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The Sorcerer’s Companion

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A G uide to

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the M agical World of

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H arry P otter

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~ The
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Sorcerer’s
C ompanion

Allan Zola Kronzek

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and Elizabeth Kronzek

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Broadway Books N e w Yo r k

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This book has not been prepared, approved, or licensed by any person or entity that
created, published, or produced the Harry Potter books or related properties.

the sorcerer’s companion. Copyright © 2001 by Allan Zola Kronzek and

Elizabeth Kronzek. All rights reserved. Printed in the United States of America. No
part of this book may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or by any information
storage and retrieval system, without written permission from the publisher.
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Library of Congress Cataloging-in-Publication Data

Kronzek, Allan Zola.
The sorcerer’s companion: a guide to the magical world of Harry Potter/
Allan Zola Kronzek & Elizabeth Kronzek.—1st ed.
p. cm
Includes bibliographical references.
Summary: Explores the true history, folklore, and mythology behind the magical
practices, creatures and personalities that appear in J. K. Rowling’s Harry Potter books.
1. Rowling, J. K.—Characters—Harry Potter—Handbooks, manuals, etc.
2. Potter, Harry (Fictitious character)—Handbooks, manuals, etc. 3. Children’s
stories, English—Handbooks, manuals, etc. 4. Fantasy fiction, English—
Handbooks, manuals, etc. 5. Wizards in literature—Handbooks, manuals, etc.
6. Magic in literature—Handbooks, manuals, etc. [1. Rowling, J. K.—Characters—
Harry Potter—Handbooks, manuals, etc. 2. Potter, Harry (Fictitious character)—
Handbooks, manuals, etc. 3. Fantasy—Handbooks, manuals, etc.
4. Wizards—Handbooks, manuals, etc. 5. Magic—Handbooks, manuals, etc.]
I. Kronzek, Elizabeth, 1969– II. Title.

PR6068.093 Z75 2001

823'.914—dc21 2001035659

ISBN 0-7679-1100-8

v1.0
 To Ruby, with love.
—a.z.k.
O
To my mother, who’s always there.
—e.k.
 ◊
Contents
Introduction O xiii
Amulet O The Evil Eye O 1, 3
Arithmancy O 4
Astrology O Disaster and Disease O 10, 14
O The Zodiac O 15
O The Meaning of the Planets O 18
Banshee O 19
Basilisk O The Basilisk Today O 21, 23
Boggart O The Bogeyman O 24, 25
Broomstick O 26
Cat O Cat Tales O 28, 30
Cauldron O 32
Centaur O 35
Charm O “Charmed, I’m Sure” O 36, 38
 Circe O 39
Crystal Ball O 41
Curse O Licensed to Curse O 44, 46
O The Mummy’s Curse O 47
Dark Arts O 48
Demon O How to Recognize a Demon O 52, 55
Divination The Mantic Arts O 56, 59
O
O A Brief History of Tarot O 63
Dragons O Dragons of the East O 65, 67
Dreams O 68
Dwarf O 71

C Elf O The Elf’s New Clothes O 73, 75

viii Fairy O The Tooth Fairy O 76, 77
c O The Cottingley Fairies O 79
O Fairy Rings O 81

Flying Carpet O 82
Forbidden Forest O 84
Ghost O 85
Ghoul O 89
Giant O 90
Gnome O 93
Goblin O 94
Grim O 96
Grindylow O 98
Hag O 100
 Herbology O 102
Hex O 105
Hinkypunk O 107
Hippogriff O Animals on Trial O 108, 110
Horoscope O 111
Invisibility Cloak O 113
Kappa O 116
Leprechaun O The Farmer and the Leprechaun O 117, 119
Magic O 120
Magician O 132
Magic Mirror Mirror Superstitions 145, 148
Magic Wand
O

OThe Magic Club O 149, 152

O
C
ix
O The Caduceus O 153
Magic Words O A Little Hocus Pocus O 157 c
Mandrake O Mandrake Safety O 159, 161
Manticore O 162
Merlin O 164
Mermaid/Merman O Mermaid Relatives O 168, 171
Morgana O The Fata Morgana O 172, 174
Mummy O 175
Nicholas Flamel O 177
Owl O 181
Palmistry O 182
Petrification O 186
 Phoenix O 188
Pixie O 190
Poltergeist O 191
Potion O 194
Red Cap O 197
Runes O Rune Casting O 198, 200
Salamander O 200
Sibyl O 203
Snake O 205
Sorcerer O 208
Sorcerer’s Stone The Making of the Stone 210, 214
C O
O
The Faking of the Stone O 215
O

x
Spell O 217
c Sphinx O 219
Talisman O 221
Tea-Leaf Reading O 224
Three-Headed Dog O 230
Toad O Toadstones O 232, 234
Transfiguration O 235
Troll O 239
Unicorn O Hornswoggled O 242, 244
Vampire O 246
Veela O 249
Werew olf O “Real” Werewolves O 250, 253
 Witch O The Witch’s Familiar O 254, 257
Witch Persecution O Why Were Witches Women? O 259, 263
Wizard O 265
Yeti O 268
Zombie O 270
Acknowledgments O 273
Bibliography O 275
Illustration Credits O 281

C
xi

c
 Introduction
I f you’re like most Harry Potter fans, you probably know that
Harry’s prized possession is his broomstick, Hermione’s favorite
subject is arithmancy, and a magnificent creature called a hippogriff
C
xiii
helped Sirius Black evade capture. But did you know that wizards were
once thought to fly on pitchforks, arithmancy is an ancient form of
c
fortune-telling, and the hippogriff was first mounted by the legendary
knights of Charlemagne? Or that Professor Dumbledore’s friend Nicholas
Flamel, creator of the Sorcerer’s Stone, was a real person?
So quickly do the astonishing adventures of Harry and his friends
fly by that we rarely have a moment to consider the wealth of real
mythology, folklore, and history that shimmers just beneath the sur-
face. One of the great pleasures of reading the Harry Potter books
comes from the extraordinary richness of the magical universe they
contain—fashioned partly from J. K. Rowling’s seemingly boundless
imagination and partly from the vast collective lore of magic from
around the world. Potions and charms, giants and dragons, cauldrons
and crystal balls—all have intriguing and often surprising histories go-
ing back hundreds and sometimes thousands of years. Magic wands
like those sold in Diagon Alley were once fashioned by Druid sorcerers
out of the sacred yew tree. Love potions are traceable to ancient Greece
 and Rome. And books of spells and curses—required reading at Hog-
warts School of Witchcraft and Wizardry—were highly popular (and
much frowned upon) during the Middle Ages.
The Sorcerer’s Companion allows the curious reader to look up any-
thing “magical” from any of the first four Harry Potter books and dis-
cover a wealth of fascinating and unexpected information. How did the
Sorcerer’s Stone get its power? What were the first magic words? Did
J. K. Rowling dream up the terrifying basilisk, the seductive veela, or
the vicious grindylow? And if she didn’t, who did? The Sorcerer’s Compan-
ion has the answers.
The history of magical beliefs is vast, and in writing this book
we have had to leave out far more than we put in. Barely mentioned
are the rich traditions of magic and mythology of China, Africa, In-
dia, Japan, Australia, and South America. Rather we have limited our
focus to those aspects of lore directly related to Harry’s world. Nearly
all of the magical practices taught at Hogwarts are rooted in the
C Western magical tradition, which emerged from the ancient empires
xiv of the Middle East, Greece, and Rome. Imaginary creatures like the

c centaur, the manticore, and the unicorn come from the same rich tra-
dition. Many other magical beings, such as elves, gnomes, goblins,
hinkypunks, and trolls, have their roots in the folklore of northern
Europe and the British Isles.
When we first began writing The Sorcerer’s Companion we asked
Harry Potter fans what subjects interested them the most. Some
wanted to know more about spells, charms, and curses. Others were ea-
ger to learn about boggarts, red caps, or the difference between witches
and hags. We expect you, too, will have your own particular interests
and will follow them as you choose. This book is not intended to be
read straight through in alphabetical order, although it certainly can
be. You might want to start with the Magic entry for an introduction
to this fascinating subject. But actually, you can start anywhere—and
chances are, you’ll end up everywhere.
In each entry, we’ve tried to provide an overview of the subject and
its roots in mythology, folklore, and history. Whenever a word appears
in bold, that means it has its own entry. Following most entries, you’ll
 ◊
find this symbol ◊ and an abbreviation indicating one place in the
Harry Potter books where the subject appears. “SS 5/71,” for example,
refers you to Harry Potter and the Sorcerer’s Stone, chapter 5, page 71. CS
refers to Harry Potter and the Chamber of Secrets, PA refers to Harry Potter and
the Prisoner of Azkaban, and GF refers to Harry Potter and the Goblet of Fire. All
references are to the American editions.
In researching The Sorcerer’s Companion we learned many curious
things we never expected to know, like how to read tea leaves, get rid of
goblins, safely harvest mandrake root, and use arithmancy to choose a
breakfast cereal. We feel more secure knowing how to recognize a de-
mon and what to do if attacked by a ghoul (never, ever hit him twice).
We hope all of this information is as interesting to you as it is to us.
You never know when you might need it.

C
xv

c
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Amulet
A re you unusually susceptible to colds and infections? Do you
have a tendency to attract the wrong kind of attention? Are you
plagued by bad luck? If the answer to any of these questions is yes, an
C
1
amulet might be just what the doctor ordered. In fact, centuries ago, an
amulet often was what the doctor ordered—to ward off disease, avoid c
misfortune, or chase away evil spirits.
An amulet (from the Latin word amuletum, meaning “a method of
defense”) is an object thought to magically protect its owner from
harm. Amulets can come in any size, shape, or material. Indeed, when
Hogwarts is struck by a mysterious epidemic of petrification, Neville
Longbottom tries to protect himself with an amulet made from a
smelly green onion! Amulets range from small pendants, rings, and
pouches of herbs (worn around the neck to prevent disease) to sizable
statues and wall hangings intended to protect an entire household,
building, or village. The ancient Babylonians liked to wear tiny, jewel-
encrusted clay cylinders to ward off evil spirits. The Romans collected
sculptures of Priapus, the god of luck and fertility, and many Ameri-
cans still hang lucky horseshoes over their doors to guard against mis-
fortune and unwelcome visitors.
 Amulets have been present in virtually every society since the be-
ginning of recorded history. The earliest amulets were probably just
chunks of stone or metal whose bright colors or unusual shapes sug-
gested they might have magical properties. (In India and Thailand,
pieces of pink coral are still used to ward off the evil eye.) Over time,
however, it became customary to make amulets in the shape of animals,
god and goddess figures, and magic symbols. Images of horns and
hands (symbolizing fertility and life) and drawings or carvings of the
human eye (suggesting eternal watchfulness) appear on amulets through-
out the world. Many amulets also have magic words, short spells, or the
names of gods written on them.
Although their appeal is nearly universal, amulets are most closely
associated with the ancient Egyptians, who wore them everywhere—
even to the grave. It was customary for mummies to be buried with
dozens of beetle-shaped amulets called scarabs. These small stone fig-
urines, named after a real type of Egyptian beetle, were supposed to
C prevent the deceased person’s soul from being eaten by Ammit the De-
2 vourer—a dreadful part-lion, part-hippo, part-crocodile who guarded

c the scales of justice in the Egyptian afterworld. Apparently, the more

important a person was, the more scarabs he took to the afterworld.
When King Tutankhamen’s body was unearthed some eighty years ago,
over 140 amulets were found tucked away in the wrappings of his
mummy! Other common Egyptian amulets like the ankh (an Egyptian
hieroglyph symbolizing life) and the wadjet (commonly known as the
Eye of Horus) served more practical purposes: protecting living Egyp-
tians from death, disease, and the evil eye.
Unfortunately, amulets do have their limitations.
For instance, they can only protect you from the specific
dangers for which they are designed. A scarab may scare
Ammit the Devourer, but it’s useless against vampires,
hinkypunks, and treasure-hungry archaeologists. And if
you’re going to do battle with the forces of evil, it’s im-

The ankh symbolized eternal life and was worn to protect against disease.
16666666666666666666661

The Evil Eye

The frightening notion that a look can kill has existed in almost every civ-
ilization throughout history, inspiring the creation of amulets and many
other defenses against supernatural malice. The evil eye—a hostile
glance believed to cause misfortune, illness, or even death—is mentioned
in both the Old and New Testaments of the Bible, as well as in the texts
of ancient Sumeria, Babylonia, and Assyria. In the Middle Ages, witches
were said to use the evil eye against anyone who crossed them, causing the
victim to take ill, lose the love of a spouse, or experience financial ruin.
Small children and animals are said to be especially vulnerable to the
evil eye. In many places where evil eye superstitions are still strong, it is
considered unwise to call attention to the beauty of one’s children for fear
that someone with the evil eye may cast a jealous gaze upon them.
The primary defense against the evil eye is an amulet—often in the
shape of a frog, a horn, or, in the case of the ancient Egyptians, an eye
known as the Eye of Horus. If no amulet is available, a quick response in
the form of a symbolic hand gesture (holding up the index and little fin-
gers to form “horns”) is recommended if an evil glance comes your way.
Other defenses include hex signs, shamrocks (in Ireland), garlic (in
Greece), and barley (in India). Bells or red ribbons tied to livestock or chil-
dren’s clothing are also thought to divert the attention of the evil eye.

