Motion pictures as a phase of commercialized amusement in Toledo, Ohio

Front matter

Cornell University Library

Motion pictures as a phase of .cg'J'.'JjejrUip'

The original of this book is in the Cornell University Library.

SECTION ONE. Physical Features

1. Number of Picture Houses 15-19

2. Site and Location 19-20

(a) Proximity to Dance Halls 20

(b) Proximity to Rooming Houses 20-21

(e) Proximity to Saloons 21-22

8. Ownership of Business 22

4. Seats and Seating Capacity 23

5- Sanitary Conditions 23-24

6. Fire Conditions 25-27

7. The "Movies" as an Industry 27-29

(1) Approximate Value Buildings and

Sites 29

(2) Approximate Rental Fee of Buildings 29

(3) Approximate Cost of Equipment 30-34

(a) Machines 30

(b) Curtains SO

(c) Reels of Tickets 30-31

(d) Film Service 31

(e) Cost of Orchestra and Music. ... 32

(f) Number and Salaries of Em-

ployees 32-33

(g) Cost of Advertising 33-34

8. Approximate Cost of Lighting, Heating,

Taxes 34-36

(1) Lighting 34-35

(2) Heating 35

9. Attendance 36-41

(1) Proportion of Adults and Children 36-38

(2) Admission Fees 39-40

(3) The "Typical Show" 40

10. A. Approximate Investment 41-42

B. Approximate Operating Expenses 41

C. Approximate Revenue 42

Section Two. Mental Effects And Educational Significance

A. Public School Surveys 49-56

(1) Toledo School Survey 49-51

(2) Providence School Survey 51-52

(3) Cleveland School Survey 53

(4-5) Portland, Ore., School Survey 53-55

(6) San Francisco School Survey 65-1)6

(7) Recreation — ^An Aid to Citizenship 56-63

B. Censorship

(1) The Ohio Board of Censors 64-66

(2) The National Board of Reviews 67-71

(3) Local Censorship 71-73

(4) Educational Films 73-100

Section Three. The Moral And Social Effects Of The Movies

1. The Advantages of the Movies 107-111

2. The Disadvantages of the Movies 111-113

3. Local Observations 113-117

4. Complexity of the Problem 117-120

5. A Proposed Solution 120-122

6. What They Did in Portland, Ore.. 122-138

7. A Question in Ethics 138-139

8. Caricaturing of Ministry 139-142

9. Literature on Value of Supervised Play 142-144

Section Four. Non-commerctalized Amusements And Com- Munity Work Among The Young

1. The Art Museum of Toledo 151-156

2. The Catholic Community House 156-160

3. Story Hours at Toledo Libraries 160-166

4. Program for Boys at Y. M. C. A 166-169

5. The Boy Scout Movement 169-174

6. Daily Vacation Bible Schools 175-177

7. Toledo's Parks and Playgrounds 179-195

8. North End Settlement and Y. W. C. A 196-202

9. Workers and Fighters 205-208

Questions and Exercises for Advanced Social

Students 209-211

Section Five. Appendices

Exhibit I.— A Selected Biography 216-219

Exhibit II. — Censorship of Pictures in Ohio 220-225

Exhibit in. — Article by Chairman Williams 226-231

Exhibit IV. — List of Incorporated Companies 231-233

Exhibit V. — Proposed Federal Commission 234-235

Exhibit VI. — Owners, Managers, Employees, Etc.. 236-237

Exhibit VII.— A Questionaire for Schools 238-240

Exhibit VIII — Inoperative Laws — Why? 241-243

Exhibit IX.— The Local Option Movement 244-250

Exhibit X. — Ordinance Defining "Misdemeanors".. 260

Exhibit XI.— Schedule for Survey 251-252

Exhibit XII. — Questionnaire on Play and Recreation, 253-256

Exhibia XIII.— Motion Pictures in East Toledo. . .257-259

Exhibit XIV.— Movies for Social Workers 259-264

Exhibit XV— Testimony of Juvenile Ctourt 265-268

Exhibit XVI.— United Artists' Corporation 282-287

Exhibit XVII. — Questionnaire on Juvenile

Standards 288-290

Exhibit XVIII.— Social Hygiene Legislation 291-292

Foreword

The writer is not opposed to Motion Pictures as a form of amusement. Pictures are possessed of infinite social and economic power and are capable of unlimited moral and educational worth. Hundreds of thousands each day secure their chief impressions of life, ethics, religion and morality thru the "movies."

