became popular. "Yellow Dog" was the nickname of the Yazoo and Mississippi Valley Railroad. Blues later adopted elements from the "Ethiopian (here, meaning "black") airs" of minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music". Since the 1890s, the American sheet music publishing industry had produced a great deal of ragtime music. The first published ragtime song to include a 12-bar section was "One o' Them Things!" in 1904. Written by James Chapman and Leroy Smith, it was published in St. Louis, Missouri, by Jos. Plachet and Son. Another early rag/blues mix was "I Got the Blues" published in 1908 by Antonio Maggio of New Orleans In a long interview conducted by Alan Lomax in 1938, Jelly Roll Morton recalled that the first blues he had heard, probably around 1900, was played by a singer and prostitute, Mamie Desdunes, in Garden District, New Orleans. Morton sang the blues: "Can’t give me a dollar, give me a lousy dime/ You can’t give me a dollar, give me a lousy dime/ Just to feed that hungry man of mine". The interview was released as The Complete Library of Congress Recordings. Continued development of the blues in the 1910s In 1912, the sheet music industry published another blues composition—"Dallas Blues" by Hart A. Wand of Oklahoma City, Oklahoma. Two other blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements, were also published in 1912: "Baby Seals' Blues" by Baby Franklin Seals (arranged by Artie Matthews) and "Memphis Blues", another ragtime arrangement with a single 12-bar section, by W. C. Handy. Also in 1912 (on November 9), another song, "The Blues", was copyrighted by LeRoy "Lasses" White, but not actually published until 1913. Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Afro-Cuban habanera rhythm that had long been a part of ragtime; Handy's signature work was the St. Louis Blues. Songs from this period had many different