Publix Opinion (Dec 8, 1928)

. ~* a of PUBLIX OPINION, WEEK OF DECEMBER 8th, 1928 BROOKLYN-PARAMOUNT NEW LINK TO PUBLIX CHAIN (Continued from page 6) 6. The girl flag-pole sitter, who lost an election bet with Paul Ash broke into considerable local newspaper space, as well as national, through newsreels and . press wires. % 'ie-ups with Paul Ash included hats, overcoats, wristwatches, hair cures, radio sets, which resulted in full display ads and large groups of window displays obtained through jobbing . distributors. 8. A unit show tie-up with . synthetic pearl company, resulted in considerable full newspaper dis. play space out of town. 9. By authority of Mr. Chat: kin’s signature, theatre managers . in all Publix towns went to local -broadeasting stations and obtained with their local talent radio salutes during the week prior to the opening of the theatre. We ‘ have several score of acknowledgments where this was actually accomplished and it is reasonable to suppose that a great many more complied with the request but did _ not notify us. 40. By arrangement with Mr. Cowan and Mr. Partington, vaudeville agencies booking radio talent _ over New York and Brooklyn stations arranged to have them sing _ salutes to Ash, Murtagh and the new theatre. 41. By arrangement with Mr. Boris Merros and Ben Black all of the music dealers sent their song pluggers to radio stations to sing salutes to the new theatre. Its stories went a week in advance and we have acknowledgments of nearly a score of important sta. tions covered. 42. There are no important radio stations in Brooklyn but, as part of a plan I have in mind, whereby additional revenue may be made possible to the new theatre and publicity to every Publix theatre, I made an arrangement with radio station WBBC which is * the most important of the four. This station, at no cost to us, installed microphones in the thea' tre and for one week prior to the opening, radioed our publicity stories several times daily, alternating with their entertainment ' and they will keep us on the air for one month, at least, at no cost, until Mr. MeCurdy and I complete whatever permanent arrangement we are able to make. _ It is my plan to sell the radio program to a local advertiser for as much money as I can obtain for same, the revenue to be di2d between the performers and theatre. Eee Several hundred publicity tories were written, most of them by myself. These have been mi available for any future theatre enings, since nearly all are of an institutional nature. These stories were used day by day in daily and weekly ‘newspapers and other publications for several weeks prior to the theatre opening and also in the New York _Journal supplement; Standard ‘Union Special Edition and the Chamber of Commerce Magazine. These publicity stories totaled, approximately, 100,000 words, the _ equivalent of a full length popué lar novel, 14. Fifty or sixty news photos : nd captioned for pub_ lication various newspapers, : XN of these were made by _ staff photographer, n and his assistants. ‘e made by the press photographers. Many tographs have been cireuit distribution. ition, Art, Music, an magazines were ies and pictures. be personally di Standard ntest called ssadorette,”’ Yy quest in conne new theatre. This contest kept us in the newspapers for several weeks prior to the opening and will keep us in the newspapers for several weeks after the opening for half page and full page layouts in which institutional facts are carried. In addition to this the prize winners will obtain considerable national publicity when they go on tour, due to the credentials they will carry from Brooklyn organizations addressed to prominent organizations in each Publix city. This contest also obtained three sheet-flat banners on both sides of about 100 of the newspaper delivery trucks; on about 1000 news-stands with tack cards in about 1500 store windows with special window streamers all of which carried the opening date of the Brooklyn-Paramount theatre. Samples and photos of same are in the scrap book. 16. The Chamber of Commerce has a magazine of ten years publication prestige which was used for several months before the opening to carry publicity stories designed to enlist mer chant tie-up cooperation, as well as sell the theatre to Brooklyn business men_ as an important economy factor. In addition to this, the entire issue of the magazine was turned over to me to carry our entire institutional story. Those magazines were distributed, free of charge, in. the theatre during the opening week and were mailed to every Chamber of Commerce in the United States. After considerable maneuvering an honorary luncheon was arranged for members of Publix and Paramount, selling us as an important economic factor. This resulted in considerable prestige, as well as publicity several weeks before the theatre opened, which gave us a proper importance with the industrial interests. ~ 17. Seven hundred and fifty beautifully colored process posters were made by our Poster Department and distributed in downtown windows, welcoming the new theatre. All of the Ludwig-Bauman stores carried newspaper ads and window tie-ups on Paul Ash endorsing their piano. 