DOCSLIB.ORG

Organist-Led Community Singing in the American Picture Palace, 1925–1933 Esther Marie Morgan-Ellis 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. The organist could use his ten minutes in a variety of ways, but in many theaters the organ solo was dedicated to community singing. The organist used lantern slides to project song lyrics onto the movie screen. He also used slides to communicate with his patrons. Community singing was practiced in theaters across the country, but it was not welcome in “class” picture houses that offered highbrow entertainment. In addition to this, trade-press commentators criticized the practice and listed reasons for which it should be abolished. Apologists noted that, while community singing did not utilize the talents of the organist or the capabilities of the organ, it was loved by audiences and would not disappear until it fell out of favor. An organist who practiced community singing crafted his presentation style based on the theater’s location. An organist in a downtown house tried to appeal to a broad audience and did not expect any one patron to attend regularly. A neighborhood organist, on the other hand, had to develop a committed local patronage in order to keep the theater in business. To do so he would encourage community spirit and become involved in local affairs. He might also form an “organ club,” which he could use as a basis to admit members, invite requests, and recognize individual patrons as a part of his solo. Community singing was a popular form of entertainment, but it served other needs of the film and music industries as well. To begin with, it was an important vehi- cle for song plugging in the 1920s and ’30s, and music publishers provided organists with free slides to ensure that their latest songs received exposure. This arrangement benefitted both parties. The publishers received cheap advertising that was particu- larly effective, for movie patrons not only heard the songs but actually sang them. The organist in turn was spared a great deal of work in preparing his solo. The attractive Esther M. Morgan-Ellis slides provided by publishers not only included song lyrics but also narratives, jokes, and illustrations. Exhibitors, on the other hand, used community singing to police the behavior of their audiences. Organists and theater managers noticed that patrons were more polite to one another after engaging in community singing. They also observed that patrons who had participated exuberantly in community singing were more likely to enjoy the remainder of the program, including the stage show and feature film. The role of the organist, and therefore the role of community singing, changed enormously with the introduction of film sound. Exhibitors began to wire their theaters for sound in the late 1920s, and most musicians lost their jobs as a result. Organists were only retained in the largest and most important picture palaces, where they were valued as the last human element in an increasingly mechanized program. Community singing gave the sound-era patrons a rare opportunity to make noise. Participatory culture in the movie theater, however, declined throughout the 1930s. Organist-Led Community Singing in the American Picture Palace, 1925-1933 A Dissertation Presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy by Esther Marie Morgan-Ellis Dissertation Director: James Hepokoski May 2013 © 2013 Esther M. Morgan-Ellis This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, usa. CONTENTS List of Figures iv Acknowledgments vii 1 Introduction 1 Why the Picture Palace? 1 Influences on Picture-Palace Community Singing 8 The Illustrated Song 9 The Community Singing Movement 16 Sources 25 2 A Visit to the Oriental 30 Balaban & Katz and Picture-Palace Exhibition 32 The Oriental Theater in Chicago 42 The Program on October 18, 1927 58 Henry A. Keates and his Organ Solo 62 Paul Ash and the Stage Show 68 The Feature Film 84 3 Community Singing During the Organ Solo 85 Community Singing Enters the Picture Palace 85 The Organ Solo 87 The Theater Organ 89 The Popularity of Community Singing 91 Repertoire and Tone 93 Projecting the Lyrics 101 i Contents Presenting the Sing 114 Self-Presentation 120 Effects on the Audience 121 The Audience Perspective 123 4 Community Singing and the “Class House” 126 Trade-Press Debates about Community Singing 128 The Brooklyn Paramount 131 Stuart Barrie and the Brooklyn Style 139 Henry Murtagh and Opening Night 141 Bob West and the Public Address System 146 The New York Paramount 150 5 Community Singing and Local Outreach 169 The Chicago Harding 171 Introduction 171 Early Organ Solos 179 Meikel Develops the Organ Club 182 Features of the Organ Club 185 Organ Solos at the Harding 187 Meikel’s 5,000th Performance 200 The Spread of the Organ Club Idea 203 Epilogue: A Word from Meikel 207 Children’s Matinees 208 Introduction 208 The Crandall Chain in Washington, dc 211 Fox’s Matinee Programs 217 6 The Advent of Sound 220 Sound and the Theater Musician 222 Sing-Along Films 228 Master Art and the Decline of Theater-Organist Culture 230 Fleischer in the Sound Era 233 Participation? 