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A Conversation With Frank McGee Author of A Song for
the World: The Amazing Story of the Colwell Brothers and Herb Allen:
Musical Diplomats
Today, Norm Goldman, Publisher & Editor of Bookpleasures. com,
is excited to have as our guest Frank McGee author of A Song for
the World: The Amazing Story of the Colwell Brothers and Herb Allen:
Musical Diplomats.
Norm:
Will you share a little bit about A Song for the World: The Amazing
Story of the Colwell Brothers and Herb Allen: Musical Diplomats with
us?
Frank:
Glad to Norm. This is a book about the power of music. It tells
the story of four musicians, The Colwell Brothers and Herb Allen.
The Colwells were already country and western instrumental and singing
stars in their teens, on TV and national radio in the Tex Williams
shows that originated at Knott’s Berry Farm, the first theme
park in America. They were the youngest group under contract with
a major label, Columbia Records.
Herb Allen of Seattle, a true music prodigy, conducted the Seattle
Baby Orchestra at age four. He was a xylophone maestro performing
weekly on radio from age five to sixteen, a student of classical
piano scheduled to enter Oberlin School of Music, and in high school,
conductor of his own dance band, “Herbie Allen and his Orchestra.”
In their teens these four musicians made a choice that startled
everyone who knew them: they committed their lives to public service.
The remarkable story of how this happened, and what their decisions
led to, is told in the book.
Here’s a quick rundown: The Colwells went on to perform in
37 languages and dialects, including songs written with locals in
the scores of countries they visited. They sang in African villages,
the Diet of Japan, and Carnegie Hall. They worked for a full year
in the Congo as the country gained independence, lived through revolution
and invasion, and made 400 broadcasts on Radio Congo (there’s
a quite dramatic chapter, if I may be permitted to say so, about
that tumultuous year). They walked through Indian villages with Gandhi’s
disciple Vinoba Bhave seeking land for landless peasants.
The Colwell Brothers and Herb Allen began collaborating from their
first meeting in Switzerland in 1953. In 1965 they were the musical
founders of Up with People, and a decade later literally invented
the modern Super Bowl Halftime Show format during America’s
Bicentennial Year, 1976. They performed in three more Super Bowl
shows, more times than anyone else on record. That’s how many
people came to know of them: through television audiences of 90 million
at those games. In 1978, at the end of Mao’s Cultural Revolution,
their Up with People cast was the first performing company to visit
China. And in 1988, before the Berlin Wall came down, the first in
the Soviet Union, where they returned three more times. There’s
lots to tell.
Norm:
What motivated you to write your book and whom do you think will
benefit from reading it? What are your hopes for this book?
Frank:
The seed was planted in 2003. At a gathering of longtime friends
a prosecuting attorney from California told us about terrible things
youth in her city were facing. “There ought to be a book about
what the Colwells and Herb have done,” she declared. That resonated
instantly with all of us. We knew the adventures of these amazing
musicians were not only history making but topical. Of course I only
realized after the research just how profound the story was, an intensely
relevant story of courage, and doing something of value with your
life.
Who will benefit from reading the book? I think what a great English
headmaster said in 1862 would answer that: “Music is the only
thing which all nations, all ages, all ranks, and both sexes do equally
well. It is sooner or later the great world bond.” Music has
the power to connect people whether they’re musicians or not.
Some read the book as an adventure story, not a Harry Potter sort
of one of course, but a story from real life that also intrigues
the imagination.
Here are my hopes for the book. The Colwell Brothers and Herb Allen
have been called musical diplomats. Doors have opened to them wherever
they’ve gone, because they’ve gone to listen and to learn,
to appreciate instead of compare. That sort of diplomacy is needed
in the polarized environment of our times. Many NGOs operate on that
basis. But if official diplomacy also did, think what a giant step
that would be toward building a better world. That’s why I
hope to see this book utilized by schools and universities that train
public servants and candidates for Foreign Service.
Norm:
Can you explain some of your research techniques, and how you found
sources for your book?
Frank:
With this book I was really lucky. The families of these guys kept
the letters and photos they’d received from their globetrotting
sons. Among hundreds of letters were the personal stories of the
struggles they’d faced operating for years in crisis areas
around the world, of the sheer grit and sacrifice involved. Then
when it got out that a book was in the works, people from other countries
began sending photos and documents they’d squirreled away about
some historic event. I received emails, letters, photos, publications,
and record albums from across the world, Zurich to Anchorage, London
to Cape Town, Hollywood to Helsinki. And of course the color of the
story and much of the dialogue developed through hours of interviews
with the artists, and with music industry people with whom they’ve
worked.
Norm:
What challenges or obstacles did you encounter while writing your
book? How did you overcome these challenges?
Frank:
I’ll mention just a couple. The first challenge shouldn’t
have existed: biographers should portray their subjects with complete
objectivity; I was a journalist long before I put on the hat of “author” and
well aware of that. As the story unfolded though, with its unparalled
global connections, and I became increasingly impacted by the lives
and work of these four musicians, I needed to be certain that I let
the story speak for itself. They’ve never made claims, and
neither should I.
