DOCSLIB.ORG

Chicago Organist It Today

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chicago Organist It Today had picked up from attending the the­ atre, and which they sang at home. ''The natural talent in my family came from my father's side. My old­ est sister sang beautifully, and my oldest brother 'played' the piano. Though his right hand played the me­ lody, his left hand incorrectly played the harmony, because of a lit cigarette between his first and second fingers. We had a table piano and I wish I had Chicago Organist it today. It was fun playing it. "I played it correctly, and they couldn't believe I could pick out all the popular tunes. One of my sister's compiled by Lloyd E. Klos friends came by one day, and was sur­ (June 1979) prised to hear my playing, not having had a lesson. She suggested taking me over to the Leinster School of Music, Upon the suggestion of John Muri, land, buying ornamental brass from and that's where I got my start in mu­ the writer called Basel Cristo!, former the churches. Eventually, the family sical education. They had contests, as theatre organist and still a very active moved to Dublin where I was born. they did in this country, and I won a musician, in the hope she would share "When a child, I had bronchitis bronze medal in 1909, playing a clas­ the story of her musical career with very badly, but being the youngest, sical number. Had a wonderful teach­ THEATRE ORGAN readers. Russell was treated as a pet, being showered er, Miss McCarran. B. Joseph recorded the interview. His with toys while in bed. One day, I was "About then, my brothers decided wife, Florence, and Edna and Barba­ given a toy piano. I immediately start­ to go to America. The oldest had been ra Sellers share the credit for asking ed to play operatic melodies and show to Africa and had enough of that. pertinent questions. tunes which my sisters and brothers There were five girls and three boys in Russ says, "I can tell you that Flor­ ence and I were deeply impressed with Basel Cristol at the left console in the Chicago Theatre. Photo taken at about 2 a.m. during a rehearsal. Basel as a person - intelligent, of ( Cristo! collection) high principle, gracious. In short, a person anyone would consider it a privilege to know. Our only regret is that we didn't have the opportunity earlier to know her better and enjoy her company. She still enjoys enter­ taining people at Math Igler's Restau­ rant when most people her age would be content to sit at home and medi­ tate." Now to the story. ''My father, Michael Cristo I, and his younger brother, David, had in­ tended to emigrate to England from Lithuania, but they got lost and wound up in Cork, Ireland. My mother remained for a time in Lithua­ nia with a child. "My parents were of the Jewish faith, and as there were practically no Jews in Ireland, they wrote the chief rabbi in London to find a few more Jewish immigrants to make a minion (gathering of ten for prayer). "My father then sent for mother, who didn't want to leave her parents and friends, but he told her that he'd move to Douglas (two blocks outside Cork) if she didn't! So, she embarked for Ireland. My brothers and sisters, save one, were born in Cork. My fa­ ther used to travel throughout Ire- MARCH/ APRIL 1985 the family, and eventually we came to Mo ther used to say, 'If you could play did leave, marrying Roscoe Major the United States around 1912, and in a theatre like this, I wouldn't mind who developed the enormous switch­ settled in Chicago. it.' Originally, I had an idea to go on boards used backstage for lighting all "I learned about the Chicago Mu­ concert tours. the B & K theatres. sical College, and entered on a scho­ "I asked around where one could "The Balabans used to come in and larship. I studied on scholarships al­ learn to play for silent pictures, and see Freddie quite frequently, and they most the entire time there, though I someone suggested I try a little theatre liked what I was doing. They said to had to pay for harmony, ear-training on Clark Street. At this time, I got to him, 'We ought to put her into the and extra courses. A teacher, Muriel know Helen Anderson, the future Central Park.' Freddie replied, 'Oh, Moore, selected me as her student, Mrs. Jesse Crawford. She was playing no you don't! If she has to stay on the and when she left to marry, I cried on a Barton in one of the Clark Street street, she stays here. If you want to the trolley car all the way home. theatres. put her elsewhere, I'll let her go.' I ''Then I studied with Alma Ander­ "Located on West Roosevelt was wound up with the 9-12 morning shift son. This was when Dr. Florenz Zieg­ the 707-seat Circle Theatre, the very at the 1535-seat