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.”



Movie Review: ‘Man on the Run’ Chronicles Paul McCartney’s Post-Beatles Long and Winding Road 

Paul McCartney, of Paul McCartney and Wings, performs at the Nassau Coliseum in Uniondale, NY on May 21, 1976. (AP)
Paul McCartney, of Paul McCartney and Wings, performs at the Nassau Coliseum in Uniondale, NY on May 21, 1976. (AP)
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Movie Review: ‘Man on the Run’ Chronicles Paul McCartney’s Post-Beatles Long and Winding Road 

Paul McCartney, of Paul McCartney and Wings, performs at the Nassau Coliseum in Uniondale, NY on May 21, 1976. (AP)
Paul McCartney, of Paul McCartney and Wings, performs at the Nassau Coliseum in Uniondale, NY on May 21, 1976. (AP)

If Peter Jackson’s “The Beatles: Get Back” was the supreme document of the Beatles’ final moments together and of their dissolution, Morgan Neville’s “Man on the Run” is a kind of sequel.

It begins in late 1969, just months after Savile Row rooftop concert. The Beatles have broken up. Paul McCartney has seemingly disappeared. There are even rumors that he’s dead. On a remote farm in Scotland, a confused and distraught McCartney wonders whether he’ll write “another note, ever.”

But the most surprising thing about revisiting this tumultuous, tabloid-ready period of McCartney’s life is a simple fact. When the Beatles broke up, McCartney was 27 years old. To say he had lived a lifetime by then would be an understatement. By just the sheer enormity of their production and colossal cultural impact, you might easily mistakenly put McCartney in middle age by then.

“Man on the Run,” premiering Friday on Prime Video, is the story of everything that came after. McCartney, an executive producer, is never seen sitting for an interview, but his off-camera musings mark the movie, a chronicle of self-renewal. For McCartney, kept boyish by the Beatles, the band's end meant a sudden coming of age.

“I had to look inside myself and find something that wasn’t the Beatles,” McCartney says in the film.

How you feel about McCartney’s post-Beatles career might inform how you feel about “Man on the Run.” For Neville, the celebrated documentary filmmaker of “Won’t You Be My Neighbor,” “Piece by Piece” and “20 Feet From Stardom,” it’s a period that offers no neat narrative, but — quite unlike the mythic Beatles years — something more like the ups and down of life, with regrets and triumphs along the way.

It didn’t get off to a good start. McCartney, blamed for the Beatles breakup, was guilt-ridden. His first records were a disappointment. Singing with Linda McCartney, his wife, wasn’t greeted well. A 1973 TV special that included a rendition of “Mary Had a Little Lamb” was, to put it a mildly, a misjudgment. A curious feature of McCartney’s largely sunny disposition is a nagging self-loathing.

“If I hear someone damning Paul McCartney, I tend to believe them,” he says, referencing the Beatles split.

“Get Back” offered a revelatory window into the group’s dynamics that put many of the old views of McCartney to bed. Comparisons are tough — “Get Back” is one of the greatest docs of the century — but Jackson’s film, drawn largely from footage shot by Michael Lindsay-Hogg, was also incredibly intimate. It captured not only the band’s individual relationships but the songwriting process in real time. (The emergence of “Get Back” from McCartney’s strumming and humming stands as one of the great sequences in documentary film.)

“Man on the Run” lacks that sense of closeness. By keeping the film in archival — the documentary is full of family photos and home movies — and without present-day talking heads, Neville lets us experience McCartney’s post-Beatles years as he did. It comes as a sacrifice, though, to a nearness to McCartney — and to the creation of his solo songs — that might have deepened the film.

The real arc of “Man on the Run” is building toward the creation of McCartney's first post-Beatles band, Wings. It’s in some ways an unlikely centerpiece. In the revolving makeup of the band, Denny Laine was the only permanent member outside Paul and Linda. On the other hand, Wings’ “Band on the Run” is the best album McCartney produced after the Beatles, and the clear culmination of years of struggle. If you needed one, this is your cue to go play “Jet” loud.

It turns out, to no one’s surprise, it’s hard to move on after being in the Beatles — especially for someone like McCartney who believed so sincerely in the band. Like its subject, “Man on the Run” inevitably pales next to films of the Beatles heyday. But it’s a meaningful companion piece about the end of an era and the start of a long and winding road.


Robert Carradine, ‘Revenge of the Nerds’ and ‘Lizzie McGuire’ Star, Dies at 71

Robert Carradine appears at the 24th Annual "A Night at Sardi's" in Beverly Hills, Calif., on March 9, 2016. (AP)
Robert Carradine appears at the 24th Annual "A Night at Sardi's" in Beverly Hills, Calif., on March 9, 2016. (AP)
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Robert Carradine, ‘Revenge of the Nerds’ and ‘Lizzie McGuire’ Star, Dies at 71

Robert Carradine appears at the 24th Annual "A Night at Sardi's" in Beverly Hills, Calif., on March 9, 2016. (AP)
Robert Carradine appears at the 24th Annual "A Night at Sardi's" in Beverly Hills, Calif., on March 9, 2016. (AP)

Robert Carradine, the youngest of his prolific Hollywood family and whose biggest hit was the 1984 comedy “Revenge of the Nerds,” has died at 71.

