National Register of Historic Places Registration Form
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SANDY Macphehson ... Orqanist
SANDYMacPHEHSON ... Orqanist- Friendof Millions By Lloyd E. Klos "Hello, Everyone! This is Sandy at the BBC Theater Organ.,, How often have those words been bearre d into hundreds of thousands of homes throughout the British Common wealth of Nations! Although considered as one of the top theater organists of England, this man is not an Englishman by birth. He is Canadian-born Roderick Hallowell Macpherson, a musician of "Hello everyone, this is Sandy ••. " great talent who has had one of the A characteristic photograph of Sandy Macpherson at the console of the B.B.C. most remarkable careers in theater or Compton, taken at about the time of his appointment as resident organist in 1938. gan annals. The rise of Sandy Macpher son to fame should be of considerable whose ability at the keyboard was pianist and the theater's musical direc interest to all theater organ enthusiasts. equaled by her ability with the gin tor developed, and Sandy was appointed He was born on March 3, 1897, in bottle. When the theater manager heard regular pianist. He gained valuable ex Paris, Ontario, a little Canadian town. Sandy's piano style, he hired him as a perience in this position. improvising His father was manager of the local replacement for the lady each time she by the hour-agitatos, hurrys. mysteri branch of the Canadian Bank of Com was "under the weather." It meant 35¢ osos etc., and remained at the Temple merce, and his mother was the daughter to the young pianist f cx each perfor for a year and a half while continuing of the manager of another bank in town. -
Vaudeville Trails Thru the West"
Thm^\Afest CHOGomTfca3M^si^'reirifii ai*r Maiiw«MawtiB»ci>»«w iwMX»ww» cr i:i wmmms misssm mm mm »ck»: m^ (sam m ^i^^^ This Book is the Property of PEi^MYOcm^M.AGE :m:^y:^r^''''< .y^''^..^-*Ky '''<. ^i^^m^^^ BONES, "Mr. Interlocutor, can you tell me why Herbert Lloyd's Guide Book is like a tooth brush?" INTERL. "No, Mr, Bones, why is Herbert Lloyd's Guide Book like a tooth brush?" BONES, "Because everybody should have one of their own". Give this entire book the "Once Over" and acquaint yourself with the great variety of information it contains. Verify all Train Times. Patronize the Advertisers, who I PLEASE have made this book possible. Be "Matey" and boost the book. This Guide is fully copyrighted and its rights will be protected. Two other Guide Books now being compiled, cover- ing the balance of the country. Digitized by the Internet Archive in 2012 with funding from Brigham Young University http://archive.org/details/vaudevilletrailsOOIIoy LIBRARY Brigham Young University AMERICANA PN 3 1197 23465 7887 — f Vauaeville Trails Thru tne ^iV^est *' By One vC^Jio Knows' M Copyrighted, 1919 by HERBERT LLOYD msiGimM wouNG<uNiveRSBtr UPb 1 HERBERT LLOYD'S VAUDEVILLE GUIDE GENERAL INDEX. Page Page Addresses 39 Muskogee 130-131 Advertiser's Index (follows this index) New Orleans 131 to 134 Advertising Rates... (On application) North Yakima 220 Calendar for 1919.... 30 Oakland ...135 to 137 Calendar for 1920 31 Ogden 138-139 Oklahoma City 140 to 142 CIRCUITS. Omaha 143 to 145 Ackerman Harris 19 & Portland 146 to 150 Interstate . -
National Register Forms Template
NPS Form 10-900-b OMB No. 1024-0018 (March 1992) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting multiple property groups relating to one or several historic contexts. See instructions in How to Complete the Multiple Property Documentation Form (National Register Bulletin 16B). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items. X New Submission Amended Submission A. Name of Multiple Property Listing Historic Movie Theaters of Iowa B. Associated Historic Contexts Historical Development of Iowa Movie Theaters 1880-1975 C. Form Prepared by name/title Sally Fullerton Schwenk company Sally Schwenk Associates, Inc. street & number 3800 Baltimore Avenue, 3 South telephone 816-221-2672 city or town Kansas City state MO zip code 64111 D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 36 CFR Part 60 and the Secretary of the Interior's Standards and Guidelines for Archeology and Historic Preservation. [ ] See continuation sheet for additional comments.) Signature and title of certifying official Date State or Federal agency and bureau I hereby certify that this multiple property documentation form has been approved by the National Register as a basis for evaluating related properties for listing in the National Register. -
The Architecture of the Illusive Distance Amir H