Roosevelt on North field, Sr. was headmaster. He had a first decent house which Balaban & State, and took the elevated train to gift for detecting talent in a child. Be­ Katz owned. It showed movies, had a the 1943-seat Riviera on North Racine sides my Bachelor of Music degree, I Kimball organ, and featured many for the afternoon shift there. The won the Ziegfeld Diamond Medal song pluggers, including Sophie former house had a Kimball, the lat­ award at commencement exercises Tucker. I was still in McKinley High ter a Wurlitzer. This occurred in the which were held in June 1917 at the School when one Saturday, I went to early '20s; the Tivoli and Chicago had Auditorium Theatre. I played the sec­ the Circle. been built, but not the Uptown. ond and third movements of Men­ "Having patronized the house, I "I progressed very well. Later, I delssohn's G Minor Concerto, ac­ knew who the manager was, an Irish­ had the second shift at the Tivoli companied by 60 members of the Chi­ man, Freddie Cleveland, though I when Milton Charles had the main. cago Symphony Orchestra, conduct­ didn't know him personally. After an When Jesse Crawford left for New ed by Carl Reckzy. usher referred me to him, he kindly York in November 1926, they trans­ "I had gone through all facets of a listened to me. I told him I was study­ ferred Milton to the Chicago, to be musical education at CMC: ear-train­ ing the organ, had no place to prac­ succeeded by Albert Hay Mallotte at ing with Edward C. Moore; harmony tice, and would he allow one to come the Tivoli. I served as his assistant, with a Mrs. Harris; and wound up in and practice? and he was magnificent. What an or­ with study of music forms with Felix ''He looked at me woefully and re­ ganist! An absolute dream. Berof sky, who wrote the program plied, 'Girlie, I have a very fine organ­ "Amusingly, he had his eye on our notes for the Chicago Symphony. I ist here, the organ is taken care of the little chorus girls! They had started studied with Rudolph Reuter for two way it should be, and I wouldn't want with Publix in New York, went to De­ years, and got a medal from him, anything to happen to it.' I told him troit, then to Chicago, and the whole also. of my musical background, that I circuit. One day he said to me, 'Lis­ "I then entered the scholarship would certainly not do any harm to ten, can you play the movie until I get competition but learned that Dr. the instrument, but I had to learn to back? I'll be in for the solo.' I was al­ Ziegfeld was retiring, replaced by play a theatre organ. ready warned: 'Don't you dare play Carl D. Kinsey. Reuter and other top "Being a very kind and considerate for him. It isn't allowed.' So, I told teachers were also leaving. Kinsey had gentleman, evidently he took pity on him I couldn't do it. made us pay $10 to enter the 'free' me and said, 'Girlie, what do you do "But he was tremendous. When I competition, and when I found that on Saturday and Sunday afternoons found out about his putting the Reuter was gone, who would take between five and six-thirty?' When I Lord's Prayer to music, I just me? The people at the office said they replied, 'nothing,' he said, 'I'll pay couldn't believe it! It is such a gor­ did not refund scholarship money, you $1.50 each day to substitute for geous thing - so beautiful. And an­ but my $10 could be used for five les­ the regular organist when she goes to other one which he did, 'Song of the sons. dinner.' Open Road,' was also great. "I applied the fee to organ lessons "I didn't walk home; 'Girlie' flew "I remember we had two units under C. Gordon Wedretz, a very home! then. I worked with Benny Kreuger nice gentleman, who had a four-stop who had his band on stage, playing Kimball in his teaching studio. I don't "I went in and played everything: popular things. Milton Charles know what he taught me, but I loved overtures, mood music, selections, worked with Ulderico Marchelli (who it! It seemed so easy.
Load more

Recommended publications
  • 'Pamy}L 'Wurlitzer
    'Pamy}l 'Wurlitzer 1883 • 1912 Orbil ill '"e eclronic1ynt-he1izer P,UJ ~ -~ohJre01pinel orqon equo1... ~e nevve;Iwoy lo mo <.emu1ic fromWur irzec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in­ closing the chamber louvers. stantly ... in performance. And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe­ with a sectionalized vibrato/tremolo, toy counter, in­ sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in­ Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. TO - 672 WURLiizER ® The Wurlitzer Company, DeKalb, Illinois 60115 . hn.4'the \T8fl cover- photo .. Farny R. Wurlitzer, Chairman Emeritus of the Board of Directors of the Wurlitzer Company, who died May 6, 1972.
