Exhibitors Herald and Moving Picture World (Jan-Mar 1928)

March 10, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 5] Who Knows! Maybe Adam Was Creator of the "Bull" Stunt Joe Mayer surely did start something when he claimed to be the originator of the "This Ain't No Bull" publicity stunt. Joe pulled it in 1919, and almost before the ink dried on Joe's claim as printed in his story in the February 18 issue, a letter came from John Trewhela, who claimed to have used the stunt in 1915. But Trewhela's claim did not stand long, for now comes a letter from Joe Hewitt of the Strand theatre, Robinson, Illinois, who claims to have used the stunt in 1913 or 1914. Here is Hewitt's letter: Editor, "THE THEATRE," Dear Sir: The writer wishes to take issue with the article in your department, issue of February 18, in which our good friend and clever exploiter, Mr. Joe Mayer, claims credit of being the originator of "This Ain't No Bull" publicity which he claims to have originated in 1919. The writer pulled this very stunt as early as 1913 or 1914 (exact date not recalled, but at least IS or 14 years ago) in Mt. Carmel, Illinois, in exploiting a two reel comedy, "Joe Martin Turns 'Em Loose" (how old is that one?), and I can refer to the following present-day exhibitors as to the truth of this statement: Steve M. Farrar, Harrisburg ; Oscar L. Turner, and Ted Coleman, Mt. Carmel. The writer has always taken particular pride in this "bull" or "cow" stunt, and as far as we ever knew it was original with us. Still they say there is nothing new under the sun, and it might have been possible that the same stunt was pulled by some of the older boys in the days of P. T. Barnum. It is not the intention to take any credit from Mr. Mayer, whom the writer has had the pleasure of watching for many years past, but in this instance I cannot see any justified claim for originality on this particular stunt as late as 1919, because the original cow used in our stunt had long since been dead and "this ain't no bull." Yours very truly, JOE HEWITT, STRAND THEATRE, ROBINSON, ILL. Well, now that this thing has gone this far, we simply must settle it. Who used the idea before Hewitt did? We wouldn't be surprised if eld Adam didn't use it in the garden of Eden. He was just the sort of guy to hang a sign on old Bossie reading, "This Ain't No Bull! Eve Made Us Eat the Apple." But let's get this thing settled. If anybody has a prior claim, let's hear from you. Boys with Dads in Free to See "Sorrell" Joe Gebracht put over a successful coupon stunt recently when "Sorrell and Son" was shown in Ames, Iowa, the Ames Daily Tribune and Evening Times co-operating. The film was shown at the Ames on Wednesday and Thursday and at the Capitol on Friday and Saturday. Boys under 12, accompanied by their fathers, were guests of the paper and the theatre. An appeal was made to the youngsters from the standpoint of the exclusiveness of the offer. "For Boys Only" the coupon read, and the boys were quick to take advantage of this relief from petticoat domination. They went to the show with proud daddies trailing along. Production Hints from Edward L. Hyman Managing Director, Mark Strand Theatre, Brooklyn Edward L. Hyman In order to offer a stage presentation with Richard Barthelmess in "The Patent Leather Kid," it was necessary to let the length of the show run to 2 hours and 10 minutes. Although this is some 10 or 15 minutes longer than customary, it was deemed advisable in order to assure t h e patrons that they were getting a big show. It has been found no matter how big the photoplay production, and "The Patent Leather Kid" was very widely heralded in advance, the customers always like some sort of offering in conjunction with the screen entertainment. "The Mark Strand Gaieties" was the stage production, running for IS minutes. Jerry Sears and his stagehand of 20 pieces furnished the melody and Arthur Ball, Ruth Watson, Williams & Ross and Locke, Harak and Locke supplied the entertainment. The setting for this presentation was a backdrop French fabrics with silver leaves as borders. The musicians were arranged in two tiers, with gold and black shields in front of their music stands. They were dressed in tuxedos. The routine was as follows : The band opened with "Let a Smile Be Your Umbrella." Side spots amber and v iolet ; two white spots from bridges on Jerry Spears and two lemon floods from the dome on musicians ; blue overhead borders, with four open box lamps blue. Ruth Watson, soprano, then came forward to sing "Among My Souvenirs." Deep blue floods from bridges, with a lemon spot on Miss Watson. Two comics, Williams & Ross, eccentric dancers, followed with a number that was well received. They were covered by white spots from dome. Arthur Ball then sang, "The Song Is Ended," and he, too, was covered by white spots. For the big finale, Locke, Harak and Locke, dressed as West Point cadets, did a very hard dance on the staircase. Richard Barthelmess in "The Patent Leather Kid" went into the second week with no let up in attendance. After the third day of the second week it was almost a foregone conclusion that the box office receipt would total up to the figures of the first week. The entire show, as was the case last week, was composed of three incidents, an overture by "The Famed Mark Strand Orchestra," followed by a stage presentation and the feature photoplay, all of which took 2 hours and 10 minutes, with "The Patent Leather Kid" taking 1 hour and 46 minutes, and it was due to this long footage that the musical portion of the program was somewhat curtailed. The overture was Gomez' "II Guarany," played by "The Famed Mark Strand Orchestra," Willy Stahl conducting. The lights for this included a flesh colored Mestrum flood from the dome on the musicians ; foots and borders of large stage in blue; steel blue Mestrum floods from the dome on the purple spangled draw-curtains which were closed over the production stage; four steel blue arch spots on the pleats of the draw curtains. Although the big stage presentation retained its previous title, "Mark Strand Gaieties," numerous changes were made in the cast of principals. The curtains opened disclosing the interior of a club, with the twenty-piece stage band seated. Jerry Sears, who has been a favorite fixture in this theatre for the last four weeks, wielded the baton, and the band struck into "Sunrise." Next came Ruth Watson, soprano, who sang "Among My Souvenirs." This was followed by Kameroff, a Russian who plays an accordion in unique fashion and blends it with hot Russian dancing. The next number was "The Song Is Ended," the Berlin ballad, sung by Arthur Ball, tenor, whose excellent voice has obtained for him his third successive engage-' ment at this theatre. As a finish the Patterson Twins, two young ladies of pleasing personality, did a very pretty sister act. This presentation took 18 minutes. permit ustosiftare tbeStopa of tijfc, pour ?Birtbbap, bp extenbing pou an inbitation to attenb t&be Vint tbia ebening. ftbe Gftcbft encloaeb will abmit pou anb a Companion, taritb our Compliments. iWap each recurring ^irtbbap finb pou rtcb in ?|ealtb, ^ealtb anb l>appine£tf. tEfce Vint Cfjcatre $arrp Smoots Birthday Greetings and Tickets Pay in Building Good Will H. V. Smoots of the Vine theatre, Mt. Vernon, Ohio, has found that birthday greetings and complimentary tickets to his patrons on their birthday pay well in building good will. "We have been using the birthday greetings for three years and now have over three thousand birthdays on our list," says Mr. Smoots, "and we find them an excellent good will builder. Original lists were secured from lodges and other organizations' records. Last year we mailed a letter with our monthly programs openly soliciting dates of birthdays and met with a wonderful response. "Every boy and girl attending our Saturday Kiddie Club matinee is registered and given a button, at the same time the date of birth is secured. Details are taken care of by the young lady in the office, who writes a very beautiful hand and lends dignity to the invitation." The invitations sent out by Mr. Smoots are attractive folders, the inside of which carries a fitting birthday message (reproduced here). The complimentary tickets inclosed are arranged so that the proper date can be punched, there being a place for every day in the year on each ticket.