Publix Opinion (Jan 17, 1930)

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F j “eS Sr 10 PUBLIX OPINION, WEEK OF JANUARY 17+rn, 1930 MAYOR PLEASED WITH HELP ON ~ CENSORSHIP . It is is nothing unusual for the mayor of a town to write a letter of congratulation to a manager upon a theatre anniversary. City Manager E. E. Collins of Houston, Texas, however, is the recipient of a letter from the mayor congratulating him, not only upon the theatre’s birthday, but upon the “part the theatre has played in making censorship unnecessary in Houston through the presentation of clean entertainment on stage and screen.” The letter was reproduced in full in the local papers and brought to the theatre an Official expression of commendation of great value. There should be no difficulty obtaining such letters in other cities especially if censorship has been eliminated. “While taking cognizance,’’ wrote the mayor, “‘of the splendid business and amusement success of the Metropolitan and its associated playhouses, as mayor of the City of Houston, I want to thank you and your organization. for the splendid manner in which you have co-operated with the city in offering clean and wholesome amusement. “It was my idea that specialized censorship of shows was a violation of some of those sacred rights of freedom guaranteed by our constitution or, at least, it savored of such a violation. So we abolished specialized censorship, put the showhouses on their honor and with few exceptions let public opinion condemn or _ approve amusements. And I take great pride in saying that all of the managers have helped us make a success of the plan.” j Novel Symphony Short Is Now Available The “Love Parade Overture’’ novelty short which has occasioned so much comment at the New York Criterion, is available for general distribution through the booking departmemnt. The excellent reception it has received in New York should make it a favorite throughout the country, according to Boris Morros, director of the music department. The short represents Rubinoff conducting a symphony orchestra in the pit playing the hit tunes from Maurice Chevalier’s ‘‘Love Parade’. Recorded on the lower third of the film frame, most of the film and screen must be masked during presentation. It is this unusual recording which creates the illusion. Used as Overture At the Criterion, the short is presented as an overture opening the program, and appears on the same bill with the ‘‘Love Parade’’. Its entertainment value, however, is so great, according to Boris! Morros, that it may be presented in a variety of ways. It may be used as a short on any program some weeks before the ‘“‘Love Parade’? comes to the theatre, and would be spotted in the program in the place formerly filled by the theatre orchestra. It might be used, as in New York, together with the feature. Or, and Mr. Morros urges this strongly, it can be used some weeks after the run of the feature when the tunes will be fairly well known. The novelty of the subject makes special methods of presentation essential. The screen should be masked in any one of the follow ing ways: : Three Suggestions PHONOGRAPH TIE-UP IS GOOD BET! With the advent of such well-known phonograph artists as Moran and Mack, Rudy Vallee, Paul Whiteman, Van and Schenck and others of similar calibre to the talking screen, the phonograph company tie-up offers one of the most effective methods of plugging your attractions. PUBLIX OPINION has dipped into its past files of unpublished material to show how C. B. Taylor, Publicity Director of Publix-Shea Buffalo Theatres obtained a full page ad free, from the Columbia Phonograph Company to plug the appearance in person of Van and Schenck. The same stunt can be used equally effectively when phonograph stars appear in full-length talking pictures. Note the prominence of the theatre and attraction. 12—D: THE BUFFALO SUNDAY TIMES, SUNDAY, FEBRUARY 38, 1929. ‘Hear the PennantWinning Battery of Songland ALL THIS WEEK At VAN AND SCHENCK, VAN & SCHENCK WITHOUT PEER IN SHOW BUSINESS ‘Amazing Songsters This Season Are Offering Best Program of Entire Career, & 'HE coming of Gus Van and Joe Schenck, peerless’ harmony singers, to Shea’s Hippo; drome this week, is an outstanding event in vaudeville’s ‘New Era?’ celebration, now being observed throughout the United States and Canada, Just back from London and Paris triumphs, the popular hatmonists will find a genuine welcome awaiting them here. Van‘and Schenck are without peer in the show business. Makfog their initjal stage appearance ever eightecn years ago, they have risen to glorious heights, wot alone in vaudeville, but in the midnight to dawn rendezvous, the radio world and the phonograph record field. Their knack of witty characterization and dash of genuine sentiment, pleasantly blending voices, radiating personalities and an sinexhaustible repertoire of exclusive Song hits have carried them far. One of the most pleasing parts ef their performance is the absence of any effort expended to accomplish the results they achieve. Mr. Schenck sits at the piano, but never looks at it. Half the time