    [Show full text]
  • AT LAST JESSE Crawford
    gan playing his profession. ing a total of 15 albums so far. Following his stint at the Arcadia, Berry Berry met his wife, Mildred, at a restau­ moved to the Trianon Ballroom, Chicago, rant where he played an electronic organ. and later spent 18 years as organist of the On his second wedding anniversary in Hub Rink. In 1956, Berry installed a two­ 1972 he had a stroke and suffered paralysis manual Wurlitzer (from the Lake Theatre, on his left side. Through the heroic efforts Crystal Lake, Illinois) in the basement of of his wife and his own "never-say-die" his Chicago home. There followed a series spirit, he underwent an intensive period of of recordings on the instrument the first of physical therapy and in 1983 gave his first which was entitled, ''Beast in the Base­ organ concert since his illness. Berry is one ment." Berry also made a number of re­ of the artists who was heard at the 1985 cordings on the Hub Rink Wurlitzer, mak- National ATOS Convention in Chicago. □ BERNOUR, "KATIE" Organist of the Colonial Theatre, the (not official until approved at subsequent meeting.) Strand Theatre and the Palace Theatre in EXECUTIVE COMMITTEE 5. Technical Awards. After discussion it was agreed that Akron, Ohio. ANNUAL MEETING no set number of technical awards need be given in any given August 1, 1985 - The Palmer House year. Chicago , Illinois BERNSTEIN, BEA TRICE (Miss) 6. Ben Hall Memorial Organ. Allen Miller read parts of the Organist of Loew's Elsmere Theatre in 1. Present were President Rex Koury and Executive Com­ committee 's report that he planned to give to the full Board .
    [Show full text]
  • Organist-Led Community Singing in the American Picture Palace, 1925–1933 Esther Marie Morgan-Ellis 2013
    ABSTRACT Organist-Led Community Singing in the American Picture Palace, 1925–1933 Esther Marie Morgan-Ellis 2013 uring the 1920s, most urban Americans participated in community D singing at least once a week. They did so at the local picture palace, a multimedia venue that combined motion pictures with live entertain- ment. These stately theaters, found in cities across the nation after 1913, represented the cultural acceptance of motion pictures as a form of entertainment suitable for the middle class. Since 1905, films exhibited in urban nickelodeon theaters had been attracting a working-class audience. To counteract negative associations between the motion picture and its rough clientele, picture-palace exhibitors offered their patrons every luxury, including air conditioning, comfortable lounges, glamorous décor, and complimentary child care. Individual theaters replicated the architecture and ornamentation of famous palaces, opera houses, and hotels, while the attentive service made visitors feel like European nobility. Among the luxuries in store for the visitor was a diverse program of live enter- tainment, including an overture, an organ solo, and a stage show. The overture was presented by the house orchestra, while the stage show featured guest artists and local favorites, most of whom performed in costume before an elaborate set. Audience Abstract singing was sometimes led by stage performers or band leaders, or by sing-along films (popular throughout the ’20s and ’30s). Most of the time, however, community singing was led by the organist. The term “organ solo” is the trade designation for the portion of the show over which the organist had complete control.
    [Show full text]
  • General Comments
    Specific Comments from AGO Members [Note: Space was provided at the end of the long-range planning surveys for respondents to add comments. We have arranged these anonymous responses in random order by category. Several comments that seemed to fit into multiple categories were divided accordingly. Comments from the surveys of lapsed members and national leaders, included at the end of this document, are not divided by category, but are arranged in roughly the same order by topic. In addition, comments that were specifically directed toward one AGO officer or committee were placed in a separate document (“Comments for Committees”) and forwarded to the appropriate official for action. Comments have been lightly edited for spelling and grammar. — Long-Range Planning Task Force.] General Culture I love my AGO. I donate annually, and I read my TAO cover to cover. I fear that we are too cloistered, and are relevant to ourselves only. We must make the leap to introduce ourselves to the greater outside world as an exciting source of music. We must be kind to the Miss Susies while still insisting on high musicianship. We must not be defined as religion-only oriented, while demanding respect from seminaries. We must not be ashamed of being smart and capable, but also be able “to work and play well with others,” which may mean choking on a sappy anthem from time to time. We have to step up to the plate and forge our new place in this heathen society that does not value culture and education. We must make ourselves irresistible to those who have no trouble resisting us right now.
