50 Cents

Dairy was part of young Bob Hinton's life

Junior businessman Robert Hinton leads against his ice cream cart, built by his father Lawrence and painted a bright green with red wheels, while his Shetland pony Trixie watches him attentively. The photo was taken in the mid-1930s in the backyard of the Hinton home along Penn Avenue.

By Lois Firestone

THE MID-1930S WERE THE DAYS of FDR'S New Deal, and yet, despite the Depression, the

people of Salem overwhelmingly passed a 3-mill levy for the town's schools, 1428 to 329. Female teachers faced losing their jobs if they married, but many did anyway; only 7 of the 48 states had adopted a 16-year minimum for youth to work

during school hours. Worse still, 9 states permitted under-15 kids to join the work force.

A Philco 116X five-band radio could be pur­chased for $180, with access to foreign, American, police, amateur, ship, aircraft and weather broad­casts - most buyers would forego all these listen­ing opportunities on Wednesday nights, though, to tune in to George Bums and Gracie Allen.

At a time when the average worker was. taking

home $2,000 a year, a 130-horsepower, 6-passenger Chrysler Airflow Imperial could be driven into the family garage for $1,475. The company did offer lower-priced autos, like its Chrysler Six Sedan for $760; however, the Ford V-8 was still ahead of every car maker in the sales race.

Housewives welcomed the $49.75 Hoover dean-

Turn to ICE CREAM on page 3

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This charming illustration of Santa Claus tip­toeing in to the bedroom of sleeping young­sters appeared in 1887 in Frank Leslie's Illus­trated Newspaper. It's entitled, "Childhood's Faith in Santa Claus - The Christmas Letter."

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I ~~:!! I 1111

A weekly historical journal t Published by the Salem News

Founded June 8, 1991 161 N. Lincoln Ave. Salem, Ohio 44460

Phone (216) 332-4601

. Thomas E. Spargur publisher I general manager

Cathie McCullough managing editor

Lois A. Firestone editor

Linda Huffer advertising executive

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Early Christmas Present

The first 100 customers will receive a bag with certificates inside valued from $5-$50 to be redeemed on the purchase of merchandise at the Salem Store Only!

• One bag to a family • Must be 18 years of age or older • Cannot be used on prior purchases

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Sixteen-year-old Bob Hinton with his ~orse Trixie who is hamessed up to Harry Bichsel Jr.'s ice cream cart. The photo was sent by Lydia Hinton to a radio program with her order for a ring for her son. On the back of the photo, dated Feb. 26, 1936, she has written: "Just put the pony's head on the ring. Ring size 9. Hope I'm not too late to get one of your pictures. Am a constant listener."

er which had the plus of spiffing up their Olson broadloom rugs with its new Positive Agitation for embedded dirt. These same mothers who, back then, stayed home to raise their families, sent their kids off to school with "hot-cooked" Ralston cereal nestling in their stomachs, and when they trotted home for lunch often consumed a bowl of one of the 21 different kinds of Campbell's canned soup topped off with Ritz crackers.

For young Robert Hinton, his classes a~ the Col­umbia Street School were only a few spnnts away from the home at 225 Penn Avenue which he shared with his parents, Lawrence and Lydia Hin­ton and his maternal grandparents Robert and Minnie Dunn. His dose pals before, during and after school were Archie Bricker and Harry Bichsel Jr. .

Harry's mother and father, Harry and Lettie Bichsel, owned one of the never to be forgotten places in town, a refreshing oasis for weary and overheated youngsters bicycling home after a base­ball game at Reilly Field or Centennial Park: The Famous Dairy along the southwest corner of South Lundy and East Pershing Street, today the site of Bob and Jerry Lepping's Superior Wallpaper and Paint Co.

The youngsters weren't .much intereste~ in tour­ing the complex to see first~and how ic~ cream and popsides were made; their rapt attention was focused on the ice cream bar and store on the ground floor where for a few cents they could purchase a huge thick chocolat~ milkshake: Or a homemade ice cream bar, bnck, sandwich or drumstick.

The dairy was the informal after-school and weekend headquarters for Harry Jr., Archie and Bob; unlike other town youngsters, they w~re well­acqu.ainted with every facet of the operatic~--: a regular stopover was Ernest Cunningham s ice cream-making room where the boys would drop by regularly for a plateful of his latest batch, still creamy soft like a frozen custard.

For hours every week, the boys curried the dairy's horses stabled in a barn behind Park New­house's service station across the street from the dairy. The dairy's products were delivered to the customers' homes by drivers manning horse­drawn milk wagons along pre-set routes - usually the housewife had a standing order, but she could always call in with a request for an added quart of

Young Bob Hinton spends some time with his Shetland pony Trixie and Harry Bichsel Jr.'s pony Dickie.

One of Bob Hinton's treasured m~me.ntoes. is this photo of his grandmother, Minnie Gnm­mesey Dunn when she was 14 years old. The photo was taken by Hewitt's, ~ photo~rapher with studios along Broadway in Salem s Gur­ney Block.

milk or pound of butter and they would be placed on her back door step along with the usual dropoff.

Those were the days when home delivery was common - a clerk in a butcher shop, for instance, might spend much of her working day taking down a customer's grocery list on the telephone and then going from shelf to shelf filling the order. She would bag them, and .then a young b?Y hire? by the market would dehver the grocenes. ~IS took place within a few hours. ~hop keepers did the same thing; most of those dehvenes were made by horse and wagon services which made regular stops every day at the various stores to pick up the day's packages. . .