Believed to protect the wearer against evil and injury,

the Eye of Horus was one of the most popular amulets in ancient Egypt.

16666666666666666666661
 portant not to confuse amulets with their close cousins, talismans. Un-
like enchanted swords, invisibility cloaks, and other classic talismans,
amulets do not endow their owners with magical abilities. An amulet
cannot be used as a weapon, only as a shield. So if you’re planning some
epic adventure—like slaying a dragon—you should probably swap
your lucky rabbit’s foot for the sword of Sir Godric Gryffindor. But if
you prefer to stay home where it’s nice and cozy, nothing beats an
amulet for keeping hostile forces at bay.

◊ CS 11/185

Arithmancy
16666666666666666666661

H ermione, who scoffs at tea-leaf reading and crystal-ball gazing,

seems an unlikely fan of arithmancy—a method of fortune-
telling based on names and numbers. Yet this ancient form of divina-
tion is one of her favorite subjects. Perhaps that’s because, unlike other
methods of predicting the future, arithmancy isn’t based on interpret-
ing fuzzy images or attributing meaning to random shapes and squig-
gles but on hard-and-fast rules and mathematical calculations—just the
kind of brainwork Hermione seems to enjoy.
Arithmancy (from the Greek arithmo, meaning “number,” and
mancy, meaning “prophecy”) has been used by magicians and wiz-
ards for more than two thousand years to help people analyze and
develop their strengths and talents, overcome obstacles, and chart
their future paths. Also known as “numerology,” arithmancy is
based on two very old ideas. The first is that a person’s name con-
tains important clues to their character and destiny. The second,
advanced more than 2,500 years ago by the Greek sage Pythagoras,
is that each of the numbers between 1 and 9 has a unique meaning
that can contribute to the understanding of all things. Arith-
mancers combined these two ideas and, over the centuries, devel-
oped many complex systems for converting names into numbers
and analyzing the results. One of the most widely used systems in-
volves extracting three key numbers from a person’s name—the
Character Number, the Heart Number, and the Social Number—and inter-
preting the outcome according to a set of established meanings.
This system, which we suspect is the one taught at Hogwarts, was
widely known by the Middle Ages and is still used today. All it re-
quires is a pencil, paper, and the ability to add and spell.
The first step in analyzing a name is to convert it to a set of num- C
bers. Each letter of the alphabet is assigned a numerical value between 5
1 and 9, according to the following chart:
c
1 2 3 4 5 6 7 8 9
AB CD E F G H I
J KLMNO P QR
STUVWX Y Z

As should be clear, the letters A, J, and S have the value of “1,” B,

K, and T have the value of “2,” and so forth. To analyze any name, write
it down, and beneath each letter enter the corresponding numerical
value. As an example, we’ll analyze the name Nicholas Flamel, the me-
dieval alchemist who was reputed to have created the Sorcerer’s Stone:

NICHOLAS FLAMEL
5 93 8 6 311 631 4 53
 When you have all the numbers written down, add them up. In
this case, the result is 58. According to the procedures of arithmancy,
when a total exceeds 9—which it usually does—it must be “reduced”
to a single digit by adding the component numbers together, more than
once, if necessary. Thus, 58 reduces to 13 (5 + 8 = 13), which reduces
to 4 (1 + 3 = 4). The final result—the reduced number of all the val-
ues in the name—is known as the Character Number. This number indi-
cates the general personality type of the individual, according to a
system of interpretations to be presented shortly.
The next number to be derived is the Heart Number, which refers to
the individual’s inner life and is said to indicate desires and fears hidden
from others. The Heart Number is the total of all the vowels in the
name, reduced to a single digit.

NICHOLAS FLAMEL

C 9 6 1 1 5

6
These numbers equal 22, which reduces to 4 (2 + 2 = 4). In this
c instance, the Heart Number and the Character Number are identical,
but this will not always be the case.
The third number to be derived is the Social Number, which refers to
the outer personality, the face an individual shows to the outside world.
The social number is determined by adding up the value of the conso-
nants in the name.

NICHOLAS FLAMEL
5 3 8 3 1 6 3 4 3

In this case the total is 36, which reduces to 9 (3 + 6 = 9).

With the Character, Heart, and Social numbers in mind (4, 4, 9)
it is now possible to sketch out a portrait of the subject using a set of
positive and negative personality traits traditionally associated with
each number. These traits are based partly on the ideas of Pythagoras,
but were also influenced by many others.
 The Meaning of the Numbers

one: This is the number of the individual. Ones are independent, fo-
cused, single-minded, and determined. They set a goal and stick to it.
They are leaders and inventors. Ones find it difficult to work with oth-
ers and don’t like to take orders. They can be self-centered, egotistical,
and domineering. They are often loners.

two: Two represents interaction, two-way communication, coopera-

tion, and balance. Twos are imaginative, creative, and sweet natured.
Peace, harmony, commitment, loyalty, and fairness are characteristic.
But two also introduces the idea of conflict, opposing forces, and the
contrasting sides of things: night and day, good and evil. Twos can be
withdrawn, moody, self-conscious, and indecisive.

three: Three represents the idea of completeness or wholeness,

C
7
as in the trios “past-present-future” and “mind-body-spirit.” The
Pythagoreans considered three to be the first “complete” number be-
cause, like three pebbles laid out in a row, it has a beginning, a mid-
c
dle, and an end. Three indicates talent, energy, an artistic nature,
humor, and social ease. Threes are often lucky, easygoing, rich, and
highly successful, but they can also be unfocused, easily offended, and
superficial.

four: Like a table that rests solidly on four legs, four indicates stabil-
ity and firmness. Fours enjoy hard work. They are practical, reliable,
and down to earth; they prefer logic and reason to flights of fancy.
They are good at organization and getting things done. Like the cycle
of the four seasons, they are also predictable. They can be stubborn,
suspicious, overly practical, and prone to angry outbursts. The conflicts
possible with “two” are doubled in four.

five: Five is the number of instability and imbalance, indicating

change and uncertainty. Fives are drawn to many things at once but
 commit to none. They are adventurous, energetic, and willing to take
risks. They enjoy travel and meeting new people but may not stay in one
place very long. Fives can be conceited, irresponsible, quick-tempered,
and impatient.

six: Six represents harmony, friendship, and family life. Sixes are loyal,
reliable, and loving. They adapt easily. They do well in teaching and the
arts, but are often unsuccessful in business. They are sometimes prone
to gossip and complacency. The Pythagoreans regarded six as the per-
fect number because it was divisible by both two and three, and was the
sum as well as the product of the first three digits (1 + 2 + 3 = 6, 1 x
2 x 3 = 6).

s eve n : Perceptive, understanding, and bright, sevens enjoy hard

work and challenges. They are often serious, scholarly, and inter-
ested in all things mysterious. Originality and imagination are more
C important than money and material possessions. Sevens can also be
pessimistic, sarcastic, and insecure. Seven is sometimes considered a
8
mystical or magical number because of its associations with the
c biblical seven days of creation, and the seven heavenly bodies of
ancient astronomy (Sun, Moon, Mercury, Venus, Mars, Saturn, and
Jupiter).

eight: Eight indicates the possibility of great success in business, fi-

nance, and politics. Eights are practical, ambitious, committed, and
hardworking. They can also be jealous, greedy, domineering, and power
hungry. Eight is said to be the most unpredictable of numbers and can
indicate the pinnacle of success or the depths of failure; the potential
to go either way is present from the beginning.

nine: Represents completion and achievement to the fullest degree, as

it is the “complete” number, three, expressed three times (3 x 3 = 9).
Nines dedicate themselves to the service of others, often as teachers,
scientists, and humanitarians. Strongly determined, they work tirelessly
and are an inspiration to others. However, they can also be arrogant and
conceited when things don’t go their way.
 According to these interpretations, we can now say that Nicholas Flamel
(4, 4, 9) is a hardworking, down-to-earth person. He takes a practical ap-
proach to solving problems. He is emotionally stable, but may have
some inner anger and suspicions; however, the face he shows to the
world is that of a kind and generous humanitarian. Finally, we can add a
few finishing touches to this portrait by returning to the original array of
numbers, to see if any digits occur more frequently than others. In this case
the numbers 3 and 1 occur most often, indicating that, in addition to what
we already know, Flamel is someone who seeks perfection, has the ability
to make money easily, and goes about things with single-minded focus. Most
of this, amazingly, seems to be true of the famous alchemist (see Nicholas
Flamel for details about his life and personality). As with most systems of
divination, however, the more you know about the subject beforehand, the
easier it is to pick the best of many possible interpretations. The real chal-
lenge is to create a portrait of an individual without benefit of hindsight.
Like astrology, arithmancy also claims to be a system for deter-
mining lucky and unlucky days. As a general rule, favorable days are C
those that correspond to an individual’s character number. An “eight” 9
personality, for example, would be advised to schedule important events
like starting a business or getting married so that they occur on the 8th, c
17th, or 26th of the month (each of which reduces to 8). Since any
name or word can be converted to a number, arithmancy is also used to
reveal “hidden kinships” among people, places, and things—the theory
being that words and names that share the same numerical value are
related and naturally go together. Thus a six will be best off driving a
brand of car that reduces to 6, such as a Honda or a Toyota, whereas a
seven would be happier driving a Ford. A two will be most romantically
compatible with another two. Fives should consider living in a city that
reduces to 5 (such as Tokyo or Pittsburgh), and so forth. Although we
don’t recommend it, virtually all of life’s decisions can be made “ac-
cording to the numbers,” from the friends one associates with to the
foods on the breakfast table (eggs = 2, toast = 3, corn flakes = 4).

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 Astrology
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W hen the centaurs of the Forbidden Forest comment on the

brightness of the planet Mars, they’re doing more than mak-
ing a casual comment about the beauty of the evening sky. Their words
are a veiled prediction of something ominous to come, involving anger,
violence, and perhaps bloodshed and revenge. These centaurs practice
astrology and can read the future in the stars.
Astrology should not be confused with astronomy, although both
C share the same Greek root, astron, which means “star.” Astronomy is the
10 scientific study of the heavenly bodies, such as stars, planets, moons,

c comets, and meteors; astrology is a more fanciful pursuit that seeks to

explain and interpret the influence of the heavenly bodies on earthly
life. Both disciplines emerged in ancient Babylonia (modern-day Iraq)
more than 7,000 years ago when sky watchers first began to keep accu-
rate records of the movements of the sun, moon, and stars. One of
their earliest observations was that although most of the stars remained
in the same positions relative to one another, a handful did not. Along
with the sun and the moon, these so-called “wandering stars,” which
the ancients thought to be the homes of gods, traveled across a narrow
band of sky known as the zodiac. Today we know that these wanderers
are not actually stars but planets (“planet” means “wanderer” in Greek).
In time, the Babylonians assigned meanings and resident deities to
the planets based on their appearance. For example, Mars, which has a
distinct reddish glow, was considered fiery and bloody and became
identified with the god of war (Nergal for the Babylonians, Ares for the
Greeks, and Mars to the Romans); Venus, which outshines every star in
the sky but can disappear for six weeks at a time, was the bringer of
 The Babylonian sky watchers were the first to keep good records of all of the celestial events they
observed. They drew the first star maps around 1800 B.C.

love, faithful or fickle; and Saturn, which appears to roll across the sky
more slowly than the other visible planets because it is the most distant,
was associated with evil, old age, despondency, and death. Only the five
planets visible to the naked eye (Mercury, Venus, Mars, Jupiter, Saturn)
were known, and all were thought, along with the sun and moon, to re-
volve around the Earth, which was then believed to be the center of the
universe.
In addition to observing the shifting patterns of the cosmos,
Babylonian sky watchers tried to correlate what they saw with events on
Earth, such as earthquakes, floods, and other natural disasters. Their
reasoning was simple: They believed that everything in the universe was
interconnected and that events in heaven must therefore reflect, or even
foretell, events on Earth. For instance, the appearance of a comet, the
most unpredictable of all celestial events, might forebode a major oc-
currence, such as the death of a king. More common events—such as
full moons, eclipses, the appearance of a halo around the moon, or the
 convergence of two or more planets—were less ominous but could still
herald news of a famine, storm, flood, epidemic, or other disaster.
Thus astrology, even in its most basic form, was an important tool
of divination. Its practitioners searched the sky for omens and recur-
ring patterns and made predictions. But unlike astrologers today, who
work for many individual clients, ancient astrologers restricted their at-
tention to the king and the society as a whole.
This changed in the fifth century b.c., when the concept of the
zodiac as a set of twelve constellations became fixed and astrologers be-
gan to cast personal horoscopes for individuals. The Greeks and Egyp-
tians became interested in astrology in the third century b.c. and added
many new and complex procedures to the field, linking it to medicine
and magic. Not only were the positions of the stars and planets
thought to forecast events, but it was widely believed that the stars af-
fected the physical nature of everyone and everything on Earth. Each
sign of the zodiac was said to influence a different part of the human
C body, and every flower, herb, and medicinal plant was said to be ruled
12 by a different planet. Even minerals and gems absorbed influences from

c the stars. A physician, therefore, needed to understand the principles of

astrology in order to diagnose and treat his patients. Similarly, magi-
cians who wished to conduct experiments, cast spells, or make talis-
mans needed to understand astrology to determine the planetary
influences and discover the most favorable time to carry out their activ-
ities. A love spell, for example, would best be timed to coincide with
the influence of Venus rather than Saturn.
From Greece and Egypt, astrology spread to Rome, where it was
widely accepted as a wonderful new addition to the many systems
of divination already in use. A number of influential thinkers railed against
astrology as a worthless superstition, and practitioners were repeatedly ban-
ished from the city, but public demand kept bringing them back. After the
fall of the Roman Empire in the fourth century, astrology ceased to be an
important factor in European life until the twelfth century, when knowl-
edge of the subject was reintroduced from Arabic sources.
During the Middle Ages, universities in England, France, and Italy
taught astrology, and most European kings and queens employed court
 C
13

c
European royalty often consulted astrologers before making important decisions.
This is said to be a portrait of the great French astrologer Nostradamus.

