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Wurlitzer's S'i'yle 165X: the Ofthe Smaller Theatre Organ
WURLITZER'S S'I'YLE 165X: THE uintessence OFTHE SMALLER THEATRE ORGAN by George Baker Audiences attending theatre organ recitals today often organists were seldom, if ever, mentioned in theatre adver include among their most enthusiastic listeners fans born tising. Under-maintenance of the organs was often the rule, long after the close of the theatre organ's golden age. This rather than the exception. welcome infusion of young blood is a healthy sign, and one Downtown, however, managers of the larger theatres, that augers well for future theatre organ appreciation and well aware that proper organ maintenance as well as key preservation. board talent helped sell tickets, lavished the kind of care on Some younger fans reason that because most of today's their instruments that was seldom extended to the 2/4 and surviving theatre pipe organs are supersize organs located 2/6 Cinderellas in the smaller houses. in large movie palaces that these giants were the dominant When the nation's film theatres were wired for sound, types of organs in use during the halcyon years. many of the big organs survived for another decade by pre A reasonable deduction , but such was not the case. Cen senting organlogues and brief, clear-the-house opening and terpiece theatre organs, such as the New York Paramount closing programs between showings of the feature film. At and Shea's Buffalo Wurlitzers, the Atlanta Fox Moller, and the same time, most of the smaller organs were abandoned the Ohio Theatre Robert-Morton, in Columbus, were the ex immediately after the installation of sound equipment - left ception, not the rule. -
Robert Glier Violins
INDEX A Drum Stande - 75 O Altoe, Perfection *2 Druiii Bells '. , .76 Oboes ., , OS Altos, ProfessionaJ Circular 4S Drummers' Traps- ..., , 76-77 Oboes, Reeds •* Accordeons 81-82 Dulcimers . ...'..... J.... 78 Oboes, Reed Cases .66 Accordcons, Bismark t 81 Obtjes, Cases ...... j,.,,.;..,.. fl8 AccordeonSf Spaethe , .> y- , , 82 e Orchestra Bells -.. '. 78 Accordeons, Blow L 85 Euphoniums 29 Ocarinas .91 Autoharps ^'. ....•...'.... 90 P Antobarp Furnishings 98 F Free Music Lessons 2-3 Plating . , 46 B Formation of Bands 6 PicccJoS . 69 triuegel Hern. Bb *0 Piccolo Supplies ,. 60 Bandurrias ,. 16 Polishes for Band Instruments .99 Banjos . , .' 19-20 Fluegel Horn, C , 40 Banjo Piccolo — i, :., .20 French Horns , -41 S Banjo Guitar 20 Fifes . ..58 Fife Mouthpieces ,' .'— 58 Saxophones utO-&l Banjo Maiidolin .20 Strings for all Instruments tt-9S Banjo Manjorette or Mandolin 20 Flageolets > ,. 68 Flutes, Moning .....J ,61 St^•ing Gauges L........97 Banjorine . , 20 Sonophones , ; ..>. ...; ....,-. 161 Banjo Trimmings ......' ., 20 Flutes. D. & C 68-63 Band Instruments ' 21 to 44 Flute Trimmings ,. 1 ,. 64 T Fanfares German '. 79 Band Instruments, Artist Symphony 22-23 Trombones, Slide; 39-31 Band Inetruments, Presentation .^.... 24 Ti-ombones, Valve .,. 30-31 Band Instruments, Artist Original Excelsior.. .27-28-29-30 a Trumpets .... .,, 8M3-45 Band Instruments, Perfection 33 Guitars 13-14 Trombotie in C. ^. , ...40 Band Instruments, Monarch ^ ,. 84 Guitar Outfits ,16 Tympani . ; Vs Band Instruments, Professional 35-36-37 Guitar Mandolin 16 Tamb'burinfts . 1 .01 Band Instruments, Reliable .......',,.'.. .38 Guitar Trimmings" ,,, ....^98 Triangles .....91 Band Instruments in C and I^b — 40 Glue, Liquid ....,....,..........'- 100 Triangle Beater »l Bugles ., 43-44 Tuning Pipes 94 Brass loBtruipents, Supplied ' ; 46-47 H Tuning Forks „., .94 Brass Inatruraehts, Covers and Cases ,...;. -
Theatre Organ Bombarde (Title Registered U
