About the Author
Anthony Scardillo, DBA, MBA
I began my association with barbershop harmony as a high school freshman in the fall of 1971. The school glee club was made up of about 20 students and was directed by Tom Cogan, a math teacher at the school. He had a goatee and a handle-bar mustache, which he waxed daily. Longtime BHS members will remember that name.
The reason for the handlebar mustache was that Tom was a member of the Society for the Preservation and Encouragement of Barbershop Quartet Singing in America (SPEBSQSA) and sang with the Albany, NY chapter, The Fort Orangemen, as well as a barbershop harmony quartet. Two years after I graduated from high school, Tom went on to work full-time for the Society as a field representative.
Of course, our glee club sang barbershop harmony. Among the songs in our repertoire were Yona from Arizona, Dangerous Dan McGrew, He’s Got the Whole World In His Hands, Hello, Dolly and our signature song, The Dancer, a racy song about a fellow who falls in love with a dancer at the local night club.
In the summer of 1974, the summer before my senior year, my best friend – and the person responsible for getting me to join the glee club in the first place – invited me to a chapter meeting of the Fort Orangemen. Brian had joined the group that spring and was singing tenor. The Fort Orangemen had about 30 members and met and rehearsed every Tuesday night in downtown Albany.
I was instantly struck by the camaraderie. Here was a group of men of all ages and from all walks of life enjoying a common thread – singing. This was my first exposure to true barbershopping, and I loved it. The chorus would often sing at nursing homes, church meetings and ladies’ card parties, and everyone seemed to enjoy our music, you could tell from the smiles on their faces and the twinkles in their eyes.
In March l975, the Albany Chapter had a joint show with the Saratoga Springs, NY Racing City Chorus, an 80-man chorus that had sung at the International Chorus Competition in San Francisco the previous summer. It was my first exposure to any other barbershop group besides the Fort Orangemen and I was captivated at their numbers and their quality. They wore bright yellow tuxedos with black bow-ties and black patent-leather shoes that gleamed. Not only did they look great, but they sounded terrific as well. Backstage, before we were to go on, Brian and I met a member named Bob Durrin, who sang bass in the Saratoga Chorus. He had such a deep voice. “Come on, what do you guys want to sing?” he boomed. Brian and I just looked at each other, dumbfounded. Bob grabbed another member of their chorus and the four of us limped through My Wild Irish Rose. This would be my first experience with woodshedding.
Later that spring, The Fort Orangemen competed at the SPEBSQSA Divisional Contest in Saratoga Springs. This was my first taste of barbershop competition, and I was excited about the experience. According to the rules, each chorus would perform two songs on stage. Our director had chosen I’ll Take You Home Again, Kathleen and Love Me and the World is Mine
Prior to the competition, however, I noted in the program that one of the judges that afternoon was from Rochester, NY. Since I would be attending college in Rochester next fall, I thought I’d introduce myself. The judge was Jan Muddle, a thirty-something man who was judging the interpretation category. I explained to Jan that I would be attending St. John Fisher College, and he recommended I look their chorus up when I got settled. “We meet every Tuesday night at Harmony House”, said Muddle who gave me his phone number.
That chorus was none other than the Chorus of the Genesee. They had just won the right to compete in the International Chorus Contest the following summer in Philadelphia, PA. It was the first time in several years that the chorus had won the right and they were doing everything to prepare for their performance. The chapter had over l00 members and was expecting to put 90 men on stage. That was a far cry from the 20 man chorus I sang with in Albany.
Everything I had heard, seen and believed about barbershopping before this was wiped clean. This was a new slate, and the level of singing was outstanding. We had a repertoire of songs that were both fun and touching. One song, Old Derby Hat was about a lad who finds his father’s old derby one day in an attic trunk and reminisces about the bygone days. Ed Bartusek played the part of the son who finds the derby. Throughout the song Ed would pull old photographs and memorabilia from a trunk placed on stage. Each prop related to a certain passage. At the end of the song, when Ed retrieved the hat from the trunk, Gerry Barrett, an 80-year old member would walk down from his spot on the risers and take the hat from Ed in a touching final scene.
Not only could this chorus touch the audience’s heart, but they had pizzazz as well. The chorus sang a number of great songs. Among them was ALOLITS—A Little Old Lady In Tennis Shoes, which was a song about a little old lady and a dirty old man waiting at the bus stop. The song was a parody of the famous skit on the Rowan and Martin Laugh-In Show, complete with the little old lady and the dirty old man. The Auctioneer was another up-tune that included all the members of the chorus singing the tricky lyrics of the auctioneer. But our signature song was by far the Fiddler on the Roof Medley from the musical classic. Everywhere we went, audiences would always ask us to sing Fiddler.
In the months leading up to the contest, our weeks were filled with rehearsals, rehearsals and more rehearsals. Our music team: Director Mike Morgan, Sound category specialist Don Stothard, Interpretation category specialist Jan Muddle and Stage Presence/Arrangement specialist Fritz Foquet were busy perfecting each respective part of our contest package. Each was incredibly talented in their categories and would later become some of the most respected coaches and judges in the whole society.
Besides our contest package, we were also preparing for our annual show, which would be held at the Eastman Theater that spring. The show featured the chorus and our chapter quartets, plus the Regents, the 1974 International Quartet Champions. It was a busy three months with the chorus needing to learn new music and choreography, create a set, promote the show and sell tickets. It was an all-out effort by every member and lasted right up to the last minute with chorus member Burt Louk putting the final touches of paint on the set just as the curtain was about to go up! We performed in front of a near sell-out crowd, and it was a great time filled with fun, laughter and lots of singing.