Whether these impressions are beneficial — it is the special privilege of the mature and discriminating to judge. We surely cherish no desire to create standards of amusement for those best able to judge for themselves.

There is a large class, however, who do not exercise this nicely "discriminating" preference. In the cases when they would — they are handicapped by what is offered them. Statistics reveal that there are many who feed their nature upon the abnormal, distorted, suggestive and far too often, vicious things of life.

Students of social science are in quite general agreement as to the necessity of community control of public commercialized amusements. It has been deemed necessary to place the motion picture industry under limited control in several States, and there is considerable agitation as to the necessity of a Federal Board of Censors for a more complete National control.

The social mind also is beginning to take notice of the great number of Juvenile Court cases: the newspaper reports concerning police arrests, and the testimony of educators who deal with the young — as regards the increase of Juvenile delinquency. A prolific cause is the excessive and nondiscriminating patronage of picture houses.

It is poor policy, both moral and economic, for a community to allow its children to be filled with suggestions of filth and evil and then pay for it. Parents particularly must know that to tolerate or allow agencies to emphasize the dramatic value of the passions is a serious proposition. The "stress and strain" period of the adolescent child is most acute. Are we making the transition constructive or destructive?

The bed-room and lingerie style of drama are not constructive. Moving pictures with plots and themes fit only for a clinic cannot be tolerated in a democracy where children have a chance for growth and nurture. Our courts are practically crowded with a host of prematurely old — yet young persons in years. The placing of premiums on domestic infelicity denouments do not minimize the number of divorce cases, nor keep down the expense of operating police courts, infirmaries, hospitals and sanitariums.

We may excuse our responsibility toward the weaker members of society by graciously placing them in corrective and charitable institutions after they have "gone wrong,'' and cease all further care and thought of them, or, we may attempt by community measures and the exercise of a Christiansocial consciousness to check this increase of juvenile and adult delinquency at its source.

Introduction

PURPOSE.

This treatise is not intended to be " a sentimental defense nor a vitriolic

^ attack upon the Motion Picture industry of Toledo. The primary purpose is to gather all available social data and allow the reader to make his own interpretation. Like many other persons, we have little sympathy with the criticism of the average "paid" reformer, the insipid vaporings of obsessed enthusiasts, or, the subtle machinations of professional politicians. Social problems demand the same careful treatment which the surgeon must give his patient — a treatment marked by accuracy, calmness, dispassionateness and scientific technique.

To those therefore, who desire

^ tional statements, this study will

^ not function. We hold it to be a

self-evident truth, that in the work of Community

Service and creation of democratic social ideals,

there is one indispensable requisite which must

precede all altruistic work: We must know the

Community in which we live. Knowledge of social conditions in the average community is generally derived from three sources : the newspaper reporter in his "write-up" of news items; the information imparted by charitable and religious organizations in their periodic and spasmodic appeal for "funds," and the community study or social survey based on personal investigation and proper classification of data. The latter method is the only reliable one by which we can ascertain the educational significance of those social factors and forces which make or mar our fellow-citizens. Therefore, as in the previous studies of Commercialized Amusements in Toledo, a social survey is deemed necessary.

It is willingly conceded that a few individuals may have a good general knowledge of their community, but to no person or group is it given to know the specific facts relating to his community without intensive work and the possession of "firsthand" knowledge. The purpose of this survey, therefore, is four-fold : To ascertain reliable sources for dependable data; to secure the data; to present the data to the public in some standardized form; to suggest reasonable methods for possible community action.

