt6ra jak dzwon srebZy piebna upaja-
1acego rozbrzmiewa mad Giovanni poi6o-
lenia, przywalonego do ziem, 2a3ob8
krwawa powstaufa ostatniego, DO kt6-
GÅ‚os polek. [volume] (Chicago, Ill.) 1902-current, 1916-09-28

rem dusze poIska cgarneta ciemnia zy-
wego grobu.
Pogodny, sfoneczny, rycerskiej pie
Snl W sobie peten, duch wiellliego pisa
RIA budzi} nar0d, krzepif dzwigat
tel kazni losow, al czarodziejstwo ge-
nlalnegO pi0ra byfo tax zywe, cudowne,
IL nar0d - zapatrzony swe dzieie
przcsWietnc, zasfuchany te piesn mo-
cy SHY wstaf do zycia nowego sic obu-
dzif. L nie tylko postacach meskich
krysztafu i spizu rozkoszuie sic mySI
polska, ale zachwytem tez dry pred
tym szeregiem nicwiast cudnych prze-
szfoscl, duszy przebOgatej, W kt6rych
obok kobiecoscl czarownej pail sic ry-
cerska krew ojc6w dziad0w, gotowa
do naiwyzszych ofiar i poSwiecen, do
zduInlewaJacyeh czyn6w odwagi ma We
zwanie Jedyne, pred ktorem wszystko
W Polsce pada - dobro Ojczyzny. :.
"Patria - suprema lex" - (Ojczyzna
- najwyzsze prawo) to hasfo stoi ogni-
ste, pfomienne mad zyciem Polski wszy-
stko inne famie podbija.
Przypomnijmy sobie to cudne
prostocic swej pozegnanie Ba$h mai
drozszym JeJ mezem, maiym rycerzy-
klein - a wielkim bohaterem Wofodyjo-
wskim W przeddzien smierci jego boha-
terskiej, pred kt0ra W przeczuciu dry
rwie sic W kawafy jej dusza, a jednak
zacina sic W sobie milczy 8fowa iedne-
go sl1argi ME wydaje.. "Nic to" -
mowi bohater sfowa to staja sic zako-
mem dla naszych poleIl bohaterek bez
llku, kt6re meczarni dziej6w Ojczy-
zny, Oddajac ma rzez, katorge, szubieni,
ce swych meow, kochank6w, braci, sy-
now zbiela}emi usty powtarzaly
wciah, bez zmiany: "Nic to'' - bo to
dla Oiczyzny...
Z poszumem jedwabistych szat
swych, strojne w pi6ra i dyamentv
przesuwaja sic rycerskie cory Trylogii,
Qstepuiac miejsca ma 1artach znakomi-
tych ksiag pisarza pracownicom dnia
powszedniego, obywatelkom utrudzo-
nym, cZujnym Narodu. Pi6ro tw6rcy
dotyka odmian charakter6w kobiecych
rozmaitych: od b4yszczacych Iwic salo-
now morsldch wybrzeAy, cd motyli
lekktch, roze9mianych w5r6d 8ycia, do
ofiarnio cichych, przesmutnych nieraz,
2 gwiazdami b6lu miloSci ma czofach.
Czujace, subtelne, g}ebobie ostrze ma
tchnionego pi6ra wielkiego pisarza ma
luje wszystkie biedy, krzywdy, trosIi,
przemilczenla I b6le kObiecego losu, a
GÅ‚os polek. [volume] (Chicago, Ill.) 1902-current, 1916-09-28