241 ii Esther M. Morgan-Ellis Appendix: Tables of Organists and Theaters 247 Bibliography 278 Periodicals 278 Collections 278 Primary Sources 279 Secondary Sources 283 iii LISTOFFIGURES 1 Introduction 1.1 Advertisement featuring organist Eddie Meikel 7 1.2 Scott & Van Altena song slides for “It’s You, Pal” 10 1.3 Photograph of community singing organizer Mrs. Armand Car- rol 22 2 A Visit to the Oriental 2.1 Balaban & Katz advertisement for theater air conditioning 37 2.2 The marquee of the Oriental theater 41 2.3 The Rapp & Rapp skyscraper which contains the Oriental the- ater 44 2.4 The lobby of the Oriental 47 2.5 The “water bearers” frieze in the Oriental 48 2.6 The main foyer of the Oriental 49 2.7 Details from the auditorium of the Oriental 51 2.8 The auditorium of the Oriental 54 2.9 Seating in the auditorium of the Oriental 57 2.10 A Variety advertisment for Paul Ash 60 2.11 Photograph of organist Henri A. Keates 63 2.12 Exhibitors Herald and Moving Picture World advertisement for or- ganist Henri A. Keates 64 2.13 Photograph of band leader Paul Ash 69 2.14 A Variety advertisment for Jack North 76 2.15 “My Blue Heaven” advertisement 79 3 Community Singing During the Organ Solo 3.1 Song slide: “Heigh-Ho,” parody 96 iv List of Figures 3.2 Song slide: “Cecilia,” lisping version 96 3.3 Song slide: tongue twister introduction 97 3.4 Song slide: “A Sailboat in the Moonlight,” parody 98 3.5 Song slide: whistled version introduction 99 3.6 Song slide: “Sweet Sue—Just You,” hummed version 99 3.7 Song slide: clapping instructions 100 3.8 Advertisement for organ novelties created by Jimmy Savage 102 3.9 Advertisements for other organ novelties 102 3.10 Song slide: “On Moonlight Bay,” typewritten 103 3.11 Advertisements for slides released by music publishers 105 3.12.1 Song slides: “On the Tamiami Trail,” complete publisher’s set part 1 106 3.12.2 Song slides: “On the Tamiami Trail,” complete publisher’s set part 2 107 3.13 Song slide: singing instructions 109 3.14 Song slide: singing encouragement 109 3.15 Song slide: “I’m Always Chasing Rainbows” introduction 110 3.16 Advertisements for Song Car-Tunes published in Exhibitors Her- ald 113 3.17 Song slide: “argument” instructions 115 3.18 Song slide: “Let Me Call You Sweetheart,” singing instructions 117 3.19 Song slide: “Let Me Call You Sweetheart,” special version 117 3.20 Song slide: modulation warning 118 3.21 Song slide: “Daisy Bell,” graphic puzzle 118 3.22 Song slide: “Sweet Adeline,” graphic puzzle 119 4 Community Singing and the “Class House” 4.1 The Rapp & Rapp skyscraper which contained the Brooklyn
Load more

Recommended publications
  • <I>Ensemble-Made Chicago</I>
    The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Ensemble-Made Chicago Ensemble-Made Chicago: A Guide To Devised Theater. Chloe Johnson and Coya Paz Brownrigg. Evanston: Northwestern University Press, 2019. Pp. 202. Chloe Johnson and Coya Paz Brownrigg’s Ensemble-Made: A Guide to Devised Theater (2019) is a valuable resource for theater educators and practitioners, particularly those who wish to deepen their knowledge of the craft variously known as devised theater, ensemble-based performance, and collective creation. Each short chapter of the book focuses on a distinct Chicago-based theater company (15 in total)—which range from large, nationally-renowned companies such as Lookingglass Theatre and The Second City to smaller, community-based collectives. Each chapter includes a brief history of the company alongside descriptions of games and exercises emblematic of their process and pedagogy. The co-written book also includes an Introduction which places the field of devising in its larger cultural and historical context, as well as a Time Line of the field and List of Exercises By Type, which function as the book’s conclusion. The authors’ methodologies are informed by their own relationship to devised theater in Chicago: Johnson is an ensemble member of the Neo-Futurists and Paz Brownrigg is the Artistic Director of Free Street Theater and cofounder of Teatro Luna—both of which are featured in the book. In this regard, they write as scholars and practitioners of devised theater but also as colleague- critics within the expansive but close-knit network of the Chicago theater community.