astrologers to cast their horoscopes and advise them on the best days
for taking action. In Renaissance England, Queen Elizabeth I chose
the mathematician and astrologer John Dee to select the date for her
coronation according to the planetary influences. In France, the famed
astrologer Nostradamus performed similar functions for Queen Cather-
ine de Medici. And although the Church was generally hostile to as-
trology, Pope Urban VIII hired an astrologer in 1629 to perform magic
rituals to counter the anticipated ill effects of a series of eclipses.
At the same time, however, the scientific revolution was under way.
In 1542, Copernicus stated that the sun, not the Earth, was the center of
the solar system. This seemed to threaten the very basis of astrology, since
the planets supposedly radiating their influence down on Earth were, in
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Disaster and Disease:

Blame It on the Stars
Got the flu? The word “flu” is short for “influenza,” but when someone
in the Middle Ages said they were sick from “influenza,” they certainly
weren’t talking about a virus. The word originally meant “influence,” and
referred strictly to the astrological influence of the stars and planets. Peo-
ple believed it was this influence, not germs, that made them sick. The word
“disaster” likewise comes from astrological beliefs and is a combination
of dis, meaning a “negative quality,” and astron, meaning “star.” When a
calamity happened, the cause was often attributed to dis-astron, or a bad star.

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fact, not circling the Earth at all. In the seventeenth century, other scien-
tific discoveries followed, and serious-minded people for the most part turned
away from astrology. Yet even as astrology lost prestige, astrological almanacs
became immensely popular and people began to keep track of their own
good and bad days without the aid of a professional. Indeed, the monthly
and daily predictions found in magazines and newspapers today are
part of a tradition that began with those almanacs centuries ago.
Astrology today occupies a peculiar position. Although it retains
none of the intellectual respectability it once had, its popularity is vast,
and many people take astrological advice as profound truth. Still, skep-
tics abound. In fact, several of the most skeptical people we can think
of happen to be students at a certain school of witchcraft and wizardry.

◊ GF 13/200
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The Zodiac
Thousands of years ago, ancient sky watchers observed that as the sun
and planets moved across the sky each year, they always traveled along
the same narrow path around the Earth. This pathway, which the Greeks
named the zodiac, was divided by astrologers into twelve equal sections
called “signs,” each associated with a constellation—Aries, Taurus,
Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn,
Aquarius, or Pisces—and a time of year. Astrologers use the position
of the sun and planets within the zodiac to make predictions and to
determine the personalities of people born under different signs. The
characteristics associated with each sign were developed thousands of
years ago but have been elaborated over the centuries. Here are some of
the basics:

aries the ram (March 21 to April 19): People born under

the sign of Aries are characterized as energetic, enthusiastic, direct,
independent, creative, and impatient. Because rams “ram” their way
forward, Aries are also said to be aggressive, determined, and quick-
tempered.
taurus the bull (April 20 to May 20): As might be expected
from a bull, those born under the sign of Taurus have reserves of
strength and stamina and can be stubborn, too. But they are also
thought to be reliable, warm, patient, artistic, and dependable.
ge m i n i t h e t w i n s (May 21 to June 20): Geminis are held to
be versatile, lively, curious, clever, and articulate, but often superfi-
cial. Like Castor and Pollux, the mythological twin brothers for
whom the constellation is named, Geminis are said to be devoted
to their families.
cancer the crab (June 21 to July 22): Cancers are considered to
be intuitive, sympathetic, moody, tenacious, family-minded, imagina-
tive, and domestic. Like the crab, they may be hard on the outside but
soft on the inside.
leo the lion (July 23 to August 22): Leos are described as confi-
dent, dramatic, self-reliant, generous, outgoing, and proud. Like the
king of the jungle, they can be dominating, brave, and demanding of
attention.
virgo the virgin (August 23 to September 22): Virgos are con-
sidered analytical, attentive to details, diligent, shrewd, and critical, and
have a tendency to be perfectionists. Associated with the image of a
maiden, Virgos can also be modest and prudent.
libra the scales (September 23 to October 22): Libras are said
to be stylish, good-natured, idealistic, romantic, and intelligent, but of-
ten indecisive. The constellation of Libra is visualized as a scale, and
Libras are said to be balanced in their thoughts and emotions and to
weigh things carefully.
scor pio the scor pion (October 23 to November 22): Scor-
pios are considered passionate, intense, secretive, magnetic, powerful,
and vindictive. Like their spider namesakes, Scorpios can be quick and
bold and strike when the time is right.
sagittarius the archer (November 23 to December 21): The
constellation Sagittarius is depicted as a centaur pulling a bow, and
Sagittarians are said to love the outdoors, sports, and animals. Honest
and philosophical, they are also thought to be restless, adventurous,
and high-spirited.
capricor n the goat (December 22 to January 19): Like goats,
Capricorns are said to be stable, dependable characters who can
nonetheless leap over dangers and butt away things in their path. They
are also described as ambitious, well organized, disciplined, practical,
and materialistic.
aquarius the water-bearer (January 20 to February 18):
Aquarians are described as original, visionary, friendly, and idealistic,
but also detached and obstinate. Traditionally pictured as a figure
 holding a water jug, the image is said to symbolize helpfulness and al-
truism.
pisces the fish (February 19 to March 20): As befits the sign of
the fish, Pisces are said to love water and swimming. Sensitive, receptive,
emotional, imaginative, and empathetic, they are also reputed to be dis-
organized and impractical.

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16666666666666666666661

The Meaning of the Planets

Astrologers believe that the sun, the moon, Mercury, Venus, Mars,
Jupiter, Saturn, Uranus, Neptune, and Pluto each represent a unique
aspect of personality or character. These are their traditional meanings:

the sun, the brightest, largest body in our solar system, represents a
person’s essential personality, their core traits and general approach to life.
the moon represents emotional reactions, instincts, and uncon-
scious needs.
mercury, named for the Roman messenger god, represents communi-
cation. The swiftest of the planets, it also stands for intelligence and change.
venus, the brightest planet in the sky, is named for the Roman god-
dess of love. It symbolizes romance, relationships, love, and beauty.
mars, named for the Roman god of war and recognized by its reddish
color, symbolizes aggression, physical energy, and the ability to take initiative.
jupiter, the largest planet in the solar system, represents good fortune,
opportunity, and the ability to broaden one’s horizons. Jupiter was the
supreme god of the Roman pantheon, the equivalent of the Greek god Zeus.
satur n, the slowest moving of the visible planets, represents ob-
structions, fears, and challenges. Saturn was a Roman god of the harvest.
uranus, named for the Greek sky god Ouranous, represents a per-
son’s eccentric and rebellious side. It indicates sudden change, upheaval,
and impatience.
ne ptune represents imagination, creativity, dreams, and the ability
to distinguish between reality and illusion. Named for the Roman god
of the sea, Neptune represents things that are deep.
pluto, the farthest planet from the sun, represents obsession, the un-
conscious mind, and the ability to transform one’s life. Pluto was the
Roman equivalent of Hades, Greek god of the underworld.

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Banshee
S eeing a banshee is the scariest thing Harry’s classmate Seamus
Finnigan can imagine. And for good reason: When one of these
mournful apparitions appears before an Irishman, it means a member
of his family will soon die.
A fixture of Irish folklore since the eighth century, banshees are
not evil creatures, but their haunting cries can make them quite terrify-
ing. Their most distinctive physical features are their eyes, turned fiery
red from centuries of weeping for those they loved and mourn. Most C
often described as a tall, gaunt woman with streaming white hair, the 19
banshee usually wears a green dress covered by a gray, hooded cloak.
Occasionally, however, she may appear as a small old woman or a beau- c
tiful golden-haired girl dressed in red.
Each banshee is said to be devoted to just one extended Irish fam-
ily, serving them for centuries, but appearing only when a family member
is about to die. The most famous banshee of ancient times was named Aib-
hill, and she haunted the royal family of O’Brien. According to legend, the
aged king Brian Boru went off to the battle of Clontarf in 1014 know-
ing he would never survive, for Aibhill had appeared to him the night be-
fore, washing the clothes of soldiers until the water ran red with blood.
In later years banshees were known to herald a death by wailing or
keening under the window of the dying, sometimes floating up several sto-
ries to do so. In a famous account from the seventeenth century, a guest
at an Irish estate described her fright upon hearing a voice in the middle
of the night: “I drew the curtain, and in the casement of the window, I
saw by the light of the moon a woman leaning into the window, with red
hair and pale and ghastly complexion. She spoke loud, and in a tone I had
C never heard, and then, with a sigh more like a wind than breath, she van-
20 ished.” As it turned out, someone had died in the house during the night.
c A banshee may also remain at a distance, a solitary figure who sig-
nals a death by pacing the hills around the family home (the word
“banshee” comes from the Irish bean si, meaning “woman of the hills”)
or sitting on a stone wall. Sometimes she is not visible at all, but her
piercing wails leave no doubt about her presence. On the rare occasions
when several banshees appear together, it forebodes the death of some-
one very great or revered.
Only the oldest families, who can trace their lineage to the legendary
Irish heroes of the early Middle Ages, are said to have banshees. Originally,
this included only families whose last names began with “O’” or “Mac,”
but after centuries of intermarriage hundreds of others can now make this
claim. Attuned as banshees are to bloodlines, they will follow their fam-
ilies wherever they may go. Thus, the banshee’s wails are said to be heard
in England, America, and anywhere the Irish have settled.

◊ PA 7/137
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Basilisk
T he basilisk is one of our favorite monsters. Depending on who tells
the tale, it is a venom-spitting serpent, a ferocious lizard, a tow-
ering dragon, or a full-fledged chimera sporting the head and wings of a
rooster attached to the body of a snake. Like the enormous green serpent
that Harry encounters in the Chamber of Secrets, the basilisk is always fright-
ening and often deadly, having the power to kill its victims by its stare alone.
We first hear of this charming reptile from Pliny the Elder, the first-
century Latin writer whose book Natural History reflects much of what an- C
cient Romans believed about the natural world. According to Pliny, the 21
basilisk is a small but lethal snake, no more than twelve inches long, and
native to North Africa. Known as “king of the serpents” because of the c
crownlike markings on its head (basiliskos means “little king” in Greek) the
basilisk advanced upon its prey with its body held up-
right, rather than wriggling across the ground
like other snakes, and could set fire to bushes and
break stones apart simply by breathing on
them. The basilisk lived in the desert, not necessarily
because it chose to, but because no matter where it lived, the
land was eventually reduced to desert by the beast’s scorch-
ing breath. Its venom was so powerful, Pliny reported, that
if a rider on horseback killed a basilisk with a spear, the
venom would rise up through the spear, kill the rider,
and then kill the horse as well.
If a snake can have an Achilles’ heel, the
basilisk had two: It could not tolerate the scent of a
weasel or the sound of a rooster crowing. To slay a basilisk by weasel
 it was necessary to first lure the serpent into a weasel’s den and then
block the entrances and exits, whereupon the serpent would succumb to
the weasely fumes. Death by rooster was far easier as, according to the
Roman writer Claudius Aelian, the mere sound of a cock crowing
would cause the basilisk to go into convulsions and die (it was to pro-
tect the basilisk in the Chamber of Secrets from just such a fate that
Tom Riddle arranged the demise of several roosters at Hogwarts). But
perhaps the best defense of all was to hold a mirror up to the basilisk,
turning its own fatal gaze against it and causing it to die of fright.
Like many an imaginary creature, the basilisk was probably based
on a real animal—in this case the Egyptian cobra, which has a lethal
venom, moves with its head held upright, and has markings on its head
resembling a crown. As was common in antiquity, however, writers who
described the customs and creatures of foreign lands often did so with-
out ever having left home. Rather, they based their reports on the sec-
ondhand accounts of foreign travelers who no doubt embellished their
C tales to make them more interesting. As reports were told and retold,
22 the lore of the basilisk grew.

c By the Middle Ages popular books of mythical beasts had begun

to describe the basilisk as a bizarre monster having the body of a snake
(it was all snake in Greek and Roman traditions) and the head, wings,
and sometimes feet of a rooster. This version of the creature, which
legend had it could now be found in England as well as in Africa, was
known as a cockatrice as well as a basilisk. The unlikely combination of
snake and chicken apparently arose from stories concerning its birth,
which told of the basilisk hatching from a rooster’s egg that had been
laid in a hillside and incubated by a toad. It is this image of the basilisk
that was widely known and depicted in medieval art and heraldry,
sometimes with a body covered in feathers, sometimes in scales.
The basilisk of the Chamber of Secrets, however, is clearly of the
older type, strictly a serpent and a huge one, too, as befits the heir of
Slytherin.