otwieraJa sic one pred MIN wymownc,
szczcrc, prawda bijace.
Sienkicwicz kccha kobiete Poke
cafci pefmi odrGbnych, prastarycIl
cech JcJ lcchickicj natury. On liocha pol~
Ike w cafom d2icwictwie jcj ducha bo-
gactwie narodOWych, gfcbollich odreb-
nosci. A mlfoSG ta czyni go jasnowidzcm
duszy koblecei, daJe mu klucz do mai
S4ebszych tajni jcj ducha, otwiera przcd
MIN naislirytsze jej sanktuarya, niedo-
stepne dotqd dla zadnego W Polsce pi-
Sara. Mifuj jQca, subtelna analiza Sien-
kiewicza dosiega macierzynstwa w kO-
biecie w samym lego zawiezi rozkwi-
Gle dalszym. On tylko dojrza1 gteboko
uobecn3 nam pieEno duchowe, ukryte
W macierzynstwie = wykwitajace ma
czole w ocZach kobiety nawet podcza9
zachodzqcych zmian fizycznych, ze-
wnetrznej brzydocie jej rys6w. On two
rzy pcfna czaru nieuchwytnego wdzie-
llu polskoSci postac Anielki ''Bez do
gmatu" - tegO kWiatu dziewiczego ko-
biecOscl, zakochauego w Snieznei bieli
swych pi6r, jak m6wi niei wielki pan
L
a przesmutna posta6 AniellIi, ofiary bez-
winncj despotyzmu sobkowstwa rodzi-
ny - przesuwa sic, jak pie5G grajqca
wsr0d pOstaci niewieScich Sienkiewicza,
kt0rQ najwiekszq miekko$ciq uczu-
ciem rzczbit zakocAany pieknie rylcc
artysty jasnowidza. On wBlada W usta,
kochajQcego il na 5mierG czIowieka sEo.
wa modlitwy jakby, kt6re doskonale
oddaia urok tcj wioSnianei, cudnei po.
staci.
Il dziwie sic tyllio, zc lwiaty
Pod twcmi stopami ME rosnq...
Ty - zfoty MOI ptaku skrzydIaty,
Ty-maju, ty--raju, ty-wiosno".
ma ten -I,wiat rajski spada kosa
Smierci W chwili, gdy macjcrzyistwo 4
przymusu niekochanego czlowieka, IL
biera ja W caiy tra5izm czystcj, a ztama
nej ma progu zycia duszy.
Ale autor pogody i piekna odchodzi
niebawem do postaci zdrowych, ja-
snych polskiego zycia W Maryni Pofa-
niecliej dajc nam TAXA s1oncczna, rowno-
wagi, mocy pefna dusze kobieca, kt6-
ra stale sic dobrym aniolcm opiekui-
czym zycia, jego straza czynna, a Obron-
na, to "najdrozsza gtowa' W ayciu mea-
czyzny, ia "giOwa iedynq, pewna", kt6-
ia godzi go losem daje moe poczyna-
niom wszelkim pracOm. Senkiewicz IL
CIV mciczvzne kochaG kObicte. wskazur
New-York tribune., 1916-06-18
Thomas A. Edison, on Music
Technicalities and Mechanics

An interesting sidelight upon the ac-
tivities of Thomas Alvah Edison Is
thrown By Paul j. Morris in an article
in The Musician" for May. 1t is not
generally known, despite his invention
Of the phonograph, that Mr.. Edison Is
keenly interested in music, yet his in
terest in the technical and mechanical
side of this subject is enormous and he
at present spends much time in working
on a device TO record the exact pitch
of a voice or instrument. lie is also
striving to perfect various musical IN
struments so that they no longer shall
make discordant noises foreign TO the
music itself. In talking to Mr.. Morris
Mr.. Edison recently said:
"Haye you ever, while listening to
music, heard discordant noises foreign
TO the music itself which are produced
in the process of making musical
tones? For instance, a cultural sound
in the throat of a singer, the harsh
scraping of violinists bow improp-
erlv used. or the hard metallic sound Of
the humping of the hammers OF a
piano on the strings which In the
highest octave and a half seems to be
almost as loud as the musical tone
produced. Did you realize that the rat
Ting of the mechanism in the manipu-
lation of the keys of an accordion
makes a noise almost as loud as the
music which that instrument produces
The mechanical side OF music is not
what IL ought 10 be. There is TOO mucn
noise and too little music
Mr. Edison is true American IN be-
ing no friend 20 the tremolo, and TO
New-York tribune., 1916-06-18
Are Americans Really
Music Lovers ?

A somewhat pessimistic view Of
American musical conditions is ex-
pressed in a recent number Of "The
Bellman," a weekly magazine published
in Minneapolis The article deserves TO
be read by a larger audience than would
naturally come its way. Its ideas are
well considered, and, alas, IN the main
only too true. This is portion Of
"The Bellman's" article:
"One of our most popular fallacies is
the belief that we are cultured ma
tion. II is true that we spend layishly
upon the arts, but we do not realize
that for the most part we buy foreign
productions. The leading musicians of
Europe have become rich from their
American tours; the highest salaries
are paid to foreign stars in our opera
we have three established operate
companies in the entire country and
the music which forms the programmes
of our half dozen symphony orchestras
is almost entirely that Of foreign COM
pOsers.
mo, in spite Of the fact that each
year sees millions spent for the in
diligence of our musical taste, we can
not be called a music-loving people.
We have no social appreciation or de-
sire lOI UluHlt DtA bIu idE AliitFs ~ iH
not in our national psychology TO
gravitate toward musical recreation. as
do the Welsh, the Germans, the Poles
and Scandinavians in their choral So
cieties. We Americans do not feel the
need Of expression through music, al
though we are proud of the fact that
we are the worlds largest purchaser Of
musical instruments largely phono-
graphs and pianolasi The only time
that music comes to US in any vivid
personal way is during church service
or on the rare occasions when II IS
necessary to stumble through the ma
tional anthem, madly cropping for the
words from our neighbors' mumblings.
Music in our public schools is for the
most part fit subject for a Gilbert and
Sullivan travesty, and, in spite of the
fact that the country is honeycombed
with musical colleges and an army Of
teachers, there are fewer and fewer
among our young people who play any
thing but ragtime.
"Worse than this, however, all Of
which is negative. is the obliteratlon Of
the musical instinct among the foreign
born. No matter how crude or litter
ate the immigrant may be, he still has
for heritage a tradition in which music
is vital. It is among the day laborers
that the real love Of music is to be
found in America to-day"
New-York tribune., 1916-06-18
ode Walkure" in the Yale Bowl
an Impressive Performance