    [Show full text]
  • Judith Beale, Graduate Assistant
    Florida Historical Quarterly Volume 78 Number 3 Florida Historical Quarterly, Volume Article 1 78, Number 3 1999 Florida Historical Quarterly, Volume 78, Number 3 Florida Historical Society [email protected] Find similar works at: https://stars.library.ucf.edu/fhq University of Central Florida Libraries http://library.ucf.edu This Full Issue is brought to you for free and open access by STARS. It has been accepted for inclusion in Florida Historical Quarterly by an authorized editor of STARS. For more information, please contact [email protected]. Recommended Citation Society, Florida Historical (1999) "Florida Historical Quarterly, Volume 78, Number 3," Florida Historical Quarterly: Vol. 78 : No. 3 , Article 1. Available at: https://stars.library.ucf.edu/fhq/vol78/iss3/1 Society: Florida Historical Quarterly, Volume 78, Number 3 Published by STARS, 1999 1 Florida Historical Quarterly, Vol. 78 [1999], No. 3, Art. 1 The Florida Historical Quarterly Publi shed quarte rly by th Florida Historical Socie ty Craig Tho mpso n Frie nd, Editor Samuel Procto r, editor Emeritus ancy Rau ch e r, Editorial Assistant judith Beale, Graduate Assistant Editorial Advisory Board Raym o nd O . Arsenault, U nive r ity of outh Florida, St. P te rsburg Wi ll iam . Coker, Unive rsity of We t Florida David R. Colburn, niv r ity of Florida jam s B. Crooks, n ive r ity of o rth Florida james Cusick, Un iver ity of Florida Kathleen Deagan , nive rsity of Florida Wayne Flynt, uburn niversity Kari Fred erickson , Univer ity of Alabama Maxin D.J on es, Flo rida State U nive rsity Ha rry .
    [Show full text]
  • '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]
  • French Animation History Ebook
    FRENCH ANIMATION HISTORY PDF, EPUB, EBOOK Richard Neupert | 224 pages | 03 Mar 2014 | John Wiley & Sons Inc | 9781118798768 | English | New York, United States French Animation History PDF Book Messmer directed and animated more than Felix cartoons in the years through This article needs additional citations for verification. The Betty Boop cartoons were stripped of sexual innuendo and her skimpy dresses, and she became more family-friendly. A French-language version was released in Mittens the railway cat blissfully wanders around a model train set. Mat marked it as to-read Sep 05, Just a moment while we sign you in to your Goodreads account. In , Max Fleischer invented the rotoscope patented in to streamline the frame-by-frame copying process - it was a device used to overlay drawings on live-action film. First Animated Feature: The little-known but pioneering, oldest-surviving feature-length animated film that can be verified with puppet, paper cut-out silhouette animation techniques and color tinting was released by German film-maker and avante-garde artist Lotte Reiniger, The Adventures of Prince Achmed aka Die Abenteuer des Prinzen Achmed , Germ. Books 10 Acclaimed French-Canadian Writers. Rating details. Dave and Max Fleischer, in an agreement with Paramount and DC Comics, also produced a series of seventeen expensive Superman cartoons in the early s. Box Office Mojo. The songs in the series ranged from contemporary tunes to old-time favorites. He goes with his fox terrier Milou to the waterfront to look for a story, and finds an old merchant ship named the Karaboudjan. The Fleischers launched a new series from to called Talkartoons that featured their smart-talking, singing dog-like character named Bimbo.
    [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]
  • Popeye: Lets You and Him Fight! Volume 3 Free
    FREE POPEYE: LETS YOU AND HIM FIGHT! VOLUME 3 PDF E. C. Segar | 168 pages | 02 Dec 2008 | Fantagraphics | 9781560979623 | English | Seattle, United States Popeye - Wikipedia This article is about the franchise as a whole. For the character, see Popeye. For other meanings, see Popeye disambiguation. Popeye the Sailor was created by E. Segar as a supporting character in the daily King Features comic strip Thimble Theatreappearing on January 17, The character has since continued to appear in comics and animated cartoons, in the cinema as well as on television. Popeye also became the strip's title in later years. Even though Segar's Thimble Theatre strip was in its 10th year when Popeye made his debut inthe sailor quickly became the main focus of the strip and Thimble Theatre became one of King Features's most popular properties during the s. Thimble Theatre was continued after Segar's death in by several writers and artists, most notably Segar's assistant Bud Sagendorf. The strip, now titled Popeyecontinues to appear in first-run installments in its Sunday edition, written and drawn by Hy Eisman. The daily strips are reprints of old Sagendorf stories. These cartoons proved to be among the most popular of the s, and the Fleischers — and later Paramount's own Famous Studios — continued production through Over the years, Popeye has also appeared in comic books, television cartoons, arcade and video gameshundreds of advertisements and peripheral products, and a live-action film directed by Robert Altman starring comedian Robin Williams as Popeye. Differences in Popeye 's story and characterization show up depending upon which medium he is presented in.