METHODS

A schedule of the proposed survey was first prepared (see Exhibit XI). ^ This was used in collecting and class-

ifying the data collected. The names and addresses

Schedule of of all the picture houses at present, or recently in the business was secured from the City Department of Building Inspection, A personal visit was then made to each house. This covered a period of nearly two years (1918-19). In this way, data was collected, filed or revised from .time to time as the information, warranted. The number of houses actively operating, as also the number which have suspended business, either temporarily or permanently, was ascertained.

The "Fasier" There is another method which Tir_y offers itself as a possible alternative

and with far less expenditure of time, namely, the securing of sensational data from lurid picture posters which can be seen outside of the average picture show house ; the reading of pessimistic literature exclusively, which decry most bitterly the "crime of the movies," and the listening to extreme'' and irresponsible criticism which is resorted to in many cases, as an artifice to stir onty the emotions. Such "'camouflage" methods, however, can produce only the most superficial results. We determined, therefore, to enter the study with an open and unprejudiced mind. Accordingly, the data was collected from the following sources :

t, , .Personal visitation of the fifty-eight

Sources of , . , •

•p. places of business.

Access to State and Government

records.

Interviews with City officials.

Access to local newspaper files.

Interviews with Motion Picture authorities.

Access to Lucas County tax records.

Interviews with educational leaders.

Interviews with Juvenile Court officials.

Interviews with moral and religious forces of the City.

Access to City and telephone directories.

Access to current and standard literature on the subject.

Physical Features

I. THE NUMBER OF MOTION PICTURE HOUSES IN TOLEDO

In spite of the fact that the population has increased thirty per cent. Uniformity , . ^, ^ ^

^ or more, during the past five years,

the number of picture houses is marked by a relative uniformity. The greater number, 66, was in the year 1914. The number decreased to 60 houses in 1915 ; in 1916 the number was 50. In 1917 there were 48 theatres and motion picture houses actively operating in the City. At the close of 1918, and the beginning of 1919, there are 58^ places inspected by the City Department of Public Buildings, which are equipped for possible exhibition of motion pictures. Of this number, however, only 42^ are active operating houses; ten houses have recently suspended business ; while six others, although equipped, are used primarily for other amusement purposes. On June 1, 1919, there were 49 theatre and motion picture houses licensed by the City and Federal Governments. I

Three others are planned for a near future and are as follows : TOLEDO TO GET A COSTLY

NEW PICTURE HOUSE.

Pantheon Theatre Company Incorporates and Takes Over Kaiserhof Cafe.

HAS ONE HUNDRED THOUSAND DOLLARS CAPITAL.

New Theatre to Be One of the Finest in Country ; Will Seat 1,200.

Incorporation of the Pantheon Theater Co. with a capital stock ol $100,000 assures Toledo the erection of one of the finest motion picture houses in the country.

The new company has taken over the property formerly occupied by the Kaiserhof cafe.

The exterior of the building will be glazed terra cotta.

A large foyer, which will accommodate more than 300, will be utilized as a dance hall on special occasions, and the dances may be made a regular feature of the program. Back of the lobby will be a large reception and music room, elaborately furnished, where concerts may be held.

The stage will be 18 feet in depth. The proscenium will measure 30 feet and there will be an elaborate equipment of built-in sets and scenery for special features.

Elaborate simplicity is designated as the keynote of the decorations which will make the new house one of the most beautiful in this part of the country.

There will be no balcony, but the theatre will have a seating capacity of 1,200. A $25,000 Hope Jones organ will be installed.

A large canopy will be built over the street and there will be a double ticket window. A new lighting system, on the order of the "flood light," will be used.

Rest rooms, a private projection room and dressing rooms for the ushers and performers will be located in the basement. A play room for children will also be down stairs.

H. C. Horater, John Kumler and John J. Gardiner are the incorporators of the new company. Horater, who is manager, secretary and treasurer of the Alhambra theatre, will continue as managing director of both companies. Gardiner is president of the Alhambra Co.