◊ CS 16/290
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The Basilisk Today

The modern namesake of the mythical basilisk is an amazing tropical
lizard found in the rainforests of Central and South America. A mem-
ber of the iguana family, it lives in trees and among rocks and is able to
sprint across the surface of water, standing on its hind legs, holding its
body almost upright. It is an excellent swimmer and climber and dines
on insects, spiders, and other small animals. Because it can apparently
walk on water, it is sometimes called the Jesus lizard.

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23Jun52 EU279135 JE ME SOUVIENS DE TOI; w Pierre Cyrus
Nouveau w & m Edgar Eugene Lund © Edgar Eugene Lund 18Feb52
EU264988 JEALOUS; w, m & © Cecelia B. Schwartz 31Jan52
EU263087 JEALOUS INSANITY; w, m & © Gasper Catania 7May52
EU274037 JEALOUS OF YOU; w, m & © Norma Gene Tuller 1Feb52
EU263642 JEALOUS TEARS; w, m & © Lee Walter Moser 25Feb52
EU265483 JEAN; w Kate Marion m Louis Tobin © Kate Marion
21May52 EU275769 JEANETTE; w & m Samuel Musgrove Pickard m
John Frederic Robere © Samuel Musgrove Pickard & John Frederic
Robere 23Apr52 EU272416 JEANIE IN HER JEANS; w, m & ©
Thomas Henry Miller & John Edward Schilling 20May52 EU275328
JEANNETTE, JEANNETTE; w & m Joseph Thomas Fulgenzo arr
Donald Lavon Knox © Joseph Thomas Fulgenzo 2Jun52 EU276793
JEDGEMENT DAY; w, m & © Carlos E. Gibson & Margaret A. Gibson
9Jan52 EU260606 JELEN WALC; m Frank Wojnarowski & N. Nobis ©
Dana Music Co., inc. 23May52e EU277303 JELLY-FISH; w, m & ©
Jenny Virginia Lend Conley l4Apr52 EU271300 JEN HRAJ KAPELO; m
Jan Jelinek arr Franti8ek Alois Tichy © Ochranny Svaz Autorskf
250ct51 EU272787 JENNY AND JOE; w Patrick O'Hara m Mary Lou
O'Hara © Patrick O'Hara & Mary Lou O'Hara 25Jun52 EU279494
JENNY DARLING; w, m & © Mae Sinclair Rose 29Feb52 EU267060
JENNY, JENNY, JENNY; w, m & © John Evan Fortna 2Jan52
EU259877 JENNY'S GOING STEADY WITH ME; w, m & © Ruth
Winslow Reeves 14Feb52 EU264714 JEREMIAH3 w, m & © Herbert
Anderson 28Apr52 EU272914 J-E-R-K JERK; w, m & © Andrew
Hedman 23May52 EU275975 JERRY AND JUMBO; m Scott Bradley ©
Loew's inc. 12May52 EU274612 JERRY, THE JELLYFISH; w, m & ©
Morton Krouse 17Jun52 EU278483 THE JERSEY POLKA; m & ©
William Dorn & Leo Bottari 27May52 EU276396 JERSEY SKIPPER; w,
m & © Ernest Leslie Schofield 19Mar52 EU268341 JERSEY WALTZ;
w, m & © Arthur Stemson Dundas 28Mar52 EU269463 JES'
WISHIN'; w Henry Lee Dodd m Isabella Forsythe rae © Isabella
Forsythe Taylor 18Mar52 EU268234 JESSAMINE; w, m & © Edgar Ira
Lockwood 7TJan52 EU260405 JESULUS PRAGENSIS; w & m Josef
Stelibsky © For-dom, inc, 28Jan52 EU263654 JESUS, A FRIEND
DIVINE; w Jimmy Hamner m Billy John Whitehead © Jimmy Hamner
& Billy John Whitehead 2Apr52 EU270462 JESUS ALONE CAN SAVE
ME; w Kate Ulmer m Elliott Nelson Lindblad © Elliott Nelson Lindblad
5Jan52 EU260794 JESUS CARES FOR YOU AND ME; w, m & © Paul
Benjamin Franks 23Jun52 EU279114 JESUS CHANGED THIS HEART
OF MINE; w & m Robert Crenshaw © Venice Music ine. 7May52
EU274882 JESUS DIED FOR YOU AND ME; w & m Don Deadric
Robey & Lewis T. Blair © Lion Pub. Co. 22May52 EU275822 JESUS
DIED FOR YOU AND ME; w Ted M. Toby m Shep Sessoms © Ted M.
Toby 2Jun52 EU276725 JESUS HAS LOVED ME; w J. Wakefield McGill
m Elliott Nelson Lindblad © Elliott Nelson Lindblad 5Jan52 EU260771
JESUS, HE BROUGHT ME ALL THE WAY; w, m & © Thomas A.
Dorsey 17Apr52 EU271796 JESUS, I GIVE THEE MY ALL; w Janet
Louise Pentz m Louis Tobin © Janet Louise Pentz 30Jun52 EU279898
JESUS IS A FRIEND; w Cassius Hamilton m Louis Tobin © Cassius
Hamilton 4Feb52 EU263921 JESUS IS ALWAYS NEAR; w Mae
Livingston m H. A. Rudolphi © Herman Lubinsky, d.b.a. Savoy Music
Co. 21Dec51 EU260097 JESUS IS ALWAYS THE SAME; w, m & ©
Ruth Luella Harms Calkin 11Mar52 EU267506 JESUS IS COMING
AGAIN; w, m & © Oscar Lisembee 2Jun52 £U276786 JESUS IS
COMING FROM OUT OF THE BLUE; w Olive Caldwell Stone m
Clarence L. Williams © Olive Caldwell Stone & Clarence L. Williams
29May52 EU276623 JESUS IS COMING SOME DAY; w, m& ©
Margaret O. Kimball 19May52 EU275266 JESUS IS MY SALVATION;
w Rufus Charleston m James tharles McNeil © Rufus Charleston
4Feb52 EU264441 JESUS IS PLEADING; w, m & © Hattie Rowland
Pennington 9Jun52 EU277387 JESUS IS THE ANSWER TO YOUR
PRAYERS; w & m Don Deadric Robey © Lion Pub. Co. QMay52
EU27T4267 JESUS IS THE WAY} w, m & © Ruth Luella Harms Calkin
31Mar52 EU269789 JESUS KEEPS ME SINGING; w & m Arthur Smith
© John Harrison Batchelor, Oak Music Pub. Co. 3Mar52 EU266310
JESUS LOVES ME; w Mary Briscoe w Louis Tobin © Mary Briscoe
l4Jan52 EU261161 JESUS LOVES ME, HE DOES; w, m & © Janet
Rueter 2lJan52 EU261861 JESUS MADE HEAVEN FOR YOU; w, m &
© Margaret O. Kimball 5May52 EU273443 JESUS, MY EVERLASTING
FRIEND; w Abraham Joseph Osborne m Emerson Charles Scott ©
Abraham Joseph Osborne & Emerson Charles Scott 7Mar52
EU267022
 CATALOG OF COPYRIGHT ENTRIES 120 JESUS, MY
SAVIOUR; w, m & © on new w & added m Anna Henry Ritter
15May52 EU274851. Appl. states prev. reg. 21Jun51, EU242510.
JESUS OVER KOREA; w Mossie Hazelwood Purcell m Frances Tibbs
© Mossie Hazelwood Purcell & Frances Tibbs 26May52 EU276160
JESUS PAID THE DEBT; w & m Mollie Wilson © Venice Music, inc.
21Apr52 EU272785 JESUS PAID THE DEBT FOR YOU AND ME; w, m
& © Molly Wilson 11Feb52 EU264177 JESUS, PILOT ME; w Gracie E.
Acord m Louis Tobin © Gracie E. Acord 4Peb52 EU263925 JESUS
PLEADS FOR ME; w Katherine Adaline Valenta m James Dean
Gardner © Katherine Adaline Valenta & James Dean Gardner
21Mar52 EU268662 JESUS, PRECIOUS SAVIOUR; w William Luff m
Elliott Nelson Lindblad © Elliott Nelson Lindblad 5Jan52 EU260788
JESUS, THE LIGHT OF THE WORLD; w & m R. Patterson © Herman
Lubinsky d.b.a. Savoy Music Co. 17Jan52 EU264493 JESUS, THE
WONDERFUL SAVIOUR; w, m & © Harold Miller Davis 23Jan52
EU262114 JESUS WALKED THIS WORLD; w, m & © Arvil Clinton
Brown 11Feb52 EU263990 JESUS WALKS WITH ME; w, m & ©
Swedonia Catherine Witte 25Feb52 EU266034 JESUS WAS BORN
LONG AGO; w Thelma Quillian Goodrich m Margaret Hughston Terry
© Thelma Quillian Goodrich & Margaret Hughston Terry 7Jan52
EU260382 JESUS WAS THE BLESSED NAME OF GOD; w m & © Mary
E. Rice 21Feb52 EU26536 JESUS WILL COME; w Clysta M. Price m
Leo & Hector Richard © Clysta M. Price 26May52 EU276256 JESUS
WILL LEAD ME TO THE ALTAR; w, m & © Mary Baker Wing 17Jan52
EU261595 JESUS WILL MAKE THINGS ALL RIGHT; w, m & © Minnie
Mae Colbert 2lJan52 EU261831 JESUS, WONDERFUL FRIEND; w & m
Swedonia Catherine witte © Swedonia Catherine Witte & W. W.
Witte 11Feb52 EU264184 THE JET POLKA; m & © Leonard Pospte
2eJan52 EU262075 THE JEWISH WEDDING SERVICE; Hebrew w
Saul Tchernichovsky m arr Jason Bauch from Schubert's Impromptu
© on arr Jason Bauch lldun52 EU277814 JIGGERS, I HEAR GYPSIES;
w Anna Sievers m Louis Tobin © Anna Sievers 27Mar52 EU269192
JILTED from Skirts ahoy; m George Stoll © Loew's, inc. 28May52
EU276522 JIM JAM JUMPIN! JIVE; w & m Gordon E. Clisham &
William C. Robertson © William C. Robertson 19Dec47 EU110723
JIMINY CRICKET, GOSH OH, GEE; w Brandy Pasco w & m John
Sharpe © Brandy Pasco & John Sharpe 25Apr52 EU272600 JIMMY
CRICKET'S BIRTHDAY; w & m Ronald Wilson Padgett © The Sterling
Recording & Music Co. 23Jun52 EU279251 JIMMY DURANTA CLAUS;
w & m Jimmy Durante & Jack Barnett © Jimmy Durante Music Pub.
Co. 7Jan52 EU260468 JINGLE DINGLE; w Inez Karma m Carl Kent ©
Leon Jason 27May52 EU276420 JINGLE JANGLE CLIPPITY CLOP; w,
m& © John A. Resko 3Jan52 EU259977 JINGLE JANGLE TINGLE
TANGLE; w, m & © Daniel Wilfred Conway 8May52 EU274088
JINGLE JOE; w & m Churchill L. Kohlman © Oswald Werner & Sons
Co. 18Mar52 EU269335 THE JITTERBUG SUITE. SEE Yerxa. JOANIE;
w, m & © Anino Frontiero 14May52 EU274761 JOANNE; w, m & ©
George Henry Tilton 3d 14mMay52 EU274760 JOBS I'D LIKE TO
HAVE; w Milt Francis m Eddie Furman © Wallis Pub. Corp. 27Jun52
EU279650 JOE; m & © John Salvatore Eugenio 31Mar52 EU269701
JOE; m & © on changed & added m John Salvatore Eugenio
13May52 EU274631 JOE BLOW; w Joseph David m Victor George
David © Joseph David & Victor George David 2Mar52 EU266487 JOE
GOES UP; w & m Jimmy Durante © Jimmy Durante Music Pub. Co.
7Jan52 EU260467 JOE'S MOUSTACHIO; w & m Gladys Marie Claus
© Gladys Marie Claus & Alfred C. Claus 17Apr52 EU272698 JOHN
HENRY; w & m Snub Mosley & Moe Jaffe © David Gornston 17Jan52
EU261603 JOHN HENRY revised; w, rev & © Evans Dawson
10Mar52 EU267276 JOHN SAW A CITY; w, m & © Curtis Doyle
Bartmess 5May52 EU273467 JOHN THREE SIXTEEN; w & m Alton
Delmore & Ulys Turner © Lois Music Pub. Co. 26Mar52 EU269038
JOHNNIE BOY; w & m Frank Joseph Gallipoli m Frank LaFia © Frank
Joseph Gallipoli 11Feb52 EU264009 JOHNNIE ISN'T BASHFUL ANY
MORE; w & m Georgia Palmer arr Leo & Hector Richard © Georgia
Palmer l1lJun52 EU277800 JOHNNIE'S GONNA BLOW HIS HORN; w
Woodie Epps Graham m Elmer Tillman Hargis © Woodie Epps
