Cincinnati Union Terminal

1301 Western Avenue

Cincinnati, Ohio

Cincinnati Union Terminal is an intercity Art Deco train station and museum center in the Queensgate neighborhood of Cincinnati.  The terminal is served by Amtrak's Cardinal line, passing through Cincinnati three times weekly.  It originally had 8 side platforms though now only 1 with 2 tracks though originally 16 tracks. 

After a limited architectural competition, the firm of Fellheimer & Wagner was commissioned to design the terminal in June 1928, shortly after completing their work on the Buffalo Central Terminal.  The firm first released plans for the terminal in June 1929. The sketches showed a conservative design, utilizing large Gothic arches, vaulted ceilings and conventional benches in long rows.  The originally proposed shape of the rotunda and concourse were the same as the finished product, though the details of the design more closely resembled the Buffalo Central Terminal. The building was then estimated to cost $8 million with the total project costing $40.6 million. 

The Cincinnati Union Terminal was built from 1928-1933 opening March 19, 1933 and closed October 29, 1972.  A two-year, $228 million renovation was completed in 2018.  

It was placed on the National Register of Historic Places October 31, 1972.

Its Art Deco design incorporates several works of art including a set of sixteen mosaic murals depicting Cincinnati industry commissioned for the terminal in 1931.  The main space in the facility, the Rotunda, has two enormous mosaic murals designed by German-born American artist and graphic designer, Winold Reiss.  Taxi and bus driveways leading to and from the Rotunda are now used as museum space.  The now-demolished train concourse held all 16 of Reiss' industrial murals along with other art and Art Deco design features.  

 

The Chicago Theatre

175 North State Street

Chicago, Illinois

Circa 1927

Seven uniformed ushers at the Chicago Theatre.

The grand lobby with its Tiffany stained-glass curved window modeled after the Royal Chapel at Versailles, is five stories high and surrounded by gallery promenades at the mezzanine and balcony levels.  Stained glass was a common, extravagant element in these "movie palaces", suggesting the lobby window was integral to its intended grandeur.

The grand staircase is patterned after that of the Paris Opera House and ascends to the various levels of the Great Balcony. 

The Chicago Theatre, originally known as the Balaban and Katz Chicago Theatre Corporation with a seating capacity of 3,600 is a theatre seven stories high, more than one half of a city block wide and nearly as long in the loop area of the city.  The vertical sign 

C-H-I-C-A-G-O, at nearly six stories high, is one of the few such signs in existence today.  A symbol of State Street and Chicago, the sign and marquee are landmarks in themselves as is the original 1921 29-rank Opus 434 Wurlitzer pipe organ. 

Organ console was painted white prior to an overhaul in 1985.

The grandeur of the Chicago Theatre often leaves its visitors breathless.  The elegant lobby, majestic staircase and beautiful auditorium complete with murals above the stage and on the ceiling, are components of an amazing building called "the Wonder Theatre of the World" when it opened October 26, 1921 with Norma Talmadge on screen in "The Sign on the Door."  A 50-piece orchestra performed in the orchestra pit and Jesse Crawford (1895-1962) played the Mighty Wurlitzer pipe organ.  After a "white glove inspection," a staff of 125 ushers welcomed guests who paid 25 cents until 1 p.m., 35 cents in the afternoon and 50 cents after 6 p.m.

The Chicago Theatre was the first large, lavish movie palace in America and was the prototype for all others.  This beautiful movie palace was constructed for $4 million by theatre owners, Barney and Abe J. Balaban, his brother-in-law, Sam Katz and Morris Katz. It was designed by architects, C. W. (Cornelius Ward) Rapp, George L. Rapp and Mason G. Rapp.  It was the flagship of the Balaban and Katz theatre chain. Attention was given to a visitor's total experience, from the moment a patron walked through the front door until they sat down in their seat. 

Built in French Baroque style, the Chicago Theatre's exterior features a miniature replica of Paris' Arc de Triomphe, sculpted above its State Street marquee. Faced in a glazed, off-white terra cotta, the triumphal arch is sixty feet wide and six stories high.  Within the arch is a grand window in which is set a large circular stained-glass panel bearing the corporate emblem/coat-of-arms of the Balaban and Katz chain which are two horses holding ribbons of 35-mm film in their mouths.  

If you find yourself in Chicago, guided, behind-the-scenes tours are offered for this iconic landmark.  The tour takes you through the theatre's history and architectural highlights, from its inception in 1921 to its present-day role as an entertainment venue.  Included in the behind-the-scenes tours are the backstage areas, dressing rooms and seeing backstage artist signatures including those from Frank Sinatra, Dean Martin and Dolly Parton. The tour is approximately 60-75 minutes long and may sell out subject to availability. 

 

Ohio Theatre 

39 E. State Street

Columbus, Ohio

Thomas W. Lamb, Architect

Architectural style:  Spanish Baroque (blending Mission Revival and Baroque elements)

Opening Date: March 17, 1928

Capacity: 2,791 seats

Added to the National Register of HIstoric Places on May 5, 1977

Added to the National Historic Landmark on May 5, 1977

Today the Ohio Theatre is home of the Columbus Symphony Orchestra, BalletMet, the Broadway Series, Opera Columbus, Broadway tours such as Les Miserables, Pops concerts and the Columbus Association for the Performing Arts (CAPA) Summer Movie Series.

