Happy Fourth of July (a bit early)! Featuring a bit of red, white, and blue in my hulls above. I'm happy to have a number of events and exhibitions currently underway and in the upcoming weeks and months. Hope to see you! Current and Upcoming Exhibits/Events: Be sure to go to the opening reception tonight, from 7pm - 9pm, for Roman Fine Art's "Art On The Edge" group show, organized in conjunction with the gallery's participaiton in the Art Market Hamptons (aka Market Art + Design) art fair. The gallery show will feature additional work by the artists that the gallery is showing at the art fair, and will be on exhibit for much of the month of July. See it! Market Art + Design art fair. Roman Fine Art, booth #415. 2368 Montauk Highway, Bridgehampton, NY. July 6 - 9. Roman Fine Art. “Art On The Edge - The New Contemporary.” 66 Park Place, East Hampton, NY. July 1 - July 23. Opening Reception: Saturday, July 1, 7pm - 9pm I'm honored to have been invited to speak about my work at the upcoming East Hampton Arts Council's Creative Networking Night on July 20. I'm excited to chat about my photography and to learn more about the other participating artitsts: Perry Burns, Gian Carlo Feleppa, Joyce Raimondo, and Will Ryan. Open to all - hope to see you there! Hampton Arts Council Creative Networking Night. Studio 144, 144 North Main Street, East Hampton, NY. July 20, 6pm - 8pm. I'm proud to have been invited by the East Hampton Historical Society to create an extensive exhibit of my work at the Marine Museum in Amagansett. The exhibit features over 25 pieces from my Boat Hulls series from its inception several years ago in Montauk to some of the more recent images taken outside of London and Barcelona. The exhibit is up through the end of September, but come by on July 15th when I will be at the Museum for an artist's talk. East Hampton Town Marine Museum. “Boat Hulls” 301 Bluff Road, Amagansett, NY. June 17 - September 30. Artist's Talk: Saturday, July 15, 3pm - 5pm I will have a solo exhibition of work from my Boat Hulls series at the Greenport Harbor Brewing Gallery for the months of September and October. Come by for the opening reception on September 9th (only steps away from where I've shot some of my favorite Boat Hull images in Greenport!). Greenport Harbor Brewing Company Gallery. 234 Carpenter Street, Greenport, NY. September 1 - November 5. Opening reception, Saturday, September 16th, 6pm - 9pm.

By design it looked partly like a floral array and partly like the aftermath of a bloodbath. It was the large-scale installation by Pakistani artist Imran Qureshi, and its blood red dahlias and crimson splatter spilled over the floor of the Metropolitan Museum of Art's rooftop garden in the warmer months of 2013, and I've yet to stop thinking about it in all of its gory glory. In response to bombings near his home in Pakistan, Qureshi began to incorporate red acrylic paint into his work, in an effort to convey "life and its destruction" in one image. The Met installation was inspired both by the effects of the violence as well as the blossoming of hope in spite of it, and its startling beauty left an impression that remains with me to this day, and which was put into even greater relief while I was at the Met last night. Four years later, surrounded by stunning new exhibits, and my mind kept reverting to Qureshi. Click here and scroll down to a brief clip that shows the installation in progress, with close up views and Qureshi’s discussion of its relation to the location of the ‘urban rooftop’ on which it was installed. The smudges of red on the bottom of the hull above have always reminded me of that work and its lasting visual impact for me. Here is "Sarah Jean”. I’m excited to announce that I will be showing work from my Boat Hulls series with Roman Fine Art gallery at the upcoming Market Art + Design art fair, the only art fair to be held this year in the Hamptons, and once again to be held on the grounds of the Bridgehampton Museum. Roman Fine Art will also show additional work by exhibiting artists at its East Hampton gallery during and beyond the art fair for its “Art On The Edge” show, with an opening reception on July 1st. More details below. Current and Upcoming Exhibits/Events: Market Art + Design art fair. Roman Fine Art. 2368 Montauk Highway, Bridgehampton, NY. July 6 - 9. Roman Fine Art. “Art On The Edge - The New Contemporary.” 66 Park Place, East Hampton, NY. July 1 - July 23. Opening Reception: Saturday, July 1, 7pm - 9pm East Hampton Town Marine Museum. “Boat Hulls” 301 Bluff Road, Amagansett, NY. June 17 - September 30. Artist's Talk: Saturday, July 15, 3pm - 5pm