Graham & Elmer Tillman Hargis 26Mar52 EU269067 JOHNNY; w & m
Jack Carrington © Guild Music Co. 12May52 EU274529 JOHNNY
BROWN WHO TURNED GREEN; w Jeanne Kay Schneider m Percy
Faith © Marpet Music Corp. 3Jan52 EU260868 Jan—June LF a NNR
ALLA NCU UIODII. COMIN CINGGCImINT i URRUCAINRART CNC RR
CATA ADNAN No cy) (mC OES pat JOHNNY MADDOX BOOGIE; m
Johnny Maddox © Dot Pub. Co., ine. 7May52 EU273986 JOHNNY,
THE JOLLY ELF; w, m& © Marvin Dultz 13Mar52 EU267737 JOIN
THE FOREIGN LEGION from Skirts ahoy; m George Stoll © Loew's,
inc. 28May52 EU276524 THE JOINT IS JUMPING; w, m & © Loyd
Lester Neal 30Apr52 EU273132 JOKAKE; w, m & © Neva Arlene Hart
14Feb52 EU264689 THE JOKE; w & m Ralph Ditchik, Earle Rogers
Snow Jr. & Jean Chapman Snow © Ralph Ditchik & Earle Rogers
Snow Jr. 14Mar52 EU267857 JOLIE VEUVE; w, m & © on new w &
changed m Anthony R. Bossley 28Feb52 EU266660. Appl. states
prev. reg. as Why not, 27Aug51, EU2IBY70. JOLIES POUPEES; w
Charles Louis Pothier & René Flouron m Vincent Scotto © Vincent
Scotto 7Mar52 EU268472 THE JOLLY ALPINE BOYS; m arr & ©
Victor L. Weinfurter & Roland Braun 12May52 Ev274452 JOLLY BABY.
SEE (Lovely) jolly baby. THE JOLLY COWPOKE; w, m & © on added
w Henry David Kasin 16Jun52 EU278360., Ae states prev.: The
tunesmith's ay. JOLLY JUMPIN' JEREMIAH; w Kay Wells m Raymond
Greif © Schwartz Music Co. 11Mar52 EU267525 JOLLY LYNDORA
POLKA; m & © Andrew Yaracs 20Feb52 EU265240 THE JOLLY
MINSTREL; w, m & © on changed w Henry D. Kasin 20Jun52
EU278958 THE JOLLY MISTER SANTA CLAUS IS MAKING
CHRISTMAS TOYS; w, m & © Pauline Newcomer 11Feb52 EU264117
JOLLY TIME POLKA; m Steve Garchar © Northern Music Corp.
30Apr52 EU276112 THE JOLSON SONG; w, m & © Hana Strauss
23May52 EU275990 EL JOROBAO; w & m Ester Forero © Peer
International Corp. llApr52 EU272078 JOSALEE THE CURLY HEAD; w
& m Naomi C. Campbell arr Marie A. Arms © Naomi C. Campbell
10Jun52 EU277690 JOSE AND SWEET MARIE; w, m & © Mary
Talbott Schwarz & Mel Joseph Connolly 26Feb52 EU265823 JOSHUA
COMMANDED, AND THE SUN STOOD STILL; w & m Edward Miller ©
Edward B. Marks Music Corp. 27Feb52 EU265905 THE JOSHUA
TREE; w, m & © on changed w Henry David Kasin 26Dec51
EU260354 JOSHUA'S SAMBA; m & © José Melis Guiu 2lMay52
EU275700 THE JOURNEY OF LIFE; w, m & © Be ypens Edward
Calhoun l4Jan52 EU26112 THE JOURNEY OF LIFE; w Mrs. Roy Allen
m Louis Tobin © Mrs. Roy Allen 26May52 EU276284
 1952 JOVIALITY; m Samuel Benavie & James Higgins ©
The Jam Handy Organization, ine. 16Apr52 EU271733 JOY; w Beda
Jordan m Louis Tobin © Beda Jordan 16Jun52 EU278294 JOY; w, m
& © Alfred Czerner 16Apr52 EU271719 JOY; w, m & © Michael
Angelo Graham 16May52 EU275012 JOY STREET; w, m & © Ernest
Weatherly Q9Jun52 EU277620 JOYCE; w, m & © Arthur Richard
Simeone Jr. 8Feb52 EU264515 JOYCE; w, m & © Fred Bruland
2Jun52 EU276827 JOYCE'S APARTMENT from Young man in a hurry;
m David Rose © Loew's, inc. 6Mar52 EU266890 JUANITA; w, m & ©
Diamond Record Co., inc., employer for hire of Joe Lee Williams
21Feb52 EU265967 JUANITA, JUANITA; w, m & © Joe Billy Hodges
Tucker 25Feb52 EU265571 JUCK IT; w Randall H. Bennett m James
Charles McNeil © Randall H. Bennett 25Feb52 EU266630 JUDGMENT
DAY; w, m & © Carlos E. Gibson & Margaret A. Gibson 6Jun52
EU277186 JUDY; w_ Emma Lancie m James Coase McNeil © Emma
Lancie 18Feb52 EU2605941 JUDY; w, m & © Jean Monda 7Apr52
EU271040 JUDY; w, m & © Martin Offenberger 29Feb52 EU266184
JUKE BOX DINER; w & m James Leyden Jr. & Charles Grean ©
Leeds Music Corp. 22Aprd52 EU272757 JULIANA OVERTURE; m & ©
Francis Ruppman 16Apr52 EU271682 JULIETTE; w, m & © George
Thompson TApr52 EU270581 JULIUS POLKA; w, m & © Rudy
Burkhalter 3Apr52 EU270239 JUMBALATO; w, m & © on new w
Sherman Feller 28Apr52 EU272907. Appl. states prev. reg. 12Sep51,
EU249787. JUMBLED REVEILLE; w, m & © Erica Amanda Newman
17Jan52 EW261585 JUMP BACK, HONEY, JUMP BACK; m & © Nat
Irving Kahn & Serge Hovey 26May52 EU276230 JUMP IN THE LINE;
w & m Blake Alphonso Higgs © Songs of the Islands, ltd. 4apr52
EU270969 JUMP IT, MAN; m Thomas A. Goodman © Goodman
Music Co. 19Jun52 EU278848 JUMPIN' AND STOMPIN'; m James C.
Liggins & K. Zulu © Venice Music, inc. 6Feb52 EU264503 JUMPING,
RUNNING AFTER YOU. Running, jumping after you; w, m & © Tina
Rhodes 30Apr52 EU273220 JUMPTIME; m & © Talmadge Smith &
Teddy Brannon 2Apr52 EU2T70060 JUNE; w Richard Lee Caney m
David Ross Baskerville © Richard Lee Carey 25Feb52 EU266021
223549 O- 52-9 UNPUBLISHED MUSIC JUNE BUG BOOGIE; w Jo-Ann
Nipper m Nora Marie Cox © Jo-Ann Nipper & Nora Marie Cox
5May52 EU273500 JUNE BUG JITTERS; w & m Max Fidler & Frances
Kane © Hill & Range Songs, inc. 12Mar52 EU269387 JUNE-TEENTH
JAMBOREE; w & m Mary C. Bentley © Boyd Pub. Co. 29Feb52
EU266190 A JUNE WEDDING; w Sam Ward m Vahan Hovhannissian
© Sam Ward & Vahan Hovhannissian 10Jun52 EU277746 JUNE
WEEK WALTZ; w Gordon Astor Goldsmith m George Ernest Parr ©
Gordon Astor Goldsmith & George Ernest Parr 17Apr52 EU271797
JUNGLE; w & m Bob Savage & Bill Anson arr Lou Halmy © Ardmore
Music Corp. 2Jan52 EU260822 JUNGLE FLUTE; m Candido Dimanlig
& Xavier Cugat © Edward B. Marks Music Corp. 23Jan52 EU262108
JUNGLE LU; w Beecher Nelson Cain m Larry Leon Cain © Beecher
Nelson Cain & Larry Leon Cain 9Apr52 EU270923 JUNIOR MISS
POLKA; w Wally Balicki & Eddie Gronet © Cherio Music Publishers,
inc. 25Jun52 EU279438 THE JUNIOR TEXAS RANGERS; w, m & ©
Ralph Waldo Cummings 8May52 EU274077 JUNIOR'S WALTZ; m Ray
Saunders © Gala Music Pub. Corp. 1Feb52 EU263133 JUNIPER
STREAM; w, m & © Maisie Louise Watson & Hugh Watson Littlebury
20Jun52 EU279021 JUNKERS AND CLUNKERS; w, m & © Harry
Harnett 28May52 EU276501 JUST A BABY DOLL; w, m & © George
Theodore Korbos 28Mar52 EU269529 JUST A BOOK ON THE SHELF;
w, m & © Mildred Ost 13May52 EU274734 JUST A BUNCH OF
SWEET VIOLETS; w Ernest J. Carpenter Sr. m Louis Tobin © Ernest
J. Carpenter Sr. 30Jun52 EVU279903 JUST A BUNDLE OF OLD LOVE
LETTERS; w, m & © Le Roy De Gregory 12Jun52 EU278079 JUST A
DAILY PRAYER; w, m& OW. R. Adams 4Feb52 EU263311 JUST A DAY
OR TWO; w Orritt E. Stewart m Louis Tobin © Orritt E. Stewart
2Jun52 EU276869 JUST A DREAM AWAY; w, m & © Jean Self Bright
4Feb52 EU263318 JUST A DREAM OF YOU; w, m & © Andrew Louis
Clouspy & Joseph Louis Miller 7May52 EU274009 JUST A DREAM
TRAVELER; w, m & © Gladys Marie Lambros 5Jan52 EU260256 JUST
A FADING LOVE; w, m & © Sherman Marsh Cooledge 25Jan52
EU2624902 JUST A FEW WHISPERED WORDS; w, m & © William
Herman Reuter 23Jun52 EU279313 JUST A FOOL; w, m& © Walter
L. Curran lApr52 EU270006 121 JUST A FOOL FOR YOU; w, m & ©
Mary Jane Polk 10Mar52 EU267151 JUST A FOOL IN LOVE WITH
YOU; w &m Eloise Hinds © Marvelle Music Co. 26May52 EU276138
JUST A FRIEND; w, m & © Jeanette Elizabeth Uhl 9Jan52 EU260664
JUST A GOOD TIME AND THEN WE!RE THROUGH; w, m & © Paul
Henry Phelan 16Apr52 EU271698 JUST A-HUNTIN'; w David H.
Koontz m Louis Tobin © David H. Koontz 14Apr52 EU271388 JUST A
KISS OR TWO; w, m & © Robert Clarke Hopkins 3Jan52 EU259969
JUST A LINE; w, m & © Howard Osborne Allen Sr. & Edward Spiegel
9Jan52 EU261527 JUST A LITTLE BIT; w, m & © Bradford Francis
Crandall 20Jun52 EU278955 JUST A LITTLE CORNER IN YOUR
HEART; Ww, m & © Wenceslaus Walter Kosakowski 26Dec51
EU260201 JUST A LITTLE DREAM OF MINE; w Shirley Andrew
Rogers m Richard Earl Barrett arr Owen Rhoden Perry © Richard
Earl Barrett 18Feb52 EU265003 JUST A LITTLE LOVE; w, m & © Guy
Henry Hall 15Apr52 EU271630 JUST A LITTLE MORE WAITING; w &
m Mae Clarke, Walter R. Clarke & Jimmy C. Wakely © Jimmy Wakely
Songs 2Jun52 EU276768 JUST A LITTLE ROCK CABIN; w Mary
Stoner m Louis Tobin © Mary Stoner l4Apr52 EU271373 JUST A
LITTLE SWEET TALK; w, m & © Lolla Mont Gue 6Mar52 EU266861
JUST A LITTLE TOO STINGY; w Elroy Peace Jr. m Marshall Turkin ©
Elroy Peace Jr. & Marshall Turkin l4Jan52 EU261238 JUST A
LONESOME LITTLE FELLOW; w, m & © Johnnie B. Price 14May52
EU274870 JUST A LOST LOVER; w Betty June Tanner m Ronald Buck
© Betty June Tanner 30Jan52 EU263119 JUST A LULLABY; w, m &
© Maybell Wade Jackson 7Apr52 EU270634 JUST A MEMORY; w
Earnestine Watkins m Leo & Hector Richard © Earnestine Watkins
28Jan52 EU272724 JUST A MEMORY; w Michael Caruso m Cataldo
Ludovico © Michael Caruso & Cataldo Ludovico 15Apr52 EU272669
JUST A MODERN DAME; w, m & © Daniel Joseph Greer 17Apr52
EU271854 JUST A NUMBER; w Patrick E. Grimes m George C.
Edwards © Patrick E. Grimes 3Jan52 EU260306 JUST A PETAL FROM
A BROKEN HEART; w, m & © Edward Vincent Knuth 4Apr52
EU270416 JUST A PHONY MILLIONAIRE; w, m & © John Branch
Nixon 2Jan52 EU259903 JUST A PHOTOGRAPH OF YOU; w Maurice
Patrick Griffen w & m Frank Joseph Gallipoli & Frank LaFia © Frank
Joseph Gallipoli 11Feb52 EU264008
 122 JUST A PICTURE OF YOU; w James C, Garner m Louis
Tobin © James C. Garner 30Jun52 EU279910 JUST A POKEY OLD
PONY AND ME; w, m & © Donald Anderson McLeod 16Jun52
EU278324 JUST A RED ROSE; w, m & © Glade Byron Colton
17Jan52 EU261588 JUST A SONG; w, _m & © Jack Lewis 29Feb52
