Vitaphone Brochure (1927)

VtTAPHDM

The Biggest Thing In The Last Forty Years

\yr C. DURANT, regarded in business as one
* of the leading figures in the security market,
predicted in 1 908 that General Motors would earn
more money than the United States Steel Corpora-
tion. That prediction, which in 1 908 sounded fan-
tastic, has become part of financial history in 1927.

Recently Mr. Durant volunteered another predic-
tion. In an interview with B. C. Forbes that ap-
peared in Forbes’ Magazine for February, he said:

||' I HE thing that has the biggest possibilities of
anything and everything I have come across in
the last forty years is Vitaphone.”

AX ORE THAN twenty-five years
ago, H. G. Wells, in “When
the Sleeper Wakes,’’ described an
invention of the future. On a smooth
white surface, a yard square, “The
Sleeper” saw miniature human fig-
ures moving about and heard them
talk and sing. It was ‘ ‘ exactly like
reality, viewed through an inverted
opera glass and heard through a long
tube. ’ ’

At that time, when both phono-
graphs and motion pictures were
doubtful experiments, Wells’s imag-
ination performed the feat of pre-
dicting them, not only perfected, but
combined. Wells, however, set their
time in the story as two hundred
years afterward — A.D. 2099. He
was 175 years out of the way. To-
day, A.D. 1927, his prediction has
come to pass. Vitaphone is the ful-
fillment of it beyond Wells’s most
extravagant dreams.

The Future

Following the introduction of Vitaphone
at the Warner Theatre, the New York
Times said editorially:

“The future of this new con-
trivance is boundless, for inhab-
itants of small and remote places
will have the opportunity of lis-
tening to and seeing grand opera
as it is given in New York and
in musical centers of Europe. Be-
sides, through the picturing of
the vocalists and small groups of
musicians or choirs or orchestras,
the Vitaphone will give its pa-
trons an excellent idea of the
singer’s acting and an intelligent
conception of the efforts of musi-
cians and their instruments.
Operatic favorites will be able to
be seen as well as heard, and the
genius of singers and musicians
who have passed will still live.”

Other dreamers became active as
soon as motion pictures became
profitable.

Time and again the problem of
having sound and motion in step
seemed on the point of solution. The
disappointments resulting were so
many and so heart-breaking, how-
ever, that men who were interested
despaired of ever having their am-
bitions realized.

At length the term, “audible pic-
tures, ’ ’ became anathema to the
magnates of the film industry.
Nearly every one of them at one
time or another had plunged finan-
cially into the problem of giving the
screen the flexibility of oral sound,
and the losses these pioneers had
suffered brought painful memories.

The Warner Brothers’ Part

This was the condition of things
when a hint floating about reached
the ears of the Warner Brothers that
the Bell Telephone Laboratories had
made a number of discoveries tend-
ing to the perfect synchronization
of sound and motion.

“What a wonderful thing this
would be if it could be brought
about!” exclaimed Harry M. War-
ner to his brother Sam.

“Well,” came the reply, “let us
look into it. Maybe they are on
the road to something worth while. ’ ’

What Sam Warner found was that
certain basic principles in making
pictures audible had been solved.
While there were many problems yet
to be ironed out, enough had been
accomplished to cause Mr. Warner
to become enthusiastic. This en-
thusiasm spread to H. M. Warner and
was shared by Albert and Jack L.
Warner.

The mere fact that they were fac-
ing something, the failure of which
would plunge them into financial
ruin, didn’t feaze the Warners.
Harry M. Warner remarked that this
thing which was to be known as
Vitaphone, living sound, must not
fail. No one was to think of failure.
That was all there was to it.

With the resources of the Warners
at work there began a series of ex-

periments at the studio of the firm
in Brooklyn. Then there came a
period of depression and likewise
periods of exultation. A time came
when the engineers, carried away by
a new lead and a new promise, for-
got to eat and worked all night.

Screen History

Bit by bit things got clearer and
hope became stronger, with the re-
sult that the Warners plunged deep-
er into the enterprise by taking over
the huge and expensive Manhattan
Opera House in New York for the
continuation of the experiments and
as a studio for the screening of ar-
tists. In addition to this the War-
ner Theatre was called into use for
practical demonstrations. There in
the wee sina’ hours of the morning
the engineers would experiment and
discuss such problems as how to
keep the sound uniform and natural
with the action in synchronization
with the shifting of the picture
reels going from one projection ma-
chine to another.

