Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
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Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)

A massive pipe organ that underscored the drama and comedy of silent movies with live music in Detroit's ornate Hollywood Theatre nearly a century ago was dismantled into thousands of pieces and stashed away.
The Barton Opus, built in 1927, spent four decades stored in a garage, attic and basement in suburban Detroit. But the towering musical curiosity is being lovingly restored in Indianapolis and eventually will be trucked, piece by piece, to the Rochester Institute of Technology in western New York, to be reassembled and rehoused in a theater specifically designed to accommodate it.
In its heyday, the Barton Opus was able to recreate the sounds of many instruments, including strings, flutes and tubas, says Carlton Smith, who has been restoring the organ since 2020. It also contained real percussion instruments such as a piano, xylophone, glockenspiel, cymbals and drums and could produce sound effects including steamboat and bird whistles, Smith says.
For many moviegoers, the organs — and the organists — were the stars, The Associated Press reported.
“One guy could do it all,” Smith says. “In the big cities, they were literally filling the theaters’ thousands of seats multiple times during the day. They were showing live shows along with the films. It was a big production.”
The Barton Opus enjoyed good acoustics at the Hollywood Theatre, according to the Detroit Theatre Organ Society. The theaters in Detroit at that time, the golden age of the city's auto industry, were as glamorous as any in New York, Chicago, Los Angeles and San Francisco, according to John Lauter, an organist and organ technician.
“We were such a rich market for moviegoers that the theater owners built these palatial places,” Lauter says. “There were no plain Jane movie houses back then.”
Lauter, who also is the director of the Detroit Theatre Organ Society and president of the Motor City Theatre Organ Society, says the Hollywood Theatre organ was one of the largest made by the Bartola Musical Instrument Co. of Oshkosh, Wisconsin. Only three were sold, while the other two were installed in the Highland Theatre in Chicago and the Rialto Square Theatre in Joliet, Illinois.
Of the three, this is “the last one left that hasn’t been altered," Smith says.
In the decades that followed, televisions began to appear in living rooms across the nation and silent movie houses fell out of favor. The Hollywood Theatre closed in the 1950s, its fixtures were sold and its famed Barton Opus was on the verge of being lost to history.
But in the early 1960s, Lauter’s friend, Henry Przybylski, bought it at auction for about $3,500. Przybylski scrambled to remove the massive instrument, parts of which stood two stories tall, before the theater was demolished.
“He pulled together all of his friends in the winter of 1963,” Lauter says. “The building had no electricity and no heat. They came in with Coleman lanterns and block and tackle.”
They took the organ apart and Przybylski — an engineer and organ buff — transported the thousands of pieces back to his Dearborn Heights home where it would remain, unassembled, for about 40 years.
“He never heard or played that instrument ever,” Lauter says. “He lived a majority of his life owning that thing. He’d roll up the garage door and there would be that console in there. He made it known it was the very best there was.”
Przybylski died in 2000, but that did not spell the end of the Barton Opus' odyssey.
Steven Ball, a professional organist who taught at the University of Michigan's Organ Department, asked Przbylski's widow in 2003 if the pipe organ was for sale.
“I came up with every last bit of cash I could,” Ball says.
But he also put the pipe organ straight into storage.
“This whole project was to see this organ through to safety, until I could find an institution to restore it to what it was," Ball says, adding that he had always hoped the Barton Opus would end up in a theater mirroring its original home.
In 2019, Rochester Institute of Technology President David C. Munson reached out to Ball, whom he had known since Munson served as the dean of engineering at the University of Michigan years earlier.
“I contacted Steven and asked where we could acquire the best theater organ,” Munson says. "Steven said, ‘Well that would be mine.’”
Ball will donate his Barton Opus to the school, where it will be the centerpiece of the new performing arts center. The theater that will house the organ is expected to open by January 2026. Restoration work on the organ is a little over two-thirds complete, according to Smith.
“The theater is designed to accommodate exactly this organ,” Munson says, adding that the architect, Michael Maltzan, "designed the pipe chambers to have the same dimension as in the Hollywood Theatre. We have all the original plans for that organ and how the pipes were laid out.”
The exact cost of the work hasn’t yet been determined, Munson says, adding, “It’s an investment we’re making, but I think the results are going to be remarkable.”



Rocked by Cancellation of Vienna Concerts, Swifties Shake It off and Flock to London

 Fans pose by a Taylor Swift portrait painted on a stairway at Wembley Stadium in London, Wednesday, Aug. 14, 2024, ahead of a series of Taylor Swift concerts starting Thursday. (AP)
Fans pose by a Taylor Swift portrait painted on a stairway at Wembley Stadium in London, Wednesday, Aug. 14, 2024, ahead of a series of Taylor Swift concerts starting Thursday. (AP)
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Rocked by Cancellation of Vienna Concerts, Swifties Shake It off and Flock to London

 Fans pose by a Taylor Swift portrait painted on a stairway at Wembley Stadium in London, Wednesday, Aug. 14, 2024, ahead of a series of Taylor Swift concerts starting Thursday. (AP)
Fans pose by a Taylor Swift portrait painted on a stairway at Wembley Stadium in London, Wednesday, Aug. 14, 2024, ahead of a series of Taylor Swift concerts starting Thursday. (AP)

For Herve Tram, being a Taylor Swift fan isn’t just about the music.