The Alhambra theatre was built eight years ago.

Four years ago Horater took the active management and with a policy of showing only the best pictures has made it one of the best known motion picture houses in the country. The most promising features procurable in motion pictures have been secured for exhibition at the new house during the coming year. — The Times, July 3, 1919.

18 MOTION PICTURES AS COMMERCIALIZED NEW MOVIE HOUSE.

The construction of a $60,000 three-story brick moving" picture building on Lagrange street, near Central avenue, will be started July 1, according to Walter L. Grudzinski, of the county clerk's office.— The News-Bee, April 2, 1919.

SITE LEASED FOR $300,000 THEATRE HERE

New York Interests Take Arcade Property for Motion Picture and Vaudeville Bills.

The Sun & James Amusement Co., New York, has leased the property now occupied by the Arcade theatre, St. Clair and Jackson streets, and will construct a $300,000 theatre building.

The deal was closed Monday, through Thomas Davies, of the Thomas Davies Realty Co. The building, it is expected, will seat 3,000. It probably will be used for both vaudeville and moving pictures.

Ready January 1.

The building will be 90 by 170 feet, brick and concrete.

Work in tearing down the old Arcade theatre building already has been commenced and it is planned to have the new theatre ready for opening January 1.

Mrs. Nettie Foe Ketcham, New York, owns the Arcade theatre building and property. The Sun & James Co, lease is for 99 years.

Office Space Later.

Gus Sun operates a theatre in Springfield, O., and W. M. James, a former Toledo man, owns the Broadway theatre in Columbus. Other theatrical men are said to be interested also.

The new theatre auditorium will be built back from the street and it is planned later to build a large office building surrounding it and facing on St. Clair and Jackson streets. — The Blade, July 14, 1919.

The slight fluctuation in number is undoubtedly due to the competition of larger and more centrally located houses, especially, as these are able to offer stronger attractions. Again, nearly all of the theatres and amusement places are offering pictures in connection with their regular "shows." Many of the smaller houses, however, have not disposed of their apparatus, although at present inactive in the business. The impression derived therefore is that they are looking forward to a possible reopening in the near future (see Exhibit VI for a complete classified list of picture houses.)

2. SITE AND LOCATION

Forty-eight, or 82.7 per cent of the Middle of . , , 1 ^ J

_ picture houses are located near or

Block

within the Middle of the block. The

remaining ten, or 17.3 per cent, are located on

street corners, which permit of a fair ventilation from three sides. The buildings situated within the block, however, permit of ventilation from only two sides — the front and rear. Twelve of the houses have provision for both gallery and floor accommodations.

(a) Proximity to Dance Halls

It is noted that many of the clubs, society and labor halls are used for both public and private dances, in addition to the four dancing academies of the city. Strong inducement is made to the public to patronize many of these dances, even though termed "invitation" dances. Fifty-four rooms used for dancing purposes were noticed in the neighborhood of the picture houses — principally in the downtown district. From personal observation, it was noted that a hasty and promiscuous acquaintance is often made at the picture shows which later develops in patronage of these dances.

(b) Proximity to Rooming House

_ „_ . Toledo has many rooming

The Roommg , „, , ,

,.-.-. ., houses. Ihese are largely occu-

House Problem . , , • .

pied by unmarried young men

and women who work in the various local industries. Many of these young people come from out-of-town and are away from the restraining and re-

iThe Grand Theatre, Swayne Field, the Terminal, the Coliseum, the Newsboys Auditorium, the Palace.

2There are no theatres outside of the vaudville and burlesque house, which offer legitimate high-class drama. An attempt is being made to bring in star play companies. At the time of publication, the Auditorium play house offers drama.