The Architecture of the Illusive Distance Amir H. Ameri Sounding Space From early to mid 1930s, movie-theater design in the United States underwent a profound transformation. By the end of the decade, new movie-theaters bore little resemblance to the movie-theaters of the preceding decade (Figure 1 & Figure 2). The call for change had come at least as early as 1927 from, among others, Seymour Stern, the noted film critic. However, it was not until the early 1930s that the movie palaces of the preceding decade were supplanted by a new movie-theater design, of which Benjamin Schlanger’s Thalia Theater of 1932 was a pioneering example. The call for change in movie-theater design and its eventual realization coincide all too conspicuously with the introduction and eventual widespread adoption of sound in movies. Although introduced to a wider audience in 1927, it was not until the early 1930s that the initial technological challenges were overcome, the novelty dissipated and the “talkies” became merely movies.1 The initial Vitaphone or sound-on-disk technology proved notoriously unreliable for keeping image and sound in sync.2 It was not until the early 1930s, when it was abandoned in favor of sound-on-film technology that the synchronization problems that besieged early “talkies” were finally overcome.3 It took equally long to realistically reproduce the human voice. It is approximately at this latter date that a new movie-the- ater design comes into vogue. In the meantime, Alexander Bakshy’s complaint about being “treated to hollow and squawking and lisping voices, and even to imperfect synchronization” remained commonplace.4 Significant as the introduction of sound was and closely as it was followed by calls for change in movie-theater design, besides their temporal coincidence, movie- theater historians have found no apparent connection between the widespread adop- tion of sound and the advent of a new movie-theater design. -
1. Name 3. Classification 4. Owner of Property
NPS Form 10-900 OMB No. 1024-0018 Exp. 1O-31-84 United States Department off the Interior National Park Service National Register of Historic Places t 3 Inventory—Nomination Form APR I 0 See instructions in How to Complete National Register Forms Type all entries—complete applicable sections_______________ 1. Name historic Market Street Theatre and Loft District NOV Z 0 1985 and/or common None 2. Location UHB Roughly: 982-1112 Market St. (northwest side), 973-1105 Market St. street & number (southeast side). One Jones St. and 1-35 Taylor St. #/A not for publication city, town San Francisco N/A vicinity of N/A state California code 06 county San Francisco code 075 3. Classification Category Ownership Status Present Use y district public x occupied agriculture museum building(s) x private unoccupied x commercial park Structure both work in progress educational private residence $itp Public Acquisition Accessible x entertainment religious object . in process yes: restricted government scientific W/A being considered x yes: unrestricted industrial transportation no military otherr 4. Owner of Property name Multiple, see continuation page 1 street & number city, town vicinity of state 5. Location of Legal Description courthouse, registry of deeds, etc. Hall of Records City Hall street & number city, town San Francisco state California 6. Representation in Existing Surveys__________ title Multiple, see continuation page 6 . has this property been determined eligible? __ yes _x_ no date _______________________^—federal __state __county local city, town state 7. Description Condition Check one Check one deteriorated unaltered x original s ite excellent N/A ——x — aoody »»»»•— .: , , . ruins x altered moved date fair __ unexposed Describe the present and original (iff known) physical appearance The Market Street Theatre and Loft District is an imposing but somewhat rundown group of commercial buildings on both sides of Market Street, San Francisco, for nearly 1200 feet from Sixth Street to Seventh Street and a little beyond in both directions. -
Rapp and Rapp Architects Online
Sgr5a [DOWNLOAD] Rapp and Rapp Architects Online [Sgr5a.ebook] Rapp and Rapp Architects Pdf Free Mr. Charles Ward Rapp *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1508253 in Books 2014-07-12Original language:English 11.00 x .43 x 8.50l, #File Name: 1497415926182 pages | File size: 36.Mb Mr. Charles Ward Rapp : Rapp and Rapp Architects before purchasing it in order to gage whether or not it would be worth my time, and all praised Rapp and Rapp Architects: 0 of 0 people found the following review helpful. Five StarsBy Willis G. JohnsonGreat book2 of 3 people found the following review helpful. you will like this bookBy Misty's momI bought this as a gift for my son who had it on his wish list. He loves it. If you are interested in old theaters and how they were built, you will like this book. It is about two well known architects who designed some famous theaters. Interesting.1 of 2 people found the following review helpful. Rapp and Rapp architects - the ultimate story on an American architecture and how to run the business, a social historyBy ChicagoArchitectThe Rapp Rapp architecture firm lead by example in its design and firm management. C. Ward Rapp captures the social and architectural relevance of the firm and the talented family of architects (Rapps and Brush) who influenced the architectural design of theaters throughout the country as well as the celebration of local culture into now iconic Colorado and New Mexico architectural adobe expressions. The story of the Rapp family architects covers more than 100 years, from an expanding American frontier through the Modernist mid-twentieth century. -
