Podcasts about california theatre

Recorded in front of a live audience at The California Theatre in San Jose Tuesday evening, special guests Joanna Stern and Nilay Patel join me to discuss Apple's announcements at WWDC 2025.

In this episode of Backstage Sonoma, host Steve Roby interviews renowned guitarist Mark Karan. Known for his extensive involvement with the extended Grateful Dead family, Mark Karan provides a deep dive into his illustrious career, his musical influences, and his current projects. Roby starts the interview by introducing Mark's impressive resume, highlighting his 12-year tenure with Bob Weir and RatDog and collaborations with notable artists, including Delaney Bramlett and Jesse Colin Young. Mark shares anecdotes from his early days, discussing how he first encountered the Grateful Dead as a young fan and later transitioned into playing with the band after Jerry Garcia's death. The conversation shifts to Mark's experiences and favorite memories from collaborating with musicians like Delaney Bramlett. One particularly cherished memory involves Delaney complimenting Mark as his favorite guitarist during an interview for a documentary. Mark discusses his musical inspirations, the influence of the song 'Good Day for the Blues' on his career, and his admiration for songwriter David Grissom. They play the track for listeners, showcasing Mark's interpretive approach to music. Roby and Karan then introduce another track, 'Annie Don't Lie,' originally written by Alex Call. Mark explains how he encountered the song during his time with Huey Lewis and the News and shares its significance. In the latter part of the interview, Mark gives an update on his upcoming album 'Welcome to Your Life.' He elaborates on the challenges faced during its production, including delays caused by the COVID-19 pandemic, and his mixed feelings about releasing albums in the modern music era. They briefly mention Mark's touring schedule with various projects, such as the Gilmore Project, Live Dead and Brothers, and Dave Alvin and the Third Mind. Mark shares his enthusiasm for these collaborations and the creative fulfillment they bring him. The interview wraps up with information on Mark Karan's August 16 performance at the California Theatre, and where listeners can find more about his music and tour dates. 

Recorded in front of a live (and lively) audience at The California Theatre in San Jose Tuesday evening, special guests John Giannandrea, Craig Federighi, and Greg Joswiak join me to discuss Apple's announcements at WWDC 2024.

4 time NFL pro bowl quarterback, Jeff Garcia, reflected on his life & career! Jeff gave an update on what he's been up to in retirement & his excitement to continue to be a part of the 49ers family. Jeff also shared his excitement to be a part of the Dwight Clark Legacy Series event on May 16th, 2024 at the California Theatre in San Jose, Ca! This great event will include a 49ers ‘Quarterback Panel' including Jeff Garcia, Steve Young, Brock Purdy & Alex Smith! Current 49ers player, Dre Greenlaw, will be presented the Dwight Clark Award by his teammate, Fred Warner, as well!There will also be silent & live auctions that include autographed memorabilia by 49ers greats like, Joe Montana, Steve Young, Jerry Rice, Brock Purdy etc as well as wine tasting & 49ers game ticket type experiences! Also available to purchase, will be a VIP ESPY'S event that includes a tour of the NFL Network Studios tour with Steve Mariucci, Rich Eisen & Kurt Warner!All proceeds will benefit the Golden Heart Foundation that is near & dear to the Dwight Clark family as well as the San Francisco 49ers. For tickets: https://www.dwightclarkaward.comFor more exclusive content, follow the Jim on Base Show on social media (Twitter/Instagram/TikTok): @JimonBaseShow

Kristina Leopold / @tinapold24 - "With basketball specifically, I was always stealing the ball. That's what I did, so even still, my parents when I was younger, would say, “Swipe that ball,” because that would kind of ignite a different energy that would come out of me. Even if you scroll back to my text messages from my parents, as I was walking into the audition room for SIX, I have a text from my mom that says, “Swipe that ball.”" KRISTINA LEOPOLD she/her (Alternate), originally from LA, is stoked to be making her Broadway debut with the Queendom! Select credits: Festival of the Lion King (Nala and Storyteller/Rafiki, Hong Kong Disneyland), Sister Act (Deloris Van Cartier, Broadway at the Gardens), The Hunchback of Notre Dame (Esmeralda, The California Theatre). Romans 13:12. @tinapold24 Book Reference: Warriors Don't Cry by Melba Beals https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Kristina Leopold / @tinapold24 - "With basketball specifically, I was always stealing the ball. That's what I did, so even still, my parents when I was younger, would say, “Swipe that ball,” because that would kind of ignite a different energy that would come out of me. Even if you scroll back to my text messages from my parents, as I was walking into the audition room for SIX, I have a text from my mom that says, “Swipe that ball.”" KRISTINA LEOPOLD she/her (Alternate), originally from LA, is stoked to be making her Broadway debut with the Queendom! Select credits: Festival of the Lion King (Nala and Storyteller/Rafiki, Hong Kong Disneyland), Sister Act (Deloris Van Cartier, Broadway at the Gardens), The Hunchback of Notre Dame (Esmeralda, The California Theatre). Romans 13:12. @tinapold24 Book Reference: Warriors Don't Cry by Melba Beals https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Back in San Jose's historic California Theatre for the first time since 2019, special guests John Ternus, Mike Rockwell, Craig Federighi, and Greg Joswiak join me to discuss the news and announcements from WWDC 2023.

Stage Musicals 1960-1979 Start Name Artist Album Year Comments Consider Yourself Dave Wickerham Pipe-N-Hot [WS 101] 1987 3-17 Barton, Pizza and Pipes (now Beggars Pizza), Lansing, MI; Formerly Oriental Theatre, Milwaukee, WI and many other places. 3:03 If Ever I Would Leave You Ashley Miller Showtime [Command LP] 1963 4-36 Wurlitzer, Paramount Theatre, New York; last commercial recording made on Paramount 7:01 Put On A Happy Face Simon Gledhill Concert: Musical Museum, Brentford 2021-11-21 2021 3-12 Wurlitzer, Musical Museum, Brentford, Middx 9:56 Try To Remember Tony Fenelon I'm On My Way [Festival L 26062] 1973 3-15 Wurlitzer, Dendy Theatre, New Brighton, Victoria, Australia. Formerly Capitol Theatre, Melbourne 13:25 Comedy Tonight Walter Strony Encores! Volume 1 [Walt Strony CD] 1986 3-23 Wurlitzer, California Theatre, San Diego CA 16:35 People Mark Herman Concert: Old Town Music Hall, El Segundo 2021-01-01 2021 4-26 Wurlitzer, Old Town Music Hall, El Segundo, CA 20:01 Man of La Mancha (I, Don Quixote) Martin Ellis Martin on the Morton 4-26 Robert Morton, Van der Molen Residence, Wheaton, IL 24:01 On A Clear Day (You Can See Forever) Bill Field Ice Frolics [Concert Recording CR-74501-S 45rpm] 3-19 Wurlitzer, Iceland Rink, Paramount, CA 26:50 Cabaret Jimmy Boyce Showtime [Concert Recording CR-0129-T] 1968 4-34 Wurlitzer, America on Wheels Arena, Alexandria, Virginia; ex-Centre Theatre, Rockefeller Center, NYC 30:14 Good Morning Starshine George Wright Conn Radio Broadcast 33:08 Any Dream Will Do; Go, Go, Go, Joseph Lance Luce Down Under [09LL2002] 2002 Excerpts from four different concerts at the 4/22 Wurlitzer in Morrabin Town Hall, Victoria (1984), 4/29 Wurlitzer, Capri Th, Goodwood,SA (1987 & 2000), 3/17 Wurlitzer, Orion Center, Sydney, NSW. Does not specify venue for each track. 37:28 I Don't Know How To Love Him David Shepherd Melody On The Move [Amberlee AML305X] 1973 3-13 Compton-Christie, Town Hall, Ossett, Yorkshire 41:37 Broadway Baby Ken Double Music Of Casa Loma [TTOS CD] 2008 4-15 Wurlitzer, Casa Loma, Toronto; www.kendoubleentertainment.com 44:09 All That Jazz Lew Williams Wheaton-Fox Studio All Stars 2006 4-26 Wonder Morton, Paul & Linda Van Der Molen Residence, Wheaton, IL 46:24 I Won't Send Roses Byron Jones My Thanks To You [CDBJ 012] 2005 3-8 Compton, Eden Grove Methodist Church Hall, Filton, Bristol 50:46 One Trevor Bolshaw Contrasts [Pipe Organ Presentations POP 130] 3-25 Wurlitzer, Music Grinder Restaurant. Marietta, Georgia; Formerly North Park Theatre, Buffalo, NY; Currently in storage. 55:11 You're Never Fully Dressed Without A Smile Frank Olsen Plays The Diss Wurlitzer [Kirkham KRS 1003] 3-19 Wurlitzer, Kitchen Brothers Garage, Diss, Norfolk 58:19 On This Night Of A Thousand Stars Rex Koury At The Forum [HMR Productions 1281] 4-24 Robert Morton, Broome Center for the Performing Arts (Forum Theatre), Binghamton, NY; ex-American Theatre, Denver (1922-1930); ex-Alma Temple, Pillar of FIre Church 61:12 Cell Block Tango; Razzle Dazzle; When You're Good To Mamma Dave Wickerham ATOS 2004 Milwaukee 2004 3-13 Wurlitzer, Bieck Residence, Milwaukee, WI; Preglow, Thursday 1 July 2004

#87 - Angela Ostermeier - VP of Development, Cinequest Angela joined the Cinequest team as the Events & Development Manager in 2018 and has expanded her role and responsibilities to VP of Development. Angela works closely with sponsors, venue locations, and VIPs to ensure that Cinequest events such as Maverick Meet-Ups, Nightly VIP Soirees, and Opening & Closing night parties go off without a hitch. She prides herself on her attention to detail and drive to make each year's CQFF a success. In our conversation, we learn about Angela's interests in the film industry, her experiences before coming to Cinequest, and her plans and ambitions in the world of filmmaking. She also gives us some insight into the year's in-person festival, her favorite film, and announces the new Cinequest Beer/Wine Garden, which ones today (8/16/22) and runs 11:30a to 7p daily through the festival. The Unzipped Pavilion is a great venue to meet visiting artists and each other over affordable kraft drinks, food trucks, and entertainment. (Located at the stunning new Unzipped Pavilion, across from the California Theatre at 350 S. 1st Street 95113.) Recorded in the Media Lounge at AC Hotel by Marriott Sunnyvale Moffett Park. (Sidenote: I mistakenly call the AC at the "Marriott Park." That is incorrect, is it the AC Hotel by Marriott Sunnyvale Moffett Park) Beverage: AC Hotel Signature Cocktail - a refreshing Cucumber Gin and Tonic Cinequest Film & Creativity Festival Summer 2022 will feature 450 artists arriving to present the world's finest new films in downtown San Jose and Campbell. Cinequest In Person, August 16-29 cinequest.org IG: cinequestorg --- Support this podcast: https://anchor.fm/content-magazine/support

David Fleming speaks to Dennis Tufano about not only his work with The Buckinghams, but doing the music of Bobby Darin - with a live disc out. We'll hear about some of The Buckinghams' hits - including one of my favorite jazz tunes - given lyrics then hitting the charts.Dennis Tufano will be in San Bernardino quite soon as part of the lineup on the "Diamond Ring & Devil Tour" along with Gary Lewis & The Playboys, Mitch Ryder, Tom Garrett and The Classics IV, and The Cyrkle. That's August 20th at California Theatre of the Performing Arts in San Bernardino. More at affordablemusicproductions.com.