AMUSEMENT IN TOLEDO, OHIO 2l

fining influences of the established home. The moral dangers, therefore, are extremely acute, especially as the City has no organized Community centers, Field houses or City recreation centers. Honorable mention is here made of the excellent work of the Y. W. C. A. and the Y. M. C. A. in the providing of play facilities and group gatherings in their well-equipped plants, but, as is too often the case, the persons who ought to be under the influence of these splendid organizations — are "outside the fold." Consequently, "cheap" popular shows — in all that the name implies, and the many unsupervised and commercialized forms of amusement are greatly patronized. It is estimated that at least 20,000 young persons live in the 300 rooming houses which are located within walking distance of the picture houses. An authority in the business^, states that "the larger part of these persons attend two or three times a week, and a considerable number, nearly every night in the week and Sundays."

(c) Proximity to Saloons

There are 408 saloons in Toledo "Like Begets ^^p^.^^ 28). Over one-third of these

are situated in or near the Sixth Ward — the downtown section, where the larger and greater patronized shows are operated. Saloons are strategically located (seven in one block) where both the young and old assemble. A previous study of the liquor industry (by the writer), revealed a large number of young persons as

22 MOTION' PICTURES AS COMMERClALiZED

patrons in the saloons which are located in the neighborhood of picture houses and theatres. Subtle suggestions, due to the vivid portrayal of the underworld life, vampire life, sex problems and exhibition of the scantly clad, together with stirring scenes of "shooting" and "stabbing" — necessarily make for added stimulation- and resort to the "drink." There are at least six houses in the City which seemingly make a specialty of picturing the lurid in their bill posters, in addition to the many suggestive and questionable phases of life in the pictures. Many young people are seen to meet, apparently on short acquaintance, and, aiter the evening shows, frequent cabarets to "eat," "sport," listen to "jazz" music and often indulge in liquor.

3. OWNERSHIP OF MOTION PICTURE INDUSTRY

There is a difference between, the ' ^ ownership of the business and the own-

ership of the buildings. This distinction makes it difficult to identify ownership of the industry alone. It is estimated, however, that not more than eight companies own the buildings in which the pictures are exhibited. Of the fifty-eight places, 38, or 66 per cent, are owned by individuals, of which 30, or 52 per cent, are men, and 8, or 14 per cent, are women. The balance, 20, or 34 per cent, are operated exclusively by Amusement Compcinies. Three houses*, the Metro, Empress and Regent are operated by one company.

SalOO Picture House Manager.

AMUSEMENT IN TOELDO, OHIO 23

4. SEATS AND SEATING CAPACITY

The seating capacity of the fifty-eight houses is 47,997 seats — a general average of 827 seats to a house. Fifteen places, however, or more than one-fourth, have a seating capacity of 31,488, or more than 66 per cent of the whole number. The remaining fortythree houses have the balance of 16,509 seats — an average of 266 seats each. In nearly every house stationary chairs or seats are used, and narrow, uncomfortable accommodations, both as to seats and floor spaces is tolerated by the pleasure-seeking patron. The general dangers, due to close seating, are as follows:

_ , Promiscuous mingling with undesir-

General ,, , ,v ^ ^

ables (moral.)

Physical contact with the unclean

(physical.)

Inhaling of disease germs and offensive odors (sanitary.)

Possibility of theft and personal insult (social.)

5. SANITARY CONDITIONS

He who enters the average picture " house in Toledo, is seldom favorably im-

pressed with the sanitary conditions. The ventilation is entirely inadequate — the air being stagnant and contaminated with ofifensive odors, particularly after the second audience comes in. This is largely due to the following factors: The location of the playhouse itself, which is usually within the middle of a block, thus permitting the ingress of a comparatively limited amount of fresh air, and then only at the front or rear.

Uncleanness, due to lack of daylight — the darkness of the room making it impossible to detect with the naked eye the exact condition of either the seats or floor.

Inadequate ventilating system, and, in rare cases when provided, characterized by slovenly inattention.

Prevalence of bacteria germs and dry dust — caused largely by the heat of picture machines, poor ventilation, stamping feet and expectoration of tobacco juice.