EU266670 JUST A TRAVELIN' MAN; w & m Lou Willie Turner ©
Venice Music, inc. 13Apr52 EU272099 JUST A WHISPERED
GOODBYE; w, m & © Edyth Rouse 28Apr52 EU273006 JUST A
WHITE LILY; w Marie Verger m Leo & Hector Richard © Marie Verger
l4Apr52 EU272715 JUST A WHITE ROSE; w, m & © Margaret Lenore
Evans 9Jun52 EU278205 JUST AN ACRE OF GROUND; w Jim Ralph
Ferris w & m doy Lane Ferris © Jim Ralph Ferris & Joy Lane Ferris
16Jun52 EU278219 JUST AN OLD BANJO AND A BROKEN DOWN
PIANO; w & m Bernie Baum, Lou Shelly & Marty Reide © Frank
Hennigs Music Pub. Co. 14Dec51 EU260346 JUST AN OLD FAMILY
ALBUM; w Mary L. Stuteville m James Charles McNeil © Mary L.
Stuteville 14Apr52 EU272041 JUST AN OLD-FASHIONED LAD; w Lula
Shaffer m Leo & Hector Richard © Lula Shaffer 10Mar52 EU267366
JUST ANOTHER; w, m & © Marianne Frances Sciarretta 4Feb52
EU263432 JUST ANOTHER CHANCE; w, m & © Jean Turk & June
Turk 10Mar52 EU267132 JUST ANOTHER CHANCE TO HOLD YOU IN
MY ARMS; w, m & © Berneice Mishler 21lMay52 EUV275731 JUST
ANOTHER DAY; w & m Sam Cook © Venice Music, inc. 2lApr52
EU272784 JUST ANOTHER DAY; w, m & © Lorraine Ruth Gola
29May52 EU276603 JUST ANOTHER DREAM; m & © J. Danny
Turner 4Mar52 EU266562 JUST ANOTHER DREAM; w, m & ©
Margaret Fay Stokes 16Jun52 Eue784e4 JUST AS MUCH AS I LOVE
YOU; w Bill Anson m Jimmy G. Mulcay & Mildred B. Mulcay © Bill
Anson, Jimmy G. Mulcay & Mildred B. Mulcay 2May52 EU273372
JUST AS SURE; w, m & © John Arvan 1Feb52 EU263182 JUST AS
YOU WERE; w William Nickle m Ronald Buck © William Nickle
25Apr52 EU272606 JUST BECAUSE I LOVE YOU; w Anthony James
Girandola m Louis Nicholas Cappelletti © Anthony James Girandola
& Louis Nicholas Cappelletti 1lOApr52 EU271072 JUST BECAUSE THE
GRASS LOOKS GREENER OVER THERE; w & m Edwin Georgi ©
Edwin Georgi d.b.a. Norcon, inc. 13Feb52 EU264860 JUST BECAUSE
YOU WERE THERE; w, m & © Ralph Malvern McAfee 30Apr52
EU273154 JUST BETWEEN YOU AND I; w Grayce M. Dandrea m Joe
Milton © Grayce M. Dandrea 7Apr52 EU270576 JUST BETWEEN YOU
AND ME; w, m & © Albert Giebel 17Mar52 EU267939 JUST CAN'T
FIGURE OUT HOW I GOT THIS WAY; w Frederick E. V. Giberson m
James Charles McNeil © Frederick E. V. Giberson 2Jun52 EU277978
JUST CAN'T HAVE EVERYTHING; w, m & © Manuel C. Murray
12Mar52 EU267625 JUST CAN'T HAVE EVERYTHING; w, m & © on
changed w Manuel Charles Murray 22Apr52 EV273847 JUST CAUSE
IT'S YOU; w & m Ruth Rivers Bass arr Bill Tennyson © Ruth Rivers
Bass 27Mar52 EU269199 JUST CRYING; w Nell H. Grant m James
Charles McNeil © Nell H. Grant 21lJan52 EU262348 JUST DREAM; w,
m & © Edward Loomis German QJun52 EU277452 JUST DREAMING;
w, m & © Margit Hildegard Forssgren 12May52 EU275554 JUST
DREAMING A LITTLE IS ALL I CAN DO; w Lula Dorn Medbourne m
Ronald Buck © Lula Dorn Medbourne 7Mar52 EU266962 JUST
DREAMING POLKA; w & m Ray S. Gay © Dana Music Co. inc.
28Apr52 EU272954 JUST DRIFTING ALONE; w Edward Barrington
Saunders m Anne W. Mayer © Edward Barrington Saunders 8Feb52
EU263829 JUST DRIFTING ALONG; w Albert J. Duffy & George
Charles Dworshak m J. Gregory Smith © on new m George Charles
Dworshak 10Mar52 EU267167. Appl. states prev. reg. as Drifting on
life's highway, 1928. JUST DUCKY; m Scott Bradley © Loew's, inc.
15May52 EU274943 JUST FEED MY BODY TO THE FISHES; w, m &
© Diamond Record Co., inc., employer for hire of Willie Love
21Feb52 EU265973 JUST FOR A LAUGH; w, m & © Carl Frank Tyler
2lJan52 EU261842 JUST FOR A SOUVENIR; w Ellen Stroud m Louis
Tobin © Ellen Stroud 3Mar52 EU266496 JUST FOR A WHILE; w
Blizabeth Brown m Oskar Geiger © Edward B. Marks Music
Corporation 15Jan52 EU261310 JUST FOR LOVE; w Edward Cole m
Leo & Hector Richard © Edward Cole 7Mar52 EU266973 JUST FOR
NOW; w, m & © Helen M. McCord & Ione Louise Glover 12May52
EU274506 JUST FOR THY GLORY; w & m Frances May Powell arr
Peggy Laura Nickerson ©.Frances May Powell 29Feb52 £Ul66208 a
CATALOG OF COPYRIGHT ENTRIES Jan.—June JUST FOR TONIGHT;
w & m Jack Anglin, Jim Anglin & Johnnie Wright © Hill & Range
Songs, inc. 13Mar52 EU269385 JUST FOR YOU; w & m Cliff Waldorf
King © K. & K. Music Publishers 8Apr52 EU270807 JUST FOR YOU;
w Ethel Alverie Moyer m Mildred Eva Haggerty © Ethel Alverie Moyer
& Mildred Eva Haggerty 17Mar52 EU267979 JUST FOR YOU; w, m &
© Ann Paul & Thomas Richard Paul 10Jan52 EU260887 JUST FOR
YOU; w, m & © Daniel Henry Pontecoruo 30Jan52 EU262950 JUST
FOR YOU; w, m & © Harry Scott Taylor 2lJan52 EU261833 JUST FOR
YOU; w, m & © Julia Ellen McIntire 21Dec51 EU262337 JUST FOR
YOU; w, m & © Ronald Eugene Watson & Albert J. Tieken 4Jan52
EU260068 JUST FOR YOU; w, m & © Roy Leonard Gable 24Jan52
EU262234 JUST FOR YOU; w Sy Taylor m Ernesto de Curtis © on w
David Gornston 6Feb52 EU263604. Appl. states prev. version: Torna
a surriento. JUST GOING HOME TO KIND OF LOOK AROUND; w Mrs.
R. Beasley m David Strand © Mrs. R. Beasley 30Jun52 EU279810
JUST HAPPINESS; w, m & © Leslie Lancelot D'Arbeau l4Apr52
EU271449 JUST HAVE YOUR WAY; w & m Edgar Clayton © Babb
Music 6May52 EU277906 JUST HOW LONG; w & m Earl R. Wells &
Margaret Gordon © Bess Music Co. 4Apr52 EU270382 JUST HOW
LONG; w Margaret Gordon m Earl Rickey Wells © Margaret Gordon
& Earl Rickey Wells 18Mar52 EU268218 JUST HOW LONG YOU'LL BE
TRUE; w & m Webb W. Pierce © Ark-La-Tex Pub. Co., inc. 13Mar52
EU267743 JUST KEEP A SONG IN YOUR HEART; w, m & © Lester
Lee Hudson 28Jan52 EU262620 JUST KISS THE G.I.'S GOODNIGHT;
m & © William Augustus Cox 9May52 EU274223 JUST LET ME CALL
YOU HONEY; w, m & © George William Elliott 16Jan52 EU261372
JUST LET ME DREAM; w, m & © Edward Leo Belau 5Jan52
EU260257 JUST LET ME LOVE YOU; w & m Joe Thomas, Howard
Biggs & Robert Mellin © Algonquin Music, inc. 27Mar52 EU269243
JUST LET ME WORK IN WHITENED HARVEST FIELDS; w, m & ©
Blanche Mildred Collier 16Jun52 EU279610 JUST LIKE A FAIRY TALE;
w, m & © Robert Fergus Calder 28Jan52 EU262617 JUST LIKE A
PUZZLE; w Jake P. McIntosh m Louis Tobin © Jake P. McIntosh
QJun52 EU277558
 1952 UNPUBLISHED MUSIC 123 JUST LIKE A WOMAN; w,
m & © Louise Jackson Funk 11Feb52 EU264146 JUST LIKE
WALKING IN A DREAM; w Eva Ayers m Louis Tobin © Eva Ayers
26May52 EU276283 JUST LIKE WE USE TO DO; w, m & © Jean
Anna Wilmot 31Mar52 EU269802 JUST LIKE WE WERE BEFORE; w
Richard Gould Allen m Richard Hughes © Richard Gould Allen &
Richard Hughes 22May52 EU275854 JUST LISTEN TO THAT YODEL;
w, m & © Martha Olivia Forsell 10Apr52 EU271136 JUST LOOKIN'; w
& m Melborn Cooper Butler & Arthur Smith © Lynn Music Corp.
19Feb52 EU265106 JUST LOOKIN'; w, m & © Melborn Cooper Butler
21Jan52 EU262326 JUST LOVE ME; w Loretta Isler & Margery Hardy
m Loretta Isler arr Margery Hardy © Loretta Isler & Margery Hardy
13Mar52 EU267734 JUST LOVING ME THE WAY YOU DO; w Betty L.
Currie m Leo & Hector Richard © Betty L. Currie 24Jun52 EU279406
JUST ME AND MY GUITAR; w, m & © Kay Londa Gale 2Jun52
EU276734 JUST MEET ME IN ORLANDO; w, m& Hugh Jackson
Arnsdorff 25un52 EU276838 © JUST NOW AND THEN; w Patricia
Jordana m Louis Tobin © Patricia Jordana 31Mar52 EU269843 JUST
ONCE IN A LIFE TIME; w, m & © Herbert Arthur Woods 10Apr52
EU271055 JUST ONCE MORE; w, m & © Gene Edward Soles
15Apr52 EU271603 JUST ONE LITTLE CHORUS; w Sylvia Dee m Sid
Lippman © Shapiro, Bernstein & Co., inc. 4Jan52 EU260866 JUST
ONE MOMENT; w & m Don Deadric Robey & Livingston Turner ©
Lion Pub. Co. 9May52 EU274274 JUST ONE MORE; w Zel Soehnel m
Ray Soehnel © Raze Music 8Feb52 BU263792 JUST ONE MORE
KISS; w, m & © Eileen A. Wilson Angelos lApr52 EU270158 JUST
ONE MORE KISS LIKE THAT; w Mary Leone m Amedeo Leone ©
Mary Leone & Amedeo Leone 28Jan52 EU262732 JUST PRETEND; w,
m & © Kenneth S. Crandall 27Mar52 EU269232 JUST REMEMBER
ME; w, m & © Wayne Edwin Adams 16Jun52 EU278224 JUST
REMEMBERING YOU; w Anna M. Brown m Ben Patton © Anna M.
Brown & Ben Patton 18Mar52 EU269898 JUST RIDING THE RANGE,
BUT NEVER FOUND RIDING ALONE; w, m & © Thomas Lee Gipson
12May52 EU274468 JUST 'ROUND THE BEND IS PLEASANT
CORNERS; w, m & © Grace Evelyn Mershon 19Feb52 EU265099
JUST SAY I'M LONELY; w, m & © James Eddie Mack 24Mar52
EU268708 JUST SAY THE WORD; w, m & © David Shepherd
22Jan52 EU262106 JUST SAY THE WORD; w, m & © Thomas Sol
Moers & Milton Edward Lichterman 19May52 EU275220 JUST SMILE;
w Pat T. Lancio m Ronald Buck © Pat T. Lancio 22May52 EU275818
JUST SO MUCH, NO MORE; w, m & © Stanley Davis 18Apr52
EU271941 JUST STAY THE WAY YOU ARE; w, m & © Mario J.
DiNapoli & Louis Anthony Carter 5Feb52 EU263481 JUST TELL ME
SO; w Vineta Ilene Thompson m James Richard Taylor © Vineta
Ilene Thompson & James Richard Taylor 28Apr52 EU272904 JUST
THE MEMORY; w, m & © Wayne Lawrence Moore 10Jan52
EU260902 JUST THE OPPOSITE; w, m & © Kenneth E. Nelson
7Apr52 EU270623 JUST THE WAY HE KISSED HER ON THE
IMPULSE; w, m & © Raymond Edward Tuckerman 14Apr52
EU271308 JUST THINKING; w, m& © A. C. Nail 18Jun52 EU278623
JUST THINKING OF YOU; m & © Pliny Lee Allen 21May52 EU275733