This month on Mouth-Off I will be continuing with my SPECIAL FEATURE On the Margins of the Mainstream. I had the absolutely pleasure of interviewing JEFFREY WEISSMAN. Jeffrey is an American actor who began performing as a stage actor in 1972. He started his impressive career as a film actor in 1977. Jeffrey has co-starred in dozens of motion films and television productions. Weissman's first co-starring role was in George Miller's Nightmare at 30,000 Feet; an episode of Twilight Zone the Movie which he appeared in, in 1982. He has since had guest starring roles in Scarecrow and Mrs. King, Max Headroom, Dallas, The Man Show, Diagnosis Murder, Screech's Guru on Saved by the Bell. Slapdash, The Traveller, Saviour of None, Four Cups of Joe, Corked!, Nobody's Laughing, Dreamland: Mark Twain in Jerusalem, The Show Must Go Online: "Twelfth Night" (mini webseries). His commercial credits include an interactive television commercial for Ameritech and a Christmas commercial for the grocery chain Publix. Jeffrey has done ADR and looping on dozens of projects; Heathers, Loverboy, The Best Times, Crime of Innocence, Pale Rider, Hot Resort, and others. He has also appeared in the 2010 film Chateau Meroux as Roy Hutchinson and the 2015 film The Boat Builder with CHRISTOPHER LLOYD. Jeffrey is best known for taking over the role of GEORGE MCFLY in Back to the Future Part 2 and Part 3. NB - all clips included in this podcast are used for the purpose of critque and analysis. ACKNOWLEDGEMENTS Intro Music - music by Clary Saddler Back to the Future theme [taken from YouTube] Teddy Conway clip from Pale Rider movie [taken from YouTube] Sgt Pepper's Lonely Hearts Club Band movie clip [taken from YouTube] Improvisation clip [taken from Facebook Live] 1997 Sons of the Desert Laurel & Hardy Balloonitics show at the California Theatre in Monterey - Stan Laurel clip [taken from YouTube] Dreamland: Mark Twain in Jerusalem clip [taken from Jeffrey Weissman's 2017 Demo Reel on YouTube] Bottlecaps clip [taken from Jeffrey Weissman's 2010 Demo Reel on YouTube] Screech's Guru clip – Saved by the Bell [taken from YouTube] Eden Theory Trailor [taken from YouTube] Get Thee Back to the Future clip [taken from YouTube] The Show Must go Online Twelfth Night clip [taken from YouTube] Crispin Glover clip [taken from Sirius XM's the Sam Roberts Show YouTube] Back to the Future Part 2 clips [taken from YouTube] Mr Fusion Band clip from Back to the Future Cruise [taken from YouTube] Back to the Future Crispin Glover clip [taken from YouTube] Back to the Future theme [taken from YouTube] LA Boy – music and lyrics by Jessica Wilde Outro Music - music by Clary Saddler Listen, rate and share. Check out the following links for more info on Jeffrey Weissman. @JefWeissman (Twitter) @jeffreyjweissman (IG) @jeffreyweissmanactor (FB) Get Thee Back to the Future: https://youtu.be/t1TkDzAy_-g Project 88 (BttF II fan remake): https://www.youtube.com/watch?v=GcUUjWbVc4I&t=23s Online BttF Fan Autograph opportunity: https://supercollector.com/

Brad Erickson, departing long-time Theatre Bay Area executive director, introduces top new Bay Area artistic leaders. They will challenge each other and viewers about repertory, risks, delights and post-COVID theatre-making. What's changed in the theatre producing community? What will (re)fill those seats? MLF ORGANIZER Anne W. Smith NOTES MLF: Arts In Association with Theatre Bay Area. SPEAKERS Sean San Jose Artistic Director, Magic Theatre Johanna Pfaelzer Artistic Director, Berkeley Repertory Theater Khalia Davis Artistic Director, Bay Area Children's Theatre Tim Bond Artistic Director, Theatreworks Brad Erickson Executive Director, Theatre Bay Area In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on December 1st, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brad Erickson, departing long-time Theatre Bay Area executive director, introduces top new Bay Area artistic leaders. They will challenge each other and viewers about repertory, risks, delights and post-COVID theatre-making. What's changed in the theatre producing community? What will (re)fill those seats? MLF ORGANIZER Anne W. Smith NOTES MLF: Arts In Association with Theatre Bay Area. SPEAKERS Sean San Jose Artistic Director, Magic Theatre Johanna Pfaelzer Artistic Director, Berkeley Repertory Theater Khalia Davis Artistic Director, Bay Area Children's Theatre Tim Bond Artistic Director, Theatreworks Brad Erickson Executive Director, Theatre Bay Area In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on December 1st, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