Vitaphone received its first public
hearing on August 6, 1926, at the
Warner Theatre in New York, in
conjunction with the appearance of
John Barrymore in “Don Juan.”
Public and press united to acclaim
the new miracle of science.

“Marvelous! — Uncanny!” said
the Times, and other newspapers
heralded Vitaphone as starting a new
era in the screen world, an era that
would revolutionize entertainment.

Vitaphone

No lotiger count the lyric art
A fading dream to haunt the
heart —

The singer and the song long
gone.

Both in immortal youth live on.

— Harry Lee.

VITAPmw

Revolutionizing the Motion Picture Industry

VlTAPHDM UP TO THE PRESENT

H. M. Warner Makes a Prophecy

{From Motion Pictures Today— February 12, 1927)

I T IS Harry M. Warner speaking and here is his message to all of
the motion picture business, a prediction, a prophecy:

“One year from today, the present wise men of the
motion picture industry won’t know the motion picture
business — their own business. Make note of this and
file it away for reference in February, 1928.

“We are now working a year and a half ahead. In the t
period I mention there will have been made and placed
before the public ‘Noah’s Ark , The Jazz Singer and
‘Black Ivory’, each made with one-third to one-half Vita-
phone.

“Installations are going forward as fast as we can make
them and all over the country theatres of varying sizes
are making ready for the revolutionary development of
the pictures so that in the time I mention the whole man-
ufacture and exhibition of pictures will be vitalized into
a living, speaking and playing institution for the provid-
ing of newer and greater entertainment, the spreading
of knowledge by the spoken word as well as by the
shadowed action; and only the man of imagination can
predict the limits of this new creation of the newest and
finest of the human arts.”

i

We give important consideration to this prediction because we
see before us now a twelve hundred seat house on Broadway, the <
Warner, grossing $20,000 a week with the Vitaphoned “Don Juan,”
and across the street, the Colony, also a moderate capacity house, doing
$20,000 a week with the Vitaphoned “Better ‘Ole,” and down the
way farther, at the Selwyn, the newest one, “When a Man Loves,”
the Vitaphoned Barrymore starring vehicle, riding into an astounding
success.

We know also of the Metropolitan in Baltimore with $2,800
intake in its first day of a Vitaphone picture, a figure never even
approached in the house’s history.

We know the Strand in Brooklyn is now to be a Vitaphone-
equipped theatre and— But why go on ? They are sweeping the country
and competition proceeding in a leisurely and complacent way can
scarcely hope to catch up even if they started right now full steam
ahead.

First public hearing, Warner
Theatre, New York, August 6, 1926,
as accompaniment to the Warner
Bros, picture, “Don Juan,” starring
John Barrymore. The picture was
preceded by a Vitaphone program
that included the N. Y. Philharmonic
Orchestra, conducted by Henry Had-
ley, playing the “Tannhauser” over-
ture; Giovanni Martinelli, singing
the “Vesti la giubba” from “I
Pagliacci”; Marion Talley, singing
the “Caro nome” from “Rigolet-
to”; Anna Case in a one-act opera,
“La Fiesta”; violin solos by Efram
Zimbaliet and Miseha Elman, and a
piano solo by Harold Bauer.

As this book goes to press, eight
months later, this production is still
running at the Warner Theatre, and
playing to the capacity of the play-
house. Meanwhile, the production
has duplicated its New York triumph
in other cities. It played for foui-
montlis at McVicker’s Theatre,
Chicago; four months at Grauman’s
Egyptian, Los Angeles; two months
at the Colonial Theatre, Boston; two
months at the Shubert-Lafayette
Theatre, Detroit, and two months at
the Capital Theatre, St. Louis. But
even more interesting results were
obtained in its runs in some smaller
cities. It played five weeks at the
Rialto Theatre, Newark, breaking all
records for length of run and gross
receipts for any attraction, musical
or theatrical, in the state of New
Jersey, and it played for five weeks
at Bridgeport, Conn., an unheard of
run for a city of that size. In this
city of 150,000 inhabitants it was
applauded by no less than 100,000
people as proved by box-office re-
ceipts.

