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Moderating a thoughtful religious discussion with clergy after a 2016 screening of “The Last Temptation of Christ,” a movie that sparked protests when it opened at the Crossroads 6 in 1988. ![]() The "Godfather" cookie delighted scores of moviegoers at TPR's Cinema Tuesdays screening in 2010. Hosting a disco dance contest in 2016 with our screening of “Saturday Night Fever.”.Actor Bob Hinkle visiting with us in 2011, explaining in person how he became friends with Paul Newman and James Dean, and choreographed the famous “hog scramble” scene in “Hud.”.Director Severo Pérez bringing his personal print of “…And the Earth Did Not Swallow Him” to a screening in 2006.The Playhouse cast of “The Wizard of Oz” and the Woodlawn Theater cast of “Mary Poppins” performing in-theater before screenings of those films.Members of Houston’s famous Kashmere Stage Band surprising the audience with a Q&A following a screening of the documentary “Thunder Soul” in 2012.Some of my favorite memories of Cinema Tuesdays shows at the Bijou include: TPR’s Cinema Tuesdays also showcased current films that hadn’t played in town, even at the Bijou, like the acclaimed Russian film “The Return,” the moving death row documentary “At the Death House Door,” or the Mexican thriller “Miss Bala.” Over 16 summers, thousands of film fans were treated to the best in classic film, which in 2004 wasn’t otherwise showing anywhere else in town. It made sense that this theater, adorned with classic movie posters like “King Kong” and “Casablanca,” and dedicated to art house fare, would be our new home. ![]() In 2004, Texas Public Radio moved its summer film series, Cinema Tuesdays, from the AMC Huebner Oaks to the Bijou. ![]() (Alamo Drafthouse had not yet expanded to the city of its namesake.) That same year, Santikos announced the Crossroads 6 would be reopened as “The Bijou,” pioneering the in-theater dining concept in San Antonio. In 2001, Santikos acquired the Crossroads 6, and also launched an ambitious theater-building plan with the opening in 2003 of the Western-themed Silverado 16 at Bandera Road and 1604, and the Mayan Palace on I-35 South. Shockingly, the woman I brought along married me a few years later, and remains with me today (though she hasn't revisited any of those titles)!Īct III was bought by a New York-based investment company in 1998, and shortly thereafter rebranded its theaters under the Regal Cinemas banner. I saw “A Clockwork Orange,” “Dog Day Afternoon,” and “The Excorcist” all over the course of one Friday. celebrated its 75th anniversary by booking an entire week at the theater, devoting each day to a different decade. The Crossroads theater was where I got my mind blown by a new film called “Pulp Fiction,” sitting in the second row with a craned neck as the picture’s massive logo floated upward onto the screen to Dick Dale’s “Misirlou.” A few years later in 1998, I remember Warner Bros. In that case, the Bijou was the place in San Antonio to go for three and a half decades, under the ownership of Santikos, as well as Act III Theaters and Regal, which operated the Crossroads 6 for about a decade from the late 1980s through the 1990s. That is, unless your idea of a good date movie is something out of the ordinary, something that stimulates the mind and great conversation. Before it closed on March 27, 2022, the last movie I saw at the Santikos Bijou was on March 20, when my wife and I went to see the Oscar-nominated Norwegian film “The Worst Person in the World.” The first time I saw a movie at the theater may have been in 1993, when I took a girl I liked to a free screening of Oliver Stone’s “Heaven and Earth.” NOTE: Most viewers would not characterize Oliver Stone’s “Heaven and Earth” as a very good date movie. ![]() They later received the territory of further north Baltic coastal regions of what are now Latvia, Lithuania and Estonia, and showed every sign of further expansion. The Teutonic Order received the territory of Prussia via golden bulls from the Emperor and papal edict, which gave them effective carte blanche as owners of a new 'Christianized' state of Prussia, instead of the 'pagan' native land of Terra Prussiae. The Teutonic Order was called in to stabilize the territory between the Prussians and the Duchy of Masovia. Preceding that were several years of attacks and conquest attempts by Konrad on the Prussians, which were unsuccessful. In the thirteenth century, the Teutonic Knights, subject directly to the Pope, had been requested by Konrad of Masovia to come to the lands surrounding Culm (Chełmno) to assist in the Crusade against the ( pagan) Prussians. Bitwa pod Grunwaldem (Bitwa pod Grundwaldem, Battle of Grunwald) by Poles,.