   Firmly gripping the hand of her five year old daughter Charlotte, Mary Ann Crabtree scanned the sea of men that crowded the docks, in San Francisco, looking for a familiar face. Her husband John, who had finally sent for them in New York,  was nowhere to be seen and Mary Ann was nearly a professional when it came to accepting anxieties. Queens of the Mines features the authentic stories of gold rush women who blossomed from the camouflaged, twisted roots of California. In this episode, we meet the Nation's Darling and The Golden West's Gift to Vaudeville, California's 19th Century Queen of Captivation. I am Andrea Anderson, This is a true story from America's Largest Migration, The Gold Rush. This is Queens of the Mines. John Crabtree had left his family and position as a bookseller in New York and left for California in the search for gold in 1851, two years prior. His wife and daughter dutifully waited for his call, and when it had finally come, she sold the bookshop off Broadway, and made the exhaustive journey here to the Isthmus of Panama, crossing by land before picking up a second ship to California. Now, John Crabtree was nowhere to be found. Charlotte remained secluded while her and her mother were given a temporary home with a group of popular actors of the 19th century, including the Chapmans, and the child actress Sue Robinson, whom Mary Ann had befriended. In the Presidio of San Francisco, Mrs. Crabtree kept up with the trends and all of the glamourous and disheartening stories from the rough mining camps. The gossip finally came and Mary Ann heard that John had been seen living in a little town in the Sierra.  People were becoming rich all around her, and she was raising Charlotte on her own. The wheels began to turn for Mary Ann. It was a brand new environment for the shrewd and thrifty woman, who was small in figure with an unshakeable will. Here, among the theatrical crowd and actors in San Francisco, a most tantalizing scene had presented itself. She zeroed in on the theatre gossip and dreamt up a career of stardom for her cheerful, animated daughter, Charlotte, or, like her mother called her, Lotta. Lotta had hair that was an even brighter red than Mary Ann's, and she was sturdy with roguish black eyes and an unquenchable laughter, yet she seemed far off from stage ready.   During a celebration at her school near the Presidio, it was requested that Lotta sang Annie Laurie for the crowd. She barely made it to the platform before the young girl, to her mother's dismay, lost control and broke down, sobbing. She wept so hard and for so long, Mary Ann had to take her daughter home. That night in bed, Mary Ann went over her daughter's chances of success singing and dancing at the mines.  The next morning, an optimistic letter vaguely mentioning a project involving gold, came from her husband John in the high Sierra's, from a town called Grass Valley. Although the letter had no mention of any progress, it was requested that Mrs. Crabtree and Lotta proceed to him at once. In California, anyone could make a dazzling fortune overnight. Mary Ann, battling skepticism and the prospect of a bonanza, packed their belongings.   At dawn, Lotta stood by the luggage as her mother procured a place for two in a rickety, yet affordable stagecoach. The young girl slept much of the journey, but she awoke as they rolled past embers of a few dying fires where men were waking up. They moved into a torch lit shadowy settlement and Lotta observed the intimidating shapes that danced across the scene, cast by the torches. She was excited to see her father, it had been over two years since she had last seen him. She wondered if she would recognize him as he went to hug her? There was no embrace, John patted Lotta's head and took them to a hotel where they all shared a small bed for the night.  That next morning, the family took a walk, admiring what the Sierra spring had to offer. Nestled in the rich green slopes, and fertile deep gullies they saw the promise of luck, as, towards the valley, melting snow fed the clearest streams they had ever seen.  Already, men were attending their claims in an air of conquest, working tirelessly digging tunnels, sinking shafts, bridging gorges, and piping water in flumes across the foothills. John told his family stories of men literally stumbling upon rich mines, pulling gold out of the earth with a knife, and how he once left a claim prior to the "big strike." But luck had not been with John Crabtree. With all the excitement around them, John Crabtree only offered Mary Ann disappointment. Passing by peddlers with sealing wax, baubles and trinkets, and luxurious fabrics, Lotta approached a cart that held paperbacks, and ran her finger down the spine of a Dickens novel. She noticed if a vendor was not prosperous enough to possess mules, they carried their goods strapped into a pack that was worn on the shoulders. As Lotta looked at the books, John asked his wife “Why not keep a boarding house? Everyone spends lavishly here, and rich merchants in town need homes! We could do no less than get rich”. Mary Ann was disappointed, she was not familiar in the kitchen. In New York, she worked in upholstery and had a servant who did the household work and cooked. Yet, she still agreed.  To Mary Ann's surprise, she did a fantastic job maintaining the boarding house and not to her surprise, John's participation quickly diminished as he wandered away to prospect, and Mary Ann continued her duties, and saved her money, in a pure atmosphere of rebellion.  Two doors down from the Crabtrees, that summer in 1853, a famous showgirl moved in. It was not long before the woman had transformed the home into a true salon that was constantly abrupting with singing and laughter. Lotta soon attracted the attention of the eccentric woman who had a pet parrot and a monkey! Typically, Mary Ann would always keep her daughter Lotta under her watchful eye. By doing so, Lotta's life had been incredibly innocent. Yet Mary Ann was entirely lenient while Lotta was in company with this new, exotic companion, whose name was Lola Montez.      The unlikely  pair of Lola Montez and Lotta Crabtree became fast friends. In the parlor of the Montez home, Lola gave Lotta daily dance lessons and it was apparent that Lotta had a better sense of rhythm than Lola. Lotta learned fandangos and intricate ballet steps. Lola taught her the jigs reels and the Irish flings from her own childhood. She gave the young child singing lessons, teaching her ballads and Lotta was allowed to play in Lola's trunk of stage costumes, and play Lola's German music box. Lotta fit right in as she mingled with the trolling players, entertainers and witty theatrical company visiting the star. Lola Montez had recognized genuine talent compared to her force of personality and encouraged Lotta's enthusiasm for the performance. They did not stop at the indoors, Lola also taught Lotta to ride horseback. On one sunny morning, the two went for a ride, Lola on a horse and Lotta on a pony. They ended up in the town of Rough and Ready, where huge fortunes were gambled away, recklessly. The street was lined by gaming houses and saloons with bullet-riddled ceilings. Lola and Lotta sauntered in to one.  Lola stood Lotta on a blacksmith's anvil, and they young child danced for the group of miners that sat at the bar. It was a refreshing change for the men, who considered the small child a hit. Irishmen made up a sizable fraction of the miners, Lotta's jigs had reminded them of home. They threw a more than generous amount of gold nuggets at her feet. Lola brought the gold home to Mary Ann and declared Lotta should go with her to Paris. The next morning, John reappeared. With the news that they were again moving, forty miles north of Grass Valley, to Rabbit Creek. Mary Ann was not happy, compared to the somewhat civilized, law-abiding Grass Valley, Rabbit Creek was a small but busy and violent camp where murders were as frequent as each pocket of gold was found and exploited. When the family arrived, John found the hardier characters had found the ground first, and he eventually found nothing. There was an intense drought that summer which affected the prospectors, who needed water for washing gold. John chose to spend his time drinking in the saloons and rambling away mysteriously on quote unquote prospecting missions. Without his support for months, Mary Ann's only option was to open another boarding house, which she did, that winter. That is when the italian Mart Taylor, a musician and dancer arrived in Rabbit Creek. He was tall and had a graceful figure, with long hair and piercing black eyes. He opened a saloon with a connecting makeshift theatre. When the business slowed in the saloon during the afternoons, Taylor conducted a dancing school for children.  His first prerequisite was music and he was impressed by the 8 year old red-haired girl. Her eyes would flash as her small feet traced the intricate steps he taught her. She looked six years old, and he knew she could be a sensation with the audiences who were eager for child performers. Taylor gave her a place to exhibit her talents before the miners. He played the guitar and hired a fiddler and Mrs. Crabtree played the triangle.  Lotta Crabtree had become a nightly attraction, dressed in a green tail-coat, knee breeches, tall hat and brogans her mother sewed. Lotta would often get stage fright, and it would show when she shoved her hands in her pockets. So Mary Ann, sewed them shut. She danced jig after jig only pausing to change costumes. At the finale, she would return to a storm of applause to then sing a ballad. Lotta Crabtree would shake the house with emotion. Gold nuggets shone at her feet.  She completed the repertoire for the company, and her family now had more money than ever. Naturally, Mrs. Crabtree became her daughter's manager. Few child stars had training, and Lotta, was trained by Lola Montez. She would be a gold mine.  Once the roads had reopened in the spring, Lola Montez rode over to Rabbit Creek to see her protege. Lola was to go on tour to Australia and wanted to bring little Lotta with her. Mary Ann saw a future for Lotta with Mart Taylor, who she had become fast friends with, and declined. Mary Ann then made the most of her refusal to Lola's request to take the child to Australia, this even furthered Lotta's growing reputation.   That summer, Mary Ann discovered that she was to have another child and Lotta's baby brother, John Ashworth, was born, just as John Sr. returned home. Lotta continued to work for Taylor while her mother recovered.  After years of performing in Rabbit Creek, the next move seemed obvious to Mary Ann, Lotta should tour the mines. On a late spring morning in 1856, Mary Ann left her husband John three loaves of fresh bread, a kettle of beans and a goodbye note. They left with Taylor's troupe, traveling by wagon, Lotta sat next to her mother with her baby brother in her arms.  As they toured in the California mining camps, Lotta started to make a name for herself as a dancer, singer, and banjo player in saloons. For an audience of men,  whom she had never seen before, on a makeshift stage set up on sawhorses with candles stuffed into bottles served as footlights arranged along the outer edge.  Mary Ann never had a moment to relax, traveling the dangerous higher Sierra by horseback, trees snapping and blocking their path, and boulders, rolling down mountain sides, after being loosened by mining operations. The 8 year old Lotta, watched as a lone rider, far ahead, plunged into the bottom of an abyss in front of her eyes. Once she lay ducked on the floor after one performance, in their room, as bullets burst through the canvas walls while a brawl from the opposite side of the hotel commenced. Yet Mary Ann remained cool, and kept Lotta in good spirits. Mary Ann would coax Lotta, telling her funny stories and persuading her for an hour or more and even when it was time for the stage, Mary Ann always had to give Lotta a little push to get her on the stage. Once onstage, Lotta would perfectly execute her Irish jig. At every performance's conclusion, Lotta would appear angelically. A face scrubbed clean, hair smoothly combed,  a white dress with puffed sleeves while Mary Ann, exhausted from costuming, coaching, and playing the triangle, collected the gold in a basket, scraping every fragment of dust from the boards.  Mary Ann Crabtree was her daughter's mentor. Using the knowledge she had picked up by observing the actors she met in the Presidio and at the home of Montez. She distrusted theatre folk at heart but would listen to every word, resisting its attraction. But if she mistrusted its people she did not mistrust the theatre itself.   As busy as Mary Ann was, she still found time to become pregnant again, with another younger brother for Lotta. Taylor's company was then forced to break up in Weaverville. Mart Taylor took Lotta's brother, Ashworth jr. to San Francisco and Lotta was sent to stay with the family of James Ryan Talbot, who was a pioneer, in Eureka. In the Talbot household in Eureka, Lotta thoroughly enjoyed life, and would go through her acts as in a game for the other children and would frolic and song the stage Irish song Barney Brallaghan," I've a howl in my heart big enough to roll a cabbage round in". Mary Ann's health had finally permitted her to go to Lotta in Eureka in the spring of 1856, where she gathered her and her belongings. Mary Ann, Lotta and her newest brother, George then caught a schooner to San Francisco.  In San Francisco, gamblers crowded the halls, natives rode on spirited horses through the streets, and silk lined carriages dashed around. The city had become legendarily violent. Charles Cora had just been hanged for the murder of the United States Marshal Richardson by the second Vigilance Committee, yet the days of lawlessness were not yet gone. The exuberant scene was exciting for Mary Ann, and Lotta was more than impressed. San Francisco had grown to bold proportions, with longer wharves, and elaborate buildings and it did not seem to be the same city Mary Ann left years ago. Lotta followed her mother into the Bella Union, eyeing the women in lurid clothes who were dealing cards to a group of shady men. Taken backstage quickly, Lotta performed, Mary Ann got paid, and took her away before the wild atmosphere of the saloon could leave a lasting impression. At least that's what she hoped for. Mary Ann was booking Lotta all over the city, enforcing the hard bargains she drove, hungry for gold yet still protecting Lotta passionately. When Lotta appeared in The Dumb Belle, Lotta was to carry a bottle onstage, place it on a table and exit, there was an older actresses who insisted on having the role but Mrs. Crabtree was sure to not let it happen. Mary Ann instructed Lotta to do an elaborate pantomime that in itself, became its own act.  The audience showered the stage with money and roared with laughter. Lotta wasn't going anywhere. She was an instantaneous success with great audience-drawing power. The family started touring, first traveling by schooner across the bay, then up shallow Petaluma Creek, carrying Lotta's costumes in champagne baskets, and all of Lotta's earnings in gold, in a large leather bag. The shrewd Mary Ann did not trust banks nor paper money. When this became too heavy, it was transferred to a steamer trunk. When the steamer trunk became too heavy, she invested Crabtree's earnings in local real estate, race horses and bonds.  She made good profits in Sonoma County. Lotta was then in demand in the Sacramento and San Joaquin Valleys. She gained a new skill in Placerville when a skilled black breakdown dancer taught Lotta a vigorous and complicated soft-shoe dance. She also began smoking small, thinly rolled black cigars like her dear friend Lola. It was considered to be not a very lady-like thing yet it became a trademark for Lotta. She often, on stage and off, wore male clothes. The fact that Lotta smoked cigars kept her out of the prominent ladies social group, Sorosis. This infuriated Mary Ann. Lotta could also laugh at herself. She once slipped in the street and called out “prima donna in the gutter“. By 1859, she had become "Miss Lotta, the San Francisco Favorite", who mastered the suggestive double entendre long before Mae West.  She played in Virginia City, and the famous Bird Cage Theater in Tombstone, Arizona then toured the east coast, acting in plays in theaters, a favorite for her portrayals of children due to her petite size. Her youthful appearance led The New York Times to call her “The eternal child” with "The face of a beautiful doll and the ways of a playful kitten, no one could wriggle more suggestively than Lotta." They also said in reference to her skills as a dancer, “What punctuation is to literature, legs are to Lotta”. By the end of the decade the "Lotta Polka" and "Lotta Gallup" was quite the rage in the United States. When Lotta sat down to write a letter to a friend in San Francisco in 1865 she wrote "We started out quite fresh, and so far things have been very prosperous. I am a continual success wherever I go. In some places I created quite a theatrical furor, as they call it. I have played with the biggest houses but never for so much money, for their prices are double. I'm a star, and that is sufficient, and I am making quite a name. But I treat all and every one with the greatest respect and that is not what everyone does,  and in consequence I get my reward."  In 1869 Lotta purchased a lot, on the south side of Turk street, east of Hyde, paying $7,000, a portion of her earnings at a recent show which would be 132k today. She began touring the nation with her own theatrical company in 1875, hitting the height of her success for another decade. Still a teenager she was shocking audiences by showing her legs and smoking on stage. Mary Ann was still managing her career, finding locations, organizing troupes of actors and booking plays,for the then highest-paid actress in America, who was earning sums of up to $5,000 per week, nearly 155K today.  In September of 1875 she gave the city of San Francisco a gift of appreciation to the people, a fountain modeled after a lighthouse prop from one of her plays at the intersection of Market and Kearny streets. Politicians, respectable citizens and even hellions gathered to dedicate the city's new public drinking fountain.  Lotta had many admirers, including the Grand Duke Alexis of Russia, and Brigham Young. She was proposed to many times but never married. From newspaper boys, European royalty, to lawyers and well known actors, Lotta time after time turned them down saying “I'm married to the stage”. Some said her mother would not allow it as it would end her ability to be considered forever young, and her career left little time for a social life. Some say she was only interested in women. It was whispered in the backstages of the theatres tha Adah Isaacs Menken ws Lotta's secret lover. Lotta was a bit of a rebel in her day,advocating women's rights and wearing skirts too short that she shook  while laughing at society matrons.  Lotta had many celebrity friends she was close with, including President Abraham Lincoln and his wife, the great Harry Houdini, President Ulysses S. Grant always made it a point to visit her whenever she was performing in Washington DC while he was president, and actor John Barrymore, who referred to Lotta as “ the queen of the American stage”. In New Orleans Lotta had “ The Lotta Baseball Club”. When Lotta came to visit they presented her with a gold medal and a beautiful banjo Lotta traveled to Europe with her mother and brothers, learning French, visiting museums and taking up painting. The people of San Francisco missed their very own star while she was away. After her tour ended, she went home to San Francisco to perform at the California Theatre.  In 1883, The New York Times devoted much of its front page to "The Loves of Lotta." In 1885, Mary Ann had an 18-room summer cottage built in the Breslin Park section of Mount Arlington, New Jersey, as a gift for her daughter Lotta. It was a Queen Anne/Swiss chalet style lakefront estate on the shores of Lake Hopatcong. It sat on land that sloped down to Van Every Cove. It is 2-1/2 stories on the land side and 3-1/2 on the lake side. She named it Attol Tryst (Lotta spelled backward). They gave parties, rode horses, and pursued her painting. It's "upside-down" chimneys had corbels that flared outward near the top. There was an expansive porch, including a semi-circular section that traced the curve of the parlor, wrapping around three sides of the house. Inside, there was a wine cellar, music room, library, and a fireplace flanked by terra cotta dog-faced beasts. The billiard room's massive stone fireplace once featured a mosaic that spelled out LOTTA in gemstones. After a fall in the spring of 1889 while in Wilmington, Delaware, Lotta recovered lakeside and decided to retire permanently from the stage, at age 45. later resisting calls for a farewell tour. She was the richest actress in America and  made quite a spectacle as one of the first women to own and drive her own car that she called “Red Rose”. She got out on top. During her retirement, Lotta traveled, painted and was active in charitable work. One final appearance was made in 1915 for Lotta Crabtree Day in San Francisco at the Panama-Pacific Exposition. Lotta was a vegetarian for years and took time to visit inmates in prisons.   Mary Ann died and Lotta's serious side emerged. After Mary Ann's death, Lotta seriously wanted to have her sainted. But she eventually settled on having a $20,000 stained glass window decorated with angels made for her, which is today in St. Stephen's church in Chicago.   The last 15 years of Lotta's life was spent living alone at the Brewster Hotel, which she had purchased in Boston, a dog at her feet, regularly traveling to Gloucester to paint seascapes, with a cigar in her teeth.  She died at home on September 25, 1924 at age 76. She was described by critics as mischievous, unpredictable, impulsive, rattlebrained, teasing, piquant, rollicking, cheerful and devilish. Boston papers recalled Lotta as a devoted animal rights activist who wandered the streets, putting hats on horses to protect them from the sun. She was interred at the Woodlawn Cemetery in Bronx, New York.  Lotta's Fountain still stands at the intersection of Market and Kearny streets in San Francisco. It is the oldest surviving monument in the City's collection. After the earthquake, it was a known gathering place and one of the only locations to get potable water in the city. It is the site of the anniversary of the 1906 San Francisco earthquake every April 18. She left an estate of some $4 million in a charitable trust for “anti-animal experimentation”, “trust to provide food, fuel and hospitalization for the poor”, “help for released convicts”, “support for poor, needy actors”,” aid to young graduates of agricultural colleges”, and “relief for needy vets of WWI”. Over 59 million today. The trust still exists today. The estate ran into complications when a number of people unsuccessfully contested the will, claiming to be relatives, and a woman claimed to be Lotta's adult child. A long series of court hearings followed. The famed Wyatt Earp even testified at one of the hearings, being a friend of the family. A medical exam was conducted at the autopsy and it was confirmed that Lotta Crabtree died a virgin.  Lotta's legacy is not preserved as well as entertainers that came after her, no video or audio of her performing. She was the queen of the stage, but retired before the days of Hollywood.  Lotta's influence is all around us today in the domino of effects from the money and support she has given to farmers, animals, prisoners, soldiers, and actors. Her style was groundbreaking, and helped shape modern entertainment. Her strong influence on animal rights, women's rights, and human rights have forever shaped society and she left a legacy of love  with fountains, paintings, and by promoting the arts. Crabtree Hall, a dormitory at the University of Massachusetts Amherst, is named for Lotta. The Attol Tryst stands today and in recent years it has been restored. Lotta started the tradition of daytime performances for women and children, now commonly known as the afternoon matinee. Lotta was against wars, but very supportive of the members of the military, and America. Lotta has been credited as being an influence on Mary Pickford, Mae West, Betty Hutton, and Judy Garland. The Academy Award nominated 1951 movie musical “Golden Girl” was based on Lotta's exciting life, starring Hollywood Walk-Of-Famer, Mitzi Gaynor as Lotta. I am Andrea Anderson, thank you for taking the time to listen today,  let's meet again when we continue the story of Lotta Crabtree, The Queen of Captivation Chapter 8 Part 2, next time, on “Queens of the Mines.    In light of the BLM movement and the incredible change we are seeing, I would like to mention a quote said by Marian Anderson. "No matter how big a nation is, it is no stronger than its weakest people, and as long as you keep a person down, some part of you has to be down there to hold him down, so it means you cannot soar as you might otherwise."   Until recently, historians and the public have dismissed "conflict history," and important elements that are absolutely necessary for understanding American history have sometimes been downplayed or virtually forgotten. If we do not incorporate racial and ethnic conflict in the presentation of the American experience, we will never understand how far we have come and how far we have to go. No matter how painful, we can only move forward by accepting the truth.  Queens of the Mines was written, produced and narrated by me, Andrea Anderson.  The theme song, In San Francisco Bay is by DBUK, You can find the links to their music, tour dates and merchandise, as well as links to all our social media and research links at queensofthemines.com                    

BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE   Support our sponsors www.themidnighttraintrainpodcast.com/sponsors   Ep. 112 Haunted Venues   On today's episode we're going on tour!!! That's right Moody and myself are heading back out on the road and this time we're bringing Logan to carry our shit instead of us lugging everyone else's shit! Why are we heading out on tour you ask? Well it's because we are doing a tour of haunted music and theater venues throughout the world! This is an episode we've been wanting to do for a while especially because we've been to quite a few of these places! There's even one in our home town! Like we have at that certain Cleveland venue, we're sure some of our listeners have spent a ton of their time at some of the venues on the list. This is gonna be a fun one for us so hopefully you guys love it too! First up we've got a big one that will be on every list of haunted venues. The House Of Blues in Chicago. So the history of the building took a bit to find because every search for the house of blues in any city comes up with the main house of blues page but with a little digging we found some info on the building's history. The House of Blues is part of a complex called The Marina City complex. The Marina complex is also known as the Corn cob apparently, and looking at it… You can see why. If you're listening in Chicago and are like "what the fuck, nobody calls it that", will remember our mantra.. Don't blame us, blame the internet… Although we did find that reference in a couple spots. The Marina is a mix of residential condos and commercial buildings built between 1961-1968. The complex consists of two 587-foot, 65-story apartment towers, a 10-story office building which is now a hotel, and a saddle-shaped auditorium building originally used as a cinema. When finished, the two towers were both the tallest residential buildings and the tallest reinforced concrete structures in the world. The complex was built as a "city within a city", featuring numerous on-site facilities including a theater, gym, swimming pool, ice rink, bowling alley, stores, restaurants, and, of course, a marina. WLS-TV (ABC Channel 7) transmitted from an antenna atop Marina City until the Willis Tower (formerly known as Sears Tower) was completed. Marina City was the first post-war urban high-rise residential complex in the United States and is widely credited with beginning the residential renaissance of American inner cities. These days the complex is home to the Hotel Chicago, 10pin bowling lounge, and several restaurants including… You fucking guessed it... Dick's Last Resort bitches!!! Oh and also the complex is home to the house of blues. The house of blues was built in the shell of the cinema which was out of use for quite some time. The story is that the hob is haunted by the spirit of a little girl that died due to an illness. There are many reports of weird things happening. The most circulated story seems to be that of a little boy who was playing with some of his toys toys. As he was playing he stepped away for a moment and when he came back he saw a little girl playing with his toys. She asked him if he'd like to play with her. FUCK THAT SHIT!!!! The little boy screamed and the girl vanished. Oddly enough, I did find a comment on one website from a man named Skyler seeming to corroborate this story. The comment reads as follows:              " This can not be… no way… I have performed there 2 times. once was in 2013, and there was a boy in the back playing with his cars. a few minutes after he screamed and started to cry. I was feeling bad,, but this can't be him… also know that in 2015 in march i had another performance and all the lights turned off. This is too creepy."   Was this the same boy that the story is referring too? Who knows. We also found several comments from people staying in what we assume is the hotel Chicago as it's in the complex and pretty much right next to the house of blues. There's comment also claim the hotel is haunted. One of the claims says this:            "It's haunted!!! I saw a middle aged/older woman (dressed in clothing from a period long ago) in my room when I stayed there in 1999/2000. I woke in the early morning to see a woman staring at me. I went through a rational thought process of it being my female business colleague (who stayed in a separate room) and I thought, oh well she can sleep in the other bed (it was a double room & I was in the bed furthest away from the front door) and then quickly snapped out of it and said to myself she has her own room why would she be in my room, I opened my eyes again and that's when I could see it was a woman clearly (w/ angry face) staring at me. I then thought this is a stranger/intruder in my room – I laid there with my eyes just open enough to see – she was there staring at me & she still didn't look happy. I laid there thinking of what to do – I decided I was going to reach and turn the light on and then charge her or run after her when she ran for the door (fortunately, there was a switch right next to the bed). HOWEVER, when I reached for the light and turned it on she was gone. This is what makes this story interesting — I called the front desk and simply asked, ‘had anything significant ever happened at the site of the hotel' (b/c as the person above points out, its not an old or historic looking building (e.g. PreWar). I asked another question that any tourist could have just asked (I don't recall what it was right now). She said immediatley, “No, why did you see a ghost?” My response was, yea, I saw a ghost, I'm in my twenties and not some nut job.” I asked if anyone else had ever reported seeing a ghost and she said, “No.” Anyway, when I met up with my colleague, she could tell I was shaken up and I was pretty pale (like “I had seen a host.”). My story has never changed in all this time. I did stay at the hotel 1 other time after (not in the same room) & didn't see anything – but I slept with the bathroom light on… Scary & Cool experience for sure!"   Sounds spooky!    Next on our list of haunted venues we are heading to Milwaukee! Which is actually pronounced meely waukay, which is Algonquin for the good land. Now the Rave is amazing for several reasons: first it's the location of one of Moody's favorite tour stories which also involves Jon and our friend Brad from Voudoux.  2: it's huge and creepy as shit. 3: the pool... The Rave/Eagles Club is a 180,000 square foot, seven-level, live entertainment complex in Milwaukee, Wisconsin. The building contains eight independent clubs with capacities ranging from 400 to 3500. The Eagles Ballroom is the building's showpiece, featuring a 25,000 square feet (2,300 m2) oval wooden dance floor, originally installed when the building was constructed, in addition to a large, old-fashioned domed ceiling and a stage on one side. Originally a ballroom, it has hosted everything from boxing matches to concerts to ethnic dances. The ballroom head hosted huge acts ranging from Bob Dylan to Green day, from the grateful dead to slayer and of course none other than Lil Pump.    Along with the eagles ballroom, the building houses the Rave hall, The eagles hall, the Rave bar, The Rave craft beer lounge, The penthouse lounge, and the eagles club.  Since its construction in 1926, the Eagles Club has known several incarnations. Prominently among them, it housed the Fraternal Order of the Eagles, a notable organization whose considerable impacts on America's cultural landscape remain in effect today.   In 1939, the idea of using the building for music presentations took hold, reinventing its purpose. The grand ballroom became a popular venue for big band music, such as band leaders Guy Lombardo and Glen Miller and their orchestras. Soon, other types of music, theatre and performing arts also offered shows and concerts in the large, elegant ballroom; from 1939 through the mid-sixties. Comedians like Bob Hope and Red Skeleton did stand-up comedy. In 1959, people who bought a $1.50 ticket to the Winter Dance Party, were treated to the music of Buddy Holly and the Crickets, Big Bopper, Dion and the Belmonts, and Richie Valens. This would be the last show for buddy Holly before he died. In 1964, The Eagles Club had its first rock concert, with the Dave Clark Five performing on the ballroom stage. The 1970s brought even more famous groups and people, such as Eric Clapton, Crosby, Stills and Nash and other rising rock stars.When the Athletic Club was closed, a homeless men's shelter opened up temporarily in the basement area, providing shelter for the destitute which is life-saving during the freezing winter months. By the late 1980s, The Eagles Club was in a state of disrepair and The Eagle Club put it out on the real estate market, after getting it listed on The National Register of Historic Places, in 1986.  In late 1992, the Eagles Club was rescued when it was bought by Wauwatosa businessman Anthony J. Balestrieri and his wife, Marjorie, who performed in the Milwaukee Symphony Orchestra. They began the long process of restoring the historic beauty of the elegant ballroom and interior art, as well as the outside facade. They also restored and renovated other areas turning the building into the multi venue building it is today.    We wanted to include this history because: A. We love the history of places like this and B. It shows how many things this building way used for and how many people have passed through the building. We all know where there tons of history there tends to be ghost stories!    Let's get into the spooky shit! Remember the pool we mentioned earlier… Well at one point a 17 year old boy had a fucking heart attack and died in the pool. Later, at least two more children would die in the pool. This would ultimately cause the closure of the athletic club.  Also the man who ran the homeless shelter was said to be extremely cruel and abusive to the men staying there.    The basement area which is the home of the former men's shelter, is one of the more haunted areas. The shelter manager mentioned earlier is thought to be the reason behind the heavy negative energy felt there. Cold spots are often felt by staff in the late hours after closing. Shadow people have often been reported by staff as well as band members packing up after a show.    Next is the pool area, which we've seen and it's fucking creepy. A little girl is said to roam around the area. People have heard her laughter and have said her presence can bring a sense of dread. Staff have said they have heard shuffling footsteps and have smelled a strong odor of bleach in the pool area.    In the boiler room under the pool, a former employee still hangs and he doesn't like people in his area. "Jack" was once recorded telling a group on a ghost hunt to "get out, get out now" Apparently, you can find a video of this on YouTube, we'll try and find it to post on our page.   The ballroom has had its share of apparitions hanging around during sound checks and after shows when everyone has left. An employee told a story of when he was standing on the floor of The Eagles Ballroom, making sure that the people going to the roof patio didn't “get lost” and go into the Eagles Ballroom by design.  He said that one of his fellow workers had seen what they thought was a man, standing in one of the second floor boxes located above the Eagles Ballroom. He called security and when they approached this person, he ran down the aisle but disappeared before the staff person that was behind him and the security person cutting off his escape could try to grab him.    One other common theme is people hearing either happy laughing children or sad crying children. Some staff have stated they've seen entities of children playing in groups.    We've been here.. This place is awesome. Also another fun tidbit… not to far away from the Rave is the ambassador hotel. Which of you're up on your serial killers, you know is the place where Jeffrey Dahmer killed his first victim in Milwaukee. Steven Tuomi was Jeffrey Dahmer's first victim in Milwaukee. Dahmer met Tuomi in September of 1987. At the time, Dahmer was out on probation after molestation charges of a minor. The two men spent the night together drinking heavily and visiting multiple bars. Later that night, they ended up in a room together in the Ambassador, room 507, which is a room some Dahmer historians have requested to stay in. Dahmer killed Toumi while he was in a drunken stupor. Upon waking up to find Tuomi dead, Dahmer put the body in a suitcase and took it to his grandmother's house where he was living. In the basement, he acted out necrophiliac desires and then dismembered the body. Supposedly when Dahmer awoke to find Tuomi dead, the body was in an awkward position hanging off the side of the bed. Some visitors have reported instances of waking up to discover their partner in a similarly awkward position.   Visitors to room 507 have reported a variety of experiences, such as a heaviness to the room that they can't quite explain. Some people get woken up in the middle of the night by odd circumstances. There's an extra little bit for ya!!!   Info on the Hauntings and most of the historical facts on the Rave was taken from an excellent article on hauntedhouses.com   Next up we're gonna head across the pond, so to speak. We're heading to London and the famous Royal Albert Hall! This place has a long and rich history behind it. The Royal Albert Hall was built on what was once the Gore estate, at the centre of which stood Gore House. The three acre estate was occupied by political reformer William Wilberforce between 1808-1828 and subsequently occupied between 1836-1849 by the Countess of Blessington and Count D'Orsay.   After the couple left for Paris in May 1851, the house was opened as the ‘Universal Symposium of All Nations', a restaurant run by the first celebrity chef, Alexis Soyer, who planned to cater for the Great Exhibition in Hyde Park.   After the exhibition and following the advice of Prince Albert, Gore House and its grounds were bought by the Exhibition's Royal Commission to create the cultural quarter known as Albertopolis. A complex of public Victorian buildings were developed to house exhibits from the Great Exhibition and to further the study of art, science and industry. On May 20, 1867 7,000 people gathered under a purpose-built marquee to watch Queen Victoria lay the Hall's red Aberdeen granite foundation stone, which today can be found underneath K stalls, row 11, seat 87 in the main auditorium. The Queen announced that “It is my wish that this Hall should bear his name to whom it will have owed its existence and be called The Royal Albert Hall of Arts and Sciences”, as a 21 gun salute was heard from Hyde Park and a trumpet fanfare from HM Life Guards sounded. By December 1870 construction of the Hall had moved on so much that HM Queen Victoria and her daughter Princess Beatrice visited the Hall to listen to the acoustics.   Almost three months later, on 25 February 1871, the Hall's first concert was held to an audience for 7,000 people comprising the workmen and their families, various officials and the invited public. Amateur orchestra, The Wandering Minstrels, played to test the acoustics from all areas of the auditorium.    This place has been running as a venue for 150 years! Again… History breeds ghosts and Hauntings! There's so much history in this building that we are not going to be able to include but please check out the official website for the royal Albert Hall to really drive into the history of this place. You won't be sorry you did. We gave you the beginnings to show how long this place has been around. We're gonna get right into the spooky shit though!    On 13 July 1930 the Spiritualist Association rented the Royal Albert Hall for a seance for Sir Arthur Conan Doyle, following the death of the Sherlock author on 7 July.   Conan Doyle was a spiritualist and believed in the existence beyond the grave. Upon his death 10,000 people gathered expectantly in the Hall to watch a medium take to the stage, hoping to witness some supernatural activity and hear a message from Conan Doyle from the other side…          Lady Doyle: “Although I have not spoken to Arthur since he passed, I am certain that in his own time and his own way he will send a message to us” Time Magazine, 21 July 1930   Lady Conan Doyle took to the stage alongside members of his family, with a vacant chair on her right reserved for her late husband.Time Magazine, who attended the seance, reports:   ‘Mrs. Estelle Roberts, clairvoyant, took the stage. She declared five spirits were “pushing” her. She cried out their messages. Persons in the audience confirmed their validity. Suddenly Mrs. Roberts looked at Sir Arthur's empty chair, cried: “He is here.” Lady Doyle stood up. The clairvoyant's eyes moved as though accompanying a person who was approaching her. “He is wearing evening clothes,” she murmured. She inclined her head to listen. A silent moment. Her head jerked up. She stared at Lady Doyle, shivered, ran to the widow, whispered. Persons nearby could hear: “Sir Arthur told me that one of you went into the hut [on the Doyle estate] this morning. Is that correct?” Lady Doyle, faltering: “Why, yes.” She beamed. Her eyes opened widely. The clairvoyant to Lady Doyle: “The message is this. Tell Mary [eldest daughter]…' Time Magazine, 21 July 1930   At this the audience rose in a clamor, and the great organ of the Hall began to peal, the noise drowning out the answer of Mrs Roberts.   But what was the message delivered to Lady Doyle that night? Did the ghost of Sir Arthur Conan Doyle really visit the Royal Albert Hall on that night in 1930?   Seances are always fun and definitely work as we found out...yea...right….   Here's some more stories taken straight from the RAH website!   THE GIRLS Beneath the Door 6 foyer, in the carpeted basement area, there is one spot where two young women, known as ‘the girls', briefly appear each  November 2nd a little before 2am, when the building is almost deserted, except for some security staff.   Over the years, several staff members reported hearing ‘the girls' laughing, and seeing their animated and excited silhouettes appear, clothed in the fashion of slightly risqué Victorian ladies (extravagant long dark dresses embellished with lace from neck to bodice, with many ruffles, especially around the sleeves and hem, and their hair styled in cottage-loaf buns with ringlets hanging over their ears). The Duty Security Incident Book indicates that there had been appearances by ‘the girls' for the three years prior to 1991. They have been seen passing across the foyer space, which is bounded by double doors at each end, leading on one side to the staff canteen (where we still eat today) and on the other to the kitchen corridor, and then disappear. That is why some believe that ‘the girls' may be responsible for unexplained accidents, tappings and footsteps that occur behind locked doors late at night in the kitchens. Assistants Chefs, who have to clean the kitchen every night after use, often used to hear noises and have been frightened whilst in that area.    FATHER WILLIS Whenever restoration work is carried out on our organ, its original constructor Henry Willis, fondly nicknamed ‘Father Willis', returns as a stooped ghost wearing a black skull cap. When the organ was being reconstructed in 1924, workmen saw a little old man walk down the stairs late one afternoon. On returning to their workshop and relating the facts, their foreman asked what the man was wearing. When told that he was donning a black skull cap, the foreman decided it was the ghost of Father Willis, the original builder of the organ, long since dead, who would not approve of the alterations being undertaken. Since then there have been many reports of a sudden cold atmosphere in the area behind the organ.   When interviewed in 2018, Michael Broadway, the Hall's organ custodian was asked if he had ever seen signs of the legendary ghost of Henry Willis. He answered: “I remember the organ builder Clifford Hyatt telling me about this over forty years ago. The tuner […] was making the final visit of the Willis contract before the Harrison & Harrison rebuild in the 1920s. When he got up on to the Great passage board he saw Father Willis there saying ‘They shan't take my organ from me'. A lovely story, but I haven't seen him. There are many questions I would ask him and hopefully have his approval of the way I look after this instrument. Perhaps he has no reason to be disturbed.”    THE MAN IN WHITE During a Jasper Carrott comedy event in May 1990, the Duty Manager was ordered to clear the Middle Choir seats and to post a Steward at either end to avoid anyone entering as it is very distracting for a performer to have people walking across the back of the stage during the show. That's why a very angry Stage Manager demanded on radio to know why there was someone crossing the stage. The description was of a man dressed in white, walking oddly as if on drugs. The Stewards insisted no one had passed them and on further investigation no one except Jasper Carrott was onstage, but several people had seen the figure cross the stage from left to right.   THE VICTORIAN COUPLE A staff member during the 2000s reported having seen a couple in Victorian clothing walk across the second tier near to Door Six and vanish into a box. As a venue whose history is so closely tied to the Victorian times, this didn't seem particularly odd (people dress up sometimes…)   But in 2011, a Head Steward was finishing off his shift one evening and had made sure that all members of the public had left the second tier. On going downstairs into the auditorium, he noticed a couple sitting in the box so he returned to the second tier but found no one in the box. He assumed they had left while he was on his way back, so once again he returned to the auditorium… Only to see them again. So he went back to the second tier, and that's when he heard the couple chattering. He assumed they were in the box but on opening the door, there was no one there.   There are several more accounts on their website and tons and tons of stories all over the web about experiences at the historical venue. It sounds like it's one crazy place!!!   We've got a couple more for you guys.                Next up is another club we've been too, the Masquerade in Atlanta. The Masquerade features three indoor venues with capacities ranging from 300 to 1000, appropriately named Heaven, Hell and Purgatory.  The Masquerade was founded in 1988 at the historic DuPre Excelsior Mill, a former excelsior mill at 695 North Avenue in the Old Fourth Ward neighborhood. The venue had both indoor and outdoor concert space. It was sold in 2006 and moved in late November 2016 after it was made part of a new mixed-use development called North + Line. The building was designated as historic by the city and all of the original parts will be saved through adaptive reuse. The masquerade had hosted tons of national and local acts from cannibal corpse to the greatest entertainer in history, Weird Al Yankovic.     This night club is said to be visited by the spirits who died in fire and tuberculosis outbreaks long ago, both of which killed several members of the building's former staff. Apparitions have been seen and unexplained footsteps have been reported.One popular story is that of a large and tall black man who is always seen walking around the nightclub. The staff believes that it is this man who turns the musical amplifiers every night.   The staff has also reported hearing footsteps from unidentified sources, as well as cold spots all throughout the building. Horrifying screams can also be heard coming from the back of the stairs even when there is no one there. They believe that the screams come from the young woman who died in a freakish accident in the nightclub. Nowadays, there are rumors that real vampires come to the nightclub and even live there.  