The other challenge turned into a very great plus. Initially I wanted
the book to include story-telling pictures throughout, as we had
unearthed great photography from around the world. But an important
New York publishing company we were in contract negotiations with
made it a condition that they would control the design and format,
much to my unhappiness. That contract was not finalized, fortunately,
and Many Roads Publishing in Santa Barbara, California produced a
picture-rich design and format that greatly enhances the effectiveness
of the book.
Norm:
What's the most difficult thing for you about being a writer and
journalist?
Frank:
Well, you’ve probably heard the old saying: “There comes
a time in the life of every decision when it’s got to be made.” I
translate that to mean that if you’re a writer and journalist
you need deadlines. I’ve never relished them, something to
do with my temperament I suppose, but it’s obvious that until
there’s a deadline, nothing happens.
But deadlines are insignificant compared to the satisfaction, intense
at times, of creating something that you know has significance and
value. I’m very lucky to be in this profession. I became a
photographer in Brazil, moved on to creating magazine photo essays,
and then to editing, writing, and publishing.
Norm:
Do you feel that writers, regardless of genre owe something to
readers, if not, why not, if so, why and what would that be?
Frank:
I definitely feel writers owe something to readers. Some books have
been hinges on which doors of enlightenment have opened. Whatever
we read remains forever in the mental landscape of our lives. Whether
the contribution grows or withers is up to each individual, but putting
it there in the first place is a considerable responsibility, I would
say.
Norm:
As a follow up, what does it mean to tell the truth? And what does
it mean to tell stories in a work of non-fiction?
Frank:
What a great question, Norm! A wise family friend once told us of
an exchange she’d had with her professor at Vassar College.
Apparently she had submitted a paper in which she’d stated
some opinion as fact. So her professor asked her, “And what
else is also true?” The topic of truth has filled countless
volumes and will fill countless more. What is truth to one might
seem lies to another. But if writers portray what they sincerely
believe, we should regard their writing as ethical, even if we are
diametrically opposed to what they’re saying. Sounds like we’re
describing the religious and political divides of the world here,
doesn’t it?
About stories, I think they can make non-fiction immensely readable.
My wife Helen, who was an English major, has insisted for years that
history should be taught through literature; it would be better absorbed
and understood. Currently we’ve been reading historical novels,
and I’ve become intrigued with things I never thought I’d
care about, as I tended to fall asleep in history class. In A Song
for the World, I’ve been fortunate, as there was a wealth of
first person information in the letters retained and in the interviews.
Norm:
In the past few years or so have you seen any changes in the way
publishers publish and/or distribute books? Are there any emerging
trends developing?
Frank:
Many changes, Norm, and all of them contributing to the accessibility
of information. Conventional publishing channels still run the Olympic
games for writers, but the initial selection process can overlook
significant manuscripts. A friend recently sent me an article that
appeared in The Guardian. It seems that a writer, puzzled by continuing
rejections of his masterpiece, submitted to eight major publishers
the first chapters, with surnames and locations only slightly modified,
of several Jane Austin novels. He received seven rejections, with
standard not the type of book for us explanation and keep writing
and good luck best wishes. Only one responder mentioned the plagiarism,
which he seemed to find amusing.
I think writers, now as always, need to catch the attention and
spark the enthusiasm of someone who will carry the writer’s
banner, and will wave it where it can be seen. You’ve heard
the axiom: “You can promote anyone but yourself.” But
the writer may have to work to find that third person, whether enthusiast,
agent, or publisher.
Publishers have long probed distribution channels and are expert
at exploiting book clubs, bestseller lists, teacher assignments,
library recommendations and more. Of course now the apparently limitless
possibilities of the digital world are changing everything from bottom
to top.
Norm:
What do you think of the new Internet market for writers?
Frank:
Well just look at us, Norm. Here we are having this conversation
online! Our kids think it’s perfectly natural, and it is today,
but I grew up before you could say something like that, and I still
find it pretty amazing. Someone might read your interview tomorrow
in Berlin, or Bangkok, or Budapest. Of course A Song for the World
is all about that, isn’t it? Connecting?
Norm:
Is there anything else you wish to add that we have not covered
and what is next for Frank McGee?
Frank:
Most of all I hope a lot of people will read the book, because what
these musicians have done offers real hope for the future. There’s
an engaging glimpse of the story at www.asongfortheworld.com, and
the book can be purchased there.
We’re in the midst of a book tour now and there is information
about that on the website. Special appearances by the Colwell Brothers
and Herb Allen in connection with the tour have caused a buzz in
cities across the country.
Next for me is a novel I was working on and set aside to write A
Song for the World. I’ll be expecting a bidding war for the
publishing rights for that, of course. Many thanks for inviting me
today, Norm.
Thanks once again and good luck with your book.
The above interview
was conducted by Norm Goldman, the Publisher & Editor
of the book reviewing and interviewing site, Bookpleasures.com.
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