I'm excited and proud to have been invited to exhibit work from my Boat Hulls series at the East Hampton Town Marine Museum this season. The exhibit will run from June 17 through September 30 and will feature images taken in and around East Hampton, as well as elsewhere in the Northeast, Portugal, Spain, and England. The Marine Museum is dedicated to documenting and preserving East Hampton Town's maritime history and to telling the unique story of Long Island's East End community and its relationship with the sea through artifacts, photographs, models, and displays. The museum is part of the East Hampton Historical Society (EHHS), the parent organization for a complex of five museums, national landmark historic sites and workshop facilities. The East Hampton Historical Society serves the residents and visitors of East Hampton by collecting, preserving, presenting and interpreting the material, cultural and economic heritage of the town and its surroundings. We're in the process of scheduling related events, such as an artist's tour/talk, so stay tuned. Meanwhile, please visit the Marine Museum to see this and the other exhibits on display (the Boat Hulls exhibit starts next weekend, on Saturday, June 17). Additional information is available on the East Hampton Historical Society's website, where you can also learn more about the other EHHS sites and events. Consider also becoming a member to further support EHHS's preservation and education efforts and programs. And sign up for their e-newsletter, the most recent issue of which features an image of the Boat Hulls exhibition poster, shown above, as well as updates on other EHHS events regarding the arts and culture on the East End.

Taking photos of boats in Cuba requires a bit of strategy and even more luck. As you may have already surmised, boats are a closely guarded resource in a country where defection is at best a much discouraged act. Nonetheless, I was determined to capture some boat hull images when I went to Cuba earlier this year. Where better to go than Cojimar, where Ernest Hemingway often docked his 38-foot fishing boat, Pilar, during the twenty years that he lived in Cuba? Given the logistical issues of renting a car in Cuba, I hired a driver for what ended up being a half day to take me to marinas both just east and west of Havana, and as expected, it was the eastern marina in Cojimar that yielded the most interesting boats with the best textures, and to which we ultimately gained the best access. First, however, was getting the transportation. My hotel connected me with Gabriel, a local driver who would take me where I wanted to go. When we each introduced ourselves, he said, "Like Michelle Obama! You'll be my Michelle Obama and I'll be your angel, Gabriel." We chatted on the 20 minute drive to Cojimar, each of us trying our best with our nonnative languages. His much more practiced English far surpassed my less frequently used Spanish, but we still managed, encouraging and prompting each other along the way. Gabriel explained that he was learning English on his own with textbooks that he purchased, and was determined to be fluent in several languages to help with his current job and to better position himself for potential opportunities in the island's hospitality industry. He often studied while in his car while waiting to be hired -- that is, when he wasn't catching a quick nap to help him get through a 24+ hour work day. Gabriel noted that the he lived near Cojimar and was familiar with the boatyard where we were headed. Entry might be difficult given the security at the site, but he would do his best to explain our purpose and to negotiate our way behind the tall and rusty chain link fence. Gabriel proved worthy of his name as he spoke with the men at the gate, cueing me to show examples of my artwork on my phone to illustrate his argument. Deal struck, we gained access to the boats within, accompanied by Hanki, who worked at the boatyard and walked us around the site. The boatyard at Cojimar was unlike any that I'd seen, with boats strewn about in an array of states, from fully restored to varying degrees of decrepitude, and no shortage of 'texture' to be found on the hulls within. Taking photos of the boats was often complicated by their position on the ground (and my poor decision to wear a sundress) rather than up on stands, but it was fantastic to hear Hanki give brief histories of some of the boats. One vessel lay on the ground in halves, having been bisected in an accident (fortunately no injuries), with each piece several feet apart. Remnants of another from a failed defection attempt lay outside the gates, more readily seen as a cautionary example. Hanki was happy to show us still another carcass of a boat (above) that lay outside of the fenced in boatyard, oddly abandoned in a slightly wooded area just down the dirt road. This boat had the distinction of being made of cement (!), with framed-out spaces in front and back to accommodate coolers for either the day's catch or refreshment - or both. Dead fronds fell on it from above while new vegetation grew from within. As Hanki walked us back to the entrance of the site, another man emerged from one of the low buildings within to proudly show us the freshly extricated jaws from a shark caught earlier that morning, still wet and red with blood. Sensing in me an endlessly interested audience, the man went back inside to retrieve a treasured book about Hemingway's time in Cojimar, carefully protected in a plastic bag, but still bearing occasional scribbles on some pages from his curious children. Pictured at top is "Habana", taken at the boatyard in Cojimar. Habana is the bisected vessel also pictured in situ in the second photograph. “Man can never be more perfect than the sun. The sun burns us with the same light that warms us. The sun has spots (stains). The ungrateful only talk about the spots (stains). The grateful talk about the light.” ― José Martí, La Edad de Oro