Some people believe that this rumor has been spread to promote business as vampires have suddenly become very popular.   Next up were heading to Nashville and a place the Moody had been to, but not for music, for the national beard and mustache competition. He did not place unfortunately. The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman, a Nashville businessman who owned several saloons and a fleet of riverboats.When Ryman died in 1904, his memorial service was held at the tabernacle. During the service, it was proposed the building be renamed Ryman Auditorium, which was met with the overwhelming approval of the attendees. The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was eventually built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery.[5] Upon the completion of the balcony, the Ryman's capacity rose to 6,000. A stage was added in 1901 that reduced the capacity to just over 3,000. Though the building was designed to be a house of worship – a purpose it continued to serve throughout most of its early existence – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time.  Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in '49, Harry Houdini in '24, and John Philip Sousa (among others) performed at the venue over the years, earning the Ryman the nickname, "The Carnegie Hall of the South". The Ryman in its early years also hosted Marian Anderson in 1932, Bill Monroe (from KY) and the Bluegrass Boys in '45, Little Jimmy Dickens in '48, Hank Williams in '49, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in '54, Johnny Cash in '56, trumpeter Louis Armstrong in '57, Patsy Cline in '60, Lester Flatt & Earl Scruggs (bluegrass) in '64, and Minnie Pearl in '64. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away. During its tenure at Ryman Auditorium, the Opry hosted the biggest country music stars of the day and became a show known around the world. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it still holds to this day. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Members of historic preservation groups argued that WSM, Inc. (and Acuff, by proxy) exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists leaned on the building's religious history and gained traction for their case as a result. The outcry led to the building being added to the National Register of Historic Places in 1971. Following the departure of the Opry, the Ryman sat mostly vacant and deteriorating for nearly 20 years, as the neighborhood surrounding it continued to see the increasing effects of urban decay.  In 1986, as part of the Grand Ole Opry 60th-anniversary celebration, CBS aired a special program that featured some of the Opry's legendary stars performing at the Ryman. While the auditorium was dormant, major motion pictures continued to be filmed on location there, including John Carpenter's Elvis (1979), Coal Miner's Daughter (1980 – Loretta Lynn Oscar-winning biopic), Sweet Dreams (1985 – story of Patsy Cline), and Clint Eastwood's Honkytonk Man (1982). A 1979 television special, Dolly & Carol in Nashville, included a segment featuring Dolly Parton performing a gospel medley on the Ryman stage. In 1989, Gaylord Entertainment began work to beautify the Ryman's exterior. The structure of the building was also improved, as the company installed a new roof, replaced broken windows, and repaired broken bricks and wood. In October 1992, executives of Gaylord Entertainment announced plans to renovate the entire building and expand it to create modern amenities for performers and audiences alike, as part of a larger initiative to invest in the city's efforts to revitalize the downtown area. The first performance at the newly renovated Ryman was a broadcast of Garrison Keillor's A Prairie Home Companion on June 4, 1994. Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, mostly due to the success of the January shows, but partly due to the ongoing construction of Opry Mills shopping mall next door to the Grand Ole Opry House. The Opry has returned to the Ryman for all of its November, December, and January shows every year since then, allowing the production to acknowledge its roots while also taking advantage of a smaller venue during the off-peak season for tourism and freeing the Grand Ole Opry House for special holiday presentations.The Ryman has also served as a gathering place for the memorial services of many prominent country music figures. Tammy Wynette, Chet Atkins, Skeeter Davis, Harlan Howard, Bill Monroe, Waylon Jennings, Johnny Cash, Billy Block, George Hamilton IV, Earl Scruggs, and Jim Ed Brown have all been memorialized from the Ryman stage. In 2018, the Ryman was named the most iconic structure in Tennessee by Architectural Digest. And just because….On June 9, 2019, Wu-Tang Clan performed the first pure rap concert ever at the Ryman. The concert was sold out.   Again, we like to give history on these places for context and honestly it's just interesting to us so whatever. But this again illustrates the point that many crazy things happened here over the years as many many people have passed through this auditorium… Including Moody.   Ok, so let's get to the ghosts and spooky shit. Ryman's spirit was fine with most performances but would rise if the people onstage were getting a bit risqué. Apparently, he disrupted shows by stomping around the room so loudly that spectators were forced to leave. Famously, the ghost wreaked havoc while the opera Carmen was taking place. Probably because it tells the story of a gypsy temptress.    During the grand ole Opry period, rumors surfaced that the venue was cursed since apparently, most singers that performed there wound up dead. A total of 37 people met their fate in the most gruesome ways, dying from O.D.s, car accidents, fires, or slaughterings. Among the artists believed to have succumbed to the curse are: Stringbean Akeman, Patsy Cline, Texas Ruby, and many more. In a blog post by Virginia Lamkin titled Haunted Ryman Auditorium, the author explains that when the show relocated to the Opryland USA theme park, 14 additional acts died. It is believed that the curse followed because a large portion of the Ryman Auditorium stage was cut out and brought to the new location.   The spirit often referred to as “The Grey Man,” is believed to have been one of the Confederate soldiers who frequented the auditorium during post-war gatherings. Some say they've witnessed him sitting in the balcony while artists rehearse. He watches the stage steadily but disappears as soon as anyone gets too close.   ”The lady,” on the other hand, isn't a spectator; she's a performer. Believed to be the ghost of Patsy Cline, she has been heard singing by staff. Usually, her performance happens late at night as they prepare to close. Patsy Cline, who died tragically in a plane crash, has also been linked to the Opry Curse. Could the curse not only kill but also trap artists in the venue?   Speaking of Opry Curse victims, Hank Williams is said to have been another casualty. The successful singer/songwriter passed away in 1953, after mixing prescription drugs with alcohol. Similar to the other artists haunting the auditorium, Hank's voice has been heard clear as day by employees. They have also heard his songs being played onstage, without explanation. Along with Patsy, Hank Williams' soul has lingered in the old venue ever since he passed.   The info on the history of the ryman comes mostly from their own website while the stories of the hauntings we found on the website ghostcitytours.com   Next up is the Phoenix theater in Petaluma California. The club has been in existence since 1905 and has changed in both structure and purpose, mostly due to severe damage caused by several fires. Petaluma's Phoenix Theater has been entertaining Sonoma County residents for over 116 years. Hosting everyone from the likes of Harry Houdini to Green Day, the fabled teen center and music venue has a varied and interesting history.   The entertainment center opened in 1904 as the Hill Opera House. The structure was designed by San Francisco architect Charles Havens, who also designed Petaluma's Carlson-Currier Silk Mill in 1892. The Beaux Arts-style theater hosted operas, theatrical performances, high school graduations and music for over 15 years until the early 1920s when it was gutted by fire.   In 1925, the venue reopened as the California Theatre playing silent films accompanied by music. A Jan. 24, 1925, Press Democrat article proclaimed the showplace the “largest playhouse in Petaluma and one of the finest theaters of Northern California.” A packed house attended the opening night performance which include a double feature picture show and live entertainment.   The theater switched to movies with sound in later years and lost major sections of its roof to a second fire in 1957. Petaluma's Tocchini family bought the floundering venue in 1967 switching to a program of live music and entertainment.   In 1983, the theater was renamed the Phoenix - reflecting its ability to be reborn from the ashes. Tom Gaffey, a young man who had grown up in Petaluma and worked at both the California and the Showcase theaters, was hired as manager, a position he holds to this day. The theater gained unwanted attention after a late-night performance by the band Popsicle Love Sponge performed a questionable act with the body of what was believed to be a dead chicken. The late-night shows ended, but the movies continued for a short time.   Today the venue serves as a graffiti-covered teen center and venue for rock, punk, reggae and more. In 1996, it hosted the last show of the Long Beach ska band Sublime as well as rock and punk legends the Ramones, Red Hot Chili Peppers, X, Metallica and Primus. The guiding principle of the Phoenix has always been that it's "everyone's building" and this was formalized in the early 2000's when the Phoenix became a 501(c)3 nonprofit  community center.   This place sounds pretty awesome. This following except it's taken directly from their website :               The Phoenix Theater is open seven days a week, generally from 3pm to 7pm, for drop-in “unstructured” use. Our building interior is large and soulful, with several rooms to accommodate a variety of activities. On a typical afternoon, you'll find kids playing acoustic music (we've got two pianos and a big stage), skateboarding (across the large wooden floor and up one of four quarter-pipe ramps), doing homework in the tutoring room, or sitting in one of the overstuffed sofas: reading, talking with friends, or napping. There's always a staff member onsite, but the atmosphere is casual.    On top of this they have free music programs from lessons to recording to production to podcasting to band management and everything in between. Also they have many programs for teens in the art community to hone their skills. Not only that they have a teen health center to help inform teens and help them make better, more  conscientious choices regarding their personal health. They also have services for  transitive health and STD help as well. We feel like every town needs a place like this. Especially if it's haunted!!! Speaking of which we found an interview that Gaffney did where he talks about some of his experiences and other things that have happened. The following was taken from petaluma360.com:   Gaffey began by talking about his earliest days. “It was my job to close the theater down. By 10:15 it would just be me, and whatever people were watching the movie. Near the end, I'd go up to the projection booth. After the audience exited, I'd turn off the projector, come down onto the stage where the sound equipment was, turn off the amps, check doors, balcony, bathrooms, lock the doors, hit the security alarm, then go out the door by the box office.”   On three separate nights, as he was leaving, the box office phone rang.   Gaffey explained the building had five phone stations. The light on the box office phone indicated the call was from the projection booth.   “I'd have to turn off the alarm and pick up the phone. ‘Hello? Hello? Hello?' But there was nobody there.   “You can't believe in ghosts when you're shutting down a theater. You have to check.   “Three times I mustered my courage, turned the lights back on and burst into the projection booth. There was no one there.   “That was my first experience, when I was an unknown here, a spooky ‘welcome back.'”   Gaffey is quick to temper his conversation with “it could have been” and “maybe someone playing pranks.” He keeps an open mind. Ghosts or explainable experiences: it's for the individual to decide.   “Blue lights have been seen floating through the building. There's the Little Kid: he'd been seen even when I was a kid working down here. And one night, sleeping on stage as a teen, I could hear and feel big footsteps. I never felt afraid.   “The big guy has been felt by many over the years,” Gaffey said. “We named him Chris. Big Chris. He's the only ghost - if there are ghosts here - who's not from a show business background.” He added that psychics who've visited the theater have talked about Chris dating to the livery stable-era and that someone was murdered on this spot, possibly with a knife.   But Gaffey continued firmly, “My experiences in this building have been warm and protective. “Chris had the spirit of the Phoenix before it became what it is. Chris may have loved this spot. I think it's one of the coolest corners in town.” He commented he sensed from the warmth he felt as he was talking that Chris was on stage, observing.   Then there's the Little Kid - a boy. “That's an interesting one,” Gaffey said. “Again - a psychic had come in. First off, he talked about the guy in the attic [the projection booth], said he seemed to be older, white hair and faded green, almost khaki, clothing; tall, thin with angular knees and elbows.   The older man, the psychic told Gaffey, is trying to make good on something wrong he felt he did to a child. The psychic added the old man hadn't, however, done anything.   “I'm wondering,” Gaffey said, “if it's the little boy. This was the fly area” - the area to the rear of the stage where backdrops hung. “With stuff hanging here and ladder work, maybe the kid was injured. He's been seen by many. He's got shaggy hair, maybe less than five feet, wearing shorts or knickers, a wool suit and a cap, from the 1920s.”   In the 1990s, a security guard for the thrash metal band GWAR got down off a ladder and asked, “Who's that little kid back there in the exit?” When no one could find the boy, the guard quit.    There is much more to the interview and we would definitely recommend checking it out! We've got one one more venue for you guys even though there are a bunch more out there. Some of the more well known and covered places like Bobby Mackey's in Kentucky, The Avalon in Hollywood, Le Petit Théâtre du Vieux Carre in New Orleans, The rapids theater in Niagara falls NY among others we've left off but will definitely be back to cover at a future point as the history and Hauntings in these places is awesome.    So that brings us to our home town of Cleveland Ohio and to the World famous Agora Theater. Now this a place where we've both spent many nights jamming out to some great fucking shows. And yes.. Whether you like it or not… Here comes some history fuckers.    The first Agora in Cleveland, informally referred to as Agora Alpha, opened on February 26, 1966, at 2175 Cornell Road in Little Italy near the campus of Case Western Reserve University. In 1967, the Agora moved to a second building on East 24th Street near the campus of Cleveland State University. Once settled in their new location, the new Agora Ballroom, informally referred to as Agora Beta, played a role in giving exposure to many bands, both from the Cleveland area and abroad. Many artists such as Peter Frampton, Bruce Springsteen, Boston, Grand Funk Railroad, ZZ Top, Kiss and many others received much exposure after playing the Agora.[3] The Agora Ballroom was also the setting of the concert by Paul Simon's character in the opening minutes of the 1980 movie One-Trick Pony. The front facade of the Agora Ballroom was temporarily swapped for the one shown in the movie. It is also one of three locations used to record Todd Rundgren's live album Back to the Bars in 1978.   The East 24th Street building also housed Agency Recording Studios, located above the Agora. The onsite recording studio and the close proximity to radio station WMMS allowed for high-quality live concert broadcasts from the Agora. Some of these concerts were later released commercially, including Bruce Springsteen's “The Agora, Cleveland 1978”, the Cars' “Live at the Agora 1978”, Ian Hunter's “You're Never Alone with a Schizophrenic, Deluxe Edition” and Dwight Twilley Band's “Live From Agora”.   The popularity of the club led the Agora to expand during the 1970s and 1980s, opening 12 other clubs in the cities of Columbus, Toledo, Youngstown, Painesville, Akron, Atlanta, Dallas, Houston, Tampa, Hallandale, Hartford, and New Haven. However, the Cleveland location is the only one still in existence today.   In 1984, the Agora was damaged by a fire and closed.   The building currently known as the Agora first opened on March 31, 1913, with an English performance of Aida as the Metropolitan Theatre. It was the brainchild of Max Faetkenheuer, an opera promoter and conductor who had also been involved in the construction of the monumental Hippodrome Theatre on Euclid Avenue five years earlier. The new opera house was well received and did well early on, but later struggled to stay profitable. Among various uses, the Metropolitan was home to a Cleveland's Yiddish theatre troupe in 1927. This brief episode in its history came to an end a few months later in 1928 after the troupe was involved in a bus accident on the way to a performance in Youngstown; the actors were too injured to perform and the venture went bankrupt. By 1932, the venue had turned into a vaudeville/burlesque house called "The Gayety," hosting "hoofers, comics and strippers." The Metropolitan returned to its original use for a short time during the mid-1940s staging comedic musicals, but by the end of the decade stage productions had ceased and the theatre became a full-time movie house. From 1951–78, the theater offices were home to radio stations WHK (1420 AM) and WMMS (100.7 FM); the theater itself was known as the WHK Auditorium. In 1968–69 the theater was known as the Cleveland Grande. In the early 1980s, it briefly re-opened as the New Hippodrome Theatre showing movies. Following the fire which damaged the Agora Ballroom on East 24th Street, club owner Henry LoConti, Sr. decided to move to the 5000 Euclid Avenue location. Following extensive renovations, the new Agora Metropolitan Theater, the third Cleveland venue to bear the Agora name, opened in October 1986. The Agora has two rooms: a 500-person capacity, standing-room-only ballroom with adjoining bar, and an 1800-seat theater.   As far as some spooky shit goes, we were able to get some info straight from the source! We spoke with Mike who works at the agora and we got some cool stuff from him. In an email mine related the following information.            "Prior to our merger with AEG Presents, I used to lead our ‘Ghost Tours' with a group called Black Sheep Paranormal.   While I didn't know what to expect, and I wasn't exactly familiar with paranormal investigations, that quickly changed working with the group.             One of the members of the Black Sheep Paranormal group was a retired police officer. Pretty easy to say he's seen some shit, and could be characterized as fearless. Another member told him to check out the men's room, where we have a utility closest between our sinks and stalls. From past experiences, we usually get some decent activity from that closest. However, nothing occurred this time. After giving up on this spot, the team member decided to use the bathroom. Seconds later, he hears **CLAP, CLAP, CLAP** from behind his neck, and he exited the bathroom about as white as a ghost.   Oh man… Good thing he was in the bathroom in case he pissed himself!! This next story is pretty crazy. He talks about "The Cleaning Lady"!             "One of the known spirits at The Agora, who we call “The Cleaning Lady,” as you could have guessed, was responsible for cleaning the venue many decades ago. While I'm not exactly sure what happened to her, she was said to have fallen off our balcony, and died. One night, during an investigation, we were sitting in silence at the top of our balcony on the left hand side. As we sat there, we started to hear sweeping sounds. As the broom sweeps started to happen for a few seconds, all of the sudden, the sound traveled from the left side of the venue, all the way to the right side of the venue. We couldn't really explain it, but that's exactly what happened."   Wow! That's awesome! This next one would probably freak a lot of people out… but it's definitely cool.           "Another occurrence was when we were up in one of the suite boxes up in the balcony. The venue was blacked out, and from where we were sitting, you could still see the bar area in our lower level. The bar had a mini fridge up against the wall that had lighting in it. We draped it off with a black table cloth, but there was still exposed light coming from the fridge. As we're sitting there, we see a shadow fading in, and fading out of the light. Almost as if a person was pacing back and forth. We were able to see this because of the light from the fridge. As this shadow figure is pacing back and forth for a good 30 – 60 seconds, one of our team members calls out “if anyone is over by the bar, please make a sound.” And I shit you not, with no hesitation, a stack of plastic cups falls off the bar and onto the ground. That was definitely one of my favorite experiences."   Hopefully we get some action like that on our ghost hunt! Mike goes on to say that he actually got to see an apparition as well!       "Over the years, we've heard and seen many things. We've had items that turn up missing, seen plenty of white anomalies, and other occurrences. Apparitions are rare, but sounds are usually constant. We've heard bangs on our doors, we've heard voices, we've even heard music; big band music to be specific. The apparition I've seen was an unreal experience. We were sitting in the balcony, and we just saw this shadow figure in one of the seats across/behind us. The figure was perfectly human-shaped, but you could see through it. It definitely seemed like it was staring at us the whole time. Sadly, my story telling doesn't do this moment very much justice.   He said that a lot of the investigation stuff was mainly communication based with the spirits. He said they would ask  questions and they frequently got answers. We asked about how the spirits would answer and he told us:             "Most of the time in our investigations, we used dowsing rods for the questions, and asked them to cross the rods in a ‘yes or no' type of questioning. They were always responsive in this form. As long as we got it started, we usually were able to keep the questions going. Obviously, noises would happen all the time. I remember one evening just working (no event going on), but we use to have these ‘garage' type doors for our balcony entry. And for whatever reason, the spirts would not stop banging on them. Like something out of a movie, non-stop banging. That was the same day where my coworker went to use the bathroom, and as she was coming back to the office she heard “There she goes…” in a whisper type voice.   Damn! That's some crazy shit! We would like to thank Mike for his time and this incredible stories of the strange stuff that occurs at the agora! Hometown spooky shit is always awesome!  Top ten horror movie musicals https://screenrant.com/horror-musicals-best-ever-imdb/

