Saturday, December 19, 2020

A CHRISTMAS CAROL Birth of The Modern Christmas

I know precisely when and where modern Christmas was born. It was late on the evening of Thursday, 5 October, 1843. And it was on the dismal streets of the Lancaster industrial town of Manchester, England. 
Then and there a dapper 31 year old clean shaven Charles John Huffman Dickens (above) went for a stroll.  He walked purposefully past the clattering cotton and textile mills and the stinking bleach works.
He slipped like an alien through the laborers milling around the foundry shops and on the docks of the befouled Irwell River -  men women and children who toiled 12 hours a day, 6 days a week, to survive on a paltry £9, 3 shillings. It was on such walks as these ““...when all the sober folks had gone to bed” that Charles Dickens created our Christmas.
Michelangelo once said his David was always hidden inside the marble. All he had to do was chip away everything which was not the young Israelite contemplating the approaching Goliath. Writers work the same way, but first they must create their own stones. And then they must mercilessly chip away until they reveal the story hidden inside themselves. Or, as sportswriter “Red” Smith put it, “You simply sit down at the typewriter, open your veins, and bleed.” And to do that on demand is to be a professional writer.
Charles Dickens had achieved instant fame with his first novel, The Pickwick Papers, published in serial form beginning in 1836. 
This was followed by the hugely popular Oliver Twist in 1837, the equally successful Nicholas Nickleby (above) in 1838, the less successful Old Curiosity Shop, in 1840, and the forgettable and forgotten Barnaby Rudge in 1841, all serialized in magazines. 
It began to seem Charles Dickens had peaked. But he still had to support a wife and four children, with a fifth child on the way. He remained the sole financial support for his impoverished parents, and other relatives in desperate straits. And there were the demands from his tailor, for Charles Dickens was a lifelong enthusiastic clothes horse.
In Chapter 29 of the Pickwick Papers, published at the end of October 1837, Dickens made one of his first references to the holiday, in the story of a garrulous old church sexton and grave digger named Gabriel Grub. “A little before twilight one Christmas eve, Gabriel Grub...betook himself towards the old churchyard, for he had got a grave to finish by next morning.” On his way, Grub pauses to threaten a young boy who is singing carols. Then, later, when he pauses to drink from a wicker jug he is challenged by a goblin king.
"What man wanders among graves and churchyards on such a night as this?" asked the goblin. "Gabriel Grub! Gabriel Grub!" screamed a wild chorus of voices that seemed to fill the churchyard.” 
The goblins take Grub under the earth, and display a tableau of a lives of a typical middle class English family, including the fate of a dying child. “His brother and sisters crowded around his little bed, and seized his tiny hand, so cold and heavy... What do you think of THAT? " said the goblin...,Gabriel murmured out something about its being very pretty.... You, a miserable man!" said the goblin in a tone of excessive contempt...”
After more lessons, Grub “came to the conclusion that it was a very decent and respectable sort of world, after all...” In the morning Gabriel Grub has mysteriously disappeared. “The lantern, the spade, and the wicker bottle were found that day in the churchyard.” But 10 years later Grub returns, to share his story of the Christmas goblins. It was far from a perfect holiday story. But it clearly chipped away a few of Charles' stones.
Six years later, on that Thursday evening of 5 October, 1843, Charles Dickens (above) faced a real  financial crises. His bank account was over drawn. Sales of his latest serialized book, Martin Chuzzlewit, had landed with a thud in 1842. The man who had hired him to write the Pickwick Papers, William Hall, was increasingly turning the business over his senior partner, Edward Chapman. And it was Chapman who suggested that Dickens' stipend be reduced from £50 to just £37 and 10 shillings a week. The author figured he would need £1,000, to re-balance his checkbook and meet his obligations. Such were his hopes for the creation he conceived on that late evening walk in Manchester.