Evolution of American Movie Theaters. the Files Include More Than 24,000 Images and Some 315 Linear Feet of Paper Materials
evolution of American movie theaters. The files include more than 24,000 images and some 315 linear feet of paper materials. The images and papers ill ustrate how movie screenings first became an established part of programs offered in vaudeville theaters and opera houses, and th en how storefront spaces in existing buildings were adapted for the specific purpose of exhibiting fi lms and became "nickelodeons." Mter that came custom-built theaters, open-air theaters, and ornate movie "palaces," built mainly in larger cities in the 1910s and '20s. The B'hend and Kaufmann Collection includes photos and background information for many "palaces," and shows how that aesthetic fi ltered down to neighborhood houses in communities of all sizes. Left: This spectacular, neoclassical neighborhood theater in Chicago, designed by J.E.O. Pridmore, opened in 1927. The Sheridan later became a synagogue, then ran Spanish-language films, before being demolished in 1994. Right: Grauman's Chinese Theatre, which opened in 1927 in Hollywood, is likely the world's best-known movie theater. Previously, exhibitor Sid Grauman had contributed the Million Dollar, Egyptian and Metropolitan (later the Paramount, Downtown) to the Los Angeles theater scene. The photos depict every aspect of a theater: exteriors, marquees, box offices, lobbies, decor, auditoria, projection booths, concession stands, even personnel. The photographic collection also captures important technological developments: the coming of sound, CinemaScope, 3D, Cinerama and other landmarks. The paper h oldings include box office records, legal documents such as leases and insurance reports, inventories, newspaper and magazine clippings, programs (many original), and booklets on restoration projects. -
Paralyzed in the Dark
ctÜtÄçéxw |Ç à{x WtÜ~ A TRIBUTE TO THE MOVIE PALACE by Nick Zegarac "No palace of Prince or Princess, no mansion of millionaire could offer the same pleasure, delight, and relaxation to those who seek surcease from the work-a-day world, than this, where delicate dreams of youth are spun...Here in this Fox dream castle, dedicated to the entertainment of all California, is the Utopian Symphony of the Beautiful, attuned to the Cultural and Practical...No King...No Queen...had ever such luxury, such varied array of singing, dancing, talking magic, such complete fulfillment of joy. The power of this we give to you...for your entertainment. You are the monarch while the play is on!" - June 1929 newspaper advertisement for San Francisco’s ‘fabulous Fox Theater In 1960, fading movie queen Gloria Swanson posed majestically against the half-gutted backdrop of the soon to be demolished Roxy Theater in New York City. It was a fitting tribute to the old time movie palace once christened ‘the Cathedral of the Motion Picture’ by its founder Samuel L. Rothapfel. A Swanson movie had opened the Roxy to great pomp and fanfare some thirty years before. 1 But by 1960, Hollywood was already in a bad way – financially speaking - and the movie palace itself in even worse condition to weather the changing tide in audience tastes and dwindling theatrical attendance from the onslaught of television. A decade earlier the U.S. government had forced a split between theater chains and movie studios; seen as an antitrust move that would generate more free market enterprise for the independent distributor. -
The Orpheum Collection
The Orpheum Collection Processed by Laura Cunningham 2013 Memphis and Shelby County Room Memphis Public Library and Information Center 3030 Poplar Ave 1 Memphis, TN 38111 Table of Contents Scope and Content ……………………………………………………………………3 Container List Box 1 (31 Folders) ……………………………………………………………………4 Box 2 (39 Folders) ……………………………………………………………………9 2 The Orpheum Collection In 1890, the Grand Opera House opened at the corner of Main and Beale Streets in Memphis, Tennessee. In 1907, the theater became part of the Orpheum Vaudeville circuit and was renamed the Orpheum Theatre. In 1923, a fired destroyed the building, which was rebuilt. A new, larger theater opened in 1928. The Malco theater chain purchased the building in 1940, running first run movies until 1976. The following year, the Memphis Development Foundation purchased the Orpheum and began bringing Broadway productions and concerts back to the theater. The theater underwent another renovation in the early 1980s, restoring it to its 1928 grandeur. At present, the Orpheum continues to bring in performances and averages ten to twelve Broadway shows a year. The Orpheum Collection consists of two boxes spanning 1 linear foot. The collection contains materials from the Memphis and Shelby County Room pertaining to the Orpheum Theatre. Items in the collection include the souvenir opening programs from 1928 and 1984; Orpheum publications: Backstage, After Five, Broadway at the Orpheum, Marquee, and the Orpheum Circuit News; and miscellaneous memorabilia. Single photocopies or scans of unpublished writings in these papers may be made for purposes of scholarly research. While the Memphis Public Library & Information Center may house an item, it does not necessarily hold the copyright on the item, nor may it be able to determine if the item is still protected under current copyright law. -