This edition of KVC-Arts is as much about interesting places and people in our region, as it is a remembrance of Mindi McNeil. Mindi was first heard on KVCR on the program, "My Awsome Empire," which was CSUSB student produced, and led by Lacey Kendall. Mindi began interning at KVCR for a time, before moving on to KUVO in Denver. Mindy passed away just last week. Here are three interviews from Mindi on a few different subjects, though with the same passion and enthusiasm. First Mindi checks out the historic California Theatre of the Performing Arts in San Bernardino. A rich history here. Then she finds out more about Tio's Tacos in Riverside, and the incredible found/recycled art to be found there. The program closes with a FUNNY interview with comedian Brad Williams - from Fullerton.

There may be new life for the nearly 100-year-old California Theatre on C Street. Preservationists have struck a deal with a developer that intends to construct a multi-million dollar 41-story condominium tower on the site of the historic theater. The compromise will preserve more of the building's exterior and lobby, as well as use original ornamentation. A dispute between preservation group Save Our Heritage Organisation, or SOHO, and the developer halted the demolition in March 2018. The new plan still calls for tearing down the heavily dilapidated building, but more of its exterior will be saved and a stronger effort will be made to faithfully reconstruct the building. The California Theatre, made up of a 2,200-seat theater and nine-story office building, closed in 1990.