Possibly to give the boys something worthwhile to do with their free time, Harry Bichsel Sr. offered the three boys the chance to operate a neighbor-

With the grape arbor in the background, four­year-o ld Bob Hinton helps his "Granny~' Min­nie Dunn and her sister gather the family dog and her batch of puppies together for a photo at the family home along 225 Penn Avenue.

hood ice cream delivery service. Robert was delighted, because that meant he could have a pony of hi~ own. His father, Lawrence was a businessman, too - his L. W. Hinton and Co. plumbing service was thriving - and he liked the idea that his only son would, at a young age, learn the ups and downs of running a business.

Lawrence was also handy with carpentry tools, and he set about rebuilding a pony cart for his son from a discarded carriage. With Robert at his side

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y est:emears 9rfo1ufay, iJJecmiber 23, 1991

Famous Dairy employees of the 1930s are (from left) Glenn Whinnery, Cloyd Halm, Vance Atk­inson, Mary Homan, Ruth Eakin, Pete Boals, Ernest Cunningham, Ed Herron and Harry Bichsel. The truck at rear was used for delivering cheeses. The Famous Dairy building in 1936.

Ice creain has een since Chinese years,

around invented it

Ice cream has been a marvel for 4,000 years, since Chinese farmers mixed up their first batch of milk ice, a paste made up of spices, overcooked rice and milk packed in snow preserved from the mountains - the delicacy was a symbol of great wealth ..

It wasn't until 1533 that the milk ice was superseded by a semi-frozen dessert made from a thick, sweetened cream. The dessert, the height of culinary sophistication, was introduced by Cather­ine de'Medici of Venice when she married future King Henry II of France during a month-long wed­ding celebration.

Thirty years later, Blasius Villafranca, a Spanish physician living in Rome, made a discovery which enabled confectioners to freeze ice cream in large quantities: the freezing point of a mixture can be reached rapidly if saltpeter is added to snow and ice.

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· '$;;,r-~ontinue rom page 3 &~J!;J' ~' ~ ·!. ""

to hand him hammer, saw and paint brush, he transformed the old wagon into a bright new vehi­cle. The body was painted green and the wheels a bright red; the professional-looking lettering on the sides read: "ICE CREAM, 5 cents" and "ICE COLD POP, 5 cents/'

The., Shetland pony his parents bought him to pull the cart was a devoted friend throughout his childhood. "I named her Trixie, because from the beginning she pulled tricks on me all the time," he remembers. "She would run off and, because she was smarter than me, it would take me a long time to find her." The pony was sheltered in a barn behind the Hinton home. His mother Lydia snapped a photo of Trixie and sent it to a company which transferred it to a ring - Robert wore the ring for years, and treasures it today as a memento.

Robert doesn't remember the name of Archie Bricker's pony, but he does recall that Harry Jr.'s

Thomas Jefferson first tasted ice cream when he was the U.S. ambassador to France and brought the recipe home to Philadelphia. By the early 1800s Philadelphia was the ice cream-making capital because so much was produced there and sold in their famous public "houses," later known as "par­lors" - a specialty of the makers was the "Phi­ladelphia" made with vanilla and egg.

Italian immigrants had brought the dessert to Europe, and by 1870 the Italian vendor's ice cream pushcart was a common sight on the crowded streets of London - British youngsters called him the "hokey pokey" man because people misheard his call, "Ecco un poco," meaning "Here's a little."

In America, too, the vendors were known by that phrase until the 1920s when candy maker Harry Burt of Youngstown marketed his chocolate­encased vanilla ice cream bar on a stick as a "Good Humor Sucker." The Good Humor Man had arrived.

pony wa:; named Dickie. "Dickie was blind m one eye and was stabled at Harry's home on Ridgew­ood Drive," Robert :recalls. "Archie and Harrv had two-wheeled carts, and mine had four." '

Trixie's home was in a barn behind the Hinton house so Robert could keep a dose eye on her and to have her handy for grooming. One thing he couldn't do was shoe a horse. "I regularly paid Bill Fineran $3 for keeping my pony shod," he says. Fineran's blacksmith shop was along Pershing, near Ernie Althouse's Studebaker lot.

Robert's wagon was stocked with ice cream bars on sticks, drumsticks, popsickles and cold soda pop. He and Trixie quickly learned the ins and outs of every street and §illey in the town of Salem. He carried his money and made change from a leather pouch suspended around his neck. "I had to keep my money close to me, because there was a bunch of tough boys around Hjllsdale who always tried to steal it," he says.

One selling gambit worked well for him: he would follow one of the town's bakery wagons on its stops and then sell the customer ice cream to go with the pastries.

The boy's confidante and friend during his

Harry and Lettie Fults Bichsel, part owners of the Famous Dairy from 1929 to 1952.

growing up years was his grandmother, Minnie, whom he called Granny. Their relationship was especially close because they lived together, first in a house on Millville Hill and then in the Penn Avenue home. "She was a witty woman," he remembers. "When I would get too rambunctious she'd warn me, 'you're ripe but you're not picked yet!" Both his mother and grandmother encour­aged lessons on the piano; for a time he went to the home of a local teacher, Martha Krauss and then another teacher, a Mr. Kessler from Lisbon made the rounds in Salem homes, teaching youngsters.

Eventually Robert left Columbia Street to go on to Junior High and High School, graduating in 1938. He fol}owed his father's profession and became a plumber, employed for several years at the nuclear plant in Shippingport, Pa.

The growing up years, when he toured cobbles­tone streets with his cart and pony, he remembers fondly. "I was always proud that I could buy my mother her first electric toaster and her first electric mixer with my earnings."

Harry, Lettie Bichsel were 1nore dairy

than just O'\Vners

HARRY BICHSEL SR. NEVER . forgot what it was like to be a child with little spending

money for treats - as one of the 14 children of Swiss immigrant parents he understood it well. Every youngster should experience the exquisite taste of ice cream, money or no money, he believed.

