The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1921-03-26
TOPEKA STATE JOURNAL
Information Bureau
FREDERIC J. HAsKIN. Director.
WRshfnefon, d. c.
PURIFIED POPULAR SONGS.

popular SOnS Is AOW SChS0nlC0 AOA
moral reform. 1t must be sterilized If
it is to accompany the prophylactic
movies which are destined to appear
before long. In its present condition
you can see for yourself, it would new
er do at all.
At any rate, If you can't see it, the
publishers of popular music can. 1t is
they who have declared the death
sentence of the flippant, naughty song,
thus anticipating our reform veterans
who were getting ready to turn their
dislnfecting apparatus upon 1t.
Hereafter, all lyrics of risque or
Suggestive character will receive
prompt rejection slips from all of the
large popular music publishing houses.
Oriental rhythm will be frowned upon.
hula girls and "hootch' and harems
and other hitherto popular subjects OF
syncopation are to be barred. What
the publishers want from now on are
pure and simple ballads, exalting the
commonplace and applauding homely
virtues.
aside from the fact that publish
ers do not wish to be sponsors for
songs capable of indecent construc-
ton, the purely commercial aspect OF
the situation is that from now on such
songs are to be barred from the better
vaudeville theaters, and publishers
who back them may find professional
support withdrawn" explained E. c.
Mills. executive secretary of the Music
Publishers Protective association, the
other day.
This remark was made at a sort OF
preparedness meeting of the publish
ers, where American ideals and the
beneficent influence of the popular
song Gin its future perfect state) were
soberly discussed. After the meeting,
one % the members, himself a writer
of several successful song hits. gave
his own private opinion as to why our
songs must be purified. According to
him, it is not because of the recent
threats of the reformers; not because
the publishers have suddenly turned
squeamish, but because the pubic
insists on it.
This may strike you as incredible,
as it did us, but the man spoke with
authoritO and his argument sounds
plausible. In the first place, ne point
ed out that the popular song has al
barometer of the public's state of
mind. 1t is the greatest common
medium of self-expression. Every
body can sing or whistle a simple song
motif; everybody can easily memoir
ize rhymes of one syllable; everybody
likes to sing about something which
appeals to him.
Science OF Appeal.
The basis of a songs popularity has
always been the scope Of appeal. Song
writer's as a rule do not start with
any melody in mind. They must first
find their idea-an idea with a popular
appeal-then write both the melody
and the verse around that. This re-
quires considerable intuitive skill. be-
cause a nations moods, like those OF
an individual, are curious and change
able. Sometimes the people are in
favor of one thing, and sometimes of
another And the successful song
ifav- a antioinQ q
what they will be in favor of months
after his song is written when it will
be on sale in the five and ten cent
stores.
In other words, popular songs can
not be forced upon the public like
prohibition, or specified types of NOV
ing pictures, because the public has
a share in their making. 1t sings them.
Moreover. singing them is a purely
spontaneous act, which is not apt to be
governed by arbitrary regulations.
You can give people any number of
pure and innocent ballads as you can
lead a horse to water, but you can
not make them sing such ballads I'M
less they happen to be in.the mood for
them.
The publishers, of course, know this
better than anybody else. They
would probably go right on publishing
risque songs, despite reform opposi-
tion," declared the song writer, eff
they were not jolly well sure the peo-
Pile were tired of them. You see, the
wicked lyric, had a tremendous vogue
shortly after the war, SO that a reac-
ton was only to be expected. Now
we've got to turn out sweet, clean, dit
ties of a soothing rather than a stimu-
lating nature. We've got to follow the
popular mood.
present. little sober, cautious and
chastened. is it not? The restlessness
and recklessness of the war period
have greatly subsidized. We have quit
being eXtravagant and have settled
down to sober economy. We have a
sentative tendencies for president. We
are depressed. as we never were dur
ing the war, by the gloomy prevalence
of unemployment. Hences what are
we beginning to sing?. Rather plain
tive songs about the peace and security
of the home, the dignity of true love,
and the folly of wickedness.
I'm the vaudeviT, theaters, the
change is strikingly evident. For the
past decade most vaudeville sketches
have been simply a patchwork of
slurs on the sacred state of matrimony.
Now, in the better houses. these have
ceased abruptly, and the domestic
hearth is again, surrounded by a Law
ender halo"
A Conservative Reaction.
This sudden chanR of mood may
have been facilitated by reform prepa-
ganda. Our song writer does not deny
that. But in his opinion-and he has
watched and studied the whims of the
public for years-the pendulum was
due to swing back to the -ealm of con-,
servatism anyway. That the music
publishers did not anticipate its so
rapid occurrence is shown by the fact
that the popular song market is now
alarmingly dull. The seasons usual
crop of song is not taking hold as it
should. Instead, the old melodies,
popular 20 years ago, are being resur-
rected and played everywhere. Med
leys of old-time tunes are played and
enthusiastically applauded every eve
ming in nearly all of the Broadway
cabaretS and restaurants in the White
Way district. In the moving picture
theaters, Rosy O'Grady," THE Side
walks of New York. .Ou the Bow