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]
  • CLASSIFIED ADS Experience Has Not Been Forgotten Or Mis­ Vox Humana, Saxophone,Violed'orchestra, Laid in These Two Albums
    Porter tune that gives George a chance to display some of the fine shading of the Organ. Next is the novelty number . ''The Trouble with Harry'', which dis­ pla)[s some very tricky piano work. Listen for the sustained · cymbal, and try and figure out how it is done. Incidentally, the )?£Ogram notes state that no recording or other electronic gim­ THE SONG IS YOU - The Music of Jer - RAY BOHR AND THE RADIO CITY MU­ mic ks were used to enhance or change ome Kern. Jesse Crawford, Organist. SIC HALL ORGAN - Design DLP-128 Mono. the natural organ sound, and this we can Decca D L8861 Mono. believe, because it sounds right. Wright SONGS OF LOVE - The Music of Sig­ Here is a straight-forward recording concludes Side One with an artful : in­ mund Romberg. Jesse Crawford, Organ• of the small Wurlitzer organ in the broad­ terpretation or''Temptation''. ist. Decca, DL8841 Mono. Available in casting studio of Radio City Music Hall, Side Two starts off with the oldie, Stereo. a 3/14 organ which has been recorded "I'm Forever Blowing Bubbles", which many times. Bohr does a nice workman­ How do you review a Jesse Craw­ features some of the cleanest cascading like job on this record, playin~ the fol­ ford album? How do you act as a critic be 11 and percussive sounds to which this lowing numbers: The Wedding of the of Rembrandt? How do you review Kreis­ reviewer has ever had the pleasure of Painted Doll; Whiffenpoof So.qs; · I'll See ler? Indeed, how do you? This reviewer listening.
    [Show full text]
  • Pipes Along the Rockies Newsletter of the Rocky Mountain Chapter American Theatre Organ Society, Inc
    Pipes along the Rockies Newsletter of the Rocky Mountain Chapter American Theatre Organ Society, Inc. June 2015 Information Line: 303-466-3330 Doug Thompson does it Wright! Sunday, June 14th 2 pm Holiday Hills Ballroom Members, no charge; all others $5 Windsor organist Doug Thompson returns to the Holiday Hills ballroom June 14th to share his flair for great registrations and music that is a joy to listen to. Doug’s specialty is studying the recordings of the great organists of yesterday like Jesse Crawford and George Wright and carefully recreating the subtle Do You Believe in Magic? nuances of their performances. Doug exhibits a com- petent, relaxed style and is equally at home making music on a pipe organ or a digital computer instru- Sunday, July 12th 2 pm ment like the Holiday Hills George Wright Four. Holiday Hills Ballroom Members, no charge; all others $5 Ladies and gentlemen…. the amazing Bruce and Kitty Spangler! Now retired, magicians Bruce and Kitty spent their career educating and entertaining countless audiences. With a little magical music help from their friends they will delight our Holiday Hills audience in July with some fun magic. The Spanglers love attending our club socials and can usually be found sitting in the front row. Our Free Day at the Paramount! Sunday, August 16th 2 pm Paramount Theatre (pending Paramount confirmation) RMCATOS members only, no charge Come and listen to our wonderful twin-consoled Wurlitzer Publix I! Our access to the Paramount may soon be limited, read the article on page three. Pipes Along the Rockies - June, 2015 Page 1 of 4 “Highly-Ranked Amateur” Dave Weesner did a very nice job playing nostalgic songs from the 1960’s and 1970’s for our May audi- ence of around 75.
