Publix Opinion (Feb 21, 1930)

6 POLICY CHANGE ~ OCCASIONS BROADSIDE -A whirlwind exploitation campaign that included the use of street ballyhoos, newspaper cooperative ads, a railroad tie-up, printed heralds, a _ stage show, city-wide telephone calls, and numerous store tie-ups, enabled Manager Charles Pincus and Publicity Director Irving Waterstreet to bombard all Omaha and the surrounding territory with the news of a change in the policy of the Paramount Theatre. From a full week stage show policy, the Paramount has gone into a four-day stage show, threeday first run picture policy. The term “roadshow” was used in all publicity matter describing the straight motion picture policy. | “Sally” was the first picture under the new policy and this attraction received a concentrated merchandising campaign that stamped it as an attraction of unusual merit. Some of the exploitation stunts used to sell it were as follows: Four days prior to the opening of “Sally” a living billboard presentation became a unit of entertainment at the Paramount. The orchestra played a special overture consisting of five Sally songs and after the orchestra had enter tained from the pit for about three minutes the curtain opened revealing a billboard. (See illustra tion.) The orchestra struck up a ballet number and the central fig ure on the billboard, a girl in a ballet costume, came to life and executed a fast toe dance. The regular exchange twenty-four sheet poster was used in this pregentation and the billboard was supplied free of charge by the lo¢al General Outdoor Advertising Company in return for the usual éredit panel at the top of a twen ty-four sheet board. “ For a street ballyhoo, a 40-ft. flat wagon such as is used to haul scenery was procured and bannered with a sign cloth sign extending the entire length of the truck. (See illustration.) Fifteen local merchants chipped in on a congratulatory page ad in the World-Herald. One hundred forty-eight inches of this page was devoted to the new policy, the motion picture ‘‘Sally’’ and the Paramount Theatre, while the merchants modestly displayed their “ie $ ? PUBLIX OPINION, WEEK OF FEBRUARY 2lIst, 1930 EXPLOITATION STUNTS SWAMP OMAH 8G O90 o-S1 0 -O O00 OO 2-D-1O+OO O02 DOs OO OOS INSTITUTIONAL ; COPY!! 20,000,000 PEOPLE CAN’T BE WRONG Twenty miilion people attend Publix Theatres weekly. These show-wise iheatregoers know where consistently good _ entertainment is to be found. They expect the best and get it. In Portland, the Publix Theatres Corporation have made the Strand Theatre their Entertainment Headquarters. © 100-010-010 +0 +-O 01-101 O10 O02 O1O O11 O10 O10" O00 O10" OOO 010-010 +-@ 9 O'-@16 +-O-2O+-O10+-OO--O +9" OO" OO" BOs O10" G10" G8 -P10+-010+0101-21010 101-0101 O10" O20"-O 10: 0101-0101 020+ names in a 2-inch box at the bottom of the page giving the theatre the lion’s share. A reproduction of this excellent page appeared last week. A quarter sheet window card, red on yellow, was displayed in every one of the Union Pacific depots in the towns surrounding Omaha. The message on this card (See Page 4) advised people of the change of policy of Omaha’s leading theatre and sold them the| idea that now they could go to the Paramount twice a week. Thousands of small heart-shaped heralds printed in black on red cardboard (See illustration) urged people to make a date with “Sally.”’ local people were used on/these cards, among them that of the postmaster. The postmaster received so many telephone calls asking who this mysterious Sally person was, that he appealed to the newspaper to print a story requesting people not to call him and advising them that it was an advertising stunt planned by the Paramount Theatre. The newspaper broke the postmaster’s story with a two-column head. Every morning during the engagement of the _ picture, the guests at the various hotels in Omaha found a small card under their doors. This card (See illustration) was in the form of a good morning greeting and advised the visitors about the motion picture on view at the Paramount. The leading shoe store in Omaha tied up with the theatre on a Cinderella Slipper contest. The store advertised in the newspaper and in their window that on the day the picture opened at the Paramount they would give a pair of expensive shoes to the CHANGE OF POLICY! Just a few of the stunts used t a change in policy at the Paramount Theatre. hand corner is a greeting card which was room doors of all guests in Omaha hotels. on the stage of the theatre. ballet dancing to the tunes from “Sally” a week prior to the opening of the picture. In the lower The figure is a live one. o inform the citizens of Omaha of In the upper right. slipped under the bedTo the left is a 24 sheet The girl did left hand corner is a herald while to the right is a bally-hoo truck of extraordinary size. The names of prominent’ first woman who entered their store and whose foot was the same size as Marilyn Miller’s dancing feet. Hundreds of women flocked to the store, which delighted the co-operating merchant, and the theatre benefitted by newspaper stories, that cost them nothing, and by the word-of-mouth advertising and the window displays. Three girls were busily engaged telephoning every subscriber in Omaha a week in advance of the opening of Sally. So that Mrs. Whoozis would not be irritated after having run down two flights of stairs! to answer the phone, the advertising message was disguised. The girl said to the person answering the phone, ‘‘Hello, Paramount Theatre?’’ and before the other party could tell her she had the wrong number she continued, “What day does the Marilyn Miller picture, ‘Sally’ open at the Paramount?’ By this time the person who had been phoned had a chance to tell her she had the wrong number. The girl phoning from the theatre was all apologies and begged the subscriber’s pardon explaining that she knew ‘Sally was a marvelous picture and she wouldn’t miss it for anything. All drug. stores. displayed streamers 22’’x 7’’ on the mirrors! behind their soda fountains urging people to try a “Sally Sundae.” The streamer carried a beautiful half-tone illustration of Marilyn Miller and was printed in red and black on glossy white stock. Five thousand postal cards measuring 614”? x 9%” were mailed to all the Box Holders in the surrounding small towns. These large size postal cards informed the recipients of the change of policy at the Paramount Theatre and carried an appealing picture of Marilyn Miller in a ballet costume. A tie-up was made with a local bank whereby a savings account was opened for every ehild born during the engagement of the picture that was named Sally. The bank publicized the stunt in their newspaper ads. Two weeks in advance of the opening 12-4 ft. hearts were displayed in the foyer, lobby and on the mezannine of the theatre. Drawing Contest Sells ‘Glorifying American Girls” Manager C. T. Perrin of the Sterling Theatre, Greeley, Colorado, effected a drawing contest tieup with a local newspaper tha brought gratifying results. T newspaper printed a black and white scene from “Glorifying the American Girl’ and readers were asked to color it in what they thought would be the most appro priate colors. Paper furnished t prizes. painted red and carried tease messages such as ‘“‘Make A Date With Sally,” “Sally’s Just Around The Corner,’ and ‘All Th World Loves Sally.” i A tie-up was made with a lo dance academy, a favorite retrea for the younger set, whereby on night was known as “Sally” Nite Prizes were awarded the be dancers in the name of Marily Miller. ; MEET THE BOYS: To promote acquaintance, respect and mutual und erstanding of the splendid individuals who comprise | . Publix, these one-minute biographies are offered. They're not printed as vanity ticklers for the showmen |) here portrayed. We want the photo and biography of everyone in Publix for the benefit of everyone in Publix. H. A. KAUFMAN Although Herman A. Kaufman, manager of the Regent, RochestPROT et aN cee has been in the theatre game only 5 years, his experience has covered practically every phase of show business ac quired in various the atres from the Pacific to the At lantic coast. Kaufman started his theatrical caareer as usher at Pits aacla aes moun t’’s Million Dol lar Theatre in ee aoe geles. e H. A. Kaufman rapidly ad vanced to the position of chief of service and a few months later was promoted to assistant manager of the Metropolitan in the same city. He also did exploitation work for that theatre until the end of 1926, when he migrated to Chicago and obtained a job selling films for the Paramount exchange. Kaufman was employed by B. & K. as treasurer and later as assistant manager of the Roosevelt Theatre before he, was transferred to Michigan City, as supervisor of 3 F. & R. Publix houses. Prior to his assignment in Rochester, Kaufman acted as student manager of the New York Rivoli. | ALFRED LANE ‘Managing the theatre in which he first started aS a raw recruit under the panner of show business, ten years: ago, Alfred Lane, manager of the Alhambra Theatre, Detroit, Mich., gained all his knowledge of the theatre from the ace showmen of the Kunsky Enterprises, with whom he had been associated for the past decade. Starting at the Alhambra, Lan c manage Alfred Lane fo howe for seven years straight. Transferred for a. period of eight months to a de luxe operation, he was then assigned to the Redford Theatre which he managed for a period of one year. From the Redford, Lane was transferred to his present post. W. M. GOLLNER The manager of the Princess Paramount Theatre, Toledo, Ohio, WwW. Marsh Gollner, is a graduate of the Unit ed States Naval Acad emy, the Gray role gie Insti tute: ont Technology, Dramatics and Applied Art and the Managers’ School. Besides being trained in his university studies Gollner has also worked in every department of ne theatre, rom proWw. M. Gollner gram boy to stage hand, and has mastered all the intricacies entailed in successful theatre management. For five years prior to joining Publix, Gollner worked for the Harry Miller Producing Company of New York City, producing and directing musical comedies and revues. Before being assigned to his present position, he was assistant manager for the Capitol in Cedar Rapids and the Capitol in Des Moines. R. W. BROSE Robert W. Brose, manager of |, the State, Minnea knowledge of audience reaction, which later aided him in his mana gerial ca pacities, by playing in orchestras, bands, car nivals and Cale 126 Ma Sa es during summer va cations, in order to de fra yee x= penses while at tending the Univers ity of Min nesota. R. W. Brose His first managerial education was received at the Finkelstein & Ruben Managers’ School. He added to his experience in show business after his graduation from the U. of M., by conducting various pit orchestras and stage bands in theatres in ‘Wisconsin and Minnesota. Brose was manager of the Publix F. & R. Century in Minneapolis before he received his present assignment. : J. A. JONES John A. Jones, manager of the Saenger, Pensacola, Fla., has been con|) nected with | the motion pict ume business © since 1908, }} both as an exhibitor and a performer. He also devoted some of | his time in the employ of two Pensacola new spapers as advertis graduate of two different Managers” School both, coh ducted by J o-hin: 3 aif ] | | J. A. Jones s. 5 dition to theatrical © knowledge of s 7 brings to his posi tive experience in partnership, in Pensacola. astrous bank failures Florida, Jones had to re his rights to his theatres and enter vaudeville, as a vocalist. managed the Isis, Pensacola, before receiving his present posl tion. gai J. J. SCHOLER Joseph J. Scholer, manager of the Tudor Theatre, New Orleans, La., has had a rich and varied career both in the commercial and theatrical industry. the close of | the War, he } entered the © thea tr em game in the | employ of J. J. Scholer Fox TheaJ ti Tres, Liem maining with that organization | for six years. Then he joined the | Rhebem Theatres Corporation, | for. three after which . : a Six weeks later he was sent to — New Orleans to manage the | Globe, from where he was as| signed to his present position. d