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Faith!
(Continued from page 26)
to life. I was reminded of old thingsgood old things out of a vanished and happy adolescence. It seemed like the times when my mother sat at the piano and played "Ben Bolt," while my father and the rest of us caroled behind her with deep feeling; and, stranger still, 1 was reminded that 1 was an American^
His program was both a revelation and a gala party We sang "Pack Up Your Troubles," "Smiles" — with a dramatic interpretation by Lee Roberts, composer of the song, who furnished a moving interlude— "Dixie" and numerous others, ending with "Auld Lang Syne."
As "Auld Lang Syne" died away, I hurried back stage to keep my appointment with Rodeheaver whom I had not seen for almost twenty years.
It was not difficult to realize why he has been one of the great spiritual leaders of his generation, as, little by little, he sketched his background and unfolded his wholesome philosophy.
Born in Ohio during the year 1880, his parents took him to the hamlet of Jellico in the hills of East Tennessee when he was a baby. He grew up there.
It was almost thirty years later, that Homer Rodeheaver, whose rich baritone had brought him local and some distant fame, joined forces with Billy Sunday. Together, they trekked up and down the land for another twenty years. In his capacity as soloist and leader of the congregation's singing, it is certain that Rodeheaver has appeared personally before more people than any other man who ever lived. The Billy Sunday tabernacles held an average of 10,000. In the whole course of Rodeheaver's amazing career, they were filled to capacity and overflowing.
THE biggest of the Sunday tabernacles ■ was in Philadelphia, but a peculiarity in the way the New York tabernacle was built afforded standing room for 4,000 above the 16,000 seating capacity.
"We filled it every night," he explained, "away up there at 168th Street. That was what started the buses running that far uptown."
"The things which happen, which a song will do," he said, as a distant look of remembrance stole into his eyes, "are amazing. At Pittsburgh once, I was singing a group of hymns over KDKA. ... It was a long time ago, but the telephone operator broke all rules and risked her job to summon me to the phone. I shall never forget that call as long as I live. I heard the voice of a woman.
" 'I wanted to talk to you,' she said. 'I wanted to tell you— you saved me from suicide.'
"I know, bless her heart wherever she is today, that she was telling the truth. The details she gave me proved it. The song 1 sang was 'Heartaches.'"
In his evangelistic travels Rodeheaver has broadcast over nearly every radio station in the country. He told me that his favorite song was "The Old Rugged Cross," and admitted a preference for hymns, "As I've suggested to my radio colleagues," he went on, "the old American songs— not too jazzy, and not too highbrow— are the ones the radio audience likes best.
"A lot of rhythm in its system," he said is what the country needs. When a man hears a song his heart is moved, but when he gets into it and sings, himself, it's a different reaction. Sometimes I say what we need is more music of the people for the people, and by the people. It brings
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