In a Tuesday statement to news outlets, his family said he lived with bipolar disorder for two decades and died by suicide.

“We want people to know it, and there is no shame in it,” his brother Keith Carradine told Deadline. “It is an illness that got the best of him, and I want to celebrate him for his struggle with it, and celebrate his beautiful soul. He was profoundly gifted, and we will miss him every day.”

Known for both his film and television work, Robert Carradine worked steadily in the industry for over 40 years. Though he collaborated with some of the most respected directors of the day, he never gained the worldwide recognition of his more famous siblings Keith Carradine (also the father of Martha Plimpton) and half-brother David Carradine, who died in 2009.

Robert Carradine, a Los Angeles native and son to character actor John Carradine, was introduced to audiences with roles on the television series “Bonanza” in 1971 and in the John Wayne Western “The Cowboys” in 1972.

Despite his family background, acting wasn't his first calling, though.

“I always had a passion to be a race car driver, and that’s what I thought I was going to do, and at some penultimate moment ... I think I was sitting with my brother David when ‘The Cowboys’ was being cast, and they were interested in David as the bad guy, and he didn’t want to be the guy that shot John Wayne in the back,” Carradine recalled in a 2013 interview with Popdose. “But he said, ‘You know, it is called The Cowboys, and they’re meeting all these young guys. Why don’t you go in?’”

In addition to starring in a short-lived television spinoff of “The Cowboys,” and appearing alongside David Carradine in his popular ABC series “Kung Fu,” he would go on to nab roles in Martin Scorsese’s “Mean Streets,” Hal Ashby’s Vietnam drama “Coming Home,” and Samuel Fuller’s World War II film “The Big Red One.”

The heights of his brother David's success eluded Robert Carradine, but the two could often be seen in the same projects, including in Walter Hill’s “The Long Riders” and Paul Bartel’s “Cannonball.”

Robert Carradine’s biggest hit would come in 1984 with the off-color comedy “Revenge of the Nerds,” in which where he played head nerd Lewis Skolnick, with his abrupt, infectious and guttural laugh. He reprised the role for the big-screen sequel and two made-for-television follow-ups, and continued to pay homage to the beloved character with a guest role on the series “Robot Chicken” and as a co-host (with “Revenge of the Nerds” co-star Curtis Armstrong) of the pop culture competition show “King of the Nerds,” which aired for three seasons.

In the 2000s, Carradine gained small-screen success in The Disney Channel’s “Lizzie McGuire” as the eponymous character’s father.

“It’s really hard to face this reality about an old friend,” Hilary Duff, who played Lizzie McGuire, wrote on Instagram. “There was so much warmth in the McGuire family and I always felt so cared for by my on-screen parents. I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering.”

Work remained consistent even if the projects diminished in prestige and quality. Then Quentin Tarantino, ever the champion of fading character actors, cast Carradine in “Django Unchained” as one of the trackers in the 2012 film after seeing a “very furry” photograph, as Carradine told Popdose.

In 2015, Carradine was cited for a Colorado crash that injured him and his wife, Edith. They later divorced, after more than 25 years of marriage.

Carradine's survivors include his three children, actor Ever Carradine, Marika Reed Carradine and Ian Alexander Carradine.

“Whenever anyone asks me how I turned out so normal, I always tell them it’s because of my dad. I knew my dad loved me, I knew it deep in my bones, and I always knew he had my back,” Ever Carradine wrote on Instagram. “I think it’s partly because we basically grew up together. Twenty years age difference really isn’t that much, and while I never ever thought of him as a sibling, I did always think of him as my partner. We were in it together.”


UK to Regulate Netflix and Other Streamers in Line with Broadcasters 

The Netflix logo is displayed during an event in Mumbai, India, February 3, 2026. (Reuters)
The Netflix logo is displayed during an event in Mumbai, India, February 3, 2026. (Reuters)
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UK to Regulate Netflix and Other Streamers in Line with Broadcasters 

The Netflix logo is displayed during an event in Mumbai, India, February 3, 2026. (Reuters)
The Netflix logo is displayed during an event in Mumbai, India, February 3, 2026. (Reuters)

‌Britain said on Tuesday Netflix, Amazon Prime Video, Disney+ and other streamers would be required to follow the same rules on content and accessibility as traditional broadcasters like the BBC.

Two-thirds of households subscribe to at ‌least one ‌major streamer, with 85% ‌of ⁠people using an ⁠on-demand service each month, compared to 67% who watch live TV, the government said.

Bringing the services into the scope ⁠of regulator Ofcom's broadcasting ‌code would ‌protect audiences from harmful content, and ‌ensure the provision ‌of accessibility services like subtitles, it said.

Streaming services with more than 500,000 UK users will ‌have to adhere to the new standards, which ⁠include ⁠ensuring news is reported accurately and impartially and audiences are protected against harmful or offensive material.

Ofcom will have powers to investigate and take action where they consider there has been a breach of the code, it said.