Often, especially during the sultry summer days, Harry would fill a container full of ice cream bars and prop open the rear door of the Famous Dairy plant, handing out free bars to passing youngsters.

Harry, and Lettie Bichsel, too, were giving peo­ple in other ways. When a death saddened one of the town's families, they were among the first to visit the bereaved' s home, bringing gifts of milk, cream, butter and cottage cheese.

The town was dotted with independent, family­owned stores in the 1930s and 1940s. Everyone knew everyone else and the owners of these mark­ets and shops supported each other. So if, for instance, a grocery store sold Famous Dairy pro­ducts, then the dairy's employees were expected to frequent that store, or another which sold Famous goods. Harry believed strongly in doing this, espe­cially since the large chain stores slowly filtering

·into the community gave the smaller stores greater competition.

Lettie herself got into trouble over this once. She needed a grocery item quickly and had darted across the street from the dairy to the Kroger store, one of a large chain. The wife of a prominent downtown grocer - who sold Famous products -saw her leaving the store and reported the incident to Harry. Lettie was told about it, and was careful not to break the rule again.

Harry grew up in New Philadelphia where his father, Ulrich Bichsel ran a cheese-making busi­ness. As a youth he obtained the Kraft franchise and traveled the area selling cheese; later he work­ed as a state herd tester, and in 1922 he came to Salem and got a job with the Andalusia Dairy.

Seven years later, Harry, William and Herbert Bichsel joined forces with Ralph Homan and together the four men bought the Famous Dairy from C. P. Pittinger of Alliance in 1929. Originally, in 1909, the building along 483 East Pershing Street housed the Foltz Milling Co. operated by A. Y. and Claude Foltz - George S. Foltz owned the Salem Flour Mills on West Main Street west of the :rail­road tracks.

The Purity Milling Co., managed by J. W. Ben­field and C. D. Bailey, occupied the building in 1915. S. M. Stockton founded the dairy in 19231 operating from quarters along 8 East Main Street opposite the Town Hall; in 1927 he moved to the Purity building.

The comer building was four stories high, with an elevator, although most of the dairy operation took place on the first and second floors. The third and fourth floors were used primarily for storage. Offices were at the front of the second floor.

The store and ice cream bar were at the front of the first floor - the store wasn't a :restaurant although chairs for waiting customers lined one wall. Two of the most-asked-for ice cream flavors were Whitehouse, which was interspersed with small cherries; and chocolate chip, ice cream mixed with crushed chocolate chip bars; Numerous youth worked there during their high school years, including Bill Dickey, Walter Ulrich and Ernie Naragon.

'.)' est:eTtJears !Monrfay, Vec.enibtr 23, 1991

Famous Dairy trucks in the 1930s when Bob Hinton sold ice cream and candy from his horse­drawn cart.

.· ........... .,i,, ... ,'"<···········

Photos from Betty Bichsel Lawry's collection

A 1937 photo showing the northeast corner of South Lundy and East Pershing Street. The Pure Oil Co. service s!ation, today_ the site of a roller skating rink, was operated by Louis Stouffer. East of the station was Ernie Althouse's auto dealership.

Famous ice cream was sold at the Lisbon and Canfield Fairs and one popular treat was a square of ice cream sandwiched between two waffles -vendors touting the delicacy shouted: "Step right up and get ·your honey cake and ice .;:ream. It deans you teeth and curls your hair and makes you feel like a millionaire." At the Lisbon Fair, the dairy had two stands, one in the center of the :race track and another under the grandstand.

Molded ice cream for special occasions and holi­days were made at the Goshen Dairy in New Phi­ladelphia, operated by Harry's brother, William J. Bichsel. Betty Bichsel Lowry, Harry and Lettie's daughter, has kept one of the pewter molds used to make ice cream basketballs.

The firm's milk bottle was unique because of the bulge at the top. Before homogenized milk came along in the early 1940s, the bottle was called a "cream top" style; every customer was given a bent "cream top" spoon to block off the cream from the milk so it could be poured off. A small

portion was always left to mix with the milk. The dairy made milk, cream, butter, cottage

cheese, buttermilk, popsides and ice cream. Over the years many people were employed at Famous. Ernest Cunningham made the ice cream, Mary Homan worked the counter, Ed Herron delivered the cheese purchased wholesale from a Clearfield, Pa. cheese maker and Lettie kept the books. Others were Glenn Whinnery, Cloyd Hahn, Vance Atkin­son, Ruth Eakin, Pete Boals, Charles Christopher, Fritz Bichsel, 'Charles Homan, Charles Huffer, John Williams, Don W a:rd, John Knisely and Harry Bowker.

The end of the Famous Dairy came in 1952 when Harry suffe:re:rd a stroke. Some of the equipment went to the Goshen Dairy and the delivery routes were purchased by the Purity Dairy. Jack Sa:rbin, a vending machine merchandiser, bought the build­ing and :removed a large portion of it. Harry passed away in 1974 and Lettie died in 1987.

Annual Christmas @

music stirs • m,emortes

Smithsonian News Service Illustration

Songwriters kept busy in the early 1950s, cranking out holiday songs to charm little baby boomers and their folks. This perennial favorite, "Frosty the Snowman," was pub­lished in 1950.

By Mary Combs Smithsonian News Service

I T STARTED JUST AFTER Halloween, heralded by the first television ads for collections of holi­

day music, and now we are enveloped in it. In lob­bies and elevators, shopping malls and supermark­ets, underscoring commercials for toys and per­fume, the strains of music spanning centuries stir memories of holidays past in grownups and plant the seeds of nostalgia in the minds of children.