T^IIE second Vitaphone production
-* *• was made in conjunction with the
Warner Bros. Picture, “The Better
’Ole,” starring Syd Chaplin, at the
Colony Theatre, New York. This
production, with Vitaphone accom-
paniment, brought to the screen such
musical comedy celebrities as A1 Jol-
son, Elsie Janis, George Jessel and
Eugene and Willie Howard, as well
as Reinald Werrenrath, the concert
star, and Bruce Bairnsfather, author
of “The Better ’Ole.”

The third Vitaphone production
was “When a Man Loves,” starring
John Barrymore at the Selwyn
Theatre, New York. The accompani-
ment for this production was written
by Henry Hadley, the eminent Am-
erican composer and director. It
demonstrated the promise of scores
being written directly for Vitaphone
that may achieve the greatness of
the most important operatic writing.
Among those on the Vitaphone pro-
gram were Gigli, Talley, Hackett,
Jeanne Gordon, Mary Lewis, De
Luca and Van and Schenck.

The phenomenal success of these
three productions was followed in
New York by the installation of
Vitaphone at the Roxy Theatre, the
biggest motion picture theatre in the
world. The opening program in-
cluded a tabloid version of “Car-
men,” with Martinelli as Don Jose
and Jeanne Gordon as Carmen. At
present Vitaphone is being installed
in theatres of varying sizes through-
out the country at the rate of five
a week.

Facts about

I As the phonograph records the
♦voice and as motion pictures
record figures in action, Vitaphone
combines both records, solving the
problem of making it appear that
one is listening to the sound at its
original source.

2 By it, the art of all musicians
♦ may be spread throughout the
world and revived through all gener-
ations, exactly as when one is in the
presence of the artists themselves.

3 It will not be confined to the en-
♦ tertainment field. Sermons by
great preachers and lectures by great
teachers will be available for world
distribution.

4 Any picture which has been pro-

• duced can be orchestrated, and
the orchestration as perfectly syn-
chronized for reproduction as if the
films were taken and the music re-
corded simultaneously.

Sole rights to Vitaphone are
♦ vested in The Vitaphone Cor-
poration, New York. The officers
are: Walter J. Rich, president;

Samuel L. Warner, first vice-presi-
dent; C. C. Rich, second vice-presi-
dent; Albert Warner, treasurer.

It’s in the air and in the ear.
M. Warner’s definite prophecy.

Watch for the fulfillment of Harry

A.J.

VITAphow

THE RECORDING SYSTEM

THE MACHINE

THE BOOTH

of filling practically any motion pic-
ture auditorium.

The third link is between the re-
producer and the audience in a
theatre. An adaptation of a trans-
mitter system makes it possible to
pick up electrical vibrations from
the reproducer, amplify them, and, by
means of properly-located loud trans-
mitters, transform them into sound.
The loudness is so regulated as to
give the illusion that the source is

the actors whose pictures appear on
the screen. In the case of musical
programs a specially constructed
loud-speaking telephonic transmitter
insures the correct values and natur-
alness.

Ease of Operation

To effect the combination of these
three factors in a complete system
required the development of a mech-
anism for keeping the film and the
sound-producing instrument in abso-
lute synchronism, both during record-

ing and during reproduction. It was
necessary that the system be capable
of easy operation in a theatre, with-
out requiring special skill. To meet
these reqiurements, both the film and
the sound device are set in their
respective machines with a given
marker in the proper place. The
two machines are then speeded up
from rest, together, by the simple
device of having them coupled to
opposite ends of the same motor.

The mechanism for taking the pic-

tures with these markers on the orig-
inal film and record could not be
accomplished in so simple a manner,
since the camera had to be left free
to be moved on its tripod to change
the angle of view. In this case two
motors are used, one to drive the
camera and one to drive the sound-
recording machine. An ingenious
electrical gearing device was devel-
oped whereby the two machines can
be started from rest and maintained
in synchronism not only after they
re up to speed, but during the period
when they are speeding up.

T he sound proof . booth which encloses the camera .
Were it not made sound proof, extraneous noises
•would also be reproduced.

Recording apparatus showing the wax disc. The technician is shown examining
the grooves in which sound vibrations are recorded.

The System By Which Vitaphone Is Operated

The most difficult part of the de-
velopment of Vitaphone was the re-
production of music or speech from
the apparatus in such a manner that
it would be as loud as music or speech
from a real performance and at the
same time a faithful copy in all re-
spects. The special electrical device
for converting the motion of the
needle bearing on the record into
electrical vibrations and the use of
a modified transmitting system over-
came these difficulties.

