The Washington times., 1929-04-08

had been to write story for
each editor. He did and each
paid him well.
"Of the editors, one was
stocky Ray Long, whose April
Cosmopolitan appeared early IN
March galvanized by Cool
idge-penned story, swift, per-
sonal, moving. The other was
Loring Ashley Schuler, whose
April Ladies' Home journal,
also carrying a Coolidge -penned
story, appeared only last week,
The Schuler- Coolidge story was,
of course, dulled because ante
dated by the Long Coolidge
story. But what really killed
the Schuler story was Authpr
Coolidge himself. In the Cos
mopolitan he was dynamic, IN
the Ladies' Home Journal he
was tedious, general, rambling
"But behind the two editors
loomed the two great publish
ers. dictatOrs of policies and
style. One was William Ran
dolph Hearst, whose correspon-
dents constantly supply him with
expensive but startling scoops,
whose vital pungency has won
him more millions of daily reGd-
ers than any other individual
publisher can boast. The other
was Cyrus Hermann Kotz-
schmar Curtis, the white-beaTG-
ed little "man from Maine,"
whose Saturday Evening Poss
and Ladies' Home Journal are
as essentially sound and quiet
as the Maine homes into one Of
which Publisher Curtis was
born. Last week had Publisher
Hearst seen Publisher Curtis ne
might well have heen patroniZ-
ing. The Hearst editor had
won the most exciting journalist
race of the year, although the
,fiek, was Publisher Curtis
magazines.
"But keen readers of both
stories last week were inclined
to give Author Coolidge credit
for fitting his prose to his
medium. For Cos m politan
readers the Coolidge pen had
raced intimately. For Ladies'
Home Journal readers it had
dealt ponderousiy with peace,
defense, good government. Pub
Usher Curtis might have felt
last week that he, like William
Randolph Hearst, had gotten.
just what he wanted for his
readers"
John Irving Fisher has our
permission to remain until
further notice as the Fox
theater master of ceremonies
provided he furnishes one of his
piano interluGes for each pro-
gram. But please, of please,
don't assassinate appreciation
with that terrible line about
Haven't you got any homes"
Good showmanship dictates
leave 'em while they're craving
more but even when it was
brand new that line was never
anything but an ungraceful ex-
cuse for a bright remark.
When you hear little Davy
Lee singing "SOnny Boy" you
have the full moneys worth at
the Earle Theater. The kid
shows the value of Uncle AL
Jolson's coaching. in fact he
does his four year old best to
initiate the nanny champion
and the result makes a smash
ingly pleasing climax to a
rather farcical film story.
What Baby Davy needs is
stories. His tongue struggles a
little yet in speaking lines but
he is a natural actor and
possess that irresistible charm
of childhood, that something
which warns the heart and
makes folks want to pick him
up and just smother him with
affection. Yes, little Davy has
the right kind of at"
81 like everything in The
Washington Times and | read
what you write but | can't
stand a pulpiteer and I'm going
to quit the theater pages"
phones an indignant subscriber
right. into our ear.
Come, come, my fine fellow
hold everything. Must we perish
for one weakness. Even the
soap which spends a couple of
millions to tell about itself
yearly is only SO percent pure.
Harvard picked out the wrong
cigarette and Babe Ruth makes
a hit only once in every three
tries.
For the sake of our circu-
lation director, Mr.. Shelton,
and his 100000 net paid goal
for the October statement,
don't carry through on the
threat.
Frankson Mills uses a stuffed
shillalah on the heads of we
editor and Stephen Dillingham;
Cochran because Washington is
denied production of "The
Captive" It may soften the
blow for Mr.. Mills to know that
what he win miss(?) in a
Baltimore production done in
the American Trag edy"
manner.
William Hartman Rapley, Of
the National Theater, writes:
Twenty days from the above
date shall be in Cafcossonne,
France, instead of being in
4 4.