The creation of this story, like all 15 novels and 27 short stories Dickens would write, began with the title - “A Christmas Carol. In Prose. Being a Ghost Story at Christmas. ”. It would not be a novel, but a novella, only about 110 pages long and less than 30,000 words total. In keeping with the musical theme, Dickens divided the novella not into chapters but into “Staves” (above).   In American English these 5 lines and the 4 spaces between them are referred to as a staff, upon which musical notes are written. In English, English they are staves. On the morning train returning him to London, Dickens began to dip his pen into ink and scratch his solution for his  financial crises onto paper.
Dickens plucked the name of his central character, Ebenezer Scrooge, from a headstone he had come across in an Edinburgh graveyard in 1841 – Ebenezer Lennox Scroggie. The real Ebenezer had been a corn merchant and bottler of “Scroggie's Highland Brandie”. His grave marker called him a “meal man”, but Dickens misread the inscription as a “mean man”, which is why he remembered the name. In truth, Scroggie was not mean or cruel, but he was a social reprobate, a 'dirty old man', who raped a servant girl on a churchyard grave stone, fathering a child, and broke up a solemn convocation of the General Assembly of the Church of Scotland by groping the Countess of Mansfield in the pews.
Scrooge's miserliness seems to have been based on James (Jemmy) Wood (above), famous as the “Gloucester Miser”. He was one of the richest men in England and left an estate worth £900,000. His primary business was the Gloucester Old Bank but Wood also owned an undertaking business. He wore the same clothes for weeks on end, and never took a cab when he could walk. The staff of his bank consisted of himself and just 2 clerks. But where Wood was an active participant in the city, Scrooges' mean spirit toward the poor was found in philosopher Thomas Carlyle, who, when asked about the working poor, replied, "Are there not treadmills, gibbets; even hospitals, poor-rates, New Poor-Law?s"
The name of Scrooge's business partner came from a sign Dickens had seen in his childhood, “Goodge and Marney”.  And Marley's chains were the reality seen by Dickens during his 1842 tour of the Western Penitentiary, in Pittsburgh, Pennsylvania. 
The crippled Tiny Tim (called “Little Fred” or “Tiny Nick” in early drafts) was based on Dickens' sister Fanny's 5 year old son, Henry Burnett, Jr, whom Charles had met while in Manchester. Dickens agreed to pay for the boy's medical care, adding to his own financial burden.
Bob Cratchit (above, left)  was just one of the 104 clerks Dickens created in his writings. because in the era when computers were still humans, clerks were ubiquitous in the “nation of shop keepers”. Punch described the 1845 tongue in cheek requirements for the job. “First take your son, and soak him well in spelling and writing. Grind in a few ounces of grammar, stuff with arithmetic, and season with geography. Lard with a little Latin, and baste with birch (whipping cane) whenever you find it requisite. Serve up on a high stool, at the first convenient opportunity.”
The common saying went that “A good clerk is always employed”, but the pay was meager and the restrictions were onerous. Applicants were expected to provide a doctor’s certificate as to their health and “steady and sober habits”. And if hired the clerk must “devote himself exclusively to the Company’s service and interest” even when off duty. They must also provide a 2 week salary to their boss, as “as a security for good conduct.” Bob Cratchet worked for 15 shillings a week, or less than $100 in modern American currency.
Dickens wanted the book he was about to write to be on sale no later than the Monday before Christmas, which would be 19, December, 1843. That gave him just 74 days to write and edit the story. But he found his publishers, Chapman And Hall, less than enthusiastic. Edwin Chapman suggested either no illustrations or simple woodcut drawings. But Dickens had conceived of the book as a keepsake Christmas present, which would require color art. When Chapman refused, Dickens agreed to pay the full cost of publishing the still uncompleted book himself, and split the profits with the publisher. His hoped for £1,000 profit was already fading into the distance.
The little tale was haunting Dickens. His sister-in-law, wrote that he “...wept and laughed, and wept again” and that he “walked about the black streets of London fifteen or twenty miles many a night”. 