T HE SYSTEM by which Vita-
phone is operated represents suc-
cessful combination and conversion
to motion picture use of three major
research developments.

The first of these is the electrical
system of recording. This method
employs a high quality microphone of
an improved type, electrical amplify-
ing apparatus, and a record-cutting
mechanism. Becording may be car-
ried on at a considerable distance
from the source of sound, so that
the actors may be grouped naturally
in any scene and need not be crowd-
ed before a microphone.

Electrical Vibrations

The second essential feature is a
remarkable electrical reproducer
which converts the movements of a
needle in the grooves of a sound
record into electrical vibrations.
The electrical currents from this de-
vice pass into an amplifier and then
operate a high-quality loud trans-
mitter of an improved type capable

The ^projection machine for Vitaphone. It is as
easy to operate as the ordinary motion picture
projector.

Electrical sound recording system, which is one of the significant developments
making possible synchronization of motion pictures with music, vocal and
instrumental.

The Inventors

Vitaphone goes to the world
without an individual being
credited with the invention; it
is a product of cooperative work
conducted in modern industrial
research laboratories. The prob-
lem of synchronizing sound and
scene was solved through the
combined efforts of scientists
employed by the Western Elec-
tric Company and the Bell Tele-
phone Laboratories.

VIBRATIONS IN WAX

Vitaphone Stars-Metropolitan Opera and N. Y. Philharmonic

mm m^L

GUISEPPE

FRANCES ALDA

Famous as Manon
and Mimi. — Sings
“The Star Spangled
Banner” with Vita-
phone orchestra.

MARY LEWIS

American Soprano
Southern songs in “I
Down South” scene.

GUISEPPE DE LUCA

Italian baritone. — “In Rig-
oletto” quartette.

MARION TALLEY

American soprano —
Gilda’s music in
“Rigoletto” quartette.

GIOVANNI

MARTINELLI

Italian dramatic tenor.
Sings “Pagliacci”
“Aida” arias.

CHARLES

HACKETT

American tenor. —
S i n g s “Rigoletto”
arias — “Questa
o quelle” and “ Don-
na e mobile.”

ANNA CASE

American Soprano
Does ‘ ‘ Spanish
Fiesta” an operetta
with Metropolitan
chorus and the Can-
sinos, Spanish
dancers.

reinald

WERRENRATH

American baritone. —
Sings “Mandalay,'
“Long, Long Trail’
and “Heart of <
Rose.”

JEANNE GORDON

Mezzo-Soprano
Sings Carmen to Mar-
tinelli’s Don Jose in
tabloid version of
Bizet’s opera.

HENRY HADLEY

Philharmonic conductor and composer of
Vitaphone score to “When a Man Loves.”
— Below, the orchestra — 107 men.

BENIAMINO GIGLI

ERNESTINE

Italian tenor. — Sings
three numbers from

“Cavalleria Rusticana.”

SCHUMANN-HEINK

The greatest contralto of two

generations. — Sings “Danny Boy,”

“The Rosary,” “Stille Nacht.”

Vitaphone Stars— Musical Comedy, Vaudeville and Concert

ELSIE JANIS

Revue star. — Sings
“ Madelon ” and other
war songs , assisted by
107th Regiment chorus.

GEORGE JESSEL

Star of “ The Jazz Sing-
er” and “Private Izzy
Murphy.” -Does comedy
monologue, “At Peace
With the World.”

mmm

JACK SMITH

‘ 1 T h e Whispering
Baritone.” — Sings
“ Cecilia ,” That’s a

Good Girl” and
“Baby Face.”

JOHN BARCLAY

Baritone

Impersonations of fa-
mous operatic stars.
“ F aust “Boris,”
“Carmen.”

WILL OAKLAND

Radio entertainer. — Sings
“Dreamy Melody,” “Be-
cause I Love You,” “Oh,
How I Miss You Tonight,”
“1 Wonder What’s Become
of Sally.”

ROY SMECK

“Wizard of the Strings
Popular solos on Hawaiian
guitar and ukelele.

VAN and SCHENCK

Musical show stars . —
comedy songs: “Me

Too,” “Hard to Get
Gertie.” “She Knows
Her Onions”

EUGENE and
WILLIE HOWARD

musical show comedians,
in sketch, “Between the
Acts of Grand Opera.”