he has his back to the keys and is playing only with the right hand, while resting the Jeft elbow upon the music rack. When he sings a ballad you 185¢-D—1 GOT A WOMAN CRAZY FOR 3 WEAR A HAT WITH A SILVER LINING, is, ‘Ted Le 1033-R—THE SPELL OF THE BLUES. HIGH UP ON THE HILL TOP. By Guy Lombardo and His les at the Organ (Wurll His Orchestra, 1018-D—SWEETHEARTS ON PARA al THAT'S HOW IF AB U—Guy Li Can 1683-D—UPS-A-DA\ HOT? For could hear a pin drop in the most spacious auditorium. His wonderfully sweet voice, a nataral voice of sympathetic appeal] and extraordinary quality, and his pleasing style and simplicity capture his auditors instantly. Mr. Van is the comedian songster par excellence. To him go all the laughs and guffaws, but they share equally in unpreeedented applause, Van arouses laughter with his dialect character delineations. No race has a lingo intricate enough to feaze him. He shifts from Italian to Chinese, from Irish to Yiddish and throws in for good measure a liberal amount of native humor in song. ‘ These amazing songsters are this season offering the best program of songs of their, entire careers. They have a repertoire of more than five hundred songs and have selected the topnotch numbers for their current offering. 1380-D—T Bo: 1485-D—KING FOR A DAY—Vocal Refrain—Walts. MOONLIGHT MADNESS—Vocal Refra ‘Ted Lewls and 1434-D—HAPPY DAYS AND 10} N LONELY LITTLE BLUEBIRD. Vocals—Ruth Etting, bd SY road i 159-D—MY BLACKBIRDS ARE BLUEBIRDS NOW. “YOU'RE IN LOVE AND I'M-IN LOVE. Ruth Etting Vocal | 1363-D—SONNY BOY. I STILL KEEP DREAMING OF You. Ruth Etting—Vocal 148-D—COME BACK, Cra’ LONESOME IN TH LIGHT. Paul Whiteman and Orchestra. 1013-D—SHIM-MF-SHA-WABBLE. CLARINET MARMALADE, ‘Ted Lewis Band 1s1-D—THAT'S MY WEAKNESS NOW, T CAN'T GIVE YOU ANYTHING BUT LovE, ulele Tke, 18t0-D—ALONA v Bis . Kap 33 ee: OF SIGMA CHI. GOOD-NIGHT, Tea Li ‘ed Lewis Bani 035-D-—TWO BLACK CROWS. a PARTS 1 AND 2, Morin and Mack 07-D—THE NEW AT. LOUIS BLUES. ‘MY MAMMA'S IN TOWN. Ted Levts Band ~ COLUMBIA MUSIC SHOP MEDO 451 Michigan Avenue THE music sHop _—‘F©. SCHUNKE & CO. G. COLUCCI 297 West Ferry Street H. SCHUNKE Seneca Street MAX FRIEDMAN 15 West Chippewa Street ME—She'a Funny That Way. oyal Canadians With Milton oma Motion Picture Fox Trot, NGS FOR ME?—Vocal Refrain, 7 nce Mering and Marlel BLACK CROWS IN THE JAIL HOUSE—Part 1 a1 Land 2, in—Fox Trot, SHOULDER. a, janihute with Prince of Hawall, Chorus Toomey with Non Barrientos Orchestra, ART g 18 East Chippewa Street 1234 Jefferson Avenue PALISANO & CO. 217. Virginia’ Street AT THE “HIP” HERE ARE VAN & SCHENCK’S No. 1092-D — ‘‘Magnolia”’ No. 1092-D—“‘A Pastafazoola” No. 1162-D—“A Lane in Spain” Else” No. 1492-D — “‘Get Out and Get the Moon” No. 1492-D — “Skabatin-Dee”’ THESE COLUMBIA DEALERS WILL SERVE YOU: J. P. ARNHOLT ELECTRIC CORP. East Aurora, N. 1080 Broadway The Song Birds Are Here? — VAN ant SCHEI Columbia Phonograph Artists The Most Popular Singing Comedians on the Stage Today Columbia Boasts of the Leading Artists Today eee CCC TTC TTC TTT TT TT tt No. 1221-D—“There’s a Riggety Raggety Schack” No. 1221-D—“‘Is She My Girl Friend?” No. 1071-D—‘“‘Vo-Do-Do-Deo Blues” . No. 1071-D—‘‘Ain’t That a Grand and Glorious Feeling?” No. 1306-D—“You Can Tell HerAnything Under the Sun” No. 1306-D—“‘Away Down South in Heaven” No. 1162-D—“‘There Must Be Somebody DEVESO BROS. 472 Elmwood Avenue SHEA’S HIPPODROME Gus--VAN and SCHENCK-Joe Just back from brilliant London and Paris triumphs in an unexcelled program of snappy, peppy melodies that have made them world famous. AND A GREAT SURROUNDING BILL OF KEITH-QUALITY VAUDEVILLE On the Screen: The Star of “Lilac Time” in her Greatest Hit Since “Flaming Youth”! ‘COLLEEN MOOREi“SYNTHETIC SIN” =1 souna GOOD SINGERS MUST BE GOOD ATHLETES —Say Van & Schenck = a Kings of Harmony Head. ing Great Keith-Quality Vaudeville Bill at Shea’s Hippodrome. OTHING is better for the voice than a good strong workout on the diamond or four or five fast rounds in the squared circle, according to Van and Schentk, kings of harmony, who are appearing at the Shea's Hippodrome this week. These two well known songsters never miss a chance to work out with a local ball team in any town where they are appearing and they box every day back stage at the theater. : “Tt keeps the lungs clear and the throat in good shape,”’ says Joe Schenck. “« And it keeps me from getting fat,’’ says Gus Van, as he rummages in the corner and produces a trunk in which is contained every known article from Indian clubs to spiked shoes. ‘‘We carry this with us all the time,’’ says Van, ‘‘and we use it every day. There is enough equipment here to ft up a good-sized gymnasium and-it sure helps us to keep in trim.’” Van and Schenck are products of Brooklyn, They took up the noble art of baseball soon after LATEST NUMBERS: they formed their vaudeville partnership, eighteen years ago. Today they are known as one of the best semi-pro batteries in existence and they never miss a chance to hook up with a local team. Along with baseball came proficiency in other sports, In boxing, basketball and other, games whereby flexibility