Music Trade Review

Issue: 1929 Vol. 88 N. 19

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
The

Oil
PAHKER, HARRIS
I
IS yCUC EADIC
OUCH!!
Radio
If so— consult or phone us—
and
The

c* I*
Dr. Harris
Gomes a-Runnin'
?ARKER HARRIS
R. H. CAMPBELL
HIS is the day of specialization, particu-
larly in the medical profession. We have
baby specialists, throat specialists, nerve
specialists, and now we find the radio
specialist, or radio doctor, as skilled in his pro-
fession of tending sick radios as any M.D. is
in tending sick persons. The radio ha,s really
become an integral part of the home—a per-
sonality. When its golden voice is stilled or
even hoarse with static the owner feels lost.
It must be tended carefully and immediately.
To most people the internal parts of a radio are
as intricate and mysterious as the parts of the
human body—so call a radio doctor.
P. M. Harris, general manager of The Music
Shop, New Orleans, always had a hankering to
be a doctor. He wanted to fix things up, to
help people with their troubles, but as fate
ates anything that they get for nothing and
Mr. Harris makes this perfectly plain to all his
patients.
Mr. Harris, like thousands of other radio
dealers, was losing money by constantly re-
pairing, without charge, the many radios he
sold. He decided to eliminate from the public
mind the idea of "something for nothing."
"Make 'em pay and like it" became his slogan.
Of course, he had to educate the public up to
it, but soon he found that they flocked to his
store, rather than any other in town, for they'd
rather have expert radio repair work that lasts
than get it free and need it often.
A radio repair shop, no matter how expert,
is not a new idea, but The Music Shop's repair
department is run on original lines. They
charge for repairs to all radios—even the ones
they sell. Wait! before you begin to expostu-
late and cry, "Impossible! He must be losing
customers by the hundreds." Let me inform
you that in good cold numerical figures it has
been found that Mr. Harris's clientele has more
than doubled in the years since he instituted
his "repair for pay" idea.
It is specifically agreed by the under-
signed, that THE MUSIC SHOP is NOT
He lias printed what he calls an "Addendum-
RESPONSIBLE for the burning out of
Radio
Agreement" which he attaches to every
tubes and batteries, and any replacements
contract.
This addendum specifically says that
of them will be paid for at current list
the undersigned agrees that The Music Shop
prices—and cash on delivery. Furthermore,
that any service to Radio or any call made
is not responsible for what happens to the
to residence will be paid cash at rate of
radio tubes and batteries, or for any replace-
$2.00 a call, plus material necessary.
ments, etc., which must be paid for in cash
Signed
Also this formula prescribes that all calls to
residences are at the rate of $2.00 cash, plus
Address
all materials used. That, he says, is plain
enough and is like those signs in the offices of
Attached to All. Contracts
up-to-date doctors which say politely that a
fee will be charged for all examinations and
that all treatments are cash.
would have it, Mr. Harris had a friend back
A big sign out in front of The Music Shop,
in St. Louis whose father had a big music store
and he went to selling pianos with his friend in Baronne street, tells us all about the idea.
and has been selling music ever since. But his The sign says: "If Your Radio Is Sick and
old idea never quite got away from him and the You Want it Healthy, phone Ra. 6114." And
first time he had a chance he put this idea into right under this in big type: "We Are Radio
Doctors." Another sign says: "We Service
practice and became a Radio Doctor, and, like
Our Radios. We Charge for Our Time, Our
all good doctors, he has made helping people
Service Is Not Free." That's plain enough, ac-
out of their troubles pay. People like to talk
about their troubles better than anything else cording to Mr. Harris, and he says people like
in the world and a doctor likes to be sympa- it. And he has set up a whole suite of offices
thetic and helpful, but there is no use making just to take care of the unhealthy radios and
any beans about it; nobody properly appreci- to have consultations with patients who want
T
to talk about their radio troubles. Everything
that you can think of is in these offices, all
the paraphernalia, equipment, etc., better than
most M.D. offices. And there is a force of
expert assistants to help, because, as Mr. Har-
ris says, you must have good doctors.
The idea has gone over big and Mr. Harris
is known in New Orleans as the Radio Doctor.
But if you could see the 1,500 to 2,000 persons
outside The Music Shop store, almost any day
in the Summer time and on many days in Win-
ter, you would realize that Mr. Harris has not
A ddendum-Radio
Agreement
P. M. Harris
neglected every other form of publicity. A
big feature is his huge Scoreboard sign across
the second' story of the building where the
scores of the baseball games are recorded for
the public from a wire service. And then there
are his window displays, one of which caught
the eyes of all New Orleans one week, when
he had a hundred of so many colored balloons
dancing around to the tune of a big RCA ma-
(Continued on page 19)
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
The PIANO
as Fine Furniture
What Phil Clay Said
to Alex McDonald
Philip T. Clay
(NOTE:—This is the gist of a conversation be-
tween Philip T. Clay, president of Sherman, Clay
& Co., and Alex McDonald, of Sohmer & Co.,
which took place in San Francisco, April 26, 1929.)
H E fine furniture appeal of a piano is
one of the most effective of sales ap-
proaches, and one that is almost entirely
lost sight of by everyone in the industry
—manufacturer, dealer and salesman.
It is time to wake up and realize that in
every well-furnished home, however modest,
a piano is an integral part of its furnishing.