tips Of two tall trees, it can be un-
derstood why there was lent TO the
proceedings a quiet dignity which in
the City College Stadium had been
hopelessly lost. In addition, there
was the dignity, even the majesty, of
the Bowl itself, an auditorium which
might well have been placed upon
the Roman Campagna at the period
Of the Antonines The position of
the stage allowed the use of only
sector Of these seats, yet a sector
capable Of seating a good 10000 per-
sons.
Now, Richard Wagner never intend
ed one of his dramas to be presented
in such colossal surroundings, yet it
is doubtful, had he been able to be
present at the New Haven "Walkure,"
whether he would not have approved,
or at least been keenly interested.
In these surroundings, and given as
it was, "Die Walkure" became music
epic, rather than music drama.
There was in the action strange
sense of impersonality, sense far
other than that dreamed Of by Wag-
ner In Segmund and Sieglinde, and
Brunnhilde and Wotan and Fricka we
had little personal, friendly interest.
They all seemed so far removed from
personal experience, from the fevered
life Of the century. from the strug-
giles and joys and sorrows of suffer
ing. SHINING humanity. They were in
truth pagan gods and goddesses'
spirits utterly alien TO our heritage
who moved about, evocations from the
misty haze of a half remembered
world.
Far otherwise did Wagner consider
them. To him they were his children
children Of flesh and blood, express
sive. perhaps. Of the new Germany,
expressive certainly of the turgid
passions Of his own soul They were
of the stuff of drama. Their
clashes and loves and hates must be
responded to by the audience. They
New-York tribune., 1916-06-18

tried. and when | have finished my
present experiments with opera they
also will be practical.
The operas of Verdi appeal 20 me
most. Verdi and Beethoven were the
greatest of all composers. wagner n&'
written some things that are wonderful
and some that are well, 70 me, any 20
way. they are atrocious. Some OF De.
bussy's music | like, but not mucn OF
il. Verdi was the last OF the great ere
ative musicians. Among composers ne
was the greatest inventor. / take or
NV hat to him. He invented more real
melodies than all of the composers
after him put together Since him there
has been no great originator OF really
musical effects.
These modern composers have FOR
gotten that melody exists. lhey are
working along a perverted cublst idea.
have listened recently 10 fifteen hun
dred waltzes written by living COM
posers and only two Of them were real
music possessing at the same time
originality There have been no great
inventions or Improvements MADE In
music lately. The composers OF to-day
are all imitators or perverters. Ihey
have no real sense Of melody, and con-
sequently they have 20 resort 20 otner
things 10 cover up their deficiencies.
"For myself" suggested Mr.. Morris,
81 prefer Strauss opera 'RosenEaV-
alier' TO Verdi's III Trovatore, ne
strauss tone poems TOD und Nerkla-
rungi and Elm Heldenleben' have an
extraordinary charm. They say some
thing new and to me something Deal-
tful" a..
Nevertheless" Mr.. Edison added, "it
;s q perverted taste. For myself ! IKE
% chow tobacco. but still know 10 - a
bad habit. which ought TO leave bad
t9ste in nv mouth. There was a tlmc
when tomatoes tasted badly. One can
acquire a taste for almost anything, no
matter how unnatural 1t may be.
~ have no doubt but that peoples
ears can become accustomed 70 listen
with pleasure TO the hafshest OF music.
But I don't believe in acquired tastes
Italians and Americans have the best
natural voices, Mr. Edison believes.
"Italy and America show up the best
on my records. Russian voices are
very bad. and II some people think
badly Of the Germans on account OF
the war I wonder what they would
think If they could hear now pad most
OF nv German records are. Germans
are not fitted for singing. They make
cultural sounds and their notes all be-
gin wrong.
zone of the things that have i'm
pressed me most in my three years OF
musical study and experimenting rs the
inefficiency Of orchestra players. Listen
carefully TO even the greatest Of sym
phony orchestras. and you Will hear
host Of noises foreign 20 the music.
Nv method for eliminating these
sounds is 70 have orchestra players
make phonograph records. You can tell
a player that ne is making false tones
or noises that are not part Of the
music and he may or may not believe
YOU. But il he makes record of his
nlaying all Of the blemishes are record
ed along with the pure music. lie can
hear them for himself and will there
after make an effort 20 eliminate them.
"Not long ago several members Of
the string section Of the Boston Sym
phonv Orchestra. which IS generally
conceded 20 be the best In the country
and by some Is called fhe greatest IN
New-York tribune., 1916-06-18