Microchips play it in greeting cards and orna­ments and strings of electronically chiming bells. Children sing it in school concerts and church pageants. It tinkles, throbs, echoes and resounds from harps, drums, flutes, organs, music boxes, synthesizers and symphony orchestras.

Out come the rows of seasonal CDs and tapes. You can have Christmas with Boxcar Willie or Pla­cido Domingo, Barbra Streisand or the Muppets. You can have "A Country Christmas," "A Motown Christmas," "An Olde English Christmas," a "Rockin' Christmas," a "Soulful Christmas," "A Big Band Christmas." Across this country and across the world, manv men, women and children

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who do not mark the birth of Jesus still embrace the celebration - the tree and Santa Claus, the image of snow and homecoming, the giving of gifts, the seasonal light and warmth and hope at the darkest time of the year - at\d the music that goes with it. ,

"More than any other widely observed annual holiday, Christmas would be unthinkable without music," says John Edward Hasse, curator of American Music at the Smithsonian's National Museum of American History in Washington, D. C. "In response to the joy that is an explicit part of the celebration, uncounted writers aD.d composers have attempted to add their music to the standard reper­tory." Hasse should know. He has at his fingertips in the museum's Archives Center what is "probab­ly one of the best collections of Christmas music in the world," in the massive DeVincent Collection of illustrated American sheet music.

The collection is a treasure trove of familiar -and not so familiar - pieces from old, old carols to the best - and some of the worst - of Tin Pan Alley. The carols appear in oversize, fragile song sheets from the late 19th century and in perky little booklets from the mid-20th. Among the latter are a handout from ABC's "The Voice of Firestone" (proudly proclaiming itself to be the first commer­cia 11 y sponsored network television show), McCall's Christmas Caroller (designed to be torn out of the magazine) ,and Christmas greetings from the local baker.

The word "carol" originally marked certain songs as belonging to the people, as opposed to the church. Variations on the tradition of caroling can be found in many countries, but the word "carol­ing" taps a rich vein of Christmas images from Vic­torian England, bringing to mind rosy-cheeked folk in quaint costumes, singing "Deck the Halls" by lamplight. But there was a grim reality behind the

charm of this tradition. Carolers were often poor folk hoping to earn precious pennies that might mean the difference between survival and starvation.

There is something else wrong with that quaint image of carolers. "Deck the Halls" (with boughs of holly) is no ancient yuletide carol. The tune is Welsh, but the words were first published in New York in 1881. In fact, many of the best-known Vic­torian Christmas hymns and carols were written and/or composed by Americans, among them "We Three Kings of Orient Are," "It Came Upon a Mid­night Clear," "0 Little Town of Bethlehem" and "I Heard the Bells on Christmas Day."

In some cases, it is only the most recent collec­tions of carols and books about Christmas that give credit where credit is due. It was not George Fre­derick Handel but Bostonian Lowell Mason who wrote the music to "Joy to the World" - in 1839. And Martin Luther didn't write "Away in a Man-

FROSTY THE SNOW AN Words and Music by STEVE NELSON and JACK ROLLINS

Smithsonian News Service Illustration courtesy of the Sam DeVincent Illustrated American Sheet Music Collection

This Victori,an picture of carolers in a moonlit snowy village can be viewed as a sentimental image or a portrayal of grim reality. Carolers or "waits" were often poor folk hoping to earn precious pennies with their music.

ger." The verses were first printed in Philadelphia in 1885, and two years later, James R. Murray of Cincinnati published them with a tune that was probably his own creation in a volume titled "Dainty Songs for Little Lads and Lasses .... " In a flight of fancy, or perhaps modesty, Murray added the famous subtitle "Luther's Cradle Hymn." Its music and words alike are virtually unknown in Germany.

Although there have been several lovely addi­tions to the repertoire celebrating the birth of the Christ Child - "Carol of the Drum (The Little Drummer Boy)" (1941), "Mary's Little Boy Chile" (1956) and "Do You Hear What I Hear" (1962) among them - most of the enduring 20th century holiday hits have had to do with "Santa Claus, sleigh bells and snow," Hasse says. After 67 years, "Santa Claus is Coming to Town" is still going strong.

On the eve of the second World War, while writ-

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SOUTH RANGE GARDENS . /.

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~ --r•mAS CAC1US

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NEED A GIFT FOR SOMEONE SPECIAL? · · · · · · · · · · ~ VISIT _OUR CRAFT. SHOP

Y~ungsters in the sixth grade. a~ Columbia Street School pose with their teacher, Miss Filler, for this photograph taken in 1927. The children are (first row, f~om left) Anna Simwne, Betty Albright, unknown, Priscilla Mullins, Pernia Benedict, Ann Fromm, unknown, Viola Meyers; (second rozi:, left) Bill Jone~, unknown, un~nown~ Marge Johnson, Carmelo Ferreri, unknown, Mary Jane Pasco, Aletha Andrews, unknown, Miss Filler; (third row, left) Bill Knepper, Mike Mileusnic, Paul Wukotich, Frank Diehl, George King, Ralph Ehrhart, Clifford Lowry, Charles Wentz, unknown; (fourth row, left) Harold Hoprich, Bob Hinton, Harry Ellis, unknown, unknown, Felix Harshaman, Bob Ewing, George Adams Charles Everstine, John Borlis. '

charm little baby boomers and their folks. This was _;•"-.d~f~ the era of "All I Want for Christmas is My Two ,,~~ (~, Front Teeth" (1946), preferably sung with a juicy '~';~;.,~Continued from page 6 #~;~!!:· lisp; "Frosty the Snowman" (1950); "I Saw Mommy

