Moving Picture World (Mar-Dec 1907)

502 THE MOVING PICTURE WORLD. IO -12. CD^ will be required to do this properly; remember the one great thing is to have your lead very hot to pour. Figs. 26 and 27 show the making of a tee joint, which needs very little explanation after the foregoing remarks, as they speak for themselves ; except this point : Many operators in jointing a tee joint place two gusset plates or corner pieces, one on each side of the tee, as shown, to strengthen the joint and prevent it from breaking under any undue strain. These are simply made of sheet lead and soldered in place as shown. Figs. 28 and 29 show two other ways of covering a lead joint ; this is by cutting out of lead sheeting a cover for the joint (as shown in Fig. 28) for a straight joint and (as in Fig. 29) for a tee joint. This method is preferred by some on account of the fact that you do not have a loose piece of lead pipe hanging on the work while jointing and again it makes a very much neater job when finished because the lead is cut to fit snugly around the work and is scarfed (as shown) to match the lead covered cable and therefore can be more easily soldered together with the iron and soft lead solder. This sheet lead covering is the same thickness as the lead covering of the cable and should be quite flush when finished. In conclusion let me caution the novice to cleanliness ; study your work well and practice for some time before attempting to make a real joint and remember never to use any acid in jointing, as the electrical juice will surely rot your joint through its local action. Take time and do your work thoroughly, as good jointing cannot be rushed. Finish up your work as neatly as possible, and varnish your joints well and cable on either side for a few inches. This adds to appearance, durability and water-proofing it as well. Be proud of your work and always try to make each better than the last. — H. Meredith Jones. News of the NicRolets. We are pleased to inform our readers that one of the “oldtime stagers” in the moving picture world is now back again in harness, hitched to the old wagon that started in the years when the Biograph first commenced its furore with motion pictures. We refer to Wallace McCutcheon, who is now once more at the head of the studio of the American Mutoscope and Biograph Company. Old exhibitors will well remember, he is the father of the story film, both comic and pathetic, which in the later ’90s held audiences spellbound and were always attractive and asked for again and again. We refer principally to such films as “Personal,” “Lost Child,” “The Chicken Thief,” “Moonshiners,” etc., which are quite as fresh to-day as on their first appearance. In parenthesis, we may mention that the first talking film ever made was produced by Mr. McCutcheon in the old studii^on Broadway. This was known as “The Gay Old Boy.” We saw, the other day, the latest production of Mr. McCutcheon, and can assure our readers that when this film is placed on the market they will have something worth exhibiting to their patrons. We understand the Biograph Company have increased their working capacity by additional floor space and the installation of new machinery of a modern type to the extent of approximately fourfold. Talking with one of the large importers the other day, we happened to mention the fact that Mr. McCutcheon had returned to the Biograph, and his remark was that they had got the best man in the business at the head of affairs again. Mrs. Leila Silverwood, slide colorist, of 145 Edgecombe avenue, Harlem, New York City, has moved into a more conveniently situated neighborhood, viz., 160 West Sixty-sixth street. Speaking of the absurdly erode slides turned out by a firm of slidemakers, who ought to make and color ( ?) one more set and retire, she said: "I heard Annie Besant’s criticism on the art (?) of this country. How true it was ! Skyscrapers are the American style. Well, they have a certain massive beauty, viewed from the bay and lower river front. They show the American character very truly, I think, but art is not ‘Vita brevis ars longa.' We have no time for art in New York City, and those few of us who have appreciation of it are compelled to suffer tortures from our environments.” * * * Mr. Maxwell H. Hite, the expert electrician and cinematograph operator, of Harrisburg, Pa., has kindly consented to write a few articles, imparting some much-needed information, based on his years of experience, which will no doubt prove very helpful to our younger readers. The first installment will appear in our next number. * * * F. C. Edmonds, Lindsay, Ontario, Canada, is the patentee and manufacturer of a magazine slide carrier. The features claimed for it are instantaneous change of slide, no blank or movement seen on the screen, minimum handling of slides and giving the operator more time to attend to light and focusing. It is highly recommended by those who have used it. * * * Lecturers or entertainers who are in want of slides on any subject should not fail to correspond with the Riley Optical Lantern Company, 23 East Fourteenth street. New York. They claim to carry the largest stock of slides of any house in this country and have thousands of negatives filed away for use for special subjects. * * * The Actograph Company, 50 Union square, New York, are new debutantes in the film manufacturing field. Their first film, “Sport in the Adirondacks,” is for rental only. * * * Moving Pictures Aid East Side Work. — If cleanliness is next to godliness, the moving picture has been found to be next to cleanliness. At least, that has been the experience this past Summer of Prof. Hamilton, head worker of the University Settlement Society, the organization that makes good citizens out of raw material. In a report soon to be issued Prof. Hamilton will explain how it was he was able to fill the hall each day with an unprecedentedly large number of boys and girls of the East Side, whom it was sought to interest in neighborhood work and the elements of civics. Heretofore the attendance at these meetings has not been very large in the warm weather, because in addition to the disinclination to be inside of a hot day was the certainty that a bath went with every appearance at the society’s, rooms. This season, however, Prof. Hamilton hit upon the moving picture as an inducement, and the result was everything that could be expected. When the little club members heard that they were to be treated to wondrous views of a young lady so absorbed in a book that she was nearly run over by an automobile, and narrowly escaped the wheels of a butcher’s wagon, and very nearly fell down a coal hole, all the time reading the book and unaware of her danger, they passed the word around, and the attendance never waned. The children found the comic pictures the most attractive, but Prof. Hamilton tried to give them something educational in between, and thus one point was gained. Prof. Hamilton says conditions on the East Side are improving satisfactorily in response to the settlement work, and that they could be improved faster if the funds came in faster from philanthropic citizens. Anyone feeling disposed to aid in this practical charity may send checks to the treasurer, James Speyer, 24 Pine Southern Picture Circuit.— Washington, October 4.— A corporation has been formed by local business men and theatrical managers with the object of establishing a chain of moving picture shows throughout the South. The Unique Theater, here is the first of the chain and forms the nucleus of the circuit. The corporation is understood to be capitalized at $25,000. * * * E. J. Wilcox and A. P. Ely, of McCook, Neb., have bought and are now operating the moving picture business in West Dennison street. * * * Messrs. John and Edward Westfall, proprietors of the “New Nickle,” at 907 Massachusetts street, have disposed of their interest in the business to Mr. Charles Crowder, who, it is assumed, will have the valuable assistance of the force which has helped to make the theater a success.