Presto
Issue: 1920 1790 - Page 5
November 13, 1920.
STO
to believe. For it pertained to the branch of business which, above
all, should be the place of affability and courtesy—the advertising de-
partment.
"I had called," says the letter writer, "to consult the advertising
manager about a new window sign device in which I was interested.
I was directed to the assistant manager of publicity. I told him why
I had called, and this is what he bellowed forth: 'An electric sign, eh ?
Well, about nine out of every ten men who come here have electric
window signs! We don't care to see it!' And he shut the door in
my face."
If that is not an exaggeration, then the advertising manager is
not a profitable employe. He is not doing the right kind of adver-
tising. He is driving away trade. For of all callers, perhaps the ad-
vertising solicitor is the one who should be made welcome. It is his
business to advertise. He is a "mixer." He circulates. He talks.
And what is he likely to say about a house whose representative, in
his own line of work, greets him with an insult and shuts the door
in his face ?
But this has little or nothing to do with the fine ending of the
Lyon & Healy advertisement. If every business house would extend
the same invitation and assurance, the unpleasant flavor of the in-
civilities which were due to the unrest of the great war, and its at-
tendant discomforts, would soon become entirely extinct and per-
haps in time be forgotten.
ART AND ADVERTISING
An irrepressible conflict among writers on musical matters has
been, like that of the doctors and some other professionals, whether it
is a violation of ethics to indulge in advertising. There has been a
sentiment in the music world that an executive or creative musician
has no business to do business at all in a business way. The degree of
real reasoning that has been injected into the delicate subject has
never been enough to swim a warboat, and to thinking individuals of
average intelligence there doesn't seem to be much reason in it any-
way.
And so once more, for a moment, suppose we look at the proposi-
tion of the musician who, having something more than an understand-
ing of the tonic and sub-dominant, the high C and the low B-flat,
deems it well to do a little publicity work. Svippose some artist be-
lieves that he might as well break through conventionalities and in-
vest in some -publicity concerning his proposed performances, or what
he may have actually already done to startle the musical world.
What's the harm? Why permit the newspaper critics to tell it when
perhaps they know nothing at all about it ? Some of them can talk
intelligently about a stock show or even a prize fight, but few of them
really have the capacity to feel good music and describe the manner
of its making.
The late Marc A. Blumenberg conducted both a critical journal
and a trade paper. It was his habit to boldly declare that if any artists
wanted notoriety he would give it to them at the regular advertising
rate. He had a habit of making his trade paper an adjunct to his
critical journal, and so intermingling the influence of the two that, to
get anywhere by the editor's aid, it was well to invest in both publica-
tions. And his plan worked because it was good common sense.
Since then other critical—more or less—music journals have adopted
WEAVER WORKERS
ARE ALL PEPTOMISTS
Enlivening Enthusiasm Marks the Written and
Spoken Words of Dealers and
Employees.
Enthusiasm is certainly sparking right with the
representatives of the Weaver Piano Company, Inc.,
York, Pa. Here is a sample of cheery correspon-
dence from Walter Gleitz, a son of R. A. Gleitz,
tone expert for the York industry, who is doing
some special work for George Porch, dealer, Johns-
town, Pa.:
"Mr. Porch certainly is a first-rate fellow and a
Weaver booster. The Weaver goods top all of the
rive or six different makes of pianos here. When
they are placed beside another piano for a test they
invariably come out first. It certainly makes me
feel proud to be an employe of the firm. Our little
York makes some of the artist grade goods sit up
and take notice. Mr. Porch says the tone of the
York is much better than some of the artist grades."
G. Keagle & Son, Canton, Pa., is enthusiastically
Mr. Blumenberg's plans of publicity with the ethical problem some-
what eliminated.
In short, it has come to pass that the critical journals in the line
of music no longer hold their little noses high and refuse to see that
their comments and criticism are simply a species of more or less con-
scious advertisements. If the criticism is flattering it helps and if suf-
ficiently uncomplimentary it may help even more, especially if the
one advertised is said to possess some eccentricities of a kind to make
him interesting, or has particularly long and beautiful hair.
