Exhibitors Herald World (Jan-Mar 1929)

February 2, 1929 EXHIBITORS HERALD-WORLD 53 A very peculiar incident occurred in Lindy's restaurant here in New York last week. Possibly, one of the biggest orchestral plugs in the United States, Gay Lombardo, leader of his Royal Canadian orchestra now playing at Al Quadbach's Granada Cafe in Chicago, had never been to New York before, and walking with me into Lindy's for lunch we sat in a booth along the wall, and the place was packed (as usual) with music publishers. There amongst their midst unknown to them was this tremendous plug, we had almost finished our meal when I called over one of the boys and introduced him to Lombardo. It wasn't but a minute later than he was swamped and it took him at least an hour to fight his way out of the restaurant. This to me was a very funny situation and does not happen very often. * * * In speaking of Lindy's restaurant, I can very easily remember the time when a good number of the boys used to talk nothing but "horses," intermingled of course with music talk. Today the situation is entirely changed. Aside from songs, the big conversation is the stock market. Evidently the boys are getting a better run for their money down in Wall street than they did at the race track. One of the greatest musical comedy shows to ever hit the "Alley" is "Follow Thru," by DeSylva, Brown and Henderson. Take out your note book and mark the title of this show down. For should you ever come to New York, I would suggest that you make a bee-line for the Chanin theatre where "Follow Thru" is playing. * • • Possibly in next week's edition of the HERALDWORLD, I will have some news of interest which may surprise a good many of my friends throughout the country. • • • Those of you who have never met Joe Frisco off stage are going to get the opportunity of meeting him and knowing his humor very shortly. Frisco is becoming a columnist for a syndicate of newspapers, and in view of his being considered the most humorist member of the Friars, his column will undoubtedly hand you many a laugh. Watch for it in your local newspaper. • • • It seems as though I had better change the heading of this column to read "BP AND DOWN THE PRAIRIE" instead of "ALLEY." Broadway is becoming barren of song writers. They are migrating to the coast like bananas. This theme song racket has taken such a stronghold on the music industry that I wouldn't be surprised to 6ee many publishers move their offices to Hollywood. Milton Ager and Jack Yellen arrived on the coast last week and DeSylva, Brown and Henderson are on their way. The firm of Witmark are sending four writers to the coast and scores of others have already left. The "Alley" is certainly becoming deserted. • • » Addy Britt (formerly with Waterson, Berlin & Snyder, and now associated with Vincent Youmans) has a very peculiar situation on his hands. Youmans wrote the music and produced the musical play entitled: "Rainbow." The show was great but for some reason or other it only lasted on Broadway for a week. From the score, Britt had two tunes, one called "Haystraw" and the other "The One Girl." Both of these tunes are now stepping out on their own merit and it looks as though Britt has a couple of hits from the shew "Rainbow," and the show is no more. Rather an odd situation, don't you think? * • • Paul Specht opened at the Colony theatre last week as master of ceremonies, replacing Jimmy Carr. Specht has an international reputation and should do very well at the Colony. Tis rumored that he will double at one of the leading hotels along the "Alley." » • • Alberta Vaughn and her sister Ada Mae were in town recently to finish their latest Tiffany-Stahl picture entitled: "Molly and Me." Had the pleasure of meeting both girls while they were here and should they happen to read this little article I would like them to know that if they are the type of girls who come from California, I can readily understand why the average person thinks the climate is so great out there. It's not the climate, it's the people I LARRY SPIER. ORGAN SOLOS Mr. and Mrs. Jesse Crawford (New York Paramount). Jesse Crawford first played a new number, with a catchy melody, called "Cradle of Love," Mr. Crawford at the pit console, and Mrs. Crawford at the stage console, then played "First Rhapsody" in blues ballad style. Then they played "Rhapsody in Blue," Paderewski's "Minuet," Chopin's "Funeral March" and finished with "Ragging the Scale." They were well received, as usual. Albert F. Brown (Chicago, Marbro) offered an organ prologue to "Mother Machree." the photoplay adapted from the song of the same name. The presentation was offered in scrim form with lyrics of Irish tunes flashed on the scrim drop. No popular song was used and the entire solo was dedicated to Irish melodies of long ago. Charles Kaley took part by singing "Mother Machree" as an illusion effect was seen through the scrim of an old lady representing the "mother." Brown explained the idea through his Organ-Phone which was more complete