The 28-year-old computer network engineer from Paris sees himself as part of a community, one of the Swifties as they are known. So, when the pop superstar's shows in Vienna were canceled last week because of a terror threat, Tram took a small personal step: He gave away two extra tickets to her upcoming concerts in London to two fans who missed the chance to see their guiding light in the Austrian capital.

“That’s the power of this fandom,” Tram said. “We look (out) for each other.”

The community of Swift fans, who have flocked to stadiums around the world to see the 3 1/2-hour shows on her Eras Tour and sing along with songs they know by heart, have been shaken in recent days.

First, a knife-wielding attacker murdered three little girls at a Swift-themed dance class in northern England, touching off a week of anti-immigrant unrest across the UK after right-wing activists spread misinformation about the suspect. Then the shows in Vienna were canceled after police arrested three ISIS-inspired extremists they believed were planning to attack the concert venue.

But none of that has damped fans’ enthusiasm to see Swift during five shows Thursday through Tuesday at London’s Wembley Stadium that will close out the European leg of the Eras Tour. The fans want to wear Swift-inspired outfits, swap handmade friendship bracelets and, of course, dance.

Take Meagan Berneaud, 30, of Columbus, Ohio, who has been a Swift fan since she was 13.

Berneaud had second thoughts about traveling to London after recent events reminded her of the 2 1/2 hours she spent locked down during a 2016 terror attack at Ohio State University. But she decided to go and even set up a thread on X, formerly known as Twitter, to connect fans who missed the Vienna shows with people who were willing to sell or give away tickets to the London concerts. She’s had more than 3,000 views.

“I just have to tell myself not to live in fear,” she said. “I have to put my trust ... that law enforcement can do their best to keep us safe.”

Some fans who had planned to see the show in Vienna were willing to overcome their anxieties to try to attend another show, taking encouragement from Swift’s song, “Fearless.”

“And I don’t know why. But with you I’d dance in a storm. In my best dress. Fearless."

It's a number that she belts out while swirling and twirling in an assortment of sparkly frocks in the song’s music video.

Presila Koleva, 26, a design engineer from Cambridge, England, had been looking forward to seeing Swift in Vienna for more than a year, buying a copy of a green dress that Swift wears during the Folklore set on the Eras tour and making 30 bracelets to trade with other fans. She was heartbroken when the shows were canceled.

But then she connected with Tram, who gave her one of his tickets. That dress will be worn.

“There (are) good people that will do something nice for someone that they don’t know, just because they’ve seen that they’ve been through this really awful situation,” she said. “It could have ended in such a bad way.”

The enthusiasm of Swift’s fans and a set list that includes more than 40 songs from all phases of her career have helped make the Eras Tour the biggest revenue earner of all time, with more than $1 billion in ticket sales last year, according to Pollstar Boxoffice, which collects data on the live music industry. The tour is expected to push that record to more than $2 billion before it ends later this year in Indianapolis.

Demand for the London concerts shows no signs of slacking, with ticket prices hitting thousands of pounds on unregulated sites.

With Swift’s tour coming to an end in Europe and youthful fans who have flexible schedules, especially during the summer, recent events won’t hurt demand for tickets to the London shows, said Rafi Mohammed, an expert on pricing strategies and founder of the Cambridge, Massachusetts-based consultancy Culture of Profit.

“If anything, you have three sold out concerts in Vienna that were canceled. This coupled with the end of the tour, you’ll likely see extra demand,” he said.

Even so, security is a concern.

London’s Metropolitan Police Service has tried to offer assurances, pointing out that it has learned lessons from the 2017 attack on an Ariana Grande concert at Manchester Arena that killed 22 people and injured hundreds more.

Organizers have promised “additional ticket checks” at the 90,000-seat Wembley Stadium, which prohibits concert goers from bringing anything much bigger than a tiny bag into the venue. Those without tickets will be moved away from the stadium.

“London is a big city. We’re used to putting on all of these events,” said Tracy Halliwell, the head of tourism for Visit London. “You’ll see there is a higher police presence on the ground and that’s really just to make sure that everything ... runs smoothly.”

For his part, Tram is focused on what the fans can do, recalling how Parisians responded after the attack on the Bataclan theater in 2015 to show that terror would not succeed.

“We saw hundreds of thousands of people go out into the streets to show they are not afraid, and I think that we (will) also see that in London,” he said. “Fans will show they are not afraid. And like Taylor said, we are fearless.”