David Gray's new Sanfilippo CD Name Artist Album Year Comments The Minor Drag David Gray Eighty Shades of Gray [dg0001] 2018 5-80 Wurlitzer, Sanfilippo Residence, Barrington, IL West Side Story: Cha Cha; America; Somewhere David Gray Eighty Shades of Gray [dg0001] 2018 5-80 Wurlitzer, Sanfilippo Residence, Barrington, IL Frasquita Serenade Len Rawle Pizza And Parlour [Tonawanda TWS 1003] 1976 4-27 Wurlitzer, Captain s Galley Pizza and Pipes, Redwood City, CA On The Sunny Side Of The Street Stan Kann Concert: San Gabriel Civic 1993-09-11 1993 3-16 Wurlitzer, Civic Auditorium, San Gabriel, CA Euphonic Sounds Jonas Nordwall Concert: Ruth Dresser Residence 1993-03-19 1993 4-22 Wurlitzer, Ruth Dresser Residence, Malibu, CA; 19 March 1993, formerly California Theatre, San Francisco, CA Cuddle Up A Little Closer, Lovey Mine Dick Leibert Sing A Song With Leibert [Westminster LP] 4-36 Wurlitzer, Paramount Theatre, New York

David Gray's new Sanfilippo CD Name Artist Album Year Comments The Minor Drag David Gray Eighty Shades of Gray [dg0001] 2018 5-80 Wurlitzer, Sanfilippo Residence, Barrington, IL West Side Story: Cha Cha; America; Somewhere David Gray Eighty Shades of Gray [dg0001] 2018 5-80 Wurlitzer, Sanfilippo Residence, Barrington, IL Frasquita Serenade Len Rawle Pizza And Parlour [Tonawanda TWS 1003] 1976 4-27 Wurlitzer, Captain s Galley Pizza and Pipes, Redwood City, CA On The Sunny Side Of The Street Stan Kann Concert: San Gabriel Civic 1993-09-11 1993 3-16 Wurlitzer, Civic Auditorium, San Gabriel, CA Euphonic Sounds Jonas Nordwall Concert: Ruth Dresser Residence 1993-03-19 1993 4-22 Wurlitzer, Ruth Dresser Residence, Malibu, CA; 19 March 1993, formerly California Theatre, San Francisco, CA Cuddle Up A Little Closer, Lovey Mine Dick Leibert Sing A Song With Leibert [Westminster LP] 4-36 Wurlitzer, Paramount Theatre, New York

On February 9, 2019, Opera San José will bring Jake Heggie & Gene Scheer's new American classic opera Moby-Dick to the stage of the California Theatre conducted by OSJ Music Director Joseph Marcheso and directed by Kristine McIntyre. In Episode 7 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with artists Jasmine Habersham (Pip) and Eugene Brancoveanu (Stubb)for a unique conversation to discuss opera, influences, and of course Melville's masterwork Moby-Dick.

On February 9, 2019, Opera San José will bring Jake Heggie & Gene Scheer's new American classic opera Moby-Dick to the stage of the California Theatre conducted by OSJ Music Director Joseph Marcheso and directed by Kristine McIntyre. In Episode 5 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Richard Cox (Ahab) and Justin Ryan (Starbuck) for a unique conversation to discuss opera, influences, and of course Melville's masterwork Moby-Dick.

On February 9, 2019, Opera San José will bring Jake Heggie & Gene Scheer's new American classic opera Moby-Dick to the stage of the California Theatre conducted by OSJ Music Director Joseph Marcheso and directed by Kristine McIntyre. In Episode 6 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Noah Stewart (Greenhorn) and Ashraf Sewailam (Queequeg) for a unique conversation to discuss opera, influences, and of course Melville's masterwork Moby-Dick.

On February 9, 2019, Opera San José will bring Jake Heggie & Gene Scheer's new American classic opera Moby-Dick to the stage of the California Theatre conducted by OSJ Music Director Joseph Marcheso and directed by Kristine McIntyre. In Episode 4 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with stage director Kristine McIntyre for a unique one-on-one conversation to discuss opera, influences, and of course Melville's masterwork Moby-Dick.

On November 17, 2018, Opera San José will bring Leoncavallo's iconic Pagliacci to the stage of the California Theatre conducted by Christian Reif and directed by Chuck Hudson. In Episode 3 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with conductor Christian Reif and director Chuck Hudson to discuss opera, influences, and of course Pagliacci.

On November 17, 2018, Opera San José will bring Leoncavallo's iconic Pagliacci to the stage of the California Theatre conducted by Christian Reif and directed by Chuck Hudson. In Episode 2 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Maria Natale (Nedda) and Cooper Nolan (Canio) to discuss opera, influences, and of course Pagliacci.

On September 15, 2018, Opera San José will open our 35th season with Mozart's The Abduction from the Seraglio to the stage of the California Theatre conducted by George Manahan and directed by Michael Shell. In Episode 1 of the 2018 | 2019 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with stage director Michael Shell and assistant conductor Ming Luke to discuss opera, influences, and of course Mozart's The Abduction from the Seraglio.

Recorded in front of a live audience at The California Theatre in San Jose, John Gruber is joined by Greg Joswiak and Mike Rockwell to discuss the news from WWDC: ARKit 2, the new USDZ file format, iOS 12, MacOS 10.14 “Mojave”, UIKit apps on MacOS, and more.

On April 14th 2018, Opera San José will bring Verdi's treasured 'La traviata' to the stage of the California Theatre conducted by Joseph Marcheso and directed by Shawna Lucey. In Episode 8 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with tenor Pene Pati (Alfredo Germon) and baritone Trevor Neal (Giorgio Germont) to discuss opera, influences, and of course ‘La traviata.'

On April 14th 2018, Opera San José will bring Verdi's treasured 'La traviata' to the stage of the California Theatre conducted by Joseph Marcheso and directed by Shawna Lucey. In Episode 7 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with co-conductor Dennis Doubin and bass Colin Ramsey (Dr. Grenvil) to discuss opera, influences, and of course ‘La traviata.'

On September 9th 2017, Opera San José brought Mozart’s classic ‘Cosi fan tutte’ to the stage of the California Theatre conducted by Peter Grunberg and directed by Brad Dalton. In Episode 1 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Grunberg and Dalton to discuss the birth of their careers, influences, and of course ‘Cosi fan tutte.’

On September 9th 2017, Opera San José brought Mozart’s classic ‘Cosi fan tutte’ to the stage of the California Theatre conducted by Peter Grunberg and directed by Brad Dalton. In Episode 2 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers David Blalock (Ferrando) and Malcolm MacKenzie (Don Alfonso) to discuss theatre, influences, and of course ‘Cosi fan tutte.’

On September 9th 2017, Opera San José brought Mozart’s classic ‘Cosi fan tutte’ to the stage of the California Theatre conducted by Peter Grunberg and directed by Brad Dalton. In Episode 3 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers Cassandra Zoé Velasco (Dorabella) and Colin Ramsey (Guglielmo) to discuss theatre, influences, and of course ‘Cosi fan tutte.’

On November 11th 2017, Opera San José will bring Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 4 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers Elena Galván (Lisette) and Mason Gates (Prunier) to discuss theatre, influences, and of course ‘La rondine.’

On November 11th 2017, Opera San José brought Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 4 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with Conductor Christopher Larkin and Stage Director Candace Evans to discuss theatre, influences, and of course ‘La rondine.’

On November 11th 2017, Opera San José brought Puccini's classic ‘La rondine’ to the stage of the California Theatre conducted by Christopher Larkin and directed by Candace Evans. In Episode 5 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with singers Amanda Kingston (Magda) and Jason Slayden (Ruggero) to discuss theatre, influences, and of course ‘La rondine.’

On February 10th 2018, Opera San José brought Wagner's classic 'The Flying Dutchman' to the stage of the California Theatre conducted by Joseph Marcheso & Andrew Whitfield and directed by Brad Dalton. In Episode 5 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with artists Gustav Andreassen (Daland) and Derek Taylor (Erik) to discuss theatre, influences, and of course ‘The Flying Dutchman.’