18. The Postal Telegraph Company, which controls the Telephoto transmission device arranged with Van & Schenck in Cleveland to send an autographed picture to Paul Ash, likewise Paramount movie stars in Hollywood. The Postal Telegraph plans to use some newspaper tie-up ads in every city on this idea, as well as window display material. 1 see sand dollars obtained by a POPU meographed so that copies will be LAR subscription to the “Greater Brooklyn Boosters League,’’ which unanimously elected me to spend same in the interests of a gala A fund of several thou-| EVERY] WEEKs Glance thru the back-issues of PUBLIX OPINION and be reminded of a hunch or two to use today! T. Y. Walker Spouts On His Theatres City Manager T. Y. Walker of the Publix Theatres, in Anniston, Alabama, keeps his theatres in the public eye by mingling in local activities and making speeches before various clubs in the conmunity. Manager Walker spoke. about the sound installation at the new Ritz theatre before a luncheon at the Exchange Club, explaining some of the details of the development of sound pictures and discussing the growing favorable sentiment towards it. He also spoke at the Rotary club telling the members how the modernly equipped theatre would help merchants by an increased drawing power into the city from neighboring communities. Both these talks were favorably commented upon by the newspapers. the Brooklyn Paramount Theatre. One third of the space, including the front page was devoted to the institutional publicity — stories. This in itself was a gigantic task involving a mass of detail. The ads were obtained through cooperation of our various department heads, particularly, Wm. Saal, Frank Cambria, and M. J. Mullin. The follow-up work on this phase of the special section was done by Mr. Raymond Puckett, whd handled same in a very capable manner. The stories and pictures in same were described in the foregoing. Half a dozen news reel subjects were arranged and executed for release on our Own screens and nationally where the subjects had sufficient merit. The election bet flag pole story carrying the Paul Ash Brooklyn-Paramount sign broke into all our opposition theatres through Kinogram News reel. 21. Proclamation and speech for Borough President was written and arranged for movietone presentation and newspaper publication. 21. Special advertisers were solicited to buy néwspaper space in New York Journal and other newspapers congratulating the new theatre. 23. At least, four and possibly eelebration in honor of the new! five stories were sent out over the theatre. This celébration took/telegraph press syndicates and the form of expending all funds! were published in papers all over for the purchase and placement of banners, tack cards, etc., on all public highways, city property, telephone lines and with the transportation systems. Permits for same being granted, despite ordinance to the contrary because of the civic nature of the enterprise. The area covered included the entire downtown business district, the borough hall district and all important transportation transfer corners. Hight hundred double faced cloth one-sheet bannerettes and one-sheet tack cards carrying only the theatre name, location and opening date made the center pieces of each decorative streamer of pennants. The proclamation from the borough President calling for public cognizance of the new theatre resulted in many voluntary tie-ups. The front of the theatre was decorated out of this fund at that time. 20. The biggest newspaper supplement ever published in New York in conjunction with any enterprise was published by the New York Journal for the opening of the world, thus nationalizing the theatre. 24. A special appeal by Mr. Botsford and the writer to all Publix managers and _ publicity men obtained the first concertedstrength selling effort. This took the form of stories about the new theatre in local papers as well as local radio salute idea. This proved highly successful. A great many other things were attempted without results and some with results, which have escaped the memory of the writer in the rush of the theatre opening. The scrap books on the opening are not fully posted, due to the chaotic conditions surrounding the opening. However, these will be completed as quickly as possible. As the scrap books now stand a rough idea of the magnitude of the selling job may be obtained by any one, who wishes to look at same. This completes the report on things accomplished. Election Gag Gets Space As Usual An effective exploitation in the line of an Election Day gag was staged by Manager Edward A. Smith, of the Minnesota Theatre, Minneapolis, Minn., who had his popular band leader, Al Mitchell, roll his baton for six blocks about the theatre in payment of an election bet on the “morning after.” Both the Minneapolis Star and Tribune ran stories and pictures of the event. To make it more convincing, the stories carried the information that Mitchell hailed from New York while Manager Smith came from California, hence