Tips For Traveling to Havana: 1 DO remember that Americans cannot use credit or debit cards while in Cuba, so you must bring all of the money you may need. 2 DO NOT get food poisoning the day before you fly to Havana. 3 DO learn/practice some Spanish before you travel. 4 DO NOT consider hotel food for your first foray back into eating after food poisoning. 5 DO appreciate the architecture of Havana, and not just the classic cars. 6 DO NOT become so engrossed in looking up at the architecture while walking around Old Havana that you fail to notice and then step into freshly poured wet cement. With both feet. 7 DO try the relatively recently established private restaurants or "paladares' if food is palatable to you during your visit. 8 DO NOT expect that the overseas shipment with half of the pieces for your solo gallery photography show opening the day after you are slated to return to New York will have arrived as scheduled before you leave, or even be delivered in New York while you are in Havana. 9 DO enjoy the fantastic and seemingly omnipresent live music throughout Havana. Travel tips illustrated: Tip #5: Image above taken from within the shell of a building in Old Havana, the ground floor of which functions as an informal market housing makeshift stalls for selling produce. Images below: first La Catedral de la Virgen María de la Concepción Inmaculada de La Habana, and then the Gran Teatro de la Havana. Construction on the cathedral began in 1748 and finished in 1777, resulting in one of the best examples of Baroque architecture in Cuba. The cathedral is constructed primarily of blocks of coral cut from the Gulf of Mexico, allowing marine fossils to be seen in the facade. The Gran Teatro opened in 1915 during the early years of Cuban independence, built around and preserving the Teatro Tacon, which had opened in 1838. Tip #6: Yup, not a joke. Tip #7: Economic reforms instituted in Cuba in 2011 eased regulations on private restaurants, making a practical reality of what was only a technical possibility in the 1990s. These ‘paladares’ are found in private homes or premises, and are the best option for dining out in Havana. La Guarida is considered one of the best paladares in Havana, and that reputation has made a challenge of getting a reservation. Lunch seatings are easier to attain, and as it turns out were a fortuitous alternative as the daytime allowed for better lighting of the beautifully textured interior space currently undergoing renovation. It's a bit of sensory overload, with the evident aging and deterioration contrasted by jolts of applied color, both within and without. I wanted to capture a bit of La Guarida on my phone as I was leaving, while not being so obvious in my efforts. The result is this slightly shaky video, which still shows the fantastically narrow and high doors, the maze of passageways from the dining room to the kitchen, the buzzing sounds of reconstruction, and the beauty of decay before it is ameliorated. Recording was interrupted so that I could shoot the space with my camera, before resuming the video. I love the web of twine woven between the walls and columns, which at the time I thought was related to the construction, but is actually used to hang the laundry of linens from the restaurant. See more images on Instagram, @michele_dragonetti Suggested Reading: Cooke, Julia. The Other Side of Paradise: Life in the New Cuba. Seal Press 2014. Sweig, Julia E. Cuba: What Everyone Needs to Know. Third Edition. Oxford University Press 2016. Current Shows: "Sea Something, Save Something" at Borghese Vineyard is open through the month of May, and seeks to build community around the efforts to raise awareness of the need to protect the marine environment on both the North and South forks of Long Island's east end. Fundraising efforts will benefit Cornell University's Cornell Cooperative Extension Marine Program. Borghese Vineyard, 17150 County Rd 48, Cutchogue, NY 11935 on Long Island's North Fork. artUNPRIMED pop-up show, open through May 15 at 105 Newtown Lane in East Hampton, NY. See artunprimed.com for more information on the show and other exhibiting artists. I am also showing a piece from my Boat Hulls series in the Guild Hall 79th Artist Members Exhibition, through June 3, 2017, in East Hampton, NY.

