The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-07-06

ment, and it is likely that only a very few
out of the whole bunch will prove big
money winners for their authors and pub
fishers, for it is strange but true that peo-
pie don't buy music in the summertime
even the lighter class of music-as they do
in the winter. The songs that have estab-
lished places in the big productions are
the ones that will survive the summer sea-
son-songs like Nancy Brown now being
sung with such success by Marie Cahill
in the new Broadway summer show, The
Wild Rose and the tureful numbers in
troduced in the great Chicago extrava-
ganza, The Wizard of o.
Sometimes a ummer sCng will prove
a surprise and continue in its popularity
throughout the entire theatrical season.
Such was the case with the rag-time Cd
dity, Go Way Back and Sit Down. which
started in the seaside amusement resorts
and lasted not only throughout last sum-
mer, but through the winter too, and, for
that matter. is still being s%ung-and what's
more to the point from the publishers
view. still having 2 good sale L was in
the publishers Office on Twenty-eighth
street. New York. when the manuscript Of
that Piece was brought in and shown for
the first time. The pianist played it over
carelessly and then resumed smoking his
cigarette as he remarked, It'll never do.
Titles a good one-but that's about all
there is to it His criticism struck me TT
the time as sound judgn ent and still think
he was right about it. However, the title
proved to be all tina was necessary in
that case, for the song met with a ire
mendous sale. 1t was purely a stage song
that &c o1f o1t0ro4H1u o-..otr- " -
drawing room, and songs OF this kind sell
dom turn out to be money makers. But all
predictions went wrong in this instance,
for the people all over the country bought
that syncopated monstrosity-not because
they liked the tune, but because the title
struck them as irresistibly humorous, and
they wanted TO see what it was all about.
anyway. 1 understand that this song was
recently introduced at a London music
hall by an American rag-time singer, and
the audience didn't even smile. Nothing
could better illustrate the difference be-
tween American and English humor-that
a slang expression could tickle the peo-
pie of this country into buying a song
whether they liked the rest of it or not,
while the Britishers could not even be
made to appreciate the one funny point
that kept the song alive.
y COMICAL DITTY.
The two summer songs that are now all
the rage in New York are the comical
Nancy Brown ditty, which is rendered
with so much dry fun by that extremely
clever coincidence, Marie Cahill, and the
new piece entitled 'Bloomin' Lie which
has recently been interpOlated as a novel
feature of The Ckaperons.' And, by the
way, this latter song is proving the cause
of a great deal Of excitement in the song
world. IT was introduced by a sextet of
pretty girls while Isidore Witmark, the
composer Of The Chaperons.' was enjoying
of that gentleman. The song was written
by an outsider who had nothing to do with
the rest OF the music Of the comedy, and
IL made a terrific hit. When Witmark
heard the news he was IN Leipsic, and IT is
safe 10 say that he made that old city re-
sound with beautiful language for a short
but expressive period. His understanding
with the management OF The Chaperons'
was that there were to be no interpolated
numbers introduced in the production, and.
10 make matters worse. this little outlaw
song was a publication of a rival house
TO the big concern with which Witmark is
himself connected. He didn't waste any
more time in LeiDsic. but started for home
at once and arrived the other day In New
! York with blood in his eSs and Immediately