The Washington times., 1934-05-08


Poland, has gone far. I wonder.
flash through my mind. John
Philip Sousa, Victor Herbert,
Aileen Pringle, Sophie Tucker,
Mae and Beverly West, a sister
team in vaudeville, every head.
liner on the stage of picture thea
ters in the last 20 years.
With Sousa at the Midland
Theater, Kansas City. His queer
habit Of putting on brand new
pair of white gloves for each per-
misunderstanding trunkful
with him as he toured. At the end
Of the engagement he presented
me with a copy Of all his compost
tions, and words of thanks for
what he termed my cooperation"
How did I get into the theater
business? At Is, donned by first
pair Of long trousers to conduct
at the Camerphone Theater in
Pittsburgh. Doubled at Piatt's
Cafe. Picked up by the Quixie
Quinet and hit the road. Big
Freddy Miller of radio was one Of
the five.
Again had to overcome parental
objection. Father went so far as
to plead with the union not to
give me a travelling musicians
card. Stern and obdurate when
insisted upon going, he relented
a little, influenced no doubt by the
money sent home each week.
1915-In st. Paul at the age Of
II, earning $125 a week in vaude-
vile. Dropped it for $40 week
job at the Park Theater plus in
Struction from Prof. Wolfe, then
training pupils for Leopold Auer.
Directed the Park Theater orches-
ira and instituted the novel idea
in a theater of conductor memor-
izing the score, and facing the
audience to watch their reaction.
Moved from the suburban Park
Theater in st. Paul to the down
town theaters and slowly became
name in the Twin Cities. Then
on tour through the Middle West.
1924-In Pittsburgh on vacation.
Anxious to show off for the family.
Accepted an engagement at the
Aldine Theater and received $3.50
for the week from Louis K. Sidney,
the manager. Stopped the show
each day with my family in the
front row leading the applause.
Back to the Twin Cities only to
be recalled and spotted into the
Allen Theater, Cleveland, with 49,
piece orchestra at $500 a week,
with $100 boost every six
months. my first big money job.
Succeeded Phil Spitalny in that
situation and found it plenty
tough. Spitalny was the town idol.
Stayed at the Allen almost year.
First met Eddie Cantor there.
He was playing Cleveland, and
dropped back stage to say hello
to some of the acts. Told me I
would go far if I would change
my name to a shorter one. How
happy he must feel that I didn't!
Louis K. Sidney named head Of
production for Loew's theaters. He
summoned me to New York and
made me guest conductor Of all
Loew de luxe houses, then opening
all over the country. Played and
conducted in practically every
major city in the country.
almost forgot. I was a Jazz
conductor in Minneapolis many
years before went into the
Roosevelt Grill. The Calhoun
Terrace Orchestra brought Synco-
patton to Minneapolis in the days
when syncopation meant some
thing.
Loew's had no more houses to
open. I Joined Publix and trav.
eled with unit, bringing this unit
into the New York Paramount
Theater.
Boris Morros, bald, jovial, with
a keen sense of musical Snowman
ship, urging me to make good with
these words, Dave, Broadway is
yours if you make it yours. You
are at the crossroads of the world
in more ways than one"
applied myself to making good
for Boris Morros, to whom I owe
so very much. He kept me at the
Paramount for five years, a record
for the street where broken rec
ords are as common as broken
hopes.
1931-On the air, as conductor
and Soloist, as well as accompan-
ist for Eddie Cantor, Maurice
Chevalier, George JeSsel, Jimmy
Durante, Ruth Etting, Bert Lahr,
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