the whole world, came 20 play for me-
Scarcely a man started his notes cor
rectly. The beginning Of every tone
was way Off the pitch. They would
slide their bows around until the cor
rect pitch was found. To the average
ear this would have passed unnoticed
The players them selves did not believe
that they were making false notes until
the records gave them proofs After
that they began TO try 20 correct their
faults.
II have another efficiency test for
orchestra players. No two men have
exactly the same sense Of perception.
When conductor beats time some
players follow instantaneously. while
10 takes others nearly a half Of a sec
ond 20 respond. Either the sight or
the ability 20 make the muscles respond
instantly may be at fault. To equalize
this ineiiiciency IN my own orchestra I
have placed those players whose sense
OF perception is keenest at some dis
tance from the conductor, while those
whose movements are slower are seated
very close.
"I have spent much time studying
violinists. ! find that u is impossible
20 play perfectly much violin music. II
IS the composers and not the PLAYERS
who arc az fault. No violinist living
car skip from low 10 & high note and
do IL perfectly. IL is beyond the power
OF human fingers 10 move capidly dis
tance Of, say, three inches up the finger
board without anything 20 guide them
and not miss the mark by one thou
sandth Of an inch, which ia percep-
tble interval 20 delicate ears Such
skips are usual Do violin music. and In
making them violinists produce false
tone AZ first Their ears tell them in
stantly whether 20 move their fingers
slightly up or down FOR the correct
pitch. II an happens so quickly that
the average ear does not catch the false
beginning, but it is very clearly shown
by my recording device.
81 am working on an electrical appa-
ratus 20 do the lingering. which is the
mechanical part Of violin playing.
1T is my intention 70 make music
better mechanically. When have per-
fected an electric violin finger board
and have found method for eliminat-
ing the useless noise In pianos made
when the hammers strike the strings OF
the highest octave and a half, will try
70 improve other instruments. Clari-
nets and brasses are FAR from perfect.
But it is not alone instrumentalists
who are in need Of help. The me-
chanics Of voice production is even
worse in general.
in my study OF music have pur-
posely neglected the interpretative
side. That is for others 70 discuss.
do not pose as an authority on inter-
preting music. II is the mechanical
side that has occupied my mind chiefly.
Sly deafness has aided me in my work,
not only because 10 has the effect OF
giving discordant sounds an exag-
gcrated prominence IN my ears, but
also because u has taught me not 20
rely upon my own hearing for judy
ment. Consequently. have made re.
ccrding instruments more delicate than
human ears. showing beyond question
whether a singer sings IN tune, whether
voice has tremolo. or whether any
fslse notes or sounds are present The
mechanical side Of music needs many
Improvements, and | intend 20 make Il
as perfect a. possible before nnish
my musical studies.
New-York tribune., 1916-06-18

