The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-10-21
"SONG BOOSTING" EXPENSIVE.
OLD TINE PUBLISHER LAWENTS
THE WAYS or THE PAST.
Pay Demanded by som singers Nowadays
for Pushing Songs Others Expect
Presents -fNpPnses Heavier Now and
Rates LOwer-The OH Methods.

Pay Demanded by some singers Nowadays
for Pushing Songs Others Expect
Presents -F.Npenses Heavier Now and
Rates LOwer-The Ola Methods.
Time has made many changes in the
waysu used in ma king songs popular. Twenty
years ago the singer had to de pend on the
publisher for much of his reputation; to-
day the publishers prosperity rests with
the performer.
, Willis Woodward, one Of the oldest Of
the publishers of what is known in Tin
Pan Alley as yellow music, was tie first
to meet the performer half way.
Il figured that it would he a good thing
to help tho artist in some way" said MIR.
Woodward to THE SUN reporter. About
fifteen years ago | had occasion to visit
a theatre where a minstrel show was being
given. One Of the singers was using a
SONG Of mine called Pretty Pond Lilies
The song was catchy and %tuncful and l
liked the way it was sung. l c back
on the stage and took the man aside and
aid to him:
"'You san that song we'll tonight. I'm
Mr.. Woodward and l want to show my
appreciation for the way you are doing my
song. How much did you have to pay
LOT the OTCIcstTdilOn dlu ledu -IccNs' ~
told me that il cost him exactly SIC. Then
l told him that IL he would sing another
song OF mine called White Wings would
supply him with a copy Of the song, a lead
sheet and orchestration free.
News of the innovation spread and l had
all the prominent singers, minstrels and
vaudeville performers my friends. They
were only too glad TO get the songs and
save SO in the bargain.
MY idea was followed by other publish
ers and eventually the professional copy
or the copy Of the song that il supposed
to be the exclusive property Of the singer,
made its appearance. To-day the idea
has become a menace to the trade for these
copies find their way into the parIors and
homes Of the public.
the singer must be catered to these
days. If the song has nOt reached the
top wave OF popularity a performer who IL
a headliner will insist on a weekly salary
to push a song. lie gets any " here from $40
to SEQ zach week.
Then there IL another thing to be con-
sidered. Performers who do not demand
any money for singing a song must be re-
membered around the holidays and on
their birthdays. I know Of a case where a
certain prominent woman singer who
popularized a certain song by two negro
composers received from n local firm a
silver set costing $500 on Christmas. Another
got a check for 81 900 n a gold watch
worth about $3.50. The performers must ALSO
be looked after In other ways, such a.
through the proper theatrical and trade
Journals. They are advertised at the ex-
pense OF the publishers.
w hen I was on the top I used to get
from - to - cents from the trade for each
copy sold Of "A popular song. Now the
rates have been cut in half. Years ago a
composer received as high aseight and nine
cents a copy royalty on every one sold.
Now he must be cont emf with three cents.
Often in those days the composer furnished
both music and lyrics. Now most song
writ ers work In teams, one contributing
the words and the other the melody. 80
the royalties have TO be divided bet ween
them.
i can say without contradiction that the