The Theater Designs of C. Howard Crane
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1992 The Theater Designs of C. Howard Crane Lisa Maria DiChiera University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons DiChiera, Lisa Maria, "The Theater Designs of C. Howard Crane" (1992). Theses (Historic Preservation). 265. https://repository.upenn.edu/hp_theses/265 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: DiChiera, Lisa Maria (1992). The Theater Designs of C. Howard Crane. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/265 For more information, please contact [email protected]. The Theater Designs of C. Howard Crane Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: DiChiera, Lisa Maria (1992). The Theater Designs of C. Howard Crane. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/265 UNIVERSITY^ PENNSYLVANIA. UBRARIES THE THEATER DESIGNS OF C. HOWARD CRANE Lisa Maria DiChiera A THESIS in The Graduate Program in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 1992 *Vid G. Dte-Lemg, Professor of ^rcnjie^tur Graduate Group Chairman and Advisor Andrew Craig Morrisorf; Architect, Reader FINE ARTS foil OF PENNSYLVANIA LIBRARII Contents List of Illustrations in Introduction 1 Chapter One: Setting the Stage: 3 A History of the Early Movie Industry Chapter Two: The Practice of C. -
Hedges Brothers and Jacobson: Ragtime Invaders1 by Bruce Vermazen
Hedges Brothers and Jacobson: Ragtime Invaders1 by Bruce Vermazen Elven and Freddie Hedges sang and danced their way from an Iowa circus at the start of the 20 th century to the top echelon of English music-hall performers around 1919. En route, in 1910, they joined with baritone Jesse Jacobson to form Hedges Brothers and Jacobson, “one of the first among the best” 2 ragtime groups in what came to be called “the American invasion” of British show business. After Freddie’s death in 1920, Forest Tell (born Richard Forrestel) took his place, and the act survived until 1926, with a brief revival in 1929. The trio is best remembered today for the recordings they made for English Columbia in 1912-13 and Zonophone in 1920. Two of the Columbia sides, The Land of Cotton and On San Francisco Bay, are sometimes cited as precursors of jazz, and all the sides offer one delight or another. The trio’s senior member, Jesse Herman Jacobson (1882-1959) was born in Mexico, Missouri, a small agrarian metropolis just off the road west from St. Louis to Kansas City. In 1868, his father, Herman, had emigrated to the United States alone, at age 19, from the Grand Duchy of Mecklenburg- Schwerin. Herman, also called “Jake,” was a go-getter. In 1879, he and his father-in-law, Simon Hirsch, opened Jake’s Saloon in Mexico, and in 1881 the partners erected a new building to house the bar and a billiard parlor, with a beer garden at the back. The next year, Jake bought out Hirsch’s share and teamed with Jacob Blum to build a new hotel (the Windsor) on an adjacent lot. -
The Gateway Theater Logan Square
Newsletter – January 2017 Number XXV A Gorgeous Garden of Dreams: The Gateway Theater Logan Square This past year, the Northwest Chicago Historical Society was proud that Jefferson Park and Portage Park were chosen to showcase venues in Open House Chicago, an annual architectural festi- val organized by the Chicago Architecture Foundation. Multiple establishments on the Northwest side opened their door for the very first time to host curious guests from all over the country. The venues included the Copernicus Center, Carl Schurz High School, the Jefferson Masonic Temple, the Rivoli Theater, Our Lady of Victory, Portage Arts Lofts, and the Portage Theater. Over 100,000 people partici- pated this year, making it one of the largest events of its kind in the world. We hope that we are able to continue to bring more people into the area to visit our historical and cultural heritage. In our most recent newsletter issues, members were most excited about the movie theater pic- tures, so this issue continues on that theme. This time, we feature the Kobelinski Theater, a theater inside the Copernicus Center that has been redeveloped into a cultural venue and multi-event complex. At one time, this was called the Gateway Theater, and it was the largest movie palaces on the Northwest Side. Since the Copernicus Center purchased the Gateway, they transformed the lobby and outside mar- quee to be more reflective of its current usage. However, the community is fortunate that they saved the theater from the wrecking ball and have beautifully preserved the historic, decorative interior. While the venue now is mostly used for live performances, the center also hosts many multi-cultural and neighbor- hood events.