~'i (.::? Kissing Santa Gaus" (1952); and of course, the one ·. · ',/ about "the most famous reindeer of all."

ing the score for the film "Holiday Inn," Irving The story of "Rudolph the Red Nosed Reindeer" Berlin composed the most popular Christmas song begins in 1939, with a Montgomery Ward handout. of all time - "White Christmas." Sheet music sales In 1949, Johnny Marks put the tale to music, but no averaged 1 million copies during the first four one was interested. Marks formed his own publish­months of release, the song won the Oscar at the ing company, St. Nicholas Music, and asked Gene 15th annual Academy Awards, and it made Bing Autry to record the song. The rest is history. Marks Crosby as much a part of the holidays around the wrote so many other holiday songs that he earned world as Santa Claus. "The irony, of course," the nickname "Mr. Christmas" and in 1973 was Hasse says, "is that Irving Berlin - who 12 years honored by the International Society of Santa later gave us another holiday film classic, White Claus. Christmas' - was Jewish." Not all the songsters' efforts were so successful.

During World War II, songwriters struck chords You know Dasher and Dancer and Prancer and of patriotism and a yearning for home with "A Vixen - and Rudolph - but do you recall 1954's Merry American Christmas" or "There'll be a "Whistlin' Otto the Baby Reindeer?" Gene Autry's Yankee Christmas" and the still-poignant "I'll Be rendition of "Here Comes Santa Claus" (1947) may Home for Christmas (If Only in My Dreams)" and awaken fond memories, but he apparently tripped "Have Yourself a Merry Little Christmas" (1944). overe "32 feet and 8 Little Tails." Songwriter Jay Sometimes classics were created in uninspiring cir- Livingston (co-author of "Silver Bells," among cumstances. The first line of the 1945 hit "Let it others) once said, 'When Bing recorded a Christ­Snow! Let it Snow! Let it Snow!" ("0 the weather mas song, it was almost un-American not to buy outside is frightful...") has a double meaning. it." But even Bing couldn't make a hit out of "The According to lyricist Sammy Cahn, it was written Toys Gave a Party ,!or Poppa Santa Claus." on a scorching day in Los Angeles. ~he authors of I Sa~ Mo~~y Do the Mambo

Sqi:ig:vriters kept busy in the year~. foIJoyytng,, '-~~1th .You ~no~ Who) and San_ta. Cl~~s.~alk_s World" Wa'r',U,'. ·crrnM~»Gut<-'holiday· ;di tties,:to~ . ;:i.:m;_s_t.JA15.~"'Q~P.4¥-"·"'d.~w~Q..,Qo.,,tirfie's-fo" or*mah-

ty. Poor old Santa came in for some hard knocks with "Too Fat to be a Santa Claus," "Santa Got Stuck in the Chimney" and "Ol Fatso." "Mike Fink's Christmas" was aimed at all those coonskin­capped Davy Crockett fans. Perhaps the ultimate holiday spinoff was "Santa and the Purple People Eater," in which tJ:ie one-eyed, one-horned fellow keeps Sputnik from running down Santa's sleigh.

The rock 'n' roll era gave us "Jingle Bell RocK," "Rockin' Around the Christmas Tree," and Elvis Presley's 1957 Christmas album which was banned by radio stations and devoured by fans. Elvis' once-shocking record is the stuff of nostalgia today, but, in fact, popular music was entering a new era. Few songs have joined the ranks of the holiday classics in the past 20 years, partly, Hasse says, because of shifts in taste. "Melody became less important, and after all, there is nothing like a great melody to make a song memorable," he adds.

No one can say how long a melody will last. A hundred years from now, late-21st century families will be building memories to a whole new reper­toire of holiday tunes. Perhaps the sound of Cros­by crooning 'White Christmas" or Nat King Cole singing "The Christmas Song (Chestnuts Roasting on an Open Fire)" will be part of it. One thing is for certain, "there's always room for something more, something new," Hasse says with a smile.

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CONTEMPORARY COLLECTIBLES

By Linda Rosenkrantz Copley News Service

Like opera, cream, prizefighters and hearts, World War II collectibles come in both light­weights and heavyweights. The hea~ more som: ber side is represented by such artifa~ts as Nazi and Japanese insignia and medals, umforms and weaponry that bring to mind the heavy losses suf­fered by American Gis overseas.

But there was also a war forged on the home front, whose aim it was to raise morale, stimulate production, alert the public to the thr~at of sabot­age and disparage the enemy- often m ~rutal ca~­icature. This produced a wealth of material that is highly collectible today.

Among the wide :range of categories in this area are:

Posters. This is at the high end of the scale with propaganda posters by well known com~er~ial artists such as Norman Rockwell commandmg fme art prices. Common themes were ~he "A Slip of ~he Lip Can Sink a Ship" -type paranma, the promotion of women workers ("Soldiers without Guns") and other production posters, "Buy Defense/War Bonds" and military service and civil defense recruitment.

Sheet musk. Remember "Comin' in on a Wing and a Prayer," "G. I. Jive," "Praise the Lord and Pass the Ammunition," "Don't Sit Under the Apple Tree," "They're Either Too Young or Too Old" and "Der Fuehrer' s Face"?

Toys. Even though there were severe restrictions on civilian use of such materials as metal and rub­ber, innovative toy manufacturers came up with all

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World War II . collectibles

sorts of wood and paper substitutes, including model airplane kits and cardboard forts.

Jigsaw puzzles 'with milita.ry and patriotic themes enjoyed great populanty, as did paper dolls in uniform, such as ''Wacs and Waves" and "Girl Pilots of the Ferry Command."