of the muscles is attained, Van and f Schenck are. master hands. It takes all the physical strength they can garner to offset the nerve-racking effect of the stage appearances. Both declare it is * Ino fun being a popular performer and both handle themselves as business propositions, “‘When one sings on an aver= age of thirty songs a day it is apt to play havoe with the voice,” says Van. ‘‘Therefore, to strengthen our voices we indulge in plenty of outdoor sports. Of course, the best thing that a singer can have is good lungs. That is why we play games that strengthen them.” M. GREENER 706 William Street Under Y. S. SCHANZER 672 William Street WEST SIDE MUSIC SHOP 149 Grant Street lowered so that the entire upper black portion of the screen is masked with that curtain, thus creating an impression of a Pit Orchestra. The traveller curtains are to be brought to the edge of the screen, closing-in the sides of the proscenium. 2. If for some reason the above described curtain effect cannot be obtained, operator is advised to project through the F-7 Brenkert machine slide No. 1438, or a corrugated glass slide, using a dark blue gelatine. These will mask and soften the upper empty portion of the picture. 3. If no magnascopic screen and Brenkert machine are installed at your theatre, it is recommended that you throw a deep blue spot over the entire screen from the regular Stereopticon. This will change the plain blank parts of the screen into deep blue, softening the effect. NEW OPERATIONS The operation of the Strand _1. It is essential that these | Theatre, Crawfordsville, Ind., and films be projected on the magna-| the Indiana and Lawrence thea_ scopic screen where such is in-| tres, Bedford, Indiana, has been stalled. A drop curtain is to be | taken over by Publix. pais WORKING CREED FIT FOR PUBLIX Division Director L. E. Schneider submits the following as the operating creed, with Publix standards and ideals superimposed over it, of Publix Theatres in Greeley, Col., under Clarence T. Perrin: é A Good Creed 7 By Elbert Hubbard I believe in the stuff I am handing out, in the firm I ‘am working for, and in my ability to get results. I believe that honest stuff can be passed out to honest me by honest methods. : I believe in working, not weeping, in boosting, not knocking; and in the pleasure of my job. I believe that a man gets, what he goes after, that one deed done today is worth two deeds tomorrow and that no man is down and out until he has lost faith in himself. I believe in today and. the work I am doing; in tomorrow and the work I hope to do, and in the sure reward which the fu vA x ture holds. I believe in courtesy, in kindness, in generosity, in good cheer, in friendship and honest competition. I believe there is. something doing, somewhere, for every man ready to do it. HOME ATMOSPHERE In an effort to make the members of the house staff conscious of the importance of atmosphere in the theatre, Assistant Manager V. L. Wadkins of the Alabama Theatre, Birmingham, delivered a brief talk in which he stated, ‘‘Our aim is to strive for the kind of atmosphere that reflects the spirit of home without being quite so familiar.”’ RESERVED SEAT HERALD A. reserved. seat ticket herald devised by Madeline Woods, publicity director of the Great States division, was used in selling the “Hollywood Revue” at all of the Great States theatres at which it played. x Herald was full of copy and stressed the economy angle —a $6.60 show for regular prices. Christmas Trees Help Towards Good -Will Christmas trees, erected in publix squares and parks, and with or without accompanying entertainment, were thoroughly tested out in many Publix cities during the past holiday season, and found te be a satisfying good-will builder. © Paid for by merchant or civie cooperation, but with the theatre receiving most of the _ credit, Christmas trees were generally regarded as a very much worthwhile gesture. In Detroit, the Publix-Kunsky theatres scooped the town with a tree in Grand Circus Park, most prominent spot in the city. In New York City the Electrical Club sponsored the tree in Times Square, in front of the Paramount. -theatre. In San Francisco, however, five different organizations sponsored elaborate trees, all widely advertised, and most of them playing the entertainment angle. Competition became so intense just before Christmas that the outdoor attractions made themselves felt at box-offices throughout the city. List of sponsors included a newspaper, the Downtown Association, an oil company, the city, and a women’s club, and bad effect to. theatres. ascribed not to _ trees themselves, but to fact that they were scattered over city and kept crowds out of downtown theatrical district. Theatre managers now plan a stronger downtown counter-attraction for next season, with possibility of uniting various agencies behind one big splash. Merry Xmas! Art Schmidt, Director of Publicity, and City Manager Walter Immerman managed to get permission to place this 30 foot Christmas tree in Grand Circus Park facing Woodward Avenue, Detroit’s principal thoroughfare. How’s that for a flash?