ALBERT SPALDING

MISCHA ELMAN

HAROLD BAUER

Englisi

Plays Chopin’s Polonaise in
A flat.

EFREM ZIMBALIST

Russian violinist. — Phenomenal
success in England and America.

rianisi

VITAPhom

Far-Reaching Significance In Human Affairs

Creating A New Art

by

C. G. DU BOIS

Chairman of Board, Western Electric Company

C. G. DU BOIS

Vitaplione is not only an achievement of high
scientific importance; it is an event of far-reach-
ing significance in human affairs. It is natural
to see and hear at the same time.

We may and we do artificially adapt our men-
tal processes to either effect alone, but the com-
bination of the two is what the mind instinctively
seeks.

The Vitaphone does this and thereby creates
a new art. Anyone may prophesy as to just what
directions its uses and effects will take as the
years go on. No one can doubt the great possi-
bilities it contains for- preserving and dissemin-
ating knowledge, understanding and culture.

Resurrection By Science

by

MICHAEL I. PUPIN, PH.D., SC.D.

Professor of Electro-Mechanics, Columbia University
President of the American Institute of Electrical Engineers

Just imagine watch-
ing Liszt today playing
his piano as he played
it many years ago and
listening to the music
which only his magic
art could draw out of
his obedient instru-
ment. What a heavenly
treat it would be today
to look at Demosthenes
of old and listen to his
matchless oratory! I
should give anything to
MICHAEL I. PUPIN look at Lincoln today
and at the same time
listen to his Gettysburg speech.

No closer approach to resurrection has ever
been made by science. The educational value
of this achievement is so obvious that comments
are superfluous.

Vitaphone and Scientific Education

by

EDWARD B. CRAFT

Bell Telephone Laboratories

The Faraday of the future, the Pasteur and the
Galileo may, by Vitaphone, make available to
students in any place or at any subsequent time
a demonstration of their scientific researches and
synchronize therewith their own comments, dis-
cussions . and even their personalties.

The communication and demonstration of
scientific material will be facilitated and- our
entire educational process may undergo changes
beyond the reach of our present imaginations.

From the beginning of the attempts to accom-
plish what Vitaphone now does with such pre-
cision, the problem was not so much that of
synchronization of sound and picture as it was
the recording and reproduction of the sound por-
tion of the combination in such volume and with
such clarity as to make it appear that one was
listening to the sound at its original source.

We may well stop to realize that each achieve-
ment like that of the present has been accom-
plished through the painstaking labors of many
scientific workers over long periods. These men
have grasped nature’s secrets and their re-
searches now permit us to make nature obedient
to our will in the wonderful ways of the present
day.

A By-Product Discovery
F. B. JEWETT

President Bell Telephone Laboratories

F. B. JEWETT

What the telephone scientist learned in his
search for the solution of specific problems in-
volved in telephony found a by-product applica-
tion in a field quite foreign to the main region
of his interest.

With the means at his disposal for the faith-
ful detection, registration and reproduction of
intricate sounds at any desired level of loudness,
the door to the successful synchronized motion
picture commenced to open. Then came the co-
operation of mechanical technique with the ar-
tistic technique. Vitaphone represents the con-
summation of these efforts. .

“Neither Art Nor Artist Will Ever Die 99

WILL H. HAYS

by

WILL H. HAYS

Far, indeed, have we advanced from that few
seconds of shadow of a serpentine dancer thirty
years ago when the motion picture was born —
to this public demonstration of the Vitaphone
synchronizing the reproduction of sound with
the reproduction of action.

The future of motion pictures is as far-flung
as all the tomorrows, rendering greater and still
greater service as the chief amusement of the
majority of all our people and the sole amuse-
ment of millions and milions, exercising an im-
measurable influence as a living, breathing thing
on the ideas and ideals, the hopes and the ambi-
tions of countless men, women and children.

In the presentation of these pictures, music
plays an invaluable part. The motion picture
is a most potent factor in the development of
a national appreciation of good music. That ser-
vice will now be extended as the Vitaphone,
shall carry symphony orchestras to the town
halls of the hamlets.

It has been said that the art of the vocalist
and instrumentalist is ephemeral, that he cre-
ates but for the moment. Now, neither the
artist nor his art will ever wholly die.

