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., showing military dramas to be the vogue. I composed two soldier songs, "Just Tell Her That I Loved Her Too" and "Break the News to Mother," both proving enormous hits and putting the popular song a notch higher in the estimation of both the music trade and the music-loving public.
Eventually Zaugwill's "Children of the Ghetto" and Jacob Lilt's productions of "The Ghetto" and "Zora" held the boards. It was then I wrote the song story, "A Rabbi's Daughter," which also had a large sale. Contemporaneously with the pastoral dramas like "Way Down East," "Shore Acres," etc., I wrote "Mid the Greentields of Virginia" and "In the Hills of Old Carolina."
After these there came a craze for ragtime, and it looked as though the descriptive love story and child songs would be forever discarded. The Williams and Walker "Black Patti" and other colored organizations were the rage for a time, all of them featuring ragtime music. Not to be outdone, I wrote "Ma Black Tulip" and "Don't Forget to Tell Me That You Love Me Honey," both successes.
Eventually the public became satiated with ragtime and I cast about for a new theme, having covered the ground pretty thoroughly for so many years.
Just then Julia Marlowe scored in "When Knighthood Was in Flower," a drama with heart interest. I promptly brought forth "I've a Longing in My Heart for You, Louise," and "I'm Wearing My Heart Away For You." The sale of those two songs reached over one million copies.
A few years ago I withessed a performance of one of Theodore Kremer's melodramas, the principal character in it being a child. "The Little Princess" was announced for production here and I presented for public approval the now celebrated child song, "Hello Central, Give Me Heaven," fol-
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