Recovering the Extraordinary Life and Songs of Carrie Jacobs-Bond

Christopher Reynolds, distinguished professor emeritus at the University of California discussed Davis Carrie Jacobs-Bond (1861-1946), one of the most successful songwriters in the first half of the 20th century. Her most popular songs sold millions of copies of sheet music and records and were sung around the world, translated into dozens of languages. Critics often thought of her music either as "semi-classical," as "high-class songs" or, because so many millions of people sang her songs, as folk music, calling her a descendant of Stephen Foster. Americans sang her songs at weddings, funerals and gatherings of all kinds, usually by heart. She was also an early female entrepreneur, founding her own music publishing house, designing her early sheet music covers, writing the lyrics to half of her nearly 200 songs. As a result, she earned enough to build homes in Chicago, in the hills north of San Diego and in Hollywood, where she was one of the founding cultural figures. Before Jacobs-Bond began to tour as a means of promoting her songs, performing them to thousands of audiences over four decades, there was no such thing as a woman singer-songwriter. And like popular folk and rock singer-songwriters in the 1960s and later, she made no pretense of being a professional singer. A sure measure of Bond's broad appeal: professional singers and performers of all musical styles embraced her songs. Many leading opera singers (e.g., Ernestine Schumann-Heink and Lawrence Tibbett) promoted them in their recitals, in dozens of recordings,and in testimonials. Vaudeville and Broadway musicians regularly performed her songs--Elsie Baker and Eubie Blake made early recordings. With the advent of national radio networks in the late 1920s, popular musicians and swing band leaders increasingly arranged and recorded their versions. She was always among ASCAP's top royalty earners. In 1938, her earnings of $10,000 put her in an elite group with Irving Berlin, Jerome Kern and George Gershwin's estate. Yet while there are currently 19 biographies of Berlin (seven since 2000) and 18 of Gershwin (nine since 2000), there are no scholarly biographies of Jacobs-Bond. Her life story and cultural significance, like her songs, are today mostly unknown. Presented in cooperation with the American Musicological Society. For transcript and more information, visit https://www.loc.gov/item/webcast-11617