Now, Dickens had to find an artist for those drawings he was paying for. When his usual collaborator was already engaged, and with time at a premium, Dickens asked John Leech (above)  to create the art. Leech was journeyman known as a “rapid worker”. But Dickens' shortage of funds forced him to limit the color illustrations to just 4, with another 4 black and white etchings.
On Tuesday, 24, October, 1843, Dickens wrote to a Scottish friend, that he had “...plunged headlong into a little scheme ...and set an artist at work upon it.” And by Saturday, 2 December, 1843 his scheme was finished. But not done. Now he began the editing and rewrites. It was not until late in this process that Dickens changed the penultimate line. “ He did it all, and infinitely more; and to Tiny Tim, he was a second father”, adding the phrase describing Tiny Tim, “who did not die”. That allowed a happy ending.
On Sunday, 17 December, 1843, Dickens was forced to finally release the book to the printer. Because of the color art work, and the rewrites, if the first edition of 6,000 copies sold out completely at the steep price of 5 shillings each (about $24 today), Dickens stood to profit just £230, far from the £1,000 he had been hoping for. The book went on sale Monday, 19 December. By Christmas eve, every single copy was sold.
The Illustrated London News praised Dickens' “impressive eloquence” and praised the novella's “unfeigned lightness of heart—its playful and sparkling humor... its gentle spirit of humanity".
The reviewer from the literary magazine The Anthenaeum said the story was a "tale to make the reader laugh and cry – to...open his heart to charity even toward the uncharitable”.  
Long time Dickens critic, Theodore Martin, writing in Tait's Edinburgh Magazine, fell over himself to praise the author, He called the book, "a noble book, finely felt and calculated to work much social good".
Chapman and Hall were quick to respond to the unexpected success of Dickens little scheme. They immediately issued a second edition, which sold out immediately, and then a third edition before the week – and the year - was over. All three editions sold out. 
But almost equally quick were the folks at Peter Parley's Illuminated Library, published by Richard Egan Lee and Henry Hewitt. In January of 1844 they issued an almost exact copy of the Christmas Carol, stealing Dickens work and selling it for a mere two pence. Dickens quickly sued and won,  but Lee and Hewitt promptly declared bankruptcy, leaving the author to swallow the £700 in court costs and legal fees.
Over the rest of 1844, 11 more additions of “A Christmas Carol” were released. But because of Dickens' demands for quality, the printing costs remained high, and a year later the author had profited only £744. Stung by what he saw as Edmund Chapman's lack of faith in his work, and burdened with a bill he felt his publishers should have paid, Dickens left Chapman and Hall and moved to the publishing house of Bradbury and Evans.
Since that December of 1843, Charles Dickens' A Christmas Carol has never been out of print. But perhaps the most telling effect of Dickens' scheme was the story of a Boston factory owner who attended a Christmas eve reading by the author. The very next day this man gave all his employees a Christmas turkey, and the day off. 
But to me. “A Christmas Carol” is proof that if you struggle hard enough and long enough, you can become a journeyman at your profession. And if you work at that profession diligently, once in awhile, if you are lucky, you might achieve the level of genius.
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Friday, December 18, 2020

A VERY NUTCRACKER CHRISTMAS

I find it curious that Ernst Theodore Hoffman (above) is considered a romantic. I think of him as a manic depressive, and justified as one considering that Napoleon spent most of Ernest’s life turning Europe into a slaughterhouse. As a young man Ernst did fall in love, but the lady was married. And when she turned up pregnant Ernest’s family shipped him off to Poland, where he labored as a petty bureaucrat.  But he spent his free time composing classical music and writing vaguely creepy stories. 
One of his more successful tales was a sort of 19th century “Jaws”, except instead of a 25 foot Great White Shark, Ernest’s villain was a mouse bent upon revenge. In Hoffman's story seven year old Maria receives a mechanical doll as a Christmas present, which her older brother Fritz promptly breaks. She sits up late trying to repair the toy, until an army of mice attack her doll.  She saves the toy by throwing her shoe at the rodents.  Now, maybe I'm just waiting for the other shoe to drop, but I think this idea has ballet written all over it.  Interestingly, that idea never occurred to Ernst.