You've heard about it and must have seen photos of the streets of Old Havana replete with Detroit's massive classics. But when you are in Havana and see it for yourself, when you're personally immersed in the immediate reality of the carefully preserved fleet of Chevys and Fords and Buicks of the past, you're struck by the sight of so many cars which each in isolation would warrant a second look in the U.S. The aggregation of these exceptions gives the feeling of stumbling into a movie set, as one after another of these relics rumble by without ceremony, until the sight of a car with a production date within the past half-century seems incongruous and is what prompts the double-take. Puttering along modestly in the shadow of the hulking American relics are a great many Ladas, the relatively diminutive Russian imports that began to appear in Cuba in the mid-1970s, and which represented more than 30% of the cars in Cuba by the end of the 1980s. Their straight, simple lines serve as a foil to the curves and contours of the vintage American autos, and in profile resemble the vehicular equivalent of a palindrome. Though they are not quite as photogenic as the classic American cars, I began to appreciate their look which harkens back to a later distant decade but which still plays well against the textures of the decaying architecture of Old Havana. Looking forward to going back to Cuba. "Green Lada" pictured at top. See more images from this series on Instagram, @michele_dragonetti. Still more to come. Current Shows: I’m excited to be part of the artUNPRIMED pop-up show, open through May 15 at 105 Newtown Lane in East Hampton, NY. See artunprimed.com for more information on the show and other exhibiting artists. I am also showing a piece from my Boat Hulls series in the Guild Hall 79th Artist Members Exhibition, through June 3, 2017, in East Hampton, NY.

Save the date! So thrilled to announce that I have a solo show, “Waterlines”, opening later this month on Friday, February 24 at The White Room Gallery in Bridgehampton, NY. The show will feature work from my Boat Hulls series, including images from Montauk, NY, where the series originated, as well as more recent work from Barcelona, Lisbon, and London. I love working together these pieces by highlighting both the essential commonalities and evident differences of the images - come to the gallery to see for yourself! Opening reception on Saturday, February 25th from 6pm - 8pm -- would love to see you there! Meanwhile, see work from the series this weekend in Sag Harbor. This is the last weekend to see several of my pieces in artUNPRIMED's "Water" show at addō, 7 Main St., Sag Harbor. Thoughtfully curated by Casey Dalene, the show features fantastic work by East End artists. More info about artUNPRIMED at artunprimed.com. There's still time to see the work I have in the "From The Archives" show at Ilon Gallery at 204 West 123rd St. in NYC. The show includes work by an incredible group of photographers including Joel Meyerowitz, Annie Leibovitz, Dan Hunstein, Gregg Delman and Flo Fox and was curated by the wonderful Loni Efron. See it through March 4th.

It couldn't have been anticipated when scheduling the 14 month, 10 global city tour of the Annie Leibovitz "Women" exhibition, which began in January 2016, that the New York City stop in mid-November to mid-December would come at a time when the celebration of women was most needed. But when I went to experience the installation and looked around the space dedicated to the exhibit at the former Bayview Correctional Facility (and future home of The Women's Building) on the west side of Manhattan, I could sense the open admiration and respect for Leibovitz and her work, and their celebration of the diversity and individuality of the specific subjects of the photos and of women more generally. The photograph prints informally posted on one wall, and the digital photo slideshows progressing across three separate large screens on as many walls of the room effectively immersed us all in images of intelligence, strength, resilience, individuality, community, beauty, and achievement. As I watched the images on the screens I also observed others in the scattered folding chairs taking in these silent testimonies, and in particular noticed the two women pictured here, who I assumed to be grandmother and granddaughter. I was struck by the mutual admiration of the work between these related generations, the loveliness of their shared experience, the confidence of the granddaughter and the warm incline of her head to better communicate with her grandmother, and the elegant upward tilt of the grandmother's head in admiration and respect. The background image of Narelle Brennan with her daughters Sarah and Briana echoed and immortalized the same sense of love that was so clearly evident between the two women in attendance. I've thought of this exhibit and this work and these women quite a lot over the last few days and weeks. I'm celebrating this. I'm celebrating this respect and admiration of women. Current and Upcoming Shows: "Water" artUNPRIMED at addo. 7 Main Street, Sag Harbor, NY Through February 5th "From The Archives: A Group Photography Show" Ilon Art Gallery, New York, NY. Through March 4th