JUST THIS ONCE; w Patrick O'Hara m Mary Lou O'Hara © Patrick
O'Hara & Mary Lou O'Hara 25Jun52 EU279492 JUST TO BE NEAR
YOU; w, m & © James Frederick Le Jeune 1llJun52 EU277845 JUST
TO BE NEAR YOU ALWAYS; w W. K. Ferguson m Louis Tobin © W. K.
Ferguson 23Jun52 EU279177 JUST TO BE WITH YOU; w & m Ernest
Dean Smith & Helen Elizabeth Myers © Ernest Dean Smith 31Mar52
EU269710 JUST TO GATHER A STAR; w, m & © on rev Iyonne
Catherine Barber 24Mar52 EU269591. se states prev. reg. 4Nov49,
EU183866. JUST TO HOLD YOU IN MY ARMS; w, m & © Agnes
Mabel Konantz 2lJan52 EU261880 JUST TO LOVE YOU ONCE MORE;
w, m & © John Joseph Monaco Colombraro 8May52 EU274123 JUST
TO YOU; w, m & © Howard C. Franks 5Mar52 EU266739 JUST
WAITING; w Mrs. Merlin C. Slane m Louis Tobin © Mrs. Merlin C.
Slane 5Jan52 EU260712 JUST WAITING FOR YOU; w, m & © Victor
J. Leone 12May52 EU274473 JUST WHEN THOU WILT; w F. R.
Havergal m Elliott Nelson Lindblad © Elliott Nelson Lindblad 5Jan52
EU260795 JUST WHERE YOU ARE; w, m & © Isabel Budd 29May52
EU276568 JUST WHISTLE; w, m & © Lillian Reiter 15May52
EU274903 JUST WISHING MY LIFE AWAY; w, m & © Ethel Frances
Simmers 23Jun52 EU279231 JUST WONDERING; w, m & © Mrs.
Patricia Pl&te Barre Jr. 14Feb52 EU264699 JUST WONDR! ING; w Zel
Soehnel m Ray Soehnel & Andrew Quintel © Raze Music 14Mar52
EU267785 JUST YOO HOO FOR WEBER; w & m Richard William
Harrison © Baker, Johnson & Dickinson 11Feb52 EU264030 JUST
YOU; w, m & © Emilie Helen Beck 13May52 EU274636 JUST YOU;
w, m & © John James Koch Jr. 2Jun52 EU276662 JUST YOU; w, m &
© Mary Linus Adamson 28May52 EU276479 JUST YOU AND I; w
Anthony Joseph m James Alexander Brennan © Anthony Joseph
4Jun52 EU277061 JUST YOU AND I; w, m & © Robert Woodrow
Chambers & Harold Loyld Lassiter 30Jun52 EU279837 JUST YOU
AND I; w Woodbridge Blanchard Brown m Vernam Alson LaShier ©
Woodbridge Blanchard Brown & Vernam Alson LaShier 23Apr52
EU272453 JUST YOU IN MY ARMS; w, m & © Meyer Studnick
3lJan52 EU263050 JUST YOU WAIT AND SEE; w, m & © Ruth Luella
Harms Calkin 9Apr52 EU270908 JUST YOU, YES, YOU CAN BE THE
BOSS; w, m & © James Kanelos 9Apr52 EU270900 JUST YOUR
LEFT-OVERS OF LOVE; w Gossie Prentice m Louis Tobin © Gossie
Prentice 20Feb52 EU265318 JUST YOUR MOM; w, m & © Vivian L.
Kromenacker 31Mar52 EU269864 K K. C. BLUES; w & m Roy Bird ©
Armo Music Corp. 10Mar52 EU267228 KA NANI O KOLOA; w William
W. Kaaikaula m Joseph K. K. Maluo © Joseph K. K. Malyo 3Mar52
EU266408 KADDISH. Prayer for the dead, with English w; m & ©
Philip Julius Sherman & Katherine Isabelle Sherman 6Feb52
EU264619 KANGAROO HOP; m & © Thaddeus J. Paszek 14May52
EU274769 KANSAS; w, m & © James C. Atkins llApr52 EU271255
THE KANSAS CITY WALTZ; w, m & © Lola Irene Miller 10Mar52
EU267289 KANSAS WALTZ; w, m & © Veneita Louise Rollwagen
26Mar52 EU269070 KAPIOLANI; English w & m Ilah Haynes & Danny
Kuaana © Peer International Corp. 18Jan52 EU266291 THE
KAPUSKASING WALTZ; w Eva Gendron m Louis Tobin © Eva
Gendron 17Mar52 EU268013 KARESS; w Helen Elizabeth McConnell
m Virginia Gloria Carter © Helen Elizabeth McConnell & Virginia
Gloria Carter 4#Feb52 EU263849 KARIBE TAKI; mH. Brafia arr
Moises Vivanco © Beechwood Music Corp. 14Jan52 EU261475
KATHALENA; w, m & © Mary Anna Varallo 25Feb52 EU265702
 124 Rea KATHLEEN; w, m & © Dorothy Florentine 8Apr52
EU270824 KATHLEEN; w, m & © Lorraine Marie Vendittuoli 14May52
EU274786 KATHY ARRIVES AT THE PARTY from Singin! in the rain;
m Leonard Hayton © Loew's, inc. l4Apr52 EU271471 KATIE. I love
my darling; w, m & © on added w Evangeline Shortall McAllister
28May52 EU259179. Appl. states prev. reg. as EU271776. KATIE
DID, KATIE DID, KATIE DID; w Winifred Patton m Leo & Hector
Richard © Winifred Patton 10Mar52 EU267369 KATY ANN; w, m & ©
George Edward Kivisto 15Jan52 EU261302 KAWAILOA; w, m & ©
Angeline Mileina McKeague 27Mar52 EU269230 KAY'S LULLABYE; w,
m & © Maude Knowles Mammel 2lJan52 EU261940 KAZOO POLKA;
m & © Walter John Jaworski 27TMay52 EU276380 THE K'E, with w;
m & © Celius Hudson Dougherty lOApr52 EU271056 KE APO NEI; w
William Wallace Kaaikaula m Joseph K. K. Maluo © Joseph K. K.
Maluo 12Jun52 EU278126 KEEP A LIGHT A-GLEAMING IN YOUR
HEART; w, m & © Marie Miller 4Mar5e2 EU266559 KEEP A SMILE
ON YOUR FACE; w, m & © James Sakelari l0Apr52 EU271109 KEEP
COOL; m Charles Singleton © Arlene Music Co. 3Apr52 EU270233
KEEP 'EM FLYING; w Harold Wayne Bevis m Frank Bernard Feltrup ©
Eastern Air Lines, inc. 23Jan52 EU264594 Dy EEP HAPPY POLKA; w
Eugene Homer Ploof m George Joseph Boyko Jr. © Eugene Homer
Ploof & George Joseph Boyko Jr. 25Feb52 EU265554 KEEP HAPPY
WITH A SONG; w, m & © Ruth Luella Harms Calkin 17Mar52
EU267927 KEEP OFF THE GRASS; w, m & © Albert Leonard
Braunstein 30Jun52 EU279885 KEEP ON LOVIN! ME; w, m & ©
Monte Paul 18Apr52 EU271977 KEEP ON WISHING; w Ethel Grace
Winter m Gerard Leonard Knieter & Howard Lowett © Ethel Grace
Winter, Gerard Leonard Knieter & Howard Lowett 26Feb52 EU265798
KEEP SAKES; w, m & © Erich F. Burkamp 18Apr52 EU271986 KEEP
SMILING; w, m & © Helen E. 2Jan52 EU259891 Saul KEEP
SMILING; w, m & © Herbert Miller 21Apr52 EU272266 KEEP THAT
LIGHT SHINING; w, m & © Mary Hunt Ketron 12May52 EU274590
KEEP THAT LITTLE DREAM; w, m & © Dorothy Louise Farrar &
Elmer Louis Wehmeier 17Mar52 EU268106 KEEP THAT SPECIAL
SMILE FOR ME; w J. V. Branch m Louis Tobin © J. V. Branch 9Jun52
EU277556 KEEP YOUR COLD FEET OFF MY BACK; w, m & © Robert
Phillips & Julius W. Cortez 7Mar52 EU266998 KEEP YOUR LAMP
BURNING HIGH; w & m Joseph W. Morgan © Herman Lubinsky,
d.b.a. Savoy Music Co. 24Apr52 EU273108 KEEP YOUR NOSE OUT
OF MY BUSINESS. SEE Keep your nose out'a my business. KEEP
YOUR NOSE OUT!A MY BUSINESS. Keep your nose out of my
business; w & m Jack Carrington © Guild Music Co. 27Jun52
EU2796037 KEEP YOUR POWDER DRY from Lonely star; w, m & ©
Mary Lasswell 7Mar52 EU266944 THE KEEPER OF MY HEART; w
Margaret Habbena m Leo Richard & Hector Richard © Margaret
Habbena 28Jan52 EU263042 KEEPER OF THE BLUES; w & m Don
Deadric Robey © Peacock Records, inc. 19Mar52 EU268394
KEFAUVER OF TENNESSEE; w, m & © Brice Ellison Hollander
3Mar52 EU266426 KELLOGG'S ALL BRAN WAGON; w The Kellogg
Co., employer for hire of Stan Rhodes m The Kellogg Co., employer
for hire of Bob Swanson © The Kellogg Co. 24Apr52 EU272520
KELLOGG'S SHREDDED WHEAT; w The Kellogg Co., employer for hire
of John DeVries m The Kellogg Co., employer for hire of Bob
Swanson © The Kellogg Co. 24Apr52 EU272519 KELLOGG'S
SHREDDED WHEAT no.3; w The Kellogg Co., employer for hire of
John DeVries m The Kellogg Co., employer for hire of Bob Swanson
© The Kellogg Co. 24Apr52 EU272518 KELLOGG'S SPACE CADET; w
Kellogg Co., employer for hire of Stan Rhodes m Kellogg Co.,
employer for hire of Ray Bloch © Kellogg Co. 6Mar52 EU266840
KELLOGG'S VARIETY PACK; w Kellogg Co., employer for hire of John
DeVries m Kellogg Co., employer for hire of Bob Swanson © Kellogg
Co. 6Mar52 EU266841 KELLY MILLER CHAPTER SONG; w, m & ©
Florietta Mae Diggs 3Jun52 EU276928 KENAI REVERIE; m & ©
Thomas Francis Jones 24Mar52 EU268815 KENTUCKY; w & m
Clarence Lynch arr Basil Sadler © Clarence Lynch 10Apr52
EU271180 KENTUCKY; w, m & © Haden Boling Brumbeloe 12Mar52
EU267571 KENTUCKY BLUES; w, m & © William Joseph O'Neil
3Mar52 EU266475 KENTUCKY DERBY DAY; w, m & © John Calhoun
Dusenbury 15Apr52 EU271576 KEPT BY HIS POWER; w, m & ©
Hazel Alverson Collins 17Apr52 EU271817 KERRY, THE KANGAROO;
w, m & © onm Harriet S. Potash 28Jan52 EU262807 CATALOG OF
COPYRIGHT ENTRIES Jan.—June KEWALO CHIMES; m & ©
Frederick Theodore Tavares 31Mar52 EU269625 v KEY HOLE BLUES;
w Lynda Leonard m Jack Hunt © Central Songs, inc. 18Jun52
EU278545 THE KEY IS IN THE DOOR; w Julius Levine m Joseph
Meyer © Cal Music Co. 15Feb52 EU264782 THE KEY TO MY HEART;
w Jessie Maidy Stewart m Al Terry © Jessie Maidy Stewart & Al Terry
26May52 EU276182 THE KEY TO YOUR HEART; w Lillie M. Lynn m
Louis Tobin © Lillie M. Lynn 14Jan52 EU261151 KEY WEST; w, m &
© Gladys Gilbertson 14May52 EU2747 74 KIAMISH CHOCTOW
ROSE; w & m L. B. Ruth & Bill Mize © Lonat Music Pub. Co. 27Feb52
EU265902 KICKIN! THE BASKET; w & m Blanche Elektra Allyson &
Bob Chilton © Colby Music Pub. Co. (Blanche Elektra Allyson &
Sylvia Cobacker Theys ) 17Jun52 EU278493 KICKIN' UP A STORM; w
Oliver Holmes McCool w & m Walter Francis Bishop © Walter Francis
Bishop 23Jun52 EU279583 KIDS CARE; w, m & © Edward George
Kean & Robert E. Smith 8Apr52 EU270762 KIKAPOO WATTLEPOP; w,
m & © Cora MacGeachy 12Feb52 EU264309 A KILO EL BON BON; w
Gonzalo Alejandro Campillo m Joseph Esteves Jr. © Gonzalo
Alejandro Campillo & Joseph Esteves Jr. 12Mar52 EU267565
KIMEBO-KIMEBO; w David B. Garvin m Seott B. Seely © David B.
Garvin & Scott B. Seely 19May52 EU275096 KIMMY MORE; w, m &
© Loyal Treat Nichols 14Mar52 EU269118 KIND OF A FEELIN'; w, m
& © Herbert Crowell Chase Jr. 23Jan52 EU262193 A KIND OF BLUE;
w, m & © on added & changed w Riley T. Enlow l6Apr52 EU272743