Ration books. An inexpensive yet nostalgic World War II collectible is the ration book, with or without stamps and tokens. Sugar rationing began in March 1942 and was soon extended to cover cof­fee, meat, butter, canned goods, shoes and gasoline.

Pin-back buttons. There was a bonanza of these patriotic buttons during World War II, most of them done in red, white and blue and many of lithographed metal. Some wer~ grotesque_ c_arica­tures of Adolph Hitler, Bemto Mussohm and Hidecki Tojo; others depicted the heroes of the day, particularly Generals Douglas MacArthur and Dwight Eisenhower.

Newspaper headlines. Did you save any news­papers that chronicled the war? Issues dated Dec. 7, 1941, describing the attack on Pearl Harbor are, of course, the most valuable. If you happen to have the one in the Honolulu Star Bulletin you have the prize item, valued in the high three figures.

Linda Rosenkrantz edited Auction. magazine

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Kent State hosts Romanian royal art, artifacts exhibits THE FASCINATING OFTEN mysterious his­

tory of Romania comes to life in an inter­national exhibition entitled "The Romanian Exhibi­tion" currently on display at the Kent State Univer­sity Museum.

Presented in cooperation with the Museum of History and Art of the City of Bucharest the exhibi­tion, which will continue through June, is described as "the cultural event of the year in the United States" by Virgil Constantinescu, the Roma­nian ambassador to the United States.

Seven of the museum's nine galleries contribute to the depth of the exhibition displaying magnifi­cent art and artifacts of the Romanian royal family; traditional gowns worn by Queen Marie; elaborate­ly handcrafted historical costumes; brilliantly col­ored peasant· garments; and splendid artifacts and paintings dating from the 18th century to the mid-20th century.

According to Shannon Rodgers, benefactor and associate director of the museum, Romanian offi­cials facilitating the loan of many of the many trea­sures never before shown outisde of Romania char­acterize the event as "the most extensive cultural exhibition Romania has ever done in size, scope and cooperation with an American museum."

Rodgers says that ''Romania is a converging cen­ter of numerous cultures that have swept back and forth across its borders from prerecorded times to this day. The unique blend of these cultures has created a brilliant kaleidoscope of Romanian heritage."

Elaborate displays of cultural treasures, regional folk costumes, folk art, domestic crafts and urban fashion as well as military uniforms and ecdesiasti-

When Quaker dress styles were changed

In 1931 a new book of discipline, amended for the first time in 38 years, was adopted by the Reli­gious Society of Friends in New York. It decreed that it was no longer necessary for members of the faith to keep strict plainness of dress. Frills, flounces, furbelows (ruffles) and gay colors were no longer taboo for Quakers.

This edict did not really mean much to members in this district because few still wore the real Quaker garb. Most favored simplicity in dress. His­tory shows that George Fox, founder of Quaker­ism, had in mind only moderation in dress. "The simple, unadorned costume of men of his genera­tion was all that Fox aspired to," according to The Quaker, a Study in Costume, written by Amelia M. Gummere. "Until the early part of the 18th cen­tury, there appears to have been no really distinc­tive cut in Quaker costume."

Writing on the theme "to Such as Follow the World Fashions" in 1654, Fox said, "Both men and women are carried away with fooleries and vani­ties. They are putting on gold and gay apparel, :voilJ-en pla~ting th~ hair, men and women powder­ing 1t; making their backs look like bags of meal. They have lost the hidden man of the heart, the meek and quiet spirit; which with the Lord is of great price." . Office~s of th~ church traveled over the country m 1693, inspecting shops to see if "needless things were sold, such as lace and ribbon." In the same year, figured, striped and flowered clothes or silks were generally condemned. By the end of the 18th century, there was a growing plainness in men's ~ress .. !he new book in _1931. stressed "spiritual s1mphcity'' rather. ~~n "simplicity of un~f~rm."

cal vestments portray the rich and varied heritage of the small country that sits at "hte crossroads between the East and the' West.

The exhibit includes many of Queen Marie's cos­tumes i~du?ing the ornat~ 20-foot train in gold lame with ieweled embr01dery belonging to the ball gown she wore to the coronation of her cousin, Tsar Nicholas II of Russia in 1896 and to the coro­nation of Edward VII of England. A~ong the priceless ~rtifacts on display is a gold

replica of the Queen s 1922 coronation crown adorned with amethysts, turquoise, rubies, emer­alds and moonstones.

Many of the invaluable objects associated with the Romanian family came to the museum as a result of the generosity of the late Princess Ileana, daught~r of King Fer~inand and Queen Marie.

The nchness of Kent s own Queen Marie Collec­ti?n is further embellished by a wealth of Roma­nian treasures from St. Mary's Romanian. Orthodox Church in Cleveland - St. Mary's holds many of the Romanian art works exhibited in the 1939 World's Fair and not returned to Romania due to the outbreak of World War II - and selections from the Romanian Costume Collection from Duquesne University. ·

"We are deeply indebted to the many Romanian institutions . who ~o gra~iously and generously cooperated m making their treasures available for this exhibition as well as their time. knowled2:e and expertise," Rodgers says. "'The Kent State Uni­versity Museum is indeed honored and privileged to have been selected and given the opportunity to exhibit these dynamic and resplendently beautiful works of art."

Twentieth century folk costumes. The woman's outfit is from the Vlasca area, Mun­tenia, while the man's attire comes from the Gorjarea, Oltenia sector.

The museum hours are Wednesday and Friday from 10 a.m. to 4:45 p.m.; Thursday, 10 a.m. to 8:45 p.m.; Saturday, 10 a.m. to 4:45 p.m.; and Sunday, noon to 4:45 p.m. The museum is closed on Mon­day and Tuesday. Suggested admission is $2. For information, call 216-672-3450.