Nor did it occur to Alexander Dumas (above), the vulgar and prolific son of a French nobleman and a Haitian slave woman. See, Alex liked the Parisian good life a lot more than he liked writing. He had at least 40 mistresses, but he made enough to afford his profligate lifestyle by out doing Andy Warhol at marketing his art. Alex kept a warehouse full of writers who ground out stories under his direction, such as “The Count of Monte Cristo” and “The Three Musketeers”, and its sequels. And one of his minor best sellers was a direct steal of Ernst's hallucination, which Dumas changed just enough to avoid a lawsuit – like changing Maria's name to Clara.
Then, seventy years after Ernst died of syphilis (the ultimate romance disease), and 12 years after Dumas died of a stroke in 1870, the ballet idea finally did occur to Marius Petpa (above), celebrated head of the Bolshoi Ballet Company in Russia. In 1882 the Imperial Theaters hired Marius and Pyotr Illyich Tchaikovsky to create the “Sleeping Beauty” ballet. This was such a critical and financial success that it established the Bolshoi as the world's premier ballet company, and Marius as a world class genius. And then like a modern Hollywood studio looking for a project to fit the marquee talent, in 1890, the theatre brought the pair together again.  But this time, having over inflated these two monumental egos, the management merely suggested a sort of theatrical sandwich – a double header, both a serious but short opera and a light, meaning short,  ballet staged on the same night.. Marius would script the story for both, and Pyotr would put them both to music. 
The one act opera was clearly intended to be the meat in this theatrical happy meal, and being the foremost Russian composer of the day, Pyotr (above) got first choice of subject matter. He decided on a Danish story of a blind princess named Iolanta.. But then, early in February of 1891, in Saint Petersburg, Marius handed Pyotr a detailed synopsis and bar-by-musical bar outline for a two act classical ballet based on the story Dumas had filched.  Pyotr was appalled. He though it childish and unworthy of serious application. But, if it meant he got paid to write another opera, he would somehow make this silly ballet work. After struggling for a month he tried to remain optimistic. He wrote to one of his brothers, “I am working with all my strength and reconciling myself to the subject of the ballet.” But he also admitted “I am experiencing a kind of crisis.” This was good, since Pyotr had a lot of experience with those.
See, Pyotr had a secret that held the potential to turn every problem in his life into a crises. He was approaching fifty, and had reached an uneasy equilibrium with his homosexuality. He had tried to go straight but his marriage to Antonina Ivanova (above) had blown up after little more than a month. This raised again the threat of exposure by envious and bigoted court and church officials, who at any moment could end his career.  Each contract, including this one, could be his last. What little stability existed in his life was supplied by his younger sister Aleksandra and her seven children with Lev Davydov. Pyotr wrote many of his 11 operas, six symphonies and three ballets on their Ukrainian estate near Kamenka. And now, in March, while on his way to a concert tour of America, and still trying to come up with something presentable for Marius's ballet, he learned of Aleksandra's death.
He had just seen Aleksandra (above) over the Christmas holidays, so he must have known how ill she was. Still, Pyotr was hysterical. And then, pausing in Rouen, France, he managed his agony by putting it to work.  His genius was always his ability to combine the Russian musical themes with Western ones, and to subjugate his true identity into the restraints of his art. And in the “grand pas de deux” for the lead dance character of Clara, he weaved in threads from the Russian Orthodox funeral service  The musical themes of the entire ballet became darker and more nuanced. As one critic has put it, “In Clara, he found a parallel for his sister.”  A ballet about wealthy Victorian children, became, with the talent of Pyotr's genius, a work for people of all ages and for all time.