    [Show full text]
  • 2018 INDEX of ARTICLES Published in the TIBIA, the BOMBARDE
    1955 - 2018 INDEX of ARTICLES published in THE TIBIA, THE BOMBARDE, and THEATRE ORGAN [2019 Edition] by Jack Moelmann 1955-2018 INDEX OF ACTICLES PUBLISHED IN THE TIBIA, THE BOMBARDE, and THEATRE ORGAN by Jack Moelmann This is an index of major items which appeared in THE TIBIA, 1955-1958; THE BOMBARDE, 1964- 1966; and THEATRE ORGAN, 1959-2018. No attempt has been made to list the many smaller items such as Chapter News/Notes, Concert News, Nuggets, etc. In addition, other items routinely published are also not included, e.g., committees, Directors/Staff/Editors, classified ads, advertisements, the President’s Message, Letters to the Editor/Members’ Forum, meeting notices, advertising rates, items from the ATOS International News newsletter, some items from the Pipes and Personalities section, election announcements, Annual Membership Meeting announcements, Special Services/ATOS Marketplace items available, scholarship and competition program announcements, and other items of that nature. Since THEATRE ORGAN is issued bi-monthly, issues are identified by the first month of their issue. Abbreviations used in this index include: C=Classical; CA=Audio Cassette Tape; CD=Compact Disc; E=Electronic Instrument; P=Pipe Organ; M=Mechanical Instrument; VC=Video Cassette Tape; Spr=Spring Issue; Win=Winter Issue; Sum=Summer Issue; Supp=Supplemental publication. Corrections/comments/additions should be sent to Jack Moelmann; 1015 Matthew Drive, O’Fallon, Illinois 62269; Phone: (618) 632-8455; Fax: (618) 632-8456; E-mail: [email protected] Copyright - none TABLE OF CONTENTS Page 1. ATOS ARCHIVE & LIBRARY and SPECIAL/MEMBER SERVICES ............................................... 3 2. ATOS CHAPTER OPERATIONS .................................................................................................... 3 3. ATOS COMMITTEE REPORTS and NOTES ................................................................................
    [Show full text]
  • THEATRE ORGAN BOMBARDE, the Official Pub­ an Acre of Seats
    TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS Volume 11 Number 3 June 1969 --·"'" ~ ~Mi---~---....~ ..... ~ Wurlitzer Theatre Organ The modern Theatre Console Organ that combines the grandeur of resterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru­ ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tohe, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au­ • Two 61-note keyboards • 25 -note pedal keyboard with two 16 ' and thentic individually, and when combined they two 8 ' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen­ • Multi -Matic Percussion ® with Ssh-Boom ®, Sustain , Repeat , Attack, Pizzicato , and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes , and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra-Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two -channel solid state amplifiers, 70 watts organs, Chimes and Slide Control ..
    [Show full text]
  • HOW SOUND CINEMA ARRIVED in ECUADOR: Case Study of Quito in the Late 1920S and Early 1930S
    HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 1 20.12.2018 12.37 ,University of Turku Faculty of Humanities School of History, Culture and Arts Studies Cultural History Janus Hall January 12, 2019 12:00 Supervised by Hannu Salmi, Ph.D. Marjo Kaartinen, Ph.D. Academy Professor Professor of Cultural History Professor of Cultural History Head of the School of History, University of Turku, Finland Culture and Arts Studies University of Turku, Finland Reviewed by Kimmo Laine, Ph.D. Jukka Kortti, Ph.D. Docent Docent Cinema Studies Department of Political and University of Oulu, Finland Economic Studies University of Helsinki, Finland Opponent Kimmo Laine, Ph.D. Docent Cinema Studies University of Oulu, Finland The originality of this publication has been checked in accordance with the University of Turku quality assurance system using the Turnitin Originali- tyCheck service. ISBN 978-951-29-7536-5 (PRINT) ISBN 978-951-29-7537-2 (PDF) ISSN 0082-6987 (Print) ISSN 2343-3191 (Online) Grano Oy - Turku, Finland 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 2 20.12.2018 12.37 To Seppo, Eliel and Rodrigo (+) 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 3 20.12.2018 12.37 4 Acknowledgements There are many people I would like to thank but there is not enough space to do it in just one page, that is why I would like to send a warm general thanks to everyone who has contributed time to my research.