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Clement Moore and his Christmas ode

By John Barbour AP Newsfeti.tures Writer

I T WAS CHRISTMAS EVE 1822 and snow lay heavily over old New York, the downtown

streets and the farmland that occupied most of the island of Manhattan.· Sleigh bells jingled through town, but would not inspire "Jingle Bells" for another 35 years.

Oement Clarke Moore, a 43-year-old teacher at an Episcopal seminary, had been at work for weeks with his quill, crafting a secret present for his six children. Now it was done.

Earlier that day Moore rode out in his carriage on Christmas errands with his servant, Patrick, and returned home to his four-story brick farmhouse with the largest turkey he could find in the Washington Market's crowded pens at the tip of the island.

After Christmas Eve dinner, the family retired to the parlor in front of the hearth, with its warming fire. And now Moore unveiled his Christmas gift. His children - Margaret, Charity, Benjamin, Mary, ·and Clement Jr.- sat at his feet. Infant Emily was in her mother's arms.

He began to read: "'Twas the night before Christmas, when all

through the house . . ''Not a creature was stirring, not even a

mouse ... " When he finished, "Happy Christmas to all, arid

to all a goodnight," there was silence, and then exultation. The children prevailed on him to read it again and joined in with lines they remembered. Bedtime interrupted their pleas for a third reading.

But "A Visit from St. Nicholas" was born, and with it a vision of Santa Claus, the sainted gift­giver to children that would decorate the American Christmas, its street corners and department stores, its trees and cards for decades to come. In the 170 years since, children all over the world have held that image and its song in their hearts.

"His eyes - how they twinkled! His dimples how merry!

"His cheeks were like roses, his nose like a cherry!

''His droll little mouth was drawn up like a bow, "And the beard of his chin was as white as the

snow ... ''He had a· broad face and a little round belly

"That shook, when he laughed, like a bowl full of jelly.

"He was chubby and plump,< a right jolly old elf, "And I laughed when I saw him in spite of

myself ... " But in the years to follow the history of the

poem took a curious turn. Though it was cherished immediately, Moore would not acknowledge authorship publicly for another 15 years, say Ger­ard and Patricia Del Re in their book, "'Twas The Night Before Christmas."

Although it was passed from hand to hand and copied, it was two days before the next Christmas in 1823 that the Troy, N.Y. Sentinel published it for the first time. It was unsigned and preceded with this, from the newspaper's editor:

'We do not know to whom we are indebted for the following description of that unwearied patron of children - that homey and delightful personage of parental kindness - Santa Claus ... as he goes about visiting the firesides of. this happy land, laden with Christmas bounties; but from whom­soever it may have come, we give thanks for it"

Perhaps Moore thought it too frivolous an enter­prise to his standing as a scholar and teacher of Oriental languages and Hebrew, author of "A Compendious Lexicon of the Hebrew Language" and pious patron of the Episcopal Church. Or per­haps he thought it a private communion with his children, his family.

But he finally consented to sign his name to it on a reprinting in the New York Book of Poetry in 1837.

The poem is based in part on an old Dutch myth which Moore's friend, writer Washington Irving, related in his "Knickerbocker's History of New York."

And in fact there are some similarities between

•

" ... He was dressed all in fur from his head to his foot, and his clothes were all tarnished with ashes and soot; a bundle of toys he had flung on his back, and he lookeJ like a pedlar just opening his pack ... "

the two texts. Irving saw the smoke from St. Nick's pipe "like a cloud overhead." Moore said "it

Turn to next page ~

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encircled his head like a wreath." Irving: "And lay­ing a finger beside his nose." Moore: ''his finger aside of his nose." Irving: "remounting his wagon he returned over the treetops and disappeared." Moore: "And giving a nod up the chimney he rose."

Irving's aim was satire; Moore's was a simple, innocent tale of goodness and giving.

Moore had other things on his mind that Christ­mas season, as well. He stopped regularly to view the construction of the General Theological Semi­nary, which he helped build. He gave almost the

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entire Chelsea section of the city to the Episcopal Diocese and helped build nearby St. Peter's Church, which still stands.

The city-ordained grid of streets had not yet reached Chelsea where the few graceful farm­houses were linked by dirt lanes, but to the south the shanties of Greenwich Village were about to give way to the rising city. Moore railed against the dissection of the countryside with the streets and avenues laid out in unforgiving rectangles. It was a fight he would lo5e.

But it was part of the romantic spirit of this scho­lar with a long face and prominent nose, the son of another scholar who became president of Columbia University, to want the homes and churches of Chelsea connected by curving streets and winding lanes.

For Moore was a romantic, say the Del Re's and The Rev. Wray MacKay, today's rector of St. Peters, evidenced by the letters of his courtship to his wife, Eliza, and his dedication to the church which at one time provided the only education for the poor children of the shantytown to the south. But only on Sunday.

"The church is a highly :romantic building," says parishoner and architectural scholar Chris Jenks. "Almost a stage set." Not quite Gothic, but trying to capture the feeling of the Middle Ages.

And the poem itself. "It has the qualities of imagination and fantasy and energy and that's why it endures," MacKay says. "You read it and you just get caught up in it."

MacKay sees something more than good fortune in the fact that when stones from the tower began to fall into the street a few years ago, the archdio­cese provided $500,000 to repair it. It only cost $65,000 to build the church itself in the 1830s, and Moore provided much of the money. He also bought the pine pew on the right hand front of the nave for $200 in perpetuity. The deed exists still.

As does the seminary, which schooled fewer than two dozen seminarians a year when it began, and more than 150 now.