VITAPHOW

The Story Of The Four Warner Brothers

HORATIO ALGER, JR., ROMANCE IN REAL LIFE

In upper left hand corner, H. M. Warner, — to his right, Albert Warner.
Below, Samuel L. Warner, and Jack L. Warner.

Backing Faith With Cash

T HE STORY of the Warner
Brothers goes back to 1885 when
Benjamin Warner left a little vil-
lage in Poland close to the German
line, and, going to Hamburg, sailed
for Baltimore. He wanted to get
away from Russian despotism and
see that his children got a chance in
life. They got it. There were four
boys, Harry M., Albert, Samuel L.
and Jack, and there were no lazy
bones in their physical compositions.
They turned their hands to selling
papers — anything.

After ten years they left Balti-
more. Youngstown, Ohio, beckoned
and a bicycle repair shop bearing the
names of Harry and Albert Warner
was opened. Young Sam, interested
in the theatre, obtained a job in an
amusement park in Sandusky. Mov-
ing pictures were coming in at this
time and at Sam’s suggestion a clas-
sic film of its day, “The Great Train
Robbery” was obtained and Sam and
Albert toured the small towns of
Ohio and Pennsylvania with it until
a blizzard put them out of business.

The Bicycle Age Passes

Next they secured a house in New-
castle, Pa., but before they could
open it they found they needed $200
or couldn’t go on. Harry thereupon
sold his bicycle business and fur-
nished the needed money. It didn’t
take the brothers long to see that if
they could make money with one
film they could make a lot more by
renting films to other exhibitors.
And so it came about that they be-
came exchange men and were on the
road to prosperity when a combina-
tion of producers swept them and
their business into financial ob-
scurity.

The brothers were broke. It was
clear that if they were to continue
in motion pictures it must be as pro-
ducers. But where was the money
to come from that would establish
them? Here is where Harry, tha
elder brother, came to the front.

Harry was never very communica-
tive. He liked to think. His de-
cisions were usually expressed with
a thrift of words that would have
done credit to a Scotchman promis-
ing an employee a raise in wages.

The eldest Warner just smiled at
his brothers and remarked: “Don’t
worry; we’ll get the money.” And
he did. The studios in Hollywood
came into being and to-day the name
Warner Brothers is known through-
out the whole world wherever motion
pictures are presented. Further than
this the Warners are destined to be
known the world over as the men
who helped to develop Yitaphone
and make this marvelous instrument
the greatest invention in connection
with moving pictures since the birth
of motion pictures themselves.

It was Harry M. Warner who first
saw the possibilities of Yitaphone
and it is due to his courage that it
is now revolutionizing the cinema
industry throughout the country. A
man may have faith in a thing and
let it go at that. Backing his faith
with money is something else. Harry
M. Warner backed his faith with

money, much money, and while
things looked very dreary at times
and the inventors seemed to be up
against stone walls, he never lost
courage.

Success has not made an atom of
difference to the brothers. Harry
is looked to as their oracle. They
have absolute confidence in him. Re-
cently when their father and mother
celebrated the fiftieth anniversary

of their wedding the “boys” took a
day off and visited them in the old
Ohio town.

Something more about them.
They maintain a joint bank account
into which all four deposit and from
which all four withdraw. Such are
the four Warners and such is Harry
M. the brother who guided them to
their present exalted position in the
cinema industry.

The First Three Pictures Produced with Vitaphone Scores

JOHN BARRYMORE
In “Don Juan”

The picture that introduced Vitaphone to the
world. Above, Barrymore, as the great amorist.
To the left, a scene with Estelle Taylor, who plays
Lucretia Borgia. To the right, the Bacchanale.

SYD CHAPLIN
In “The Better ’Ole”

This second Vitaphone picture has already had
a longer run in New York than any comedy
picture ever produced. Chaplin plays Old Bill,
the hero of Bruce Bairns} other’s war cartoons.

SJ2EL

JOHN BARRYMORE
In “When a Man Loves,” featuring
Dolores Costello

The Vitaphone score for this romance of France
in the reign of Louis XV was composed by
Henry Hadley, associate conductor of the New
York Philharmonic Orchestra.

Gordon-Baker Printing Corp.
305 West 19th St., N. Y. C.

Scanned from the collection of

Ron Hutchinson

Coordinated by the
Media History Digital Library
www.mediahistoryproject.org