When Pyotr returned from his wildly successful 25 day American tour (he inaugurated Carnegie Hall in Manhattan) he delivered his musical score to Marius in St. Petersburg, to be animated.  But as the opportunity approached, the world renown genius, Marius, suffered his own crises of self confidence. The primary symptom of this understandable panic was an attack of Pemphigus vulgaris, a debilitating skin disease, usually afflicting Ashkebazi Jews – of which Marius was one. Scratching his itching skin produced open sours, which made it impossible for Marius to concentrate on the ballet. So his assistant, Lev Ivanov, took over.
Lev (above) had been with the Bolshoi since he was eight, and had a natural talent as a musician, as well as being an excellent dancer. But where Marius was a classical ballet master, Lev was, like poor Ernest, a romantic. He followed Marius's general guidelines. He had to, the music had already been composed based on them.  But Lev also arranged his dancers like an impressionist painter, throwing patterns of sugar plumb fairies and swirling lines of snowflakes on point, about the stage. It was the shape and flow of the dance that interested Lev, and somehow the combination of all these hearts and souls, the romantic Ernst Hoffman and the hedonist Alexander Duma , the classicist Marius and the dark Pyotr, and now that other romantic Lev, they all gave birth, on 15 January, 1890, to the premier of “The Nutcracker” ballet at the Mariinsky Theater in St. Petersburg, Russia.
The audiences seem to have been enthusiastic, giving five curtain calls to the Sugar Plum Fairy. The next morning Pyotr wrote to his brother, “The opera in particular was to everyone’s liking ... The productions of both...were superb” But it was a very long evening, with the Nutcracker not ending until well after midnight. 
The weary critics took it out on the dancers, calling the lead ballerina (above) corpulent and pudgy. The battle scene between the mice and the nutcracker confused them: “Disorderly pushing about from corner to corner and running backwards and forwards – quite amateurish.” The Grand Pas de Deux, so inspiring to the composer, was labeled ponderous and “completely insipid”. A week later Pyotr wrote to another brother, “Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am...in such circumstances.” After 11 performances the double bill was closed.
Less than a year later, in October 1893 Pyotr would die during a cholera outbreak, his secret still secure. Although many have suggested he committed suicide, he did not. Lev Ivanov followed nine years later. Finances forced him to work until his death “in harness”, in December of 1901. About the same time the Bolshoi brought in the upstart Alexander Gorsky to replace the aging Marius (above) as director. While watching his intended replacement rehearsing on his stage, Marius was heard to shout, “Will someone tell that young man that I am not yet dead?!.” Within a year it did not matter; Marius was quietly retired. He did die in 1910, at the age of 92.
A year after its premier the opera Iolanta would be preformed by itself in Hamburg, Germany. But although still performed occasionally, it is now largely forgotten. The Nutcracker, on the other hand, had to wait almost 20 years before it would be performed again, staged this time by the Bolshoi's new director Alexander Gorsky, in Moscow. He saved it.  Alexander savaged Marius choices, paring away minor roles, replacing the children cast as Clara and the prince, with adults, thus adding a romantic story line for them.  Standing alone, the ballet was now far better received, and short enough for modern attention spans. And after the Second World War, it became the classical Christmas season production for every ballet company in the world, responsible for up to 40% of their income.
It just goes to show you – those silly romantics may be naive simpletons, but their ideas grow stronger with time because they are positive and simple, and keep being reinvented. When in doubt, we are always inspired by the romantics within us.
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Thursday, December 17, 2020

HERE WE COME A CAROLLING

I strongly suspect that the 6th century Christian theologian Benedict of Nursia was completely tone deaf.   Its the only way I can explain why his Rules of Saint Benedict left Christianity trying to tap its toes to the monophonic Gregorian Chant – lavishly described as a melody with no harmony.  This was music invented to pacify the spirit, almost to put it to sleep, to pledge devotion with no emotion - and in Latin, which limited its popularity.  It would take another 800 years, until Francis of Assisi, for Christianity to break free from its acoustic prison.