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The Moores are not buried at St. Peter's. For public health reasons, Moore attached a covenant to the deed that there there would be no burial grounds in Chelsea. He and his family were interred at St. Luke's in Greenwich Village, but were moved up to the Church of the Intercession in the Bronx, when St. Luke's future was in doubt about the turn of the century.

That neighborhood now is mostly poor Hispanic and black, but the church and its parish house are elegant, reflecting its past. It is built on the old James Audubon farm and he is buried on the grounds. As is Alfred Dickens, a son of Charles Dickens, author of "A Christmas Carol," who died in New York on a trip to America with his father:. His grave was long honored yearly at this time of year by New York's Dickens Society in period dress.

Now every Christmas season, after a reading of the poem at the Church of the Intercession, the parishoners and their children troop down the long steep hill toward the Hudson River to the west graveyard.

This week, led by a St. Nicholas in gold miter and white gown, they will stream past the presti­gious mausoleums where lie important New York families like the Astors and Cushmans, and they will pav homage to the poet's grave and that of the Moore Jfamily who heard the poem first.

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The catalog was a fixture in every home and thumbed through to tatters because the finn had everything - here are some samples from the 1934 Christmas book

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Each .......... 45C I 2 for 85c

New Doubll!l Soodng Game O'Skeet Hitting the bull's eye opens the bird house

permitting bird to run down incline, affording a ")OVing target for ~he !!econd shot. When hit, the bird falls over reg1stenng your score on 21 inch heavy cardboard target. Incbi~ two 21-md> 6 mot r~~ INbbeT bimcil rifles. 12 rubber bands included: Not Prep.aid.

49' C 361 6-Shpg. wt., 3 lbs. 2 oz .... 98C

· .. ~::: :?:· :::B

A:RKITOY Wood Construction Sets Lacquered prestwood. Not Prepaid. Regular $1.00 Set. 40 different models. Box

18Y4x9'!ix'% in. 89C 49 C 4745-Shpg. wt., 2 lbs. 8 oz. . .. Regular $2.00 Set. 85 different models. Box

18~x9')4xl'lfl in. ltl 79 49 C 4746-Shpg. wt.. 4 Jos. 8 oz .. <II' • Regular $3.50 oet. Box 20'%, xi Oxl % in. 2 98 49 C 4747-Shpg. wt.. 6 Ills. • Regular $5.00 S~t. Box 20% xi Ox2% in. 4 48 79 C 4748-Sbpg. wt., 9 !bs. . ..... .• •

Mickey Mouse Watch and Fob Here's a genuine thin model Ingersoll that

keeps C'Xcell<'nt time. On the dial is a picture of M ick<'Y M ous<'. and he tells you the correct time with his hands. Mick<'y also app<'a·rs :on the hack of the watch and on thC'" hancl~o1nt.' tob too. !':ick1·! platl'd case. llnbn·akabk c 1ys1al. :\ot l'1qiaid. C

4 C 91 30-Shpg. "·t., 4 oz ...... .

Hatcher! from special mating' and 'cienti· fically fed. Only finest ,·nir<:'s cho<en for 'pecial training. Their song is outstanding. There are no finer birds than the "Serena­ders". Guaranteed not over 2 years old. Sllipp<:'d <:'Xpre>s collect from New York City.

Ea~~~-~-~~-~~!-~l~: .............. $6.95

Af1lfG£IQUL ~~~·OR~~§\

JUNQUL By James McCollam Copley News Service

Q. This picture shows a hand-carved walnut armchair with a tufted back. I am sure that it is well over 100 years old. Can you determine the vintage and estimate its value?

A. This dates back to the early Victorian French Revival of the third quarter of the 19th century. It would probably sell for $600 to $700 in good condition.

Q. The attached mark is on the bottom of a large Wedgwood platter. It is decorated with a rural scene depicting cows, a stream and trees. I would like to know when it was made and what it would sell for.

Manufacturers and Designers of Injection Molded Plastics

e mold service as well as quality

in our products."

I (FORMERLY WARREN MOLDED PLASTICS)

800 PENNSYLVANIA AVENUE, SALEM, omo 216-337·9961 A WORTHINGTON INDUSTRIES COMP ANY

The Free Enterprise System at Work

Y est:enjears 'M1nufaq, 'lJewriber 23, 1991

Victorian French Revival armchair

A. This mark was used by Podmore, Walker & Co. in Tunstall, England, in the late 1800s. It should not be confused with the products of Josiah Wedgwood & Sons. Your platter would probably sell for $125 to $135.

Q. I have a beautiful hand-painted portrait plate. It is 10 inches in diameter and is marked ''Victoria, Austria." Can you tell me anything

· about the origin and value of my plate? A. Your plate was made by the Victoria porce­

lain factory in Carlsbad, Austria, between 1900 and 1915. This part of Austria became part of Czecho­slovakia in 1918.

Plates like this sell in the $75 to $100 range. Q. I have my grandfather's shaving mug. It has

a picture of a man's boot on it and the initials "S.R.P." In a ring around the boot it says, "Shoes Repaired While You Wait." On the bottom it is marked "T&V."

I would like to know if this has any value and if it is a collectible.

A. Yes, this is collectible. It would be classified as an occupational Shaving Mug. It was made in Limoges, Frances by Tressemanes & Vogt in the early 1900s. It would probably sell for $265 to $285.

Q. I have an anHque cast hon mechanical bank depicting Jonah and the Whale. A friend of mine thinks it is very valuable. Can you shed any light on the subject?

A. There were several versions of the Jonah and the Whale banks made at various times in the late 19th century. They usually sell in the $1,000 to $3,000 range; I can't be more specific without a picture.

This hand-carved armchair dates back to the Victorian French Revival of the late 19th century.

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