I'm reading "You Are the Music" by Victoria Williamson, which explores the impact that music has on human behavior. I'm happy to learn that singing is shown to boost brain connectivity, providing a legit excuse for my laryngitis inducing singalong sessions. However, as Williamson notes, music has largely become a coincident activity. I listen while driving; while editing photos or my website; while cooking; and here, while writing this post on my phone en route to Los Angeles to see Stevie Nicks. Thanks to the dramatic increase in the mobility of music, we can effectively arrange an informal soundtrack to our lives - we are able to have our choice of music everywhere we go. Certainly, this convenience is a quality of life uptick, and enhances my enjoyment of everyday activities. But it can be much more. Nothing will compare to being able to pull out my ever-present iPod eleven years ago and ensuring that - other than my mother's voice - the last sounds that my dad heard were not hospital noises but the soaring strains of his much loved "Ave Maria." But I rarely sit and listen - just listen - anymore, where the only other activity might be admiring the album artwork, reading the liner notes, or following along with written lyrics. This lack of focused music listening has almost certainly facilitated the occasional misinterpretation of what is actually being sung. We've all misheard lyrics, with the famous example of Phoebe on "Friends" interpreting Bernie Taupin's lyrics of the Elton John classic hit as "hold me close, young Tony Danza". However, I'm not sure if others are as committed to their misheard lyrics as I am. Despite now knowing 'better', I still insist on singing "you could capsize, with all the lies, that you've been living in", rather than cutting ties with those lies in Third Eye Blind's "Jumper". (Of course the weight of the lies would be sufficient to upend a seaworthy vessel, such is the degree of their burden - or at least that's how I rationalize my version of the words). It's likely no coincidence that my obsession with penguins led me to originally misinterpret the lyrics to Adele's 2008 breakout hit as "chasing penguins" rather than "pavements." Finally, why wouldn't Squeeze sing about "Pulling Muscles for Michele" rather than "Pulling Mussels From A Shell"? Overexertion on my behalf is always to be recommended. ;) Three hours left to LAX. That's it. I'm shutting off my phone, putting down my book, and giving the wheel of my classic iPod a spin while I let the cloud reflected light at 35,000 feet warm the side of my face as I bask in sonic nuances and rediscover the songs I love. Above: Sound, taken in Portimão, Portugal in January 2016 Current and Upcoming Shows: "Water" artUNPRIMED at addo. 7 Main Street, Sag Harbor, NY Opening reception on Saturday, January 14, 2017, from 6pm to 8pm "From The Archives: A Group Photography Show" Ilon Art Gallery, New York, NY. December 1 - March 4, 2017

My work (clockwise from top left - La Buena Vida, Waterline, Legacy, Pipe Dream) hanging next to Dune Grass, House, Truro, with a stunned me in between. Thanks to Kate Sarris for this photo. Joel Meyerowitz. I’ve long loved Joel Meyerowitz’s iconic street photography, but over time have also become aware of and admired his other work. I was lucky enough last year to see him discuss his “Morandi’s Objects” series at the Center for Italian Modern Art, inspired by the exact objects that artist Giorgio Morandi (1890 - 1964) painted over his lifetime. Meyerowitz’s “Cape Light” series originated in Cape Cod, Massachusetts in the mid-1970s, and is a classic example of color photography with natural, often softly ethereal light. I love the series for the beauty of the work itself, and for how its stark contrast to Meyerowitz’s street photography exemplifies the breadth of his talents as a photographer, providing endless inspiration. So when I walked into the Ilon Art Gallery earlier this month for the opening reception of the “From the Archives” show, and saw Dune Grass, House, Truro from Meyerowitz’s “Cape Light” series hanging next to a grid arrangement of four works from my “Boat Hulls” series…well, I just - stopped. Tried breathing. Even succeeded, after a minute. After a few moments I began to take in the rest of the exhibit — and then there were the fantastic black and white prints by Ken Graves and Eva Lipman, and Leonard Freed. While walking to the downstairs gallery, I saw a photo of Barry Humphries by Annie Leibovitz. The breathing thing started happening again. Annie Leibovitz! Further in was a framed print of the iconic album cover photo Freewheelin' Bob Dylan & Suze Rotolo, West Village, NYC by Don Hunstein. A series of stunning black and white portraits, including of Buju Banton and Snoop Dog, by Gregg Delman was hung near a large print of my Untitled (“Moonshine Revellers”). At every turn were more revelations and inspiring surprises. The exhibit beautifully combines a collection of works by diverse photographers of varied subjects - and it continues to inspire momentary breathing difficulties for me. Go to Ilon Art Gallery to see and discover the work of these incredible photographers. Thanks to Loni Efron, owner of the gallery for curating this wonderful show and for inviting me to be a part of it. “From the Archives” will be up through March 4, with more information available at www.ilonartgallery.com. Several of Gregg Delman's portraits reflected in my Untitled ("Moonshine Revellers"). Thanks to Claudia Ward -claudiawardphotography.com - for this photo. Current and Upcoming Shows: "Slide Slamming: A Long Island Collaboration" Patchogue Arts Council Gallery. Patchogue, NY. November 12 - December 30 Solo Exhibition. "Boat Hulls From Montauk and Beyond" The Gallery, Quogue Library. Quogue, NY. December 2 - December 31 "From The Archives: A Group Photography Show" Ilon Art Gallery, New York, NY. December 1 - March 4, 2017

