Rudolph, Frosty, and Captain Kangaroo by P-IndependentPublish


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									Rudolph, Frosty, and Captain Kangaroo
Author: Judy G. Krasnow
Table of Contents

Table of Contents

Chapter 1: A Gut Instinct Produces a Classic
Chapter 2: The Violin and the Fiddler
Chapter 3: A Collaboration Begins
Chapter 4: A Profession for the Fiddler
Chapter 5: Pink for Her and Blue for Him
Chapter 6: Success Creates A Market
Chapter 7: A Rhino Named Rhumpy, A Tuba Named Tubby
Chapter 8: "Rosie" Becomes a Household Name
Chapter 9: A Bitter Divorce
Chapter 10: Broadway and Television
Chapter 11: Book Worms
Chapter 12: Tribute at the Rodeo
Chapter 13: Teddy Bears and Baseball Bats
Chapter 14: Payola
Chapter 15: Westward Ho!
Chapter 16: Here Comes Santa Claus
Chapter 17: Celebrity
Chapter 18: Carney, Spock, and Fulton Sheen
Chapter 19: Captain Kangaroo
Chapter 20: Riding the Crest of the Wave
Chapter 21: What Goes Up Must Come Down
Chapter 22: A Sudden Announcement
Chapter 23: The $64,000 Question
Chapter 24: Gobbledegoook
Chapter 25: Changes
Chapter 26: Bright Prospects at Colpix
Chapter 27: The Stars They Are A-Changing
Chapter 28: The Wedding Song
Chapter 29: Lullaby at the Zoo
Chapter 30: The Fiddler Returns to His Fiddle
Chapter 31: Looking Back
Epilogue: Rudolph Says, "Konichiwa"

Childhood memories and well-researched facts are combined in this memoir by the daughter of Hecky
Krasnow, the Columbia Records producer of such classic children’s songs as “Rudolph the Red-Nosed
Reindeer,” “Frosty the Snowman,” “Here Comes Santa Claus,” “Smokey the Bear,” and “The Little Engine
That Could.” These rich, never-before-told anecdotes explore the life of a progressive musical genius and
detail the fascinating children’s entertainment industry, one of the biggest businesses of the mid-20th
century. Pop culture after World War II is also covered in this remarkable account which shares stories of
entertainment icons and Krasnow family friends—Gene Autry, Dinah Shore, Burl Ives, and Captain
Kangaroo—who transformed the entertainment industry.

Hecky Krasnow’s new life began in the spring of 1949.He
was three days into his job as head of Columbia’s children’s records department, or kid-disks as they
called. As the artists and repertoire (A&R)man, he was to select what was and wasn’t to be recorded,
who would sing, act, narrate, and play musical instruments on these records while also producing,
directing, and engineering the recording sessions.The sheet music and acetate demo for a new song,
“Rudolph, the Red-Nosed Reindeer,” sat on his desk. Every A&R man, and hence every major record
company in the country, had already rejected it. But my father liked it. It had a simple and sweet melody,
and a message that appealed to his years of fighting for the underdog. His instinct told him that many
people all across America would like it, too.“Are you crazy, Hecky?” Columbia Records vice president
Goddard Lieberson asked. “Doesn’t the fact that it was rejected by Decca, Mercury, RCA, Capital—every
damned record company in the country—tell you something?”“Yes. It does. It tells me that they are
wrong,” my father dared to answer. “You are fully aware, I am sure, that MontgomeryWard, an absolutely
huge department store chain, asked one of its copywriters, Robert L.May, to write a storybook for Ward
to give to customers as a gift from the store. His little book is thestory of a red-nosed reindeer, teased
because of his red nose.He ultimately helps Santa and is accepted and loved by all.”“Yes, I know, I
know. Six million copies of this illustrated story are already in the hands of Ward’s customers, and there
would be more copies, except for the paper shortage that WWII caused when the little book was printed.” 
Lieberson sounded impatient. He wanted to get on with the point he wished to make: that the song didn’t
merit recording.Hecky realized he had to argue this one like a lawyer, “Doesn’t six
million copies tell you something? Namely that people like this rednosed reindeer?”“Hecky, if we handed
out records as a free gift, whether people liked them or not would be inconsequential. People always like
to get something for nothing.”“But there is already an inbuilt audience for the song,” my father continued
his case.Lieberson interrupted, “Look, Hecky. Montgomery Ward gave the copyright to Robert May in
Christmas of 1947, an extraordinarily magnanimous
gesture for a corporation: that is to give the copyright to an employee. But that has to tell you something
too. IfWard thoughtmoney was to be made from it, do you thinkMay would now be the sole owner of the
copyright? Then,May asks his brother-in-law, this JohnnyMarks,
to write a song. He thinks he can make some money off of his idea.”“Well, wouldn’t you?” my father
asked. “He likes his little story and knows that out of those sixmillion customers, lots of themmust like it
too.”“People want holidays like Christmas to remain the same each year—the same Santa with the same
Mrs. Santa, the same eight—not nine—reindeer, the same elves for heaven’s sake! Maybe the book with
its pictures is cute—and remember free—but the song is far too simple,
I mean plain—no spice—nothing catchy, no hook that would make people want to sing or hear it.”My
father refused to give up. “Goddard, I just...
Author Bio
Judy G. Krasnow
Judy Gail Krasnow is a professional storyteller, a performer, and a musician. The younger daughter of
Hecky Krasnow, Judy was involved in many recordings at Columbia Records. She is the author of the
award-winning Day of the Moon Shadow: Tales With Ancient Answers to Scientific Questions. She lives
in Miami, Florida.

"In her fond and frequently fascinating memoir . . . Ms. Krasnow's childhood memories ring vividly true."

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