Once finished with the annual show, we turned out attention exclusively on the international contest. This would be my first experience at an international competition. For that matter, other than the divisional contest I sang in two years before, this was my only other contest and convention.
The Chorus of the Genesee was the third largest chorus competing at the contest with 89 men on stage. Wearing our powder blue suits with blue and white pin-striped shirts, red ties and white caps, we looked and sounded great singing our two contest songs, Moving Picture Ball and Old Mill Stream.
Our director, Mike Morgan and the rest of the music team had tied the two songs together brilliantly in an excellent theme. We were movie extras on a motion picture set in Hollywood and Mike played the role of the great Hollywood movie director, Cecil B. DeMille. The first song, Moving Picture Ball included a number of references to Hollywood stars such as Charlie Chaplin and Douglas Fairbanks, Jr. Members of the chorus were dressed like each of the stars depicted in the song.
Of course, the Dukes of Harmony from Scarborough, Ontario Canada won the contest. Since we competed fourth, there was time for me to undress and get back into the arena to see their set.
When the curtain opened, the crowd was awestruck by their Kelly-green costumes with green vests and spats that sparkled. Jan Muddle later said that when the curtain opened, it seemed as if they were electrically charged and those rays of electricity were coming through their eyes and fingers, shooting out into the audience, as if they were demonically possessed.
Then they started singing. Their first tune was the old favorite Keep Your Sunnyside Up. It was unbelievable. Sitting there, I couldn’t even tell you what the lyrics were. All I heard – or more correctly, felt – was this sound that made me shudder. My jaw dropped – literally! I remember having to physically keep my mouth closed with my hand. It was wide open from amazement. The end of the song, which culminated in a spectacular crescendo seemed to lift the audience onto their feet. The arena exploded in applause. I now realized that the applause we received for our up tune was no comparison to this roar. It was deafening – and I felt as though I was leading the cheer.
The Dukes followed with the tender ballad Who’ll Take My Place as their second song. Like us, they sang an up-tune and a ballad to show their diversity. When they finished, the entire arena erupted again. There was no doubt who was the winner. These guys were head and shoulders better than everyone else.
I would go on to become very active with the Chorus of the Genesee and serve in a number of different capacities, both administratively and musically until I moved back to Albany in June, 1981. During that time, we had lots of accomplishments, sang at numerous district and international competitions and drank many a Genesee Cream Ale!
When I returned to the Albany area in June 1981, I sang with the Racing City Chorus for two years but then had to step back as my career and family grew. Even so, I found myself still active with this marvelous society, often attending chapter shows and district competitions.
Then in 2004, my career in advertising/sales/marketing came to an abrupt stop as I was downsized. I floundered for the next five years in two “dead-end” jobs that were menial and unfulfilling. I was anxious to find something that would be fulfilling and meaningful. Something that I enjoyed doing and that I was passionate about.
But what were the two things?
I gave it a lot of thought. I began my career as a copywriter – that was something I really enjoyed – but what should I write about? What was something I was passionate about? Something I really loved?
Barbershop Harmony.
I remembered reading and enjoying Fred Gielow’s book Love, Laughter and a Barbershop Song. The notion of writing a book about Barbershop Harmony sounded like a good idea!
I decided I wanted to write about the championship quartets. We all remember historic/iconic moments about those champs. My first was the Most Happy Fellows “World War I” set at the 1977 International in Philadelphia. “If He Can Fight Like He Can Love…”. I still chuckle every time I hum that tune!
But who were these guys? What did they do when they weren’t singing barbershop? How did they get together? And why did they choose the songs they sang? Those were all questions I asked myself.
I started to examine the material written about these championship quartets. It was superficial at best – mostly the names of the winning members, the songs they sang and the year they won. That was about it. So, I set out on this journey to write about every quartet – from the 1939 Bartlesville Barflies to Crossroads, the 2009 champs.
Eeeeek! What had I done!? This was going to take a lot of time!
Therefore, I decided to start off by choosing two quartets from different eras: The Flat Foot Four (1940 Champs), and The Regents (1974 Champs). I wanted to “test the waters” to see if there was any interest in this type of book before I took the Leap of Faith.
But then in 2010 – with my career still in stall-mode – I chose to return to school and complete my MBA. From there, I continued for my doctorate, which I completed in 2017. Sadly, during that time this adventure got relegated to the proverbial “back-burner”.
In the fall of 2019 I decided to return to “active” status in the BHS. I had obtained a new position in Newburgh, NY, just north of White Plains, home of the Westchester Chordsmen. I had heard great things about the Chordsmen, so I joined them that fall.
That re-ignited my desire to renew this work, but I realized the enormity of the project. It could take years to research all the quartets. Therefore, instead of writing a book, I have decided to write about the championship quartets that are celebrating a milestone anniversary.
So, my next project is an article about The New Tradition (1985) who will celebrate their 40th anniversary. I have also begun writing about our 1977 Champs, the Most Happy Fellows. From there, the Bluegrass Student Union (I have already interviewed Ken Hatton) and have set my sights on Interstate Rivals and the Boston Common.
Let’s get going!
Current Articles:
1940 Champs: The Flat Foot Four
1975 Champs: The Regents
Legacy Quartet: The 139th Street Quartet (Featured in the Harmonizer)
BHS History: The First Barbershop Contest
Overtones Magazine: Four Under Par (portions used in The Harmonizer)