Phillippe de Vitry is the man responsible. He was a 14th century poet and musician, and evidently in his spare time the Bishop of Meaux. He could afford to spread himself thin because there just wasn't that much music to know in 1350.  Syncopation and Baroque pop had yet to be invented.  But Phillippe was also credited with the Ars Nova, or the “new technique” for writing music, although I suspect Phillippe was more of a Phil Spector than a Brian Wilson in this regard.  Anyway, the primary new idea in “Ars” was to combine folk tunes with bible stories, a perfect fit considering how many whores with hearts of gold and cheating alcoholic husbands filled the sacred texts.  And like The Beach Boys, the Ars advocated above all else, harmony.  Western music begins with the Ars Nova, including our subject here, Christmas Carols, and one choral in particular.
The Motown of the early Christmas song was medieval France, and the 14th century Chubby Checker was Chretien de Troyes, using the refrain and verse style as advocated by the Ars Nova. Chretien's hard driving lyrics for his “Legends of King Arthur” made people want to get up on their feet and move, in a sort of communal “twist”, the circle dance or the Bransles, also called a carol.  And just like disco, the name of the dance would label the entire genre of music.  In the absence of recordings, Chretien's music was preformed by traveling minstrels, who would sing the verse, while the simple refrains (also called “the burden”), was usually something like “Fa la la, la la,”. This could even be sung by the village idiot, thus avoiding the Mick Jagger mumbled lyrics problem. Of course when the top 1% held a party, they were not required to sing along. That would have been undignified, particularly if they couldn't sing well. So, they hired somebody else to sing for them, thus inventing girl groups and boy bands – the choir.
We should still be singing the mega-hits written during this golden age of Christmas music, when songs like “That Was My Woo”, by the artist formally known as Robert Faiyrfax, ruled the top 40 charts, but we aren't, at least not in English. In fact we have little record (except Fairfax's two beat rhythms) of the exciting English plainsong tunes from the Golden Age of Christmas because at the beginning of the 17th century came the biggest buzz-kill in Christmas history, an English religious fanatic named Oliver Cromwell and his band, the Puritans. They outlawed Christmas and dancing entirely, and burned every page of music they could lay their anti-aria hands on. It was as if Mr. Scrooge had turned pyromaniac after being left in charge of the office Christmas party. Not much was left.
After the Reformation stuffed the Puritans back into their music-less box, English Christmas started again, from scratch. The first reborn popular hit was “The Wassail Song”, which was not much of Christmas carol, since it starts, “Here we come a-wassailing, Among the leaves so green”. Leaves have not been green in England during December since the island was a lot closer to the equator, about 240 million years ago. So the Carol Kings and Paul McCartneys of the 18th and 19th centuries began looking for tunes and lyrics in those places the Puritans had not reached - France.
“Angels from the Realms of Glory” was translated from its original French in 1816, and sung to the tune which would later be used for “Angles We Have Heard on High”. And then there is the cheerful, “Un flambeau, Jeannette, Isabelle!”, or “Bring a Torch, Jeannette, Isabella!” All these France to English carols were huge hits and even more profitable because there were no royalties to pay. In music circles this whole sale theft from dead writers is referred to as “adaptation”. And it took a politician, Davies Gilbert to recognize the legal advantages of that. In 1822 he published a collection of previously French carols, and the flood gates were opened.  Over the next decade “The First Noel” and “Hark the Herald Angles Sing” were rescued from France to be published in English for free. And then in 1840 the young Queen Victoria married Prince Albert from Germany, revealing to English “adapters” a new source. In fact, German sources became so popular that the original Protestant Martin Luther was credited with writing “Away In A Manger”, but that was just a marketing gimmick. And by the end of the 19th century, German “adaptations” had been sucked dry, and tune hungry carol composers were forced to look farther east.  And, it turned out, to the west, as well.