    [Show full text]
  • Founded in 1982 by Master Maestro Jose L. Ovalle. MFDC Is the Oldest Mexican Folkloric Troupe in Chicago. MISSION
    Founded in 1982 by Mast er Maestro Jose L. Ovalle. MFDC is the oldest Mexican Folkloric troupe in Chicago. President MISSION: To perpetuate the traditional dance, music, song, dress and history of Mexico. Ronald Reagan’s 1985 visit to To increase the Mexican progeny’s knowledge and the public’s awareness of such heritage. BIO: MFDC showcases the richness of Mexican culture and heritage through festive dancing, diverse musical Chicago Heights IL melodies and breath taking costumes. Suites reflect pre-Columbian indigenous, Spanish Colonialism, French Illinois at Bloom High School Intervention, other European and Eastern cultures, Caribbean, the 1910 Mexican Revolution and the modern. The mixture of all these elements served to develop the present dance and music culture that is “Just Mexican” and unique. Performances are fast-paced and non-stop with many quick costume changes. Since 1983 MFDC has received over 300 Awards, Grants and Recognitions* and has toured nationally and internationally in Mexico (1988) and Ireland (2007 and 2009). NOTABLE EVENTS ARE: 1985 For President Reagan’s visit to Chicago Heights, IL at Bloom High School. See picture. 1987 Opening performance for Steve Lawrence and Eydie Gorme at The Chicago Theater. 1987 For the Pan Am Games in Indianapolis, IN with Vice President Bush in attendance. 1987 For Governor James Thompson at Orchestra Hall accompanied by Chicago Symphony Orchestra. 1987 For Mayor Harold Washington at Fiesta del Sol. Matehuala 1988 Tours Mexico and receives rave reviews from Mexican media and TV interview. San Luis Potosi 1988 For the Tribute to Katherine Dunham at The New Regal Theater, Chicago.
    [Show full text]
  • Cartooning America: the Fleischer Brothers Story
    NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
    [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]
  • Paramount's 20Th Birthday Jubilee 1931
    ? ; Ml # ¥ Digitized by the Internet Archive in 2013 http://archive.org/details/paramountOOpara PAMMOUN PUBLIX CORPOfSATIO m. tow* m I opyright, 1931, by Paramount Publix Corporation. Ill rights renerivd. UKOR O Adolph Zukor, eader of the motion picture industry, who first envisioned quality motion picture enter- tainment for the mil- lions as we know it today and whose hand and spirit is most re- sponsible for the mighty progress of Paramount, this book and this pro- gram of pictures are dedicated. Pill 1344 THREE MILESTONE ARAMOUNT'S 20th Birthday Jubilee is of world-wide interest. For the history of Paramountandof Adolph Zukor is the history of the motion picture industry. In 1905, Mr. Zukor at his theatre in Newark, N.J. , introduced the first multiple-reel picture, "The Passion Play". He installed the first organ ever heard in a picture house and a quartet singing"The Rosary". The instant response which these innovations, new and daring for their time, received from the public, the entertainment and genuine inspiration which the crowded houses derived, impressed Mr. Zukor deeply. He resolved to devote his life and fortune to the production and distribution of quality photoplays. The ideal of the modern motion picture and of Paramount was born. His plans brought slowly but surely to fruition, Mr. Zukor in 1911 gave the world "Queen Elizabeth", starring Sarah Bernhardt. The succession of "famous players in famous plays"—James K. Hackett in "The Prisoner of Zenda", Mrs. Fiske in "Tess of the D'Urbervilles" and the rest of the royal line — started. Down through two scores of crowded years Paramount has devoted itself to this ideal first conceived by Adolph Zukor.
    [Show full text]