Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
62
FEBRUARY 23, 1924
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
The Part Which Music Plays Today
in Average Picture Theatre Programs
Musical Programs in Many Cases Overcome the Handicap Placed on the Exhibitors Through
Production of Poor Films—What the Picture Theatre Has Done for Music
"TOURING the early Fall the photoplay in-
*^* dustry seemed to feel the necessity of
revamping its organizations from top to bot-
tom, giving particular emphasis to a higher
calibre photoplay, or at least one carrying new
ideas and one that was not stereotyped to
death. They had evidently been hit, and hit
hard; so much so that they evolved the slogan
"This will be a greater motion picture year"
for the purpose of arousing further enthusiasm
with the public.
An analysis of the appeal of some of the more
successful motion picture houses proves that the
mediocre pictures had been countenanced by
the public for many months through the aid
given them by musical programs. Before the
early Fall situation was brought prominently
before the motion picture exhibitor and other
interested parties it had been estimated by
some of the leaders of the industry that music
was contributing over 40 per cent to the attrac-
tion of such houses. Inasmuch as most of
those who gave out such statements were pri-
marily motion picture producers or .exhibitors,
this percentage was hardly an exaggeration.
Indeed, during the last year it was probably an
underestimation.
The part that music plays in the continued
popularity of motion pictures was recently
given by the Photoplay Editor of the New
York Sunday American, who said:
"The reason I know that 'The Dramatic Life
of Abraham Lincoln, is a fine picture is be-
cause it was not helped in the slightest by the
musical score last Monday night. In fact, I
saw it in the projection room, where I thought
it was even better than when it was accom-
panied by an orchestra. If this is not a test
I should like to have someone give me one.
'The Covered Wagon' can base at least 40 per
cent of its success on the musical score written
by Hugo Riesenfeld. People go back to the
Criterion Theatre as much to hear Mr. Riesen-
feld's music a second time as to see the picture.
That is one reason the film has remained for
a year."
This statement, coming from an editor whose
greatest interest and whose livelihood indirectly
comes from the motion picture field, is worthy
of attention, although, in this particular in-
stance many will disagree with the reference to
"The Covered Wagon," which, undoubtedly,
would be widely popular owing to its semi-his-
torical value. It does, however, show that
music is indeed a weighty factor in the pro-
grams of present-day motion picture houses.
The music industry can be thankful, of course,
for the development of the photoplays. It has
made possible the placing of high-class musical
programs before large bodies of people. It is
estimated that there are some 18,000 motion
picture houses throughout the country. All of
these have music in some form or other; many
of them have orchestras of the highest calibre.
They are contributing to the musical education
of the country. In some respects they are re-
sponsible for the rapid strides being made in
the musical taste as well as the demand for
better class music. Music has contributed in no
small way to the turning out of large audiences
for the motion picture house, but, in doing so,
it has added to the progress for music apprecia-
tion and, indirectly, to the health of the entire
industry.
Van Alstyne in Buffalo
group of songs of his own composition, recently.
He was accompanied by Clem Dacey, a tenor,
who was forced by his appreciative audiences
to give several encores. Among the most popu-
lar songs featured by Mr. Van Alstyne and Mr.
Dacey were "You Can't Make a Fool Out of
Me," "I Wonder Who's Dancing With Her
Now," "Tweet, Tweet" and "Until To-morrow."
Music stores tied up with special window dis-
plays.
BUFFALO, N T . Y., February 12.—Buffalonians gave
Egbert Van Alstyne, of the Jerome H. Remick
& Co. staff, his usual warm reception when he
appeared at Shea's Hippodrome, featuring a
Nothing But Hits!
Fox Trots
"I Ain't No Sheik, Just Sweet
Papa, That's AH"
"I've Got a Man of My Own"
"You Have a Home Somewhere"
"Houston Blues"
"Muscle Shoals Blues"
"The Fives"
"The Rocks"
and the sensational waltz
"At Sundown"
Prompt Service—All orders are filled or
inquiries replied to on the day received.
Get these numbers in ^heet music form, or
player rolls and phonograph records. Or-
chestrations and songs, 25c each. Order
from your jobber or direct from
GEORGE W. THOMAS MUSIC CO.
428 Bowen Ave.
Chicago, III.
"Hula Lou" Being Sung in
Four Musical Productions
Interpolated in "George White's Scandals,"
"Artists and Models," "The Passing Show"
and "Innocent Eyes" at Present Time
Having the same song a feature in four pro-
ductions simultaneously is the proud record to
which Ager, Yellen & Bornstein, Inc., are point-
ing. This song is their overnight hit "Hula
Lou," which is a success for four well-known
Broadway stars in as many productions: Win-
nie Lightner, in "George White's Scandals";
Buddy Doyle, in "Artists and Models"; Lew
Cooper, in "The Passing Show," and Frances
Williams, in "Innocent Eves."
In addition to these production artists "Hu-la
Lou" is being featured by many vaudeville head-
liners, including Sophie Tucker, Rae Samuels,
Margaret Young, Margie Coato, Lou Holtz,
Anna Chandler, Bob LaSalle, Walters and
Stern, Moody and Duncan and several others.
SONGS THAT SELL
—
Sittin' in a Corner
That Old Gang of Mine
Indiana Moon
Lovey Came Back
—
You
Mindin' My Bus'ness
Dancin' Dan
Cover Me Up With the Sunshine of
Virginia
If the Rest of the World Don't Want You
(Go Back to Mother and Dad)
If I Can't Get the Sweetie I Want
I Love the Girl Who Kisses
Tell All the Folks in Kentucky (I'm
Comin' Home)
1 Love My Chili Bom Bom
Love (My Heart Is Calling You)
Oh, Baby! (Don't Say "No"; Say "Maybe")
Don't Forget to Remember
Roamin' to Wyomin'
Since When (Have You Been Low-down-
ing Me)
Forgetful Blues
Why Should I Give My Love to You?
Universal Dance Folio
Special Edition for 1924
—
—
Song Gems from Irving Berlin's Third Annual
MUSIC BOX REVUE
An Orange Grove in California
The Waltz of Long Ago
Little Butterfly
Tell Me a Bedtime Story
Learn to Do the Strut
Climbing Up the Scale
One Girl
Outstanding Song Hits from
TOPSY and EVA
Rememb'ring
Do Re Mi
—
Urn Urn Da Da
I Never Had a Mammy
IRVING BERLIN, Inc.
1607 Broadway, New York
"The Four Horsemen" Out
The new E. T. Paull march, "The Four
Horsemen," will be forwarded to the trade early
next week. Advance orders for this new pub-
lication indicate that the title alone has aroused
unusual interest. The E. T. Paull Music Co.,
the publisher, plans on exploiting this new issue
are of the widest scope. The possibilities of
the sales of fhis march should be quite large
and, bearing this in mind, a particularly artistic
title page is being given the number.
Von Tilzer Numbers Score
It looks like the Harry Von Tilzer Music Publish-
ing Co. has some real live hits in "Dear Old Lady,"
"The Little Wooden Whistle Wouldn't Whistle"
and "Two Blue Eyes." The latter, by Arthur
Hand and Irving Rrodsky, looks like a hit, as
orders are coming in from all parts of the coun-
try, although, comparatively speaking, being a
new number. "The Little Wooden Whistle" is
a success for Sophie Tucker and other acts.