In any event, the critical journal of music no longer withholds the
secret that it is out after advertising, and all it can get of it. A re-
cent and very stalwart illustration has just come in the "Twentieth
Anniversary Number" of the Pacific Coast Musical Review, of San
Francisco. The journal named is one that deserves its evident suc-
cess. It has made a great struggle and its editor, Mr. Alfred Metzger,
is several inches taller, in his capabilities and musical knowledge, than
any of his contemporaries at the other end of the continent. New
York has no weekly musical journal to compare, in substantial inter-
est, with the one in San Francisco. And in the special number of the
Pacific Coast Musical Review it is cheering to notice quite a number
of fine advertisements of large music houses. Sherman, Clay & Co.
have a full page in front; the back cover is possessed by Kohler &
Chase; Geo. J. Birkel Co., "the Steinway House," Wiley B. Allen Co.,
The Baldwin Piano Co., and other substantial piano houses are also
liberally represented.
Art unadvertised would soon drop to the zero point and locally,
perhaps, even die. The "critical" musical journal can not live upon
art alone, and the musicians do well to support it
Both political parties agree that there is promise of a protracted
period of business prosperity ahead. It will depend upon the piano
trade, largely within itself, to insure a good share of that prosperity.
The individual dealer is the chief factor in piano trade success as in
few other lines of trade. And no matter how small his business may
be, each dealer's influence is considerable.
* * *
If you have a local demand for grands cultivate it to the fullest.
If the call is for players, extend your energies along that line. And
if the demand is still for the "straight" uprights, don't discourage it,
but give your neighbors what they want and let them be proud of
their purchase, no matter what it may be, so long as it is an instru-
ment good enough to be proud of.
* * *
A trade editor declares that if the Republican party meets its
great responsibilities "fairly and squarely" there will be prosperity;
but if "on the other hand, flushed with success, the Republican lead-
ers do not meet the issue, we are likely to have a reaction within the
next few years." Remarkable perspicacity. In other words, if it does
it will and if it doesn't it won't.
* * *
The advice to keep up collections is good. But don't put so much
time into collections that you can't sell and so may have nothing to
collect. As with marriage, consider in advance whether it is a good
move and try not to sell to people who may make it necessary to sac-
rifice time in making collections.
handling "The Leading Line," including Pathe
phonographs and records. The extent of his enthu-
siasm for the line of the Weaver Piano Company,
Inc., may be gauged from the following letter to the
York manufacturers:
"We are enclosing a letter of recommendation
from Mr. Nils A. Nelson, pianist and accompanist
for Miss Cecil Arden of the Metropolitan Opera
Company, who is now on Edison Tone Test Recital
Tour. They were very appreciative of the fine tone
and wonderful action of your instruments. They
used a Weaver Adam style for their tone test. Mr.
Nelson is a very fine pianist, and we know that if
you could hear him you would appreciate his wonder-
ful mastery of the piano."
Mr. Nelson's letter alluded to is as follows.
"I hereby certify that I have examined the Weaver
Upright Grand and York pianos and find them in
every respect most excellent instruments."
A. R. FARMER MAKES WESTERN TRIP.
A. R. Farmer, representing the Standard Pneu-
matic Action Co., left New York last Wednesday
evening for the West. Mr. Farmer intends to make
Chicago his headquarters, and will stay in the West
three weeks.
ST. LOUIS MUSIC TRADES
REORGANIZE ASSOCIATION
Enthusiasm of the New Officials and Membership
Generally Marks Meeting at American Annex Hotel.
New enthusiasm has been injected into the Music
Merchants' Association of St. Louis, which has been
reorganized and equipped with a new set of officers,
while retaining the advantages of advice from the
old and experienced men who have from time to time
directed the association. The spirit expressed at
the recent meeting in the American Annex Hotel
was to promote and encourage the association until
it became one of the leading and most influential or-
ganizations of the trade in the country.
The new officers elected were: P. A. Lehman,
president of the Lehman Piano Co.; vice-president,
Maik Silverstone, president of the Silverstone Music
Co.; secretary, J. F. Ditzell, manager of the Famous
& Barr Co., and treasurer, John J. Kleekamp, of the
Kleekamp Bros. Piano Co. The officers named and
P. E. Conroy, E. A. Kieselhorst and A. F. Mengel
comprise the board of directors, which also serves
as an executive board.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
STO
to believe. For it pertained to the branch of business which, above
all, should be the place of affability and courtesy—the advertising de-
partment.