the choice in the candidates. BORIS MORROS NEW PUBLIX MUSIC CHIEF (Continued from page 5) Nathaniel Finston in charge of the music for all the Publix theatres throughout the country. Recently when sound became so important in the picture industry the Paramount Picture company felt that it meeded Mr. Finston to be in charge of its new work. The logical successor to him as General Musical Director of the Publix Theatres Corporation was Mr. Morros, who is now opening the Brooklyn-Paramount Theatre in that capacity. Although his rise is phenomenal, it is easily explainable to his intimates and associates in the amusement world. His new position opens new fields to conquer and Publix has put its trust in a man that it knows can do the job. NON-SYNC SHOW BY MUSIC DEPT. MAKES BIG HIT (Continued from page 5) at the Paramount theatre and in houses throughout the country can now be played with mom syne interpofations instead of hiring expensive human talent. A grand opera overture like Faust entailing the hiring of solo vocalists and immense choruses can now be put on with two or three records for the arfas, duets and choruses. The Music Dept. has prepared and distributed a cue sheet of a Faust overture with non syne interpolations which was played at the Denver Theatre on the occasion of its anniversary week te marvellous effect. Im addition to Faust, we have prepared a non sync and orchestra or organ cue sheet for the Living Masters Overture, a Thanksgiving Overture called Plymouth Rock and several others. We have prepared eue sheets for film novelties like the Love Charm and a Thanksgiving Reel, and a color film called Where Skies are Blue. All of these have been played at the ParamountRiveli and Rialto theatres and will be even more effective in smaller cities. The Music Dept. is being set up to furnish even more of these novelties. We are working on a plan to have a non sync novelty prepared for practically every national and religious heliday. We will try to do our share, but this should not prevent you and your own musical directors from thinking along these lines and preparing and putting over even more and other novelties, “The programs just shown to you will give you an actual visual representation of the work we are trying to do. All that has been shown te you is available for your immediate use. At all times we stand ready to serve you with suggestions and assistance—it remains for you to put these into practice in such a way to make the sound equip. ment in your theatre an actual box office draw. We welcome all suggestions and advices bred of. your own experience in the field that you can give us. Everyone with a ‘sound” idea should disseminate it so that all of us here can benefit” therefrom.” The Psychology of Approach PPROACH resolves itself into making allowance for idiosyncrasies, understanding the point of view of the person being dealt with, getting at his problems and interests, appreciating his prejudices, feeling or sensing the whole situation, and then re-presenting the facts in a more acceptable form to give him perspective so that he can work with you and not against you. It is no exaggeration to state that he will accept any sound premises (the necessary first step of mutual gccomplishment) if they are properly presented—that means complete understanding and the elimination of constraint, which in turn are dependent on, mastery of the situation and the highest degree of self-control. Rules and principles of control: NEGATIVE Never lose your temper Never get excited Never appear suspicious Never appear to be in a hurry (that does not mean to dawdle, which would be equally bad) Never use force when any other possibility is open Never antagonize, no matter what the provocation POSITIVE Sincerity ts essential—genuine interest in people, real sympathy for and understanding of their problems. Resourcefulness —when persons being dealt with see that you can grasp their problems, they develop faith in your ability and they are willing to rely on your judgment. Poise inspires confidence, creates respect, carries conviction, breaks down the gloom, takes away the drabness, and itself imparts poise. Cheerfulness is contagious, and effective. Frankness cions. makes explanations easy and does away with suspiThere should never be any mystery or concealment, never prevarication: otherwise there will not be moral force enough behind statements to drive them home; there is nothing that will break down confidence and respect more than the discovery that the person confided in has misrepresented the facts. Similarly damaging to workable relationship is betrayal of confidence. Patience and tact disarm suspicion and jead people into making disclosures they otherwise would conceal. As a matter of fact, people really want to tell their problems, but that must be made possible for them. Courtesy almost always calls out an immediate response. It can do more than any one thing to put every one at ease and establish friendly relations. No one can afford to fall below certain levels of courtesy. NELLIE L. PERKINS, Ph.D. (Reprinted from “Tue Executtve”) t if iW