Žalgirio mūšis (Battle of Žalgiris) by Lithuanians,.Schlacht bei Tannenberg (Battle of Tannenberg) by Germans,.The names Žalgiris (from the Lithuanian žalia giria) and Grunwald (from the German grüner Wald) both translate as "Green Forest " it was also called Zielone Pole ("Green Field") in Old Polish, and, in German, Grunenfelde or Grunefeld ("Green field") in the oldest texts. The nearest city of any size was Gilgenburg (since 1945: Dąbrówno). ![]() The battle was fought in the plains between the villages of Grunwald (Lithuanian: Žalgiris), Stębark (German: Tannenberg), and Łodwigowo (German: Ludwigsdorf) in Prussia, which at that time was territory governed by the Teutonic Order, but which is now in Poland. In a world that has seen so much religiously sanctioned violence, the idea of military orders of priests no longer seems congruous with the ideal of religion as a force for peace, harmony and reconciliation in the world, not as the cause of conflict. Napoleon Bonaparte finally dissolved the military order in 1809, although it continued to exist as a charitable organization. In addition, they had to pay reparations to the victors. When the Polish-Lithuanian War ended, the knights retained some scattered territories but were substantially weakened. Desire for worldly wealth took priority over religious zeal. ![]() The Christianizing of Lithuania had already removed much of their reason for existence. However, they exceeded this mandate when they invaded the Christian territories of Poland and Lithuania in 1398. Rightly or wrongly, the original mandate of the Teutonic Knights has been to "pacify" and "Christianize" those areas that were under pagan rule. What is known is that the battle took place near several smaller villages, and different names in various languages are attributed to it. The few eyewitness accounts are contradictory. ![]() The Studio Equipmentįor the purposes of this article I’m using the following devices: If you find yourself using the same set of connections over and over, you can save it in one of the 64 possible memory locations for easy recall. You can use it ad-hoc by selecting an input (from the top row of eight buttons) and then selecting which of the eight outputs (from the bottom row of buttons) the MIDI messages are echoed on. The A-880 is basically a box with 8 inputs 8 outputs and it will connect these together any way you like. ![]() Some sort of automated patch bay becomes almost required. ![]() The problem is that the more devices you have, the more un-plugging and re-plugging of MIDI cables is required to manage all the equipment. But back in the 1990’s, it was like magic, and no-one complained that they needed two cables for this type of two-way communication. I realize as I write this that it all sounds archaic these days, when we have digital bi-directional comms over a single USB connector, let alone Ethernet and WiFi. Some manufacturers combined the THRU and OUT connectors. In fact, later keyboards and modules included a third port, a MIDI THRU that would re-transmit incoming MIDI signals to the next device in a chain, allowing layering and multi-timbral setups. This allows more than one device in a MIDI chain. So if you connect a MIDI cable between two devices, a device listening on channel 1 won’t respond to any messages assigned to channels 2-16. MIDI messages are assigned a “channel” between 1 and 16. The computer requests data the module sends it the computer sends more data. From the computer OUT to the module IN and also from the module OUT to the computer IN. We had PC software that allowed us to perform patch librarian tasks using MIDI (called System Exclusive or SYSEX) on many of the devices but it requires bi-directional data transfer between the sound module and the computer, and signals in a single MIDI cable only go one way: You need two cables connecting the In and Out ports. Shortly after that, we found a Roland MIDI Interface (MPU-401?) for our PC, and started recording MIDI sequences into a copy of Passport Software’s Master Tracks Pro. Also, you could send notes from the Jupiter to the Akai devices over MIDI, so long as you set the rack to listen on MIDI Channel 1 or 2. It was soon followed by an Akai sampling keyboard and synthesizer rack module, which worked very well together when connected with MIDI cables. It had some DIN ports – In and Out – on the back for something called MIDI. It certainly wasn’t the first piece of kit I ever bought – that honor goes to a second-hand Roland Jupiter 6 back in 1988. I can not remember when I acquired the Roland A-880 MIDI Patch Bay. Last but not least, 65 patch positions result from the provided matrix, offering users a wide range of possibilities.Fig 1. Offering a visual analog of a physical controller, MIDI Patchbay is equipped with a series of 16 controls, 8 for the inputs and 8 for the outputs, as well as dedicated commands for controlling pitch, magnitude, and other relevant parameters. Furthermore, through the mapping process, users will basically route the signal to the application’s actual, internal input, and outputs. MIDI Patchbay is a specialized application that was developed specifically in order to provide users with a series of tools for working with the signal to and from their MIDI device, through means of splitting, merging, or applying filters, in accordance to their characteristic requirements.īuilt around an 8 by 8 MIDI interface, the controller will allow one to map all MIDI ports, regardless if we’re talking about the virtual or actual, physical ones, on the audio equipment. Not to mention the hassle of adequately linking the same signal traces to any accompanying software, in order to achieve better control over the physical equipment. Working with MIDI controllers on multiple channels can pose serious challenges, especially when it comes to splitting or merging the signal. |