in sound and appearance this week. The introductory film titles were flashed right on the scrim while Brown was playing the organ accompaniment to Kaley's singing, as the film title displayed the music sheets of "Mother Machree." Henry B. Murtaugh (Brooklyn. Paramount) played "A Precious Little Thing Called Love," as his featured song. He also played "All by Yourself in the Moonlight" and "You're the Cream in My Coffee," using these numbers as his story. Of course everyone sang and also gave him the big hand he deserved. Edward K. House (Chicago, Chicago) called his solo "Morning Moods" and presented it with a number of clever gag slides that depicted the various moods of various people. His feature number was "Marie" in which he also joined with a vocal refrain facing the audience while singing and playing on a 6mall console. The orchestra joined in on the finish and added much life and color to the presentation. This was presented as the opening of the new stage policy at this theatre and we must say that House played a considerable part in making the new policy a success. William H. Meeder (Brooklyn, Albee) prepared a special anniversary solo presentation that took people back to the day of the theatre opening and on through its four years of entertainment service. The material was specially written by Meeder under the supervision of Fred Kinsley who conceived the idea. This was one of the many features that celebrated the fourth anniversary of this theatre. Jean Anthony (Chicago, Marbro), in conjunction with the pit orchestra, presented a musical spectacle called "Poor Punchinello." The organ and orchestra offered a short prologue to the motion picture "The Spieler." It had novel stage effects. A singer played the role of the clown. The film trailer ran right into the finale which combined the two novelties. Organ and Other Touches P. Hans Fath, organist at the Uptown theatre, suburban house of Kansas City, experienced a first hand "touch" of the crime wave which is sweeping Kansas City the other night when a burglar entered his apartment and stole jewelry valued at $275. COSTUMES Rented for Orchestras and Presentations Sand far Ortho.tr* Catalog mmd Mm NEW YORK COSTUME CO. 75 W. Lake St. Chicago, 111. SIl> S4 afcou-fc songs BEST SELLERS "Sweethearts on Parade" — (Milton Weil). "I'll Get By"— (Irving Berlin). "Where the Shy Little Violets Grow" — (Remick Music Corp.). "Carolina Moon" — (Joe Morris). "I Faw Down and Go Boom" — (Donaldson, Douglas & Gumble). "Marie" — (Irving Berlin). "Avalon Town" — (Sherman Clay). "Tliere's a Rainbow 'Round My Shoulder" — (Irving Berlin). "Sally of My Dreams"— (DeSylva, Brown & Henderson.) "Happy Days and Lonely Nights" — (Ager, Yellen & Bornstein.) "Me and the Man in the Moon" — (Donaldson, Douglas & Gumble). "Sonny Boy" — (DeSylva, Brown & Henderson). "Dream Train" — (Milton Weil). "Doing the Raccoon" — (Remick Music Corp.) "High Up on a Hill Top" — (Leo Feist). "I'm Sorry, Sally" — (Leo Feist.) "Love Tales of Alsace Lorraine" — (Spier & Coslow). POOR PUNCHINELLO— (Remick Music Corp.)— A song on the order of Laugh, Clown, Laugh. Is the theme song of the picture Looping the Loop. Written as a waltz. Lyric by Lewis & Young, music by Lew Pollack. • • • DONT DO THAT TO THE POOR PUSS CAT— (E. B. Marks Music Co.) — A comedy song of the English type with plenty of extra choruses that are really funny. Is being introduced by the clev«r English comedienne Miss Ella Shields. • • • WALTZ I CANT FORGET— (Irving Berlin, Inc.)— One of the prettiest waltz ballads written in some time. Both writers are very well known and with Lombardo's orchestra back of it it's on its way to a big hit. Words by Gus Kahn, music by Carmen Lombardo. • • • DANCE OF THE PAPER DOLLS— (M. Witmark & Sons) — Dance tune on the order of the famous Doll Dance. Sure a cute number and ought to be great for picture houses. By Johnny Tucker, Joe Schuster and John Siras. • * • CHICAGO RHYTHM— (Grossman & Lewis)— How these Chicago orchestras will hop on this one. Looks like a great mechanical tune for this young firm and there is also a chance that it might be a seller in sheet music. Words by Bernie Grossman, music by Ben Kanter. • « • HE, SHE AND ME — (Milton Weil Music Co.) — A new one of Carmen Lombardo's. There is already a demand for this one. Pretty tune with a good lyric. By Carmen Lombardo and Charles Newman. • * * OH GEE; OH JOY — (Harms, Inc.) — The hit song of the Ziegfeld production Rosalie now playing in town. This 6how is a big hit and has as its feature Marilyn Miller. Lyrics by P. G. Wodehouse and Ira Gershwin, music by Sigmund Romberg and George Gershwin. • * • THAT'S THE GOOD OLD SUNNY SOUTH— (Ager, Yellen & Bornstein) — A Dixie song by two leading writers. Reminds one of You're in Kentucky Sure as You're Born. Is a real good song. Words by Jack Yellen, music by Milton Ager. • • • FRESHMAN HOP— (Mills Music, Inc.)— A collegiate number introducing a new dance. How the college boys will go for thi?. By Al Goering, Jack Pettis and Irving Milb.