Katherine Kennicott Davis was born on the cusp of this shift in searching, in 1892 in St. Louis, Missouri. She was raised a Methodist, and composed her first piece of music at 15. She studied at Wesley College in Massachusetts, and in Paris with the extraordinary Nadia Boulanger. She then made Massachusetts her home, teaching music at the girl's Concord Academy. And in 1939 she “adapted” the traditional Welsh hymn called “Ash Grove”, originally written in 1802. She wrote new lyrics and relabeled it. “Let All Things Now Living”, AKA ” The Thanksgiving Song”. It proved to be a minor hit, encouraging her to continue looking. In a collection of traditional Czech carols, she found the rhythmic “Rocking Carol”. ( All Things Living), and her skills and talents discovered in this intricate melody the core of her next hit, a lead soprano with an alto harmony tenor and base - with keyboard for rehearsal only – which Katherine titled “The Carol of the Drum.”
I need to mention here, that Katherine appears to have been, as she was raised, a perfect Victorian lady. She humbly listed her name on the published sheet music as “C.R. W. Robinson”, since even in 1941 women were not expected to have public achievements. She had published “Let All Things” under the name “John Cowley”. In fact most of the 600 songs she wrote were originally published under various false names, to disguise her sex. I get the feeling Katherine was always more comfortable in hiding, and she would later claim the melody for “Carol of the Drum” came to her while she was trying to take a nap. Or, maybe it really did.
And it was now that the economics of the music industry took Katherine's song out of her hands. In 1955 “The Carol of the Drum” was recorded by the Von Trapp Family Singers, of “Sound of Music” fame. But the Austrian immigrants retired shortly there after, and the song went no where.
And there, Katherine's little song might have remained if 20th Century Fox Records had not been looking to cash in on the Christmas music market, by contracting with a Julliard trained musician and arranger, Harry Moses Simeone (above).  Harry had been working at CBS records for Big Band leader, Fred Waring, but that music era was coming to an end, and Fred was looking for something else. He took the contract from 20th Century Fox Records to put together an album of choir music, in case it led to something more substantial. Now,  Simeone liked Katherine's tune, but he felt he could improve it.  And getting paid to do so, encouraged him to include it in the new album. He did enough of a re-write that he felt the song should be renamed, and just before Christmas of 1958. when the Harry Simeone Choral group released the album “Sing We Now of Christmas”,  the new title of Katherine's adapted carol was “The Little Drummer Boy”.
It literally rocketed to the top of the charts, the “single”, a sort of vinyl MP3 download (for those of you born after 2000)  went number one with a bullet. - for those of you born before 1968.  As Katherine herself put it, her little song was “done to death on radio and TV".  In 1963 Fox re-released the album but re-titled it “The Little Drummer Boy; A Christmas Festival”.  Again it went to number one. The song was covered by everybody from Bing Crosby to Marlene Dietrich and the Royal Scots Guards. (In Bag Pipes!)   By 1962 it had been one of the top 40 Christmas songs, and it has remained there ever since.  Quite an accomplishment for a shy lady like Katherine. (Little Drummer Boy)
Come they told me, pa rum pum pum pum
A new born King to see, pa rum pum pum pum
Our finest gifts we bring, pa rum pum pum pum
To lay before the King, pa rum pum pum pum,
rum pum pum pum, rum pum pum pum,
So to honor Him, pa rum pum pum pum,
When we come.
Little Baby, pa rum pum pum pum
I am a poor boy too, pa rum pum pum pum
I have no gift to bring, pa rum pum pum pum
That's fit to give the King, pa rum pum pum pum,
rum pum pum pum, rum pum pum pum,
Shall I play for you, pa rum pum pum pum,
On my drum?
Mary nodded, pa rum pum pum pum
The ox and lamb kept time, pa rum pum pum pum
I played my drum for Him, pa rum pum pum pum
I played my best for Him, pa rum pum pum pum,
rum pum pum pum, rum pum pum pum,
Then he smiled at me, pa rum pum pum pum
Me and my drum.
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