It should be the furniture piece-de-resistance
of the living room. It is the first thing in the
living room to attract the eye, and it should
be the central motif of the furniture scheme of
the home.
I do not wish to be misunderstood. In no
way am I decrying the piano as a musical in-
strument of superb possibilities. Its position
as such is impregnably established. I am con-
cerned about the business of selling pianos. No
merchant or manufacturer can control the mo-
tives that prompt people to buy. The wise
merchant is the one that capitalizes every buy-
ing motive to his own advantage; pride;
vanity; "keeping-up-with-the-Jones"; the desire
to have the newest and the latest,—these are
all strings upon which the wise merchant may
legitimately play to promote sales.
Group instruction, public school classes and
all other methods of stimulating an interest in
piano playing, as sponsored by our organized
efforts, are not prompted by altruism. They
serve an altruistic purpose to be sure, but the
primary object we have in view is to make a
market. Making a market for pianos is our
most important problem to-day. It is not that
we do not know how to sell the market—our
difficulty is that the market is too limited. It
is right and proper, therefore, for us to con-
T
sider and promote any other source of sales.
I maintain that every well-furnished home
requires a piano, even though no one in that
home can play it. It belongs there as an in-
dispensable article of furniture, and its very
presence will stimulate interest in playing.
Let's get the piano into every home—no matter
under what guise, and then we can turn our
attention to ways and means of creating a use
for it.
The strides in home building throughout all
of America in the last ten years have never
been equaled in the history of the world.
Everywhere you turn—in every city and town
in America—you are amaze-d at the new and
lovely homes that have been built and are
constantly being built.
The furniture trade has abetted this trend
and capitalized it—the better homes movement
and the model homes erected all over the coun-
try have given a marvelous stimulus to the
furniture business. Further, they have made
people realize that the home can serve all its
useful purposes and be beautiful to the eye at
the same time. They have established the fact
that the aesthetic and utilitarian may be twin
sisters in adding to the joy as well as the
comfort of life.
For the same reasons the piano belongs in
every home. No one can deny that many of
the better pianos of to-day are encased so
beautifully as to challenge the best that the'
furniture experts have developed—in fact some
piano cases have incorporated such beautiful
furniture ideas that it would seem a man in
furnishing his new home should be sold the
idea of buying his piano first and choosing
his furniture afterward to fit around it.
Much is being said about pianos lasting too
long. That is inherent in the instrument. The
very things that go to make it a beautiful musi-
cal instrument are the things that make it dur-
able. Good furniture is also durable. It will
outlast the lifetime of its owner. Does that
discourage the furniture trade? Not in the
least. They pay no attention to durability as
a sales deterrent. By propaganda and style ex-
hibits they sell the idea that every few years
the home should be refurnished—made over.
And they get away with this idea splendidly.
What is our cue? This should be our sales
talk: "Sure your piano is not worn out; musi-
cally it is just as good as new, but it no longer
fits the furniture scheme in your home or the
new one you are building. Bring your piano
up to date as you are doing with the rest of
your furniture which you are so carefully se-
lecting; make it the big decorative feature of
your home instead of a misfit where everything
else is harmonious."
The American people have the money and
the disposition to buy good things—the best
of everything. The diffusion of wealth is so
10
great that there is an unlimited number of peo-
ple to whom any worth-while thing can be sold.
It is time to wake up. It is time to realize
lh:it we have something wonderful to sell—
both as a musical instrument and as fine furni-
ture. It is up to us to realize the value of this
marvelous furniture appeal of the piano. It is
time to concentrate our selling energy on the
people who have the price and the will to buy
any worth-while object that is worthily pre-
sented.
There is no royal road to successful piano
selling—it is a matter of intelligent hard work,
but it is the intelligence that is put into that
hard work that tells the tale of success or
failure.
Intelligent business men everywhere are
scanning their markets—they are analyzing
population, purchasing power, social habits, and
above all, they are trying to discern buying
motives; they are seeking to discover every
emotion that may be utilized to prompt buying.
It is no longer enough to have a fine store, fine
goods and a fine reputation. They are an es-
sential background. The modern merchant,
having all these, must be intelligent enough to
know every possible buying motive, and be
alert enough to take advantage of them. In
Alex McDonald
this era of super-competition between indus-
tries we must be able to discern every possible
selling approach and be energetic enough to
take advantage of them.
The piano is essentially of the home, and the
home is, and always will be, the most impor-
tant of human institutions. No longer is it
merely a place to live—it is something of which
to be proud because of its beauty and its com-
fort. The piano not only adds to its culture
but it can add more to its beauty than any
other article in it.
We, in the piano trade, need to be sold on
this idea. We must realize its importance and
significance. We must then take off our coats
and make it effective with energy and intelli-
gence.

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