TONIGHT! At the Patchogue Arts Council, the opening of the exhibit, Slide Slamming: A Long Island Collaboration. The show features the work of the fifteen artists who were chosen to present at the first Slide Slam 2016 in August of this year, where each artist was given five minutes (exactly) to show and discuss their work to an audience of museum curators, gallerists, arts writers and editors, art collectors, art dealers, and other audience members. The program is intended to foster connections between artists and art communities outside of their home locale, providing recognition and exposure for the artists and their work. I was thrilled then to be chosen to discuss my series of Boat Hull photographs, and so excited now to participate in an exhibit with the other fourteen artists who were also selected to participate. The exhibit runs through December 30, 2016. Hope to see you at the opening tonight! Patchogue Arts Council | 20 Terry St., Suite 116, Patchogue, NY 11772 | 631-627-8686 Current and Upcoming Shows: Group show. The White Room Gallery. Bridgehampton, NY. November 3 - November 20 "Slide Slamming: A Long Island Collaboration" Patchogue Arts Council Gallery. Patchogue, NY. November 12 - December 30 Opening Reception: November 19, 5p - 7p Solo Exhibition. "Boat Hulls From Montauk and Beyond" The Gallery, Quogue Library. Quogue, NY. December 2 - December 31 "From The Archives: A Group Photography Show" Ilon Art Gallery, New York, NY. December 2016 - March 2017 Opening Reception: December 1, 6p - 8p

Though named "Ghost" - it is unlikely that the boat pictured above was an actual ghost ship (aka phantom ship) with no living crew aboard. The concept of a ghost ship may sound like a bit of mystical creativity best kept for one-upmanship in spooky storytelling or for musical inspiration to Tori Amos and Iron Maiden, but such occurrences can be fact rather than fiction. They range from the rather mundane instance of a boat that becomes unattached from its ropes and drifts away driven by wind or current, to the mysterious instance of the Marie Celeste, an American brigantine found adrift and unmanned near the Azores in the Atlantic on December 5, 1872. Originally bound for Genoa after departing New York City weeks earlier on November 7, the Marie Celeste was found unmanned with much of its cargo and the possessions of its captain and crew intact. The ship's log had last been updated ten days earlier, and its lifeboat was missing. With its crew vanished and the resulting investigation inconclusive, conjecture about the cause of the mysterious fate of the ship's crew eventually escalated from insurance swindles to seaquakes, waterspouts, giant squid attacks and paranormal forces. In addition to being the last departure point of the ghost ship the Marie Celeste, New York City is also the site of the Procession of the Ghouls at the Cathedral of St. John the Divine, created under the direction of Ralph Lee, Artist In Residence at the cathedral and creator of the famous Greenwich Village Halloween Parade. The procession of fearsome costumed creatures and larger-than-life-sized puppets is the perfect finale to the annual screening of a classic 1920s silent horror film (comprised of a three film rotation which includes The Phantom of the Opera (1925), Nosferatu (1922), and this year's The Cabinet of Dr. Caligari (1920)) on the Friday before Halloween. A skeletal cellist plays in advance of the screening, and the cathedral's impressive 8,514 pipe organ provides appropriately moody music to accompany the silent film played on a screen suspended from the ceiling, as well as processional music for the ghouls which culminates with "When the Saints Go Marching In." It's a fantastic spectacle in the fifth largest church building in the world, and after going for the first time this year it is now on my annual Halloween to-do list. Experiencing it once makes you want to experience it over again. Happy Halloween!