"I had called," says the letter writer, "to consult the advertising
manager about a new window sign device in which I was interested.
I was directed to the assistant manager of publicity. I told him why
I had called, and this is what he bellowed forth: 'An electric sign, eh ?
Well, about nine out of every ten men who come here have electric
window signs! We don't care to see it!' And he shut the door in
my face."
If that is not an exaggeration, then the advertising manager is
not a profitable employe. He is not doing the right kind of adver-
tising. He is driving away trade. For of all callers, perhaps the ad-
vertising solicitor is the one who should be made welcome. It is his
business to advertise. He is a "mixer." He circulates. He talks.
And what is he likely to say about a house whose representative, in
his own line of work, greets him with an insult and shuts the door
in his face ?
But this has little or nothing to do with the fine ending of the
Lyon & Healy advertisement. If every business house would extend
the same invitation and assurance, the unpleasant flavor of the in-
civilities which were due to the unrest of the great war, and its at-
tendant discomforts, would soon become entirely extinct and per-
haps in time be forgotten.
ART AND ADVERTISING
An irrepressible conflict among writers on musical matters has
been, like that of the doctors and some other professionals, whether it
is a violation of ethics to indulge in advertising. There has been a
sentiment in the music world that an executive or creative musician
has no business to do business at all in a business way. The degree of
real reasoning that has been injected into the delicate subject has
never been enough to swim a warboat, and to thinking individuals of
average intelligence there doesn't seem to be much reason in it any-
way.
And so once more, for a moment, suppose we look at the proposi-
tion of the musician who, having something more than an understand-
ing of the tonic and sub-dominant, the high C and the low B-flat,
deems it well to do a little publicity work. Svippose some artist be-
lieves that he might as well break through conventionalities and in-
vest in some -publicity concerning his proposed performances, or what
he may have actually already done to startle the musical world.
What's the harm? Why permit the newspaper critics to tell it when
perhaps they know nothing at all about it ? Some of them can talk
intelligently about a stock show or even a prize fight, but few of them
really have the capacity to feel good music and describe the manner
of its making.
The late Marc A. Blumenberg conducted both a critical journal
and a trade paper. It was his habit to boldly declare that if any artists
wanted notoriety he would give it to them at the regular advertising
rate. He had a habit of making his trade paper an adjunct to his
critical journal, and so intermingling the influence of the two that, to
get anywhere by the editor's aid, it was well to invest in both publica-
tions. And his plan worked because it was good common sense.
Since then other critical—more or less—music journals have adopted
WEAVER WORKERS
ARE ALL PEPTOMISTS
Enlivening Enthusiasm Marks the Written and
Spoken Words of Dealers and
Employees.
Enthusiasm is certainly sparking right with the
representatives of the Weaver Piano Company, Inc.,
York, Pa. Here is a sample of cheery correspon-
dence from Walter Gleitz, a son of R. A. Gleitz,
tone expert for the York industry, who is doing
some special work for George Porch, dealer, Johns-
town, Pa.:
"Mr. Porch certainly is a first-rate fellow and a
Weaver booster. The Weaver goods top all of the
rive or six different makes of pianos here. When
they are placed beside another piano for a test they
invariably come out first. It certainly makes me
feel proud to be an employe of the firm. Our little
York makes some of the artist grade goods sit up
and take notice. Mr. Porch says the tone of the
York is much better than some of the artist grades."
G. Keagle & Son, Canton, Pa., is enthusiastically
Mr. Blumenberg's plans of publicity with the ethical problem some-
what eliminated.
In short, it has come to pass that the critical journals in the line
of music no longer hold their little noses high and refuse to see that
their comments and criticism are simply a species of more or less con-
scious advertisements. If the criticism is flattering it helps and if suf-
ficiently uncomplimentary it may help even more, especially if the
one advertised is said to possess some eccentricities of a kind to make
him interesting, or has particularly long and beautiful hair.