TheatreOrgan Bombarde JOURNALof the AMERICAN THEATREORGAN ENTHUSIASTS ~ June 7967 YOUR FUNI IN THEMOTOR CITY THE1967 IN NATIONAL ATOE CONVENTION '67 DETROIT MICHIGAN ♦ •• • . -- ~ ~ ., ".. .,.,.~ Anl~di8~-'i11111111e, Valafion Yo111/Re111e111be, Fo,e~e~i Ro~GEk~•· A~Etl·· HA/f\N\GND•• S4LPM/itl•· 1'iMBAI!-.. THE - __ ---<'_,,,.-- - - - ......~ -- - - -~ ~ ✓-- ,, :f R.e.§ -w.a!.e.o,,t 0 !Uf an."'6.-l6.. an-tii , H.a.E..en.<J-' 6.. 9{.e.6..o.,,J, arn.a.n 'J- .tR.e. - - / - - - _. p, (,M6.. Oe f aK.e.e-0-Un½, eaft.eottr\A.Cl WRITE FOR BROCHUR . H.O.F ., 3291 GUIDO ST O E . ., AKLAND, CALIF. 94602 A'MERICANTHEATRE ORGAN SOCIETY ARCHIVESLIBRARY TheatreOrgan Volume 9, No. 3 Boffibarde Volume 4, No. 3 A.T.0.1:.. National Membership is $6.00 per year, which includes a sub scription to Thea1re Organ 8 0111- barde, the off icia l publication of the A merica n T he a tre Organ l:.nthusiasts. M ake check or money ord er payab le to A.T. 0 .1:.. and mai l to P.O . lfox 7404 ~ 7"£/'.1F/7C Bitt er Lake St ation. Seattle, Washington 98133. L/ ~_,,,_;TS ,9;- ALL MATERIAL FOR PUBLICATIONS rLOR/S.7.J /},i.,L. /N TE/Z-!-'Ec,,;c,,;v.S Te;! : G ~ ,,7,,:-,;,,./ SHOULD BE SENT TO THIS ADDRESS . ,Dc?L/ t/cR v' e~--.o 6. * * * A.T.O.E. Officers The best route to take to get to the Pick-Fort Shelby Hotel is the southbound Lodge Freeway (l- Dick Schrum President 696) south from the eastbound Ford Freeway (l-94). -
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 . -
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. -
Toto's Shannon Forrest
WORTH WIN A TAMA/MEINL PACKAGE MORE THAN $6,000 THE WORLD’S #1 DRUM MAGAZINE 25 GR E AT ’80s DRUM TRACKS Toto’s Shannon ForrestThe Quest For Excellence NEW GEAR REVIEWED! BOSPHORUS • ROLAND • TURKISH OCTOBER 2016 + PLUS + STEVEN WOLF • CHARLES HAYNES • NAVENE KOPERWEIS WILL KENNEDY • BUN E. CARLOS • TERENCE HIGGINS PURE PURPLEHEARTTM 12 Modern Drummer June 2014 CALIFORNIA CUSTOM SHOP Purpleheart Snare Ad - 6-2016 (MD).indd 1 7/22/16 2:33 PM ILL SURPRISE YOU & ILITY W THE F SAT UN VER WIL HE L IN T SP IR E Y OU 18" AA SICK HATS New Big & Ugly Big & Ugly is all about sonic Thin and very dry overall, 18" AA Sick Hats are 18" AA Sick Hats versatility, tonal complexity − surprisingly controllable. 28 holes allow them 14" XSR Monarch Hats and huge fun. Learn more. to breathe in ways other Hats simply cannot. 18" XSR Monarch With virtually no airlock, you’ll hear everything. 20" XSR Monarch 14" AA Apollo Hats Want more body, less air in your face, and 16" AA Apollo Hats the ability to play patterns without the holes 18" AA Apollo getting in your way? Just flip ‘em over! 20" AA Apollo SABIAN.COM/BIGUGLY Advertisement: New Big & Ugly Ad · Publication: Modern Drummer · Trim Size: 7.875" x 10.75" · Date: 2015 Contact: Luis Cardoso · Tel: (506) 272.1238 · Fax: (506) 272.1265 · Email: [email protected] SABIAN Ltd., 219 Main St., Meductic, NB, CANADA, E6H 2L5 YOUR BEST PERFORMANCE STARTS AT THE CORE At the core of every great performance is Carl Palmer's confidence—Confidence in your ability, your SIGNATURE 20" DUO RIDE preparation & your equipment. -
Journal of the American Theatre Organ Society
JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY '_ --~~~ - -- - ·- - -- ~--'- -'. Orbil ID™eeclronic 1yn~e1izer P,UJ ~ -~eo~re01pinel organ equo1... ~e newe;I woy lo mo <emu1ic rromWur ilzec 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. T0-1272 WURLilzER® The Wurlitzer Company, DeKalb, Illinois 60115. ha.~the ,vay cover- photo ••• Sidney Torch at the Console of the Christie Organ, Regal Theatre, Edmonton. The glass panels surrounding the keyboards were illuminated by several sets of differently colored lights, controlled by motorized rheostats which created Journal of the American Theatre Organ Society different color effects as the lights were dimmed and brightened - an exclusive English feature! See the interview of Sidney Torch by Judd Walton and Frank Volume 14, No. -
5 Pueblo Junior Officers Testify in Support of Ship's Captain
OSCAR E. THEIS RT 1 DALE, TEX 110 >5 dow: n de (oi f aci i Mi? g *i| ggiep :oatt| wrtii ml nee: i m it[ ie Bij f'hec j onfit; m ttJ ;airf| :atiirj CHERYL MAURINE SPRUCE KRISTA BJELLAND JANET PITTS CAROLE LOVE MATHERS CAROL ANN RABON (Visifil . SWTSC Sophomore . from Texas Tech . Hillcrest High Senior . from Fort Worth . Texas Tech Freshman w«| :10t Sophs Choose 5 In Finals r Seri lupjf For Sweetheart ________ By JANIE WALLACE Battalion Staff Writer Che Battalion VOLUME 64 Number 64 Five finalists for Sophomore COLLEGE STATION, TEXAS THURSDAY, FEBRUARY 6, 1969 Telephone 845-2226 Sweetheart were selected by the Sophomore Council Wednesday, according to Gary Martin, class president. The winner will be crowned at Pueblo Junior Officers Testify the Sophomore Ball Feb. 15. Earlier in the evening Julius Wechter and the Baja Marimba Band will be a Town Hall Special Attraction. In Support of Ship’s Captain GREEN-EYED Krista Bjelland, Jes sophomore at Texas Tech, is an CORONADO, Calif. (/P)_Jun Interior Decoration major from ior officers from the USS Pueblo 1011 Houston. She has auburn hair facing five admirals on a court and her escort is Kent Smith. of inquiry have declared support Carole Love Mathers, a blue ‘Baja Marimba9 Musicians for their skipper. One said, “I’d eyed blonde, is a Western Hills any follow him anywhere.” High School senior. She is from 146-!! The statement came with de Fort Worth and her escort is Ed termination from 21-year-old, 1 win Robinson. Set Town Hall Appearance freckle-faced Lt. -