    [Show full text]
  • "Wallingford Neighbors for Peace and Justice"Film Library "Friday Night at the Meaningful Movies"Seattle, WA
    2016-03-04 FNMM Library File (1) FilmListingsPDF.xlsx"Wallingford Neighbors for Peace and Justice"Film Library 1 of 47 DVDs are available to borrow for PERSONAL LOAN only. Obtaining Public Performance Viewing Rights are the responsibility of the borrower. DVDs are loaned for one week unless other arrangements are made. DVDs are loaned at no charge; however, DONATIONS ARE VERY MUCH APPRECIATED and allow us to maintain the DVD library, including purchasing new DVDs. To borrow a DVD, come to our movie night in Wallingford or contact us at [email protected]. Title Format Year Length Director-Producer Keywords Comments 10 Questions for the Dalai Lama DVD 2006 Rick Ray Films The 11th Hour DVD 2007 92 min Leila Conner's Environment, Petersen & Nadia Global Warming Conner's 15 Years of War Against the Iraqi People DVD 2006 67 min Bert Sacks Compilation on Sanctions and war against Iraq The 1919 Seattle General Strike (Excerpt from ‘Witness to DVD/MP4 2000? 4 min Lucy Ostrander Labor, Organizing Revolution’) 1984 (1956 version) 1956 Michael Anderson 1984 (1984 version) 1984 113 min Michael Radford 2012 Time for Change (Ironweed) DVD 2010 85 min Joao Amorism, Daniel Culture, Pinchbeck Collaboration 5 Broken Cameras DVD 2011 90 min Mead Burnat, Guy Palestine Davidi 8 Things to Ask Your Representatives (Also: Red State Road Trip) 9/11 Explosive Evidence: The Experts Speak Out DVD 2012 Richard Gage & AE 911 911Truth 9/11 Explosive Evidence: The Experts Speak Out - Copy DVD 2012 90 min 2 911 The Hijacking of America VHS 2003 101 min Carol Bouillet
    [Show full text]
  • 2010 INDEX of ARTICLES Published
    1955 - 2010 INDEX of ARTICLES published in THE TIBIA, THE BOMBARDE, and THEATRE ORGAN [2011 Edition] by JACK MOELMANN * * * * * * * * * a publication of the AMERICAN THEATRE ORGAN SOCIETY (ATOS) 1955-2010 INDEX OF ACTICLES PUBLISHED IN THE TIBIA, THE BOMBARDE, and THEATRE ORGAN Compiled by: Lloyd Klos - 1955-1989; Jack Moelmann - 1989-present This is an index of major items which appeared in THE TIBIA, 1955-1958; THE BOMBARDE, 1964- 1966; and THEATRE ORGAN, 1959-2010. No attempt has been made to list the many smaller items such as Chapter News/Notes, Concert News, Nuggets, etc. In addition, other items routinely published are also not included, e.g., committees, Directors/Staff/Editors, classified ads, advertisements, the President’s Message, Letters to the Editor/Members’ Forum, meeting notices, advertising rates, items from the ATOS International News newsletter, some items from the Pipes and Personalities section, election announcements, Annual Membership Meeting announcements, Special Services/ATOS Marketplace items available, scholarship and competition program announcements, and other items of that nature. The Chapter President and Secretary list, and the “Pipe Piper” list of public theatre organ installations usually appear annually and are not included. © 1985 - 2010 American Theatre Organ Society, Inc. (ATOS), www.atos.org. All rights reserved. Reproductions in any form whatsoever without written permission is prohibited. Since THEATRE ORGAN is issued bi-monthly, issues are identified by the first month of their issue. Abbreviations used in this index include: C=Classical; CA=Audio Cassette Tape; CD=Compact Disc; E=Electronic Instrument; P=Pipe Organ; M=Mechanical Instrument; VC=Video Cassette Tape; Spr=Spring Issue; Win=Winter Issue; Sum=Summer Issue; Supp=Supplemental publication.
    [Show full text]