In any event, the critical journal of music no longer withholds the
secret that it is out after advertising, and all it can get of it. A re-
cent and very stalwart illustration has just come in the "Twentieth
Anniversary Number" of the Pacific Coast Musical Review, of San
Francisco. The journal named is one that deserves its evident suc-
cess. It has made a great struggle and its editor, Mr. Alfred Metzger,
is several inches taller, in his capabilities and musical knowledge, than
any of his contemporaries at the other end of the continent. New
York has no weekly musical journal to compare, in substantial inter-
est, with the one in San Francisco. And in the special number of the
Pacific Coast Musical Review it is cheering to notice quite a number
of fine advertisements of large music houses. Sherman, Clay & Co.
have a full page in front; the back cover is possessed by Kohler &
Chase; Geo. J. Birkel Co., "the Steinway House," Wiley B. Allen Co.,
The Baldwin Piano Co., and other substantial piano houses are also
liberally represented.
Art unadvertised would soon drop to the zero point and locally,
perhaps, even die. The "critical" musical journal can not live upon
art alone, and the musicians do well to support it
Both political parties agree that there is promise of a protracted
period of business prosperity ahead. It will depend upon the piano
trade, largely within itself, to insure a good share of that prosperity.
The individual dealer is the chief factor in piano trade success as in
few other lines of trade. And no matter how small his business may
be, each dealer's influence is considerable.
* * *
If you have a local demand for grands cultivate it to the fullest.
If the call is for players, extend your energies along that line. And
if the demand is still for the "straight" uprights, don't discourage it,
but give your neighbors what they want and let them be proud of
their purchase, no matter what it may be, so long as it is an instru-
ment good enough to be proud of.
* * *
A trade editor declares that if the Republican party meets its
great responsibilities "fairly and squarely" there will be prosperity;
but if "on the other hand, flushed with success, the Republican lead-
ers do not meet the issue, we are likely to have a reaction within the
next few years." Remarkable perspicacity. In other words, if it does
it will and if it doesn't it won't.
* * *
The advice to keep up collections is good. But don't put so much
time into collections that you can't sell and so may have nothing to
collect. As with marriage, consider in advance whether it is a good
move and try not to sell to people who may make it necessary to sac-
rifice time in making collections.
handling "The Leading Line," including Pathe
phonographs and records. The extent of his enthu-
siasm for the line of the Weaver Piano Company,
Inc., may be gauged from the following letter to the
York manufacturers:
"We are enclosing a letter of recommendation
from Mr. Nils A. Nelson, pianist and accompanist
for Miss Cecil Arden of the Metropolitan Opera
Company, who is now on Edison Tone Test Recital
Tour. They were very appreciative of the fine tone
and wonderful action of your instruments. They
used a Weaver Adam style for their tone test. Mr.
Nelson is a very fine pianist, and we know that if
you could hear him you would appreciate his wonder-
ful mastery of the piano."
Mr. Nelson's letter alluded to is as follows.
"I hereby certify that I have examined the Weaver
Upright Grand and York pianos and find them in
every respect most excellent instruments."
A. R. FARMER MAKES WESTERN TRIP.
A. R. Farmer, representing the Standard Pneu-
matic Action Co., left New York last Wednesday
evening for the West. Mr. Farmer intends to make
Chicago his headquarters, and will stay in the West
three weeks.
ST. LOUIS MUSIC TRADES
REORGANIZE ASSOCIATION
Enthusiasm of the New Officials and Membership
Generally Marks Meeting at American Annex Hotel.
New enthusiasm has been injected into the Music
Merchants' Association of St. Louis, which has been
reorganized and equipped with a new set of officers,
while retaining the advantages of advice from the
old and experienced men who have from time to time
directed the association. The spirit expressed at
the recent meeting in the American Annex Hotel
was to promote and encourage the association until
it became one of the leading and most influential or-
ganizations of the trade in the country.
The new officers elected were: P. A. Lehman,
president of the Lehman Piano Co.; vice-president,
Maik Silverstone, president of the Silverstone Music
Co.; secretary, J. F. Ditzell, manager of the Famous
& Barr Co., and treasurer, John J. Kleekamp, of the
Kleekamp Bros. Piano Co. The officers named and
P. E. Conroy, E. A. Kieselhorst and A. F. Mengel
comprise the board of directors, which also serves
as an executive board.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
Future scanning projects are planned by the International Arcade Museum Library (IAML).