KIND TO ANIMALS; w Jack Gray w & m Hugh Martin © Jack Gray &
Hugh Martin lOApr52 EU271123 THE KINDRED SPIRITS; w, m & ©
William Rudolph Eskilsson 10Mar52 EU267277 THE KING; w Jerry
Raker m Don Costa © Leo Feist, inc. 26Dec51 EU260166 KING AND
PRINCE WALTZ; w, m & © Neva Arlene Hart 20Feb52 EU265238
KING MUSIC; w, m & © Clara Emma Kaylor 14May52 EU274814
KING OF A TINY ROOM; w Lou Dare m Jack Phillips © Lou Dare &
Jack Phillips 14Jan52 EU261495 KING OF THE RODEO; w, m & ©
Carlos E. Gibson & Margaret A. Gibson 7Mar52 EU266895 KINGFISH;
m Lionel Leo Hampton & Quincy Jones Jr. © Swing & Tempo Music
Pub. Co., ince. 10Jun52 EU277759
 1952 UNPUBLISHED MUSIC 125 THE KISS; w & m Arthur
Ambrose Penn © Mrs. Arthur Ambrose Penn 25Apr52 EU272596
KISS; w Haven Gillespie m Lionel Newman © Robbins Music Corp.
4Jun52 EU278036 A KISS AND A PROMISE; w, m & © Alicia Carolyn
Evelyn 18Jun52 EU278571 KISS AND RUN; w, m & © Joseph
Hardwick 19Feb52 EU265105 KISS BY KISS; w, m & © Edward
Henry Schillemore 21Mar52 EU268592 A KISS FOR YOU; w, m & ©
Rudolf Jans Larsen 5May52 EU273502 KISS, KISS, KISS; w & m
Jerry Morton © Central Songs, inc. 18Jun52 EU278552 KISS, KISS,
KISS, KISS, KISS; w, mx 9 Alan Brooks Luaar 19Mar52 EU268367 A
KISS LIKE THIS; w David Greggory m Martin Broones © Artists
Music, inc. 19May52 EU275236 KISS ME; w Rose Lillian Goldfarb m
Joseph Leonard Greenberg © Rose Lillian Goldfarb & Joseph
Leonard Greenberg 19Jun52 EU278933 KISS ME A LITTLE BIT; w, m
& © Murray Taub 12May52 EU274599 KISS ME AGAIN; w & m
Edward Delorme Cutler © Edward Delorme Cutler & Caroline Cutler
Ulmer 11lJun52 EU277258 KISS ME AGAIN, BUT NOT GOODBYE; w,
m & © Gay Aphelin Swearer 28Apr52 EU273899 KISS ME AT
TWILIGHT TIME; w Ambrose Barker m Ambrose Barker & Nik Nevel
© Ambrose Barker & Nik Nevel lApr52 EU269955 KISS ME BABY; w
& m Ahmet Ertegun © Progressive Music, inc. 13Feb52 EU264427
KISS ME, BABY, TONIGHT. Baciami ancor, baby; w, m & © on
changed & added w & changed m Marco Carmine Rosato 28Jan52
EU262649. Appl. states prev. reg. as Pecche' me vuo fa chiagnere,
21Feb49, 157870 KISS ME GOOD NIGHT; w Margie Badgett m Leo &
Hector Richard © Margie Badgett 2e4Mar52 EU268802 KISS ME
GOODBYE; w Herman Raucher m William Stutman © Herman
Raucher & William Stutman 20Mar52 EU268499 KISS ME HELLO; m
& © Maurice W. Bodwell 27Feb52 EU265895 KISS ME, KISS ME,
KISS ME; w, m & © Paul Goodsell Sullins 2lJan52 EU261832 KISS
ME ONCE; w, m & © Lester Lee Hudson 28Jan52 EU262618 KISS
ME QUICK AND GO; w Jack Hoffman m Jimmy MacDonald © Jack
Hoffman & Jimmy MacDonald 24apr52 EU272554 KISS ME THIS
WAY; w Winifred M. Van Brunt w & m John Allen Van Brunt ©
Winifred M. Van Brunt & John Allen Van Brunt 25Jan52 EU262467
KISS MY LITTLE GIRL; w, m & © William Pitt Singeltary 25Mar52
EU268970 KISS OF FIRE; m arr & w Ruth Stone & Lillian Monkarsh
© on new w & arr Duchess Music Corp. 20Feb52 EU266616. Appl.
states prev. version: El choclo. A KISS ON MY LIPS; w, m & © Leona
Hasse l4Jan52 EU261289 KISS THE STARS; w, m & © Dominic
Perfetti llJun52 EU277808 KISS WALTZ; w, m & © Annie Margaret
Lay 6Feb52 EU263575 THE KISS WALTZ; w, m & © Sydney A.
Hatch, Serge Walter & Joe Lubin 27Jun52 EU279713 KISS YOU; w,
m & © Paul Alfred Lundberg 19Feb52 EU265150 THE KISS YOU
GAVE ME; w Stephen Aikin m Jack J. Gantwerk © Stephen Aikin &
Jack J. Gantwerk 21Mar52 EU268634 KISSA ME, BABY; w & m Ray
Charles Robinson © Boyd Pub. Co. 29Feb52 EU266186 KISSED; w,
m & © Juan C, Rivera 19Feb52 EU265081 KISSED ON A
CARROUSEL; w, m & © Catherine E. Maxwell 17Mar52 EU268105
KISSES; w & m Modesto de Jesus arr Thomas Denton © Modesto de
Jesus 13Mar52 EU267721 KISSES; w, m & © William Benson Richter
10Jan52 EU260909 KISSES ARE MADE IN HEAVEN; w Anna Mae
Hamilton m Alfred Earl flamilton Jr. © Anna Mae Hamilton & Alfred
Earl Hamilton Jr. 5Jun52 EU278670 KISSES ON PAPER; w Nelson
Ingham m Jimmy Saunders © Wizell & Day Music Corp. 28Apr52
EU272790 KISSES TELL THE ANSWER; wT. F. Layman m Benny Hess
© T. F. Layman 28Apr52 EU272959 KISSIN' IS THE BEST REPLY; w
Bill Longeor w & m Rio De Francesco © Bill Longeor & Rio De
Francesco 13May52 EU274634 KISSIN' YOU; w & m Harold Barlow
© Commonwealth Music Co. 15May52 EU274947 THE KITIMAT
WALTZ; w, m & © Kelly McLeod & Mabel Orr 12May52 EU274584
KITTY KAT RAG; w, m & © Ermest Weatherly 9Jun52 EU277591
KITTY, KITTY, KITTY; w, m & © Ernest Weatherly 8Apr52 EU270783
KITTY, KITTY, KITTY; w, m& © J. A. Moen 2Jun52 EU276804
KITZILJIG POLKA; w Art Edmund Poinc m Sally Leona Poinc © Art
Edmund Poinc & Sally Leona Poine 14Apr52 EU271410 DAS KLEINE
CAFE. In a small cafe; w & mH. G. Hagen © Colonial Music Pub. Co.,
inc. 7May52 EU275446 KNEE DEEP IN A MEMORY; w Gertrude Lilly
m Louis Tobin © Gertrude Lilly 28Jan52 EU262662 KNEEL DOWN
AND PRAY; w Bert B. Eubank m Leo & Hector Richard © Bert B.
Eubank 30Jun52 EU279852 KNICKERS; w & m Jimmy Durante ©
Jimmy Durante Music Pub. Co. 7Jan52 EU260466 A KNOCK ON THE
DOOR; w George Paul Sevachko m Edward Donald Coxen © George
Paul Sevachko & Edward Donald Coxen 27Jun52 EU279683 KNOCK
ON WOOD; w, m & © Samuel Alfred Massell 7Feb52 EU263675
KNOCK OUT THE LIGHTS AND CALL THE LAW; w Jack Sparks m
Jack D. Williams © Guild Music Co. 27Jun52 EU279639 KNOCKIN'
THE CLOCK ON THE GLOCKENSPIEL. SEE Knockin, the glock of the
glockenspiel. KNOCKIN! THE GLOCK OF THE GLOCKENSPIEL.
Knockin! the clock on the glockenspiel; w Myron Leroy Earnhart m
Hilda Earnhart © Myron Leroy Earnhart & Hilda Earnhart lApr52
EU270023 KNOWING I AM TO BLAME; w Jack De Stefano m Paddy
Pica © Jack De Stefano & Paddy Pica 4Jan52 EU260033 KNOWING
YOU AS I DO; w & m John Nagy, Dorothy Carter & Mack Wolfson ©
Dorick Music Co. 23May52 EU275955 KNOWING YOU CARE; w, m &
© Lorraine Blockson 3Mar52 EU266384 KNOWN ONLY TO HIM; w &
m Stuart Hamblen © Hamblen Music Co. 15Apr52 EU271586
KNOWN ONLY TO HIM; w & m Stuart Hamblen © Suzy Hamblen
16Jun52 EU278263 KO-RE-I~AY; w, m & © Herbert Gerald Swartz
6May52 EU273775 KOHALO MARCH; m Jerry Byrd © Fairway Music
Corp. 24Apr52 EU272550 KOIFT A BOND. SEE Buy a bond.
KOKOMO'S THE PLACE TO GO; w, m & © James L. Wharton
16Jun52 EU278452 KOREA; w, m & © Harvey Logan Congor &
Charles Andrew Fisher Jr. 2Apr52 EU270168 KOREA; w Velma
Mardell Schrum m Lewis E. Elliott Jr. © Lewis E. Elliott Jr. 11Feb52
EU264050 KOREAN BLUES; w, m & © Hazel Louise Huffman
2l1Jan52 EU261898 KOREAN BOOGIE; w, m & © Raymond Sterlia
Fairchild 26May52 EU276260 KOREAN CONFLICT; w Lester Bruce
Winland m Ronald Buck © Lester Bruce Winland & Ronald Buck
4Apr52 EU270412 KOREAN HILLS; w, m & © Ted Brooks & George
Thomas Boyd 4Jan52 EU260051 KOREAN LAMENT; w & m Wylie
Alfred Mason Jr. arr Arline Nelle Mason © Wylie Alfred Mason Jr.
i9Mar52 EU268322 THE KOREAN LOVE SONG; w, m & © Ann
Kathleen Baker 20Feb52 EU265232
 16 CATALOG OF COPYRIGHT ENTRIES KOREAN MOON,
WHEN WILL MY PRAY'RS COME TRUE; w Patrick Joseph Treston &
Joseph Aloysius Mahon m Harold Joseph Mahon © Patrick Joseph
Treston, Joseph Aloysius Mahon & Harold Joseph Mahon 23Jun52
EU279302 KOREAN MOONLITE; w Bertha Herbert m Louis Tobin ©
Bertha Herbert 2lJan52 EU262007 KOREA'S WAR WILL SOON BE
DONE; w, m & © Kathleen Keyes Lee 12Feb52 EU264 302 KORNY
THE CLOWN; w, m & © Daniel James Hoctor 21Feb52 EU265409 4
KOSI FOX; w J. Mottl & K. Melfs&k m Josef Stelibsky © For-Dom,
inc. 4Jan52 EU260026 KREUGER BEER JINGLE; w, m & © Pinky
Herman & Red Benson 5Feb52 EU263497 KRIS KRINGLE'S JINGLES;
w Michael J. Gannon m James Alexander Brennan © Michael J.
Gannon 17Dec51 EU260129 KROGER COFFEE JINGLE; w John Healy
m William Bates © The Ralph H. Jones Co. 20Dec51 EU260343
KUKUDE EGOLI; w.& m Absalom Mbatha © | Gallo (Africa), ltd.
2Jun52 EU277994 KUMU BLUES; w William Wallace Kaai Kaula m
Joseph K. K. Maluo © Joseph K. K. Maluo 6Mar52 EU266811 KUYA
KALWA ELNA KAYA; w & m Absalom Mbatha © Gallo (Africa), ltd.
2Jun52 EU278000 KUYAWAY; m Moises Vivanco © Beechwood Music
Corp. 14Jan52 EU261480 L L-C (ELSIE) THE ABC SONG; w & m
Sidney Shalit Lippman & Josephine Moore Proffitt © Sidney Shalit
Lippman 26Feb52 EU265828 LA CAVA CLARINET POLKAS v.1; m &
© Albert LaCava 28Apr52 EU273882 LA-DE-A; w, m & © Mona
McGrew Hettrick 8Apr52 EU270819 LA-DE-DA-DA; w, m & © Samuel
S. Snyder 5Mar52 EU266705 LA-DOO-DAH-DEE-AY, I HEARD A LOVE
SONG; w Louis A. Breault Jr. m Billy Mayo © Louis A. Breault Jr., Billy
Mayo & John W. Miller 7Apr52 EU266397 LACKADAISICAL YOU; w &
m Eleanor Glenn Dorris w, m & arr Lois Sanders Lam © Eleanor
Glenn Dorris & Lois Sanders Lam 23Apr52 EU272390 THE LADDER
OF SUCCESS; w, m & © Muriel Elaine Dix 4Jun52 EU277041 THE
LADY; w, m & © Florence Williams 17Jun52 EU278497 THE LADY
ALICE; w, m & © Karl Ernest McDowell 21Apr52 EU272209 THE
LADY AND THE CAPTAIN; w, m & © Betty Berkowitz 1May52
EU273299 THE LADY BIRD SONG; w & m George Howe & Charlie
payee © Ardmore Music Corp. 5Feb52 EU264430 LADY FAIR; w & m
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