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Prior to the advent of sound in motion pictures, movie theaters relied upon live organ music to underscore the mood of the film being screened.  The bulky equipment required by pipe organs--the console itself, a powerful electric blower that supplied air to the various ranks of pipes, and frequently a hydraulic lift that retracted the console into a pit in the stage--all demanded careful integration into the building design.  The organ pipes, which in larger installations could number nearly a thousand, were housed in a pair of cavernous recesses flanking the proscenium, and were concealed by elaborate structures called “organ screens”.  These were usually angled toward the audience, and their prominence furnished a fine means of reinforcing the architectural theme--as the Castro’s ornate Churrigueresque examples will confirm.  “Talking” pictures did not arrive in movie theaters until The Jazz Singer of 1927, in which Al Jolson claimed a place in the popular lexicon of the day by declaring, “You ain’t seen nothin’ yet!”.  The pipe organ persisted into the early thirties, and thereafter faded from the cinematic experience.  The organ screen survived in the vestigial form of a decorative niche or grille to either side of the proscenium.