Odors from garments and persons of mixed patronage.

Insufficient, and in many cases, inefficient janitor service.

A critical analysis of Toledo's playhouses, made by the City Division of Inspection, reveals the following conditions :

Good 25, or 50 per cent

Fair 20, or 40 per cent

Poor 4, or 8 per cent

Contrary to the usual belief, the larger houses have poorer ventilation and sanitation than the smaller — due largely to greater patronage and congestion.

6. FIRE CONDITIONS

_,. The protection of human life is a matter

, of community concern. What is the status

of fire conditions in the playhouses of Toledo? It is necessary to consider many of the factors which make for or against fire hazard. These consist of:

Nature and number of picture machine booths.

Number of places wired and lighted by electricity.

Number of fire extinguishers.

Nature and number of heating apparatus.

Number of fire exits. _^ , Darkness, excessive overcrowding and

_, mechanical construction of buildings and

seats are matters to be considered in fire risk. Because of the nature of the business, it is extremely difficult to check up these important items. Consequently, many of the factors usually are overlooked. The defects also are quite characteristic of many auditoriums where groups assemble, and, as noted in this particular form of industry, make the problem all the more acute. The thoughtful, therefore, must be impressed with the great privileges accorded purveyors of public unsupervised amusement.

„, ,, , . The construction of the picture

booth IS a most vital factor, if not

the greatest — that concerns fire risk.

The heat generated by these machines is so great

at times as to make it necessary for the operator to take periodic spells of relief. It is a matter of standing credit to the industry, as also to the requirement of stringent fire laws, — that fires, due to negligence, incompetence and faulty mechanical construction have been greatly reduced. Toledo has been singularly fortunate in having a small number of fires in the picture houses (possibly six) in the last three years. Of 49 booths examined, the following conditions are observed :

Construction of Booths

Booths made entirely of metal 39 .

Booths metal-lined only 3

Booths made of plaster and metal 4

Booths made of concrete 3

Number of Fire Extinguishers 240

Number Wired by Ekctricity

(Condition)

Good 34

Fair 10

Poor 5

Nature and Number of Heating Apparatus.

One hundred and six heating connections in 58 places of exits.

Heated by gas stoves 53

Heated by steam 18

Heated by hot water 18

Heated by gas floor furnace 8

Heated by coal stoves 6

Heated by combination (hot air and steam) .. . 3

Number of Exits — 261 General average, 5y^ exits to a theatre. Specific average — three exits to a theatre — as

several have an unusual large number of exits

which is not characteristic of the rest.

Fire Conditions

Good 22

Fair 22

Poor 5

7. THE "MOVIES" AS AN INDUSTRY IN TOLEDO

_ , An attempt was made to ascertain

Sources of ^, ^■^ j. ^ , .

_ , . the amount of money represented m

Information ^, ^. ^- • ^ , . r

the entire motion picture business of

Toledo. Information is not easily obtainable. However, several sources purporting to be' authorities were consulted:

Film Companies (Four in Toledo.)

Real Estate Agencies.

Managers of Motion Picture Houses.

Ludas County Tax Office.

Newspaper Files.

Insurance Offices.

The task of arriving at "final and

unalterable" figures, in order to rep-

resent the total investment, profits

-aad losses of the picture industry is no small task.

Some of the difficulties are as follows:

1. The evident lack of agreement and knowledge of the business as a whole — ^by the majority of those engaged.

2. The extreme cautiousness of those who, although qualified to know, yet virithhold said information.

3. The variety of types of operating houses, some running on "part" and others "full" time.

4. The extreme individualism of each house nearly every one being quite independent in itself.

5. The lack of a clearing-house where such information is usually available.

6. The lack of "stock" and market quotations of Toledo's playhouses.

7. The marked fluctuation of the business, due to:

(a) Health restrictions, affecting hours and type of patronage.

(b) Different schedules, regarding wages and salaries of employees, rental of films and buildings.

Difficulties, however, did not deter us from making an "approximate" estimate — based on the best available information in the City.