mentioning Mr. Piantodos's pscihsb
song. And this accelers,ion Of in
terest was good for another 100000
copies. Great is the power Of the nsme
Of Roosevelt, even in the sale of popu-
lar music.
In his testimony Mr. Piantodosi. the
author Of song which in six weeks
sold more copies than most songs OF
the greatest composers have sold IN
sixty years, stated that ne did not know
who wrote LA Boheme," that he had
never heard an opera in his life, that
he could not read an opera score, and
that the only thing he knew Of la
Boheme" was that there was a title
by that name Mr.. Pian,odosi further
more said that he could play a compo-
ston By note ~ . is not too difficult
but that he usually had some ere else
take down the melody. Then came the
questions and answers, The answers Mr.
Pantodosi's:
Odd you ever hear "Pinsfore"?
Al saw il on an electric sign on
Broadway one time.
Q.-And that is the extent OF your
knowledge of "Pinafore"? A.-Yes.
Mr. Piantodosi, unlike some other
composers, never lacks inspiration, as
he testified as follows:
Q.-Sometimes imagine you found
yourself full Of inspiration and at
other times there was quite a dearth
Of inspiration? A. No. sir.
Odd it run in a steady current.
or did it huctuate occasionally? A
Steady current up to date.
Mr.. Haas, the composer Of the rival
song, You viii Never Know How
Much Really Cared testified that he
was unable 10 read note, and played
by ear only. He simply played the
melody on the piano and the arranger.
Mr. Pouch. took it down on paper
This method is apparently very general
in the writing Of popular music. Mr..
Haas further stated that song writing
was for him only a side line, as he was
in the automobile business.
The author Of the words TO Mr..
Haas's song is William cahslin, who
testified that his principal business is
baseball, but that he was employed By
his publisher, Mr.. Deutsch, 10 write
lyrics for Sl5 week. In his testi-
mony he further elaborated the meth
cd OF song composing as carried out
in the popular music world.
Q.-Did you ever see Mr. Haas
write music? A-Neyer.
Q.-Is he a song writer? A-Yes.
He is classed as song writer.
Q.-Why do you say "classed" -?
A.-There are lots Of song writers
who could play a song and not write
it,
Q.-Do you know whether he could
write a song? Ale can compose
song.
@. But he cannot write it? A
No.
Q.-Just what distinction have you
in mind? A.-Your honor, they can
play, they do not know anything
about the notes. They get the melody
and they have some one take it down
for them.
True children Of nature arc our
! popular composers,
New-York tribune., 1916-06-18
Mysteries of popular"
Music Productions
Notation Makers 'Puggers" Composers, Publishers
All Play Their Part-Interesting Testimony from
Rival Authors in a Plagiarism Suit

The mysteries that surround the
music publishing business in the
region Of the production Of so-called
popular music are manifold Pub
fishers, composers. notation makers
"pluggers." all play their part in man
ner unknown to the world Of so-called
serious music so-cslled. indeed, be-
cause a song referred 70 by as emf
nent an authority az Colonel Roose-
welt as a menace 10 the country de-
serves surely the adjective Serious,
This song is 81 Didn't Raise My Boy
70 Be a Soldier Of which the sale OF
the first six weeks amounted to more
than 100000 copies. Some interesting
details Of the way a popular song is
written, circulated and comes 70 an
end were recently revealed in suit
before Justice Hand in the L. 5. Dis
trict Court. The suit, which was de-
cided for the plaintiff, was brought
by Harry Haas against Leo Feist, Inc,
and AL Piantodosi. Haas composed a
song to words by one Cahalin. entitled
you viii Never Know How Much |
Really Cared" and in his suit he
claimed that Piantodosi's song Il
Didn't Raise My Boy TO Be Soldier"
was in its chorus a plagiarism from his
song. "You viii Never Know How
Much" fell fiat, while the Soldier Boy
song sold 100000 copies. Judge Hand,
however, decided for Haas and issued
an injunction against Feist restrain
ing him from publishing any further
copies Of Piantodosps song. Nathan
Burkan, counsel for the defendant, has,
however, moved for reopening Of the
case. holding that it is only in the
rhythms that the songs are alike. In
his testimony in the suit, Edgar r.
Bitner, general manager for Leo Feist
Inc, furnished some interesting dotail
of how the Soldier Boy" song was
put upon the market and of its sud
den rise. fall, and rise again. Said
Mr.. Bitner:
ave saw the great advantage in the
title of the song because IL seemed 10
US to be a subject uppermost in the
peoples minds, and we conducted very
big campaign in newspapers and mag
azines. We started advertising late IN
December and the song was published
on January 4 or 3. There was hardly
q town Of any Importance in the United
States where we did not advertise the
song. In addition we distributed free
copies to numerous orchestras.
( For the first six weeks Of the song:
/ life we sold approximately 100000
week. A pretty good harvest! But
alas, there was a cancer in the shape
CT a rival song containing just the op
posite sentiment, launched by th'
Broadway Publishing Company as
sort of counter-offensive. This SOM
was. DO Not Take My Darling Bo!
Away" testified sadly Mr.. Bitner.
"The minute that song came off !
! killed ours, because it was the OPPOSITE
sentiment. 1t got the peoples mind
conAicted as to whether they wer'
patriotic or unpatriotic, and whei
+ Roosevelt started to knock it, it in
creased again
/ It is evident that the music publish
or. bavo No ctrono- hplfef i'm an IN
/ fuctuating public opinion! When the
article was published by Colonel Roose
Welt in "The Metropolitan Magazine,
/ two hundred newspapers a day begaT