The pipe organ at the Webb was a Wurlitzer, Opus #1969. It was a Style 150; two manuals and five ranks. The organ was shipped in October, 1927; it was repossessed in December of 1931 and was resold to a roller rink in Cincinnati, Ohio.
Mr. Hicks' “setting the record straight” is authentic and factual; he ought to know! I would only add that there is also a difference in the professional terms “interior decorators” and “interior designers.” In the case of the Music Hall and the RKO Roxy (Center), although this professional term was relatively new, Deskey and even moreover, Schoen belonged to a new group of talented designers who worked more closely with their architectural environment. Without them the success of both theatres would have been aesthetically limited. Both men paved the way for the term “interior designer”–a profession I followed for forty years. While I have the floor, it is also high time that Edward Durell Stone got his due. I hope that I have brought a certain illumination to his incredible talents with my new book: “Epic of the Center: A Theatre’s Words, Music and Wurlitzer,” available on Amazon.com.
Look for my new book to be published by Amazon.com before Christmas: “The Paramount, The Palazzo, and The Passion.” After collecting materials for over 60 years on the theatre and the residence for Robert Wright fashioned from the Paramount’s facade (adapted by my uncle William F. McCall, Jr. FAIA), I have finally put all of this history together in one volume. Many new photographs—never before published—along with new findings should make it a worthwhile read. Also, before Christmas, look for the release of the companion “Twice Told Tales of a Southern Palazzo,” which focuses on the human side of The Palazzo in Moultrie, GA inspired by the Paramount’s limestone facade. This book is an expanded version of the earlier title with several new chapters and additional photographs.
The pipe organ at the Webb was a Wurlitzer, Opus #1969. It was a Style 150; two manuals and five ranks. The organ was shipped in October, 1927; it was repossessed in December of 1931 and was resold to a roller rink in Cincinnati, Ohio.
Mr. Hicks' “setting the record straight” is authentic and factual; he ought to know! I would only add that there is also a difference in the professional terms “interior decorators” and “interior designers.” In the case of the Music Hall and the RKO Roxy (Center), although this professional term was relatively new, Deskey and even moreover, Schoen belonged to a new group of talented designers who worked more closely with their architectural environment. Without them the success of both theatres would have been aesthetically limited. Both men paved the way for the term “interior designer”–a profession I followed for forty years. While I have the floor, it is also high time that Edward Durell Stone got his due. I hope that I have brought a certain illumination to his incredible talents with my new book: “Epic of the Center: A Theatre’s Words, Music and Wurlitzer,” available on Amazon.com.
Look for my new book to be published by Amazon.com before Christmas: “The Paramount, The Palazzo, and The Passion.” After collecting materials for over 60 years on the theatre and the residence for Robert Wright fashioned from the Paramount’s facade (adapted by my uncle William F. McCall, Jr. FAIA), I have finally put all of this history together in one volume. Many new photographs—never before published—along with new findings should make it a worthwhile read. Also, before Christmas, look for the release of the companion “Twice Told Tales of a Southern Palazzo,” which focuses on the human side of The Palazzo in Moultrie, GA inspired by the Paramount’s limestone facade. This book is an expanded version of the earlier title with several new chapters and additional photographs.