I, APPROXIMATE VALUES OF BUILD- INGS AND LAND SITES

A detailed classification of the mar-

„ , . ket value of each of the fifty-eight

Valuation . ,- u ^u ■ ^

buildings in which the pictures are

exhibited, show a total valuation of over six millions ($6,200,000.00). A large number, 20, are located in the Sixth Ward, where property and land values are very high. Imposing buildings and accessible locations characterize many of these places.

2. APPROXIMATE RENTAL FEE OF BUILDINGS

Leases A representative Real Estate agency

which has data concerning the rental fees of many of the large downtown theatres, states that "at least $154,000 is paid in rental fees alone by fourteen picture houses." Several of these rent from $8,000 to $15,000 a year, and for a period of five or more years. Owners have incurred considerable expense of making extensive repairs to at least, three theatres. This amounts to $64,000, $50,000 and $18,000, or a total of $132,000.00 in repairs alone. Rental for the thirty-four remaining places amounts to $96,000 a year — or a grand total of $250,000.

3. APPROXIMATE COST OF EQUIPMENT

(a) Machines

The evolution of the motion picture bespeaks wonders in technical skill. The oldest type placed on the marlcet was invented by Edison, and was extremely crude and even dangerous to handle. The film had a run of one and two reels and was reeled from a burlap case or a crackerbox. At present two motor-driven projectors are used, and while one roll is being completed, another is "cut" in. The machines represent a total outlay of at least $35,000. *Many of the houses carry two or more machines to meet a possible emergency. Each machine costs from $200 to $2,000.

(b) Curtains or Screens

The New Instead of the old cloth sheets, cur- Type tains are now made of two types, the

best of which is a ground plate-glass mirror, or a heavy cloth covered with a metallic preparation of gold — the purpose being to absorb some of the light rays from the arc lights. An estimate of $6,000 is given as the cost of the picture curtains^

(c) Reels of Tickets

A reel is said to contain 2,500 tickets and costs

A daily attendance of 45,000 persons requires

*Local supply house. ^Local supply house.

eighteen rolls of tickets — a total of $41.40 a day, or $21,528 spent in "pasteboards" alone each year.

(d) Film Service

_ , . , Films are rented from the various

exchanges, and cost from $200 to . $2,000 a week for each house. A con-

servative estimate places the total film rentals per week at $8,000, or $416,000 a year.

In many cases the films are "booked" weeks and months in advance. The fee for single reels range from $25 to $1,500 a week^. The maximum fee is for a "first-run" exhibition, operated in a downtown district and in a popular playhouse. The high price is generally placed on popular films of the Fairbanks, Chaplin or Pickford type and include a seven or eight-reel film. Two years ago it was the custom for cities larger than Toledo to pay $5,000 or $10,000 for the same film as shown here. The large picture-producing companies reserved the privilege to levy a charge according to the demands and resources of the district. Before the government caused many of these "trust" combinations to dissolve, the cities were graded according to "zones."

The average picture house uses six reels daily. As each film has 1,000 feet of picture, the 45 houses display 270,000 feet of film each day — a distance of forty-live miles and equjil to two-thirds of the distance to Detroit, Michigan! A few houses use as many as twelve reels on certain days.

(e) Cost of Orchestra and Music

The Seductive , Until a few months ago four houses employed the services or orchestra and high-salaried organist. Thirty members were connected with the orchestras and received a Union wage of thirty-three dollars a week, or $51,480 per yearJ In three of these theatres organists were also employed who received from $66 to $75 in wage each week— a total of $10,920 a year. With thirty other piano players receiving $20 a week, or $30,000 a year, the total wages of musicians a year amounts to $92,400. Toledo's playhouses have five exceptionally fine organs — a total value of $50,000. Organs have now in fact supplanted the orchestras in all but two of the motion picture houses. It is estimated that there are forty automatic pianos and organs in the remaining houses. At $2,000 each, this item represents $80,000.