The Waterbury Democrat., 1939-10-31

plng out or llV@ cried limousines on Park Avenue. @June and Moon" not only rhyme. but pay handsome dividends, be- sides.
 Lyricists today are called "song writer's" although most of them have no knowledge of music and depend upon collaborators to set music to their words. A few of them, like Mitchell Parrish, who did the lyrics to "Star Dust" and 'sThe Lamp Is Low" have the ability to set words to music all ready written. Another so talented is Johnny Mercer, while a third is Clay Roland, Philadelphia den- tist who pulls teeth and rhymes, alternately.
 SONGWRITING'S
 ACE BATTERY
 Lew Brown, later musical comedy producer, found lyric writing to be the open sesame to show business. Brown was, per- haps, one of the most prolific of the lyricists, with several thou- sand song words to his credit. He was third of a famous trio.
 The team of DeSylva, Brown and Henderson was one of the most important combinations of Tin Pan Alley in the twenties. Then Buddy DeSylva, who also wrote song words, went to Holly wood. Brown became 8 producer. And only Ray Henderson remain- ed content to finger and rhyme love with dove.
 Another who made his Broad- way debut as lyricist was Billy Rose, who converted a swimming pool into a gold mine, at the local Worlds Fair. When the diminu- tive snowman launched himself upon the waves of musical success, he was champion shorthand writer and Stenographer. But he had browsed through song collec- tions in the public library to find what the public wanted--a rule he has strictly obeyed since then.
 He probably is proudest of such rhapsodizing as That Old Gang of Mine," Me and My Shadow" and without a Song" This year, Rose felt superfluity of melody in his heart, instead of lack of itN SO with Dana Suesse, he wrote number called Yours for a Song" WHEN TWENTY BUCKS LOOKED LIKE A MILLION Two of the Rialto's illustrious citizens, George Abbott and Joe seph Calleia, might have been full-fledged songwriters today if it weren't for the fact that ac- counting departments of music firms allow royalties to accrue for l some time before sending a check to the composers.
 l About six months before the celebrated drama, Broadway" reelected Abbot to producing fame and fortune and Calleia, who played in it, to footlight renown, they had written song together. They received a small advance royalty check, which kept the wolf from the door 8 while, but again knew penury while await ing additional remitttances. In the meantime Broadway" opened and Abbott and his partner were able
 to let out their respective belts. Two weeks after Broadway" opened and was on its way to its first million, they received a song
 royalty of twenty dollars. They looked at each other in awe.
 If this check" said Abbott, who has earned considerable wealth from the theater, had arrived five or six weeks sooner, we might have decided to stick to song writing!"
 Now in Abbott's employ is Mil- ton Berle. He is a comedian of vaudeville, a legitimate actor, a
 radio gagman and screen lum- mary.
 But MT. Berle knows where his
 bread will be buttered eventually.
 For all his spare moments are de- voted to lyricizing. He wants to get rich quick and the financial returns for a lyric in Tin Pan AL
 ley are, out of all proportion to the initial effort or the brain-mat- ter consumed.