Ce Qu'il Y a De Plus Profond Dans L'homme, C'est La Peau∗ (L'idée Fixe
Ce qu’il y a de plus profond dans l’homme, c’est la peau∗ (L’idée fixe, Paul Valery) ∗ O que há de mais profundo no homem é a pele. 4 Tirando a pele dos body mods: por dentro da movimentação, a movimentação por dentro Neste capítulo é traçado um quadro geral por meio do qual se delineia o panorama underground da subcultura da BM, no âmbito das novas dimensões e potencialidades que o corpo pode alcançar no universo contemporâneo da cultura corporal. A abordagem gira em torno da incorporação dos valores individualistas, “cujo vetor impulsiona a busca pelo singular enquanto uma exigência imperativa manifesta em um discurso de valorização da autonomia dos sujeitos” (COUTINHO, 2004:15). As linhas que contornam o quadro aqui apresentado são traçadas a partir dos dados coletados através de um trabalho etnográfico realizado na cidade de São Paulo com os integrantes da BM, durante aproximadamente três anos. O eixo converge sobre as práticas e discursos promovidos pelos body mods paulistas que adotam uma postura política de vanguarda em relação a BM, conforme já explicado anteriormente. Fundamentam-se, assim, no princípio filosófico da autonomia dos corpos segundo uma perspectiva sócio-antropológica desnaturalizante do corpo. Impulsionados pelas práticas oferecidas pela BM, os body mods paulistas atuam como bricoleurs. Apropriando-se dos materiais que estão ao alcance, reinventam aparência física, a partir de projetos autorais. Nesse sentido, a posse do saber biomédico e das biotecnologias médicas é feita com o objetivo explícito de questionar social e politicamente os processos de normatização do corpo. Logo, as tecnologias fomentam no sujeito, segundo Pitts 129 (2003:13), o sentimento de poder de ação simbólica sobre o próprio corpo e sua origem, à medida que promove a sua customização radical. -
Howe Collection of Musical Instrument Literature ARS.0167
http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items. -
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. -
The Simonton Literary Prize on Robert Hope-Jones. Awarded to D. Hyde at the 2007 A.T.O.S
The Simonton Literary Prize was established in honour if Richard Simonton who was a founder of the American Theater Organ Enthusiasts, which eventually became known as the American Theatre Organ Society (A.T.O.S.) The purpose of the prize is to encourage and reward original research and writing in the area of theatre organ history, restoration and conversation. The work of Don Hyde, chairman of the Lancastrian Theatre Organ Trust, on the new research into Hope-Jones and the people he has made contact with has entered new grounds in the history associated with theatre organs This, plus a little bit of arm twisting resulted in Don writing this paper which was submitted for the Simonton prize in 2007. The prize was awarded to Don Hyde at the American Theatre Organ Society Convention in New York in 2007. The purpose of this paper is to record the recent research that has been carried out into the world of Robert Hope-Jones and the people who lived and worked in his environment and whom he met during the course of some of the work he did during his organ manufacturing time in Great Britain before he emigrated to the United States. The Lancastrian Theatre Organ Trust has been troubled for some time that almost all of the original pipe organs built in Britain by Hope- Jones have been totally rebuilt, dramatically modified over the years by various organ builders, or have been scrapped. Since its foundation in 1968 the Lancastrian Theatre Organ Trust has been acutely aware of its close proximity to the birthplace of Robert Hope-Jones and to the area at Birkenhead on the Wirral in Cheshire where he started his ground breaking work on pipe organs.