On February 10th 2018, Opera San José brought Wagner's classic 'The Flying Dutchman' to the stage of the California Theatre conducted by Joseph Marcheso & Andrew Whitfield and directed by Brad Dalton. In Episode 6 of the 2017 / 2018 season of OSJ TALKS, Opera San José General Director Larry Hancock sits down with artists Kerriann Otaño (Senta) and Noel Bouley (Dutchman) to discuss theatre, influences, and of course ‘The Flying Dutchman.’

Recorded in front of a live audience at The California Theatre in San Jose, John Gruber is joined by Phil Schiller and Craig Federighi to discuss the news from WWDC: new Mac hardware, the new iPad Pro, Mac OS 10.13 “High Sierra”, iOS 11, the upcoming HomePod, and more.

The Mighty Organ Start Name Artist Album Year Comments South George Wright The Artistry of George Wright At The Mighty Wurlitzer [MCA2-4166] 2:37 St. Louis Blues Dick Leibert The Mighty Wurlitzer in Stereo [Westminster tape SWB7066] 1958 4-17 Wurlitzer, Byrd Theatre, Richmond, VA 5:45 Trudy; Magic Moments Arnold Loxam In Concert on the Mighty Wurlitzer Theatre Organ at Thursford [Thursford TE01] 1977 3-19 Wurlitzer, Thursford Collection, Norfolk, England; ex Paramount/Odeon Leeds 9:34 Stouthearted Men Robin Richmond The Mighty Pipe Organ Plays Golden Favorites [Reader's Digest 8-LP] 1980 5-17 "Duchess" Compton, Odeon Theatre, Leicester Square, London 12:42 Cuddle Up A Little Closer, Lovey Mine Leonard Leigh The Mighty Wurlitzer Remembers The Good Old Songs [RCA Victor LSP-1795] 1958 3-18 Wurlitzer, KSTP Studio, Minneapolis, ex Paramount Theatre (3-15), St. Paul; now at Phipps Performing Arts Centre, Hudson, WI 15:37 Stars In My Eyes John Atwell Australia's Mighty Little Wurlitzer 2010 2-11 Wurlitzer, Town Hall, Marrickville, Sydney 19:30 Lullaby in Boogie Ann Leaf At The Mighty Wurlitzer [Westminster WP 6064] 4-17 Wurlitzer, Byrd Theater, Richmond, VA 21:43 Satin Doll Chuck Kramarich At The Mighty Wurlitzer [Aries Music cassette] 1986 3-23 Wurlitzer, California Theatre, San Diego, CA 24:36 Pennsylvania Polka Harry Koenig At The Mighty Wurlitzer [Koenig Cancer Research LP] 4-34 Wurlitzer, Senate Theatre, Detroit, MI 26:45 I Will Wait For You Larry Ferrari At The Mighty Wurlitzer Pipe Organ [Sure Volume 706] 4-34 Wurlitzer, Senate Theatre, Detroit, MI 30:48 Selections from The Love Parade; March Of The Grenadiers; Nobody's Using It Now; Dream Lover; My Love Parade Jesse Crawford At The Mighty Wurlitzer Theater Organ [Doric 2014-5] 1975 3-13 Wurlitzer, Villamin Residence, Los Angeles; from rolls 1927 - 1929, on 3-14 Wurlitzer, 2nd floor, Wurlitzer Factory, N. Tonawanda, NY 34:54 Some Of These Days Ron Rhode At The Mighty Wurlitzer Theatre Pipe Organ [LP B77-044] 1978 5-34 Wurlitzer, Bill Brown Residence, Phoenix, AZ 37:42 Baubles, Bangles And Beads Bob Van Camp The Atlanta Fox Theatre Remembers Bob Van Camp at its Mighty Moller Pipe Organ 1968 4-42 Moller, Fox Theatre, Atlanta, GA; recorded by Joe Patten from 1968-1972 40:59 Guitar Tango Hubert Selby Live In Concert on the Mighty Wurlitzer at Thursford [Thursford Enterprises TE03] 1978 3-19 Wurlitzer, Thursford Collection, Fakenham, Norfolk 45:15 I've Never Been In Love Before John Baratta The Lafayette Theatre Presents The Mighty Wurlitzer [CD] 2-11 Wurlitzer, Lafayette Theatre, Suffern, NY 47:26 Goin' Home (based on Largo from the New World Symphony) Richard Purvis The Mighty Pipe Organ Plays Golden Favorites [Reader's Digest 8-LP] 1980 Alexander Memorial Organ, Grace Cathedral, San Francisco, CA 52:09 Yesterday Ronald Curtis Plays The Mighty Compton Organ [Amberlee CD AML 313] 1982 4-15 Compton, Odeon Theatre, Hammersmith, London 56:07 Guys And Dolls Selection: Sit Down, You're Rocking The Boat; I'll Know; If I Were A Bell Joseph Seal The Mighty Wurlitzer [Bygone Days BYD77005] 1956 3-12 Wurlitzer, ABC/Regal, Kingston-On-Thames 59:47 The Donkey Serenade Roger Garrett The Mighty Morton [Concert Recording CR-0024] 4-22 Robert Morton, Ohio Theatre, Columbus, OH

087: Trevor and Stephen attended the Apple special event at the California Theatre in San Jose - We discuss the iPad Mini, iPad 4th Generation, iMac update and Macbook pro with Retina 13 Inch. It's an all Apple show. - Trevor and Stephen travelled to the USA as guests of Apple

087: Trevor and Stephen attended the Apple special event at the California Theatre in San Jose - We discuss the iPad Mini, iPad 4th Generation, iMac update and Macbook pro with Retina 13 Inch. It's an all Apple show. - Trevor and Stephen travelled to the USA as guests of Apple

Download the 108k PDF of this article with working links by clicking hereRead Lev Grossman's October 24 TIME Magazine Cover Story "HOW APPLE DOES IT" by clicking here or on the imageWatch the SteveNote in QuickTime Player by clicking here or on the imageWatch James Kim, Senior Editor of CNET, First Look at iPod, iMac and iTunes Videos by clicking here or on the imageiMac as Remote Controlled Media Player, Video Conference Node, Media CreatoriPod as Portable Multimedia Player of Audio and VideoiTunes 6 as Multimedia Delivery Vehicle for RSS Feeds, Library Organizer-ManageriTunes Media Store as the Place To Buy New Media, Get Free Media, Subscribe to Free Audio and Video Podcasts0:40 Act I - iMacThird Generation iMac introduced a year ago sold over 1 million in first year.All-New iMac G5A great computer gets even better1:50 - 1. Even Thinner Design2:20 - 2. iSight videocam built-in (better quality-higher specs), Video Conferencing Out Of The Box + PhotoBooth3:50 Demo4:00 Video Conferencing Out Of The Box5:30 PhotoBooth - awesome effects. Takes stills from the camera with a flash of white screen for light.8:35 3. Front Row with Simple 6 Button Remote Control - vs. 44 buttons on regular remotes . Enjoy Music, photos & video from your sofa.9:33 Demo. Listen to Music, Watch Photo Slideshows, DVDs & Videos via remote.13:35 Video Podcasts, Tiki Bar, Rocketboom in the menu14:30 Movie Trailers Built-In automatically streamed from Apple servers19:10 - 4. ATI Radeon X600 Pro (XT on 20" model) 128 MB DDR Video RAM, PCI Express Graphics Bus5. PC2-4200 (533 MHz) DDR2 SDRAM 512MB on motherboard 1 empty expansion slot up to 2.5 GB capacity with one $1200 Apple 2 GB stick (street $400), 8x DL SuperDrive, Airport Extreme, Bluetooth 2, Mighty Mouse - Technical Specifications Expansion Ports are now in a horizontal row near bottom left rear (rear view).6. Complete Creative Digital Life and Productivity Software Suites Included19:55 - 17" 1440 x 900 @ 1.9 GHz PPC G5, 633 GHz Front Size Bus, 160 GB SATA $1299 - same as old model20" 1680 x 1050 @ 2.1 GHz PPC G5, 700 GHz Front Size Bus, 250 GB SATA $1699 - $100 less than the old modelShipping Today20:50 Act II - iPodAlmost 30 Million iPods Shipped as of September 24, 2005, end of last fiscal quarter75% Market Share of all mp3 playersIntroduced iPod nano 5 weeks ago today. Sold over 1 Million in first 17 days. Demand exceeds supply.21:50 Critical Aclaim22:30 "But what about the white iPod? It's been a huge success for us. And therefore it's time to replace it. Today we are announcing the new white iPod. As we head into the holiday season. And it's a stunner."New iPod Video22:55 "And yes it does video."1. The Best Music Player We've Ever Made. Audio Books - Features2. Photos Best Ever, bigger better screen to see them all better3. Extras - see up to 4 clocks at once, calendars, games, Stopwatch with lap timer, Screen Lock4. And Now Video5. 2.5 inch TFT, 320 x 240, 260k colors, H.264 at 30 fps, MPEG 4 at 30 fps, TV out - SpecsRecap - Music, Audio Books, Photos, Podcasts - both spoken word and video, Home Movies, Music Videos and a whole lot more.27:00 30 GB is 31% thinner than the old 20 gb model. White or Black w/Case, 7.5k songs, 12.5k photos, 75 hrs video $29927:15 60 GB is 12% thinner than the old 20 gb model. White or Black w/Case, 15k songs, 25k photos, 150 hrs video $39928:00 Box ShotShipping Now28:35 Strongest Holiday Lineup EveriPod nano, new iPod, new iMac29:05 new iPod ad - Bono U2 singing on the iPod screen31:20new Silhouette iPod + iTunes ad - Eminem, Curtain Call - The HitsOutdoor Bus Stop and Billboard adsAccessoriesCar IntegrationiPod + iTunes Auto-Sync33:30 Act III - iTunesOver 200 Million copies distributed woldwide84% Marketshare last month for all legally downloaded musiciTunes 5 introduced September 7, 2005 - Just 5 Weeks AgoNew iTunes 6Four New Features34:35 - 1. Gifting - the ability to give someone songs, albums, playlists & videos35:18 - 2. Customer Reviews - 10 Million accounts get a voice to write reviews35:50 - 3. Just for You - personalized recommendations based on your purchase history. Beta with feedback button36:38 - 4. Video for sale, over 2000 Music Videos, 6 Pixar Shorts @ $1.99Downloading video specs - 320 x 240, size of about 6 songsFairPlayDRM play on up to 5 computersPlay on unlimited number of iPodsNo CD or DVD burning allowedbut you own it, no rental fees, never times out.39:00 Demo39:20 Gifting is the most requested feature, customer reviews, Just For You40:25Music Video sectionFatBoy Slim - Weapon of ChoiceMadonna - VogueU2 - Original of the SpeciesFront Row on the new iMac, Playing Music VideosPlaying music, photos and videos on big screen from iPod47:30 One More Thing...TV Shows ABC & Disney - 5 Shows - Lost, Desperate Housewives, Night Stalker, The Sweet Life of Zack & Cody and That's So Raven, Ad Free @ $1.99 1 show (43 min) = 5 albums download sizeOld Episodes plus new ones the day after airing51:45 DemoDesperate Housewives (DH) from last SundayFree Previews every episodePlays DH on the iMac full screen and it looks great, but not 16 x 9 HD widescreen aspect ratioSD 4 x 3 Versions only54:55 Robert Iger CEO Disney - "Great Content intersects with Great Technology" Ann Sweeney deserves credit for making this happen. 59:1059:50 Steve sums up. Notes this historical moment, October 12, 2005, when Video is added to the iTunes Music Store and iPod.1:02:00 Congratulates all the Apple employees who have made this happen1:03:00 Encoreborn 1961 New Orleans, 35 albums 9 grammys, Pulitzer Prize winnerWinton Marsalis performsNew York City 10.19.05New PowerBooks with higher resolution screens with PCI Express video and up to 16 GB ramNew dual-core PowerMac G5 Dual and PowerMac G5 QuadPCI Express Graphics CardsAperture RAW Photo EditorTelevisionWeek 10.17.05TVWeek Cover Story by Jon Lafayette Disney Deal Is Apple of Advertisers' Eye, Madison Avenue Sees Exposure Offsetting Commercials' AbsenceTVWeek Guest Commentary by Scott SternbergViewers Make Rules in New Media World