In 1966, members of the American Theatre Organ Society began restoring the Robert Morton and playing the organ for shows again.  The "Mighty Morton" Theatre Organ has been the soul of the Ohio Theatre since the doors opened in 1928.  Built by the Robert Morton Organ Company of Van Nuys, California, the "Mighty Morton" was installed just in time for the Ohio Theatre's grand opening.  It is one of only four identical organs built for Loew's theatres and ..  the only one still in its original home.

While the "Mighty Morton" has been lovingly maintained with routine care and small repairs, it hasn't undergone a major restoration since 1987.  After nearly 40 years, a more comprehensive effort is needed to ensure the organ plays on for generations to come. Donations have collectively contributed nearly $200,000 towards the restoration project. To help sustain the organ's maintenance and restoration, The McCutchen Foundation* has made a generous gift to see an endowment specifically for the organ.

*To find specific information, you'll need to know which "McCuthchen Foundation" you're interested in, as they have differeent focuses and locations. 

The Ohio Theatre features elaborate interior design, a grand lobby and unique elements like a color-changing ceiling and an organ elevator. This theatre is not considered to be an "atmospheric"in the formal architectural sense.  This type of movie palace design was popular in the late 1920s.  They were designed and decorated to evoke the feeling of a particular time and place for patrons, through the use of projectors, architectural elements and ornamentation that evoked a sense of being outdoors.  

The most successful promoter of the atmospheric style was John Eberson.* Before the end of the 1920s he designed around 100 atmospheric theatres in the United States. His most notable surviving theatres include the Tampa Theatre (1926), Palace Theatre (Louisville) 1928, Palace Theatre (Canton) 1926, Palace Theatre (Marion, Ohio) 1928, Majestic Theatre (Dallas) 1920, Majestic Theatre (San Antonio) 1929, Loew's Theatre (Akron Civic Theatre) 1929, Orpheum Theatre (Wichita, Kansas) 1922, Paramount Theatre Centre & Ballroom (Anderson, Indiana) 1929, Ramona Theatre (Frederick, Okahoma) 1929, Rose Blumkin Performing Arts Center (Omaha, Nebraska) 1926, State Theatre (Kalamazoo, Michigan) 1927 and Uptown Theatre (Kansas City) 1928.

If you have never visited an atmospheric theatre, they are special and memorable. 

Civic Theatre

Auckland, Zealand

267 Queen Street

Opening Date:  December 20, 1929

Renovated 1998-1999

Architects:  Charles Bohringer and William T. Leighton

Capacity:  2,378 seats

The Civic Theatre is a famous example of the atmospheric theatre style wherein lighting and interior design create the illusion of an open sky complete with twinkling stars, giving the audience the impression of being seated in an outdoor auditorium at night.  The Civic was the creation of Thomas O'Brien, who built a movie empire in Auckland's inner suburbs in the 1920s and brouth the atmospheric cinema to New Zealand.  O'Brien persuaded a group of wealthy Aucland businessmen to build a massive atmospheric cinema and managed to secure a substantial loan from the Bank of New Zealand for the project.  The cinema was built by Fletcher Construction over eight months.  However, the loan and soaring construction costs caught the attendiong of the NZ Parliment as the final price tag ballooned to approximately the equivalent to $18.9 million in 2016.

With supreme confidence in the future of Auckland and with gratitude to those who have toiled with me in this great endeavor, I present to my fellow citizens the consummation of an ideal .. the creating of a place of entertainment symbolizing the progressive spirit of our beautiful city. 

Thomas O'Brien

Underneath the Civic was an underground ballroom which became one of the major centers of entertainment for American soldiers who were stationed in Auckland during WWII.  During this period, the venue was host to events such as concerts by Bob Hope and speeches by Eleanor Roosevelt.  Eventually, after a campaign by a support group named the Friends of the Civic, the council spent $41.8 million to refurbish the venue.  It reopened in 1999 for both film and theatre, followed by the Wintergarden re-opening in 2000.

*John Eberson was born January 1, 1875 John Adolph Emil Eberson in Romania and died in 1954 in Stamford, CT.  He arrived in the United States in the early 1900s and first settled in St. Louis.  There, while working for a construction company he designed his first theatre, the Jewel located in Hamilton, Ohio. In 1904, Eberson and his family moved to Hamilton, Ohio.  It was there that Eberson's first theatre was located.  He eventually moved to Chicago and in 1926 he made his final move to New York City.  He opened a office at the Rodin Studios located at 200 West Fifty-seventh Street.  In July 1929, he made the decision to close the Chicago office and consolidate all of the design work in New York City.  At about that same time, he formally brought his son into the business.

 He designed over 500 theatres in his lifetime earning the nickname "Opera house John".  

John Adolph Emil Eberson

Circa 1912

John Eberson's son was Drew Eberson (1904-1989) who became a partner in his father's influential architectural firm.  John & Drew Eberson designed and renovated numerous theatres alongside his father and continued his business after John's passing, known for his own work and later adapting his father's atmopheric style.  He formally joined his father's practice in New York City around 1929.  While John specialized in "atmospheric" theatres, Drew also designed many structures and adapted the Art Deco style.  

Eberson's first atmospheric theatre, the Majestic designed and built in Houston, Texas though now razed.

Tampa Theatre

711 N. Franklin Street

Tampa, Florida 

This theatre was built by Paramount Pictures and opened on October 15, 1926 as one of America's most elaborate movie palaces.  For 25 cents the common person could escape into an opulent fantasyland cooled by "man-made air", enjoy first-class entertainment and be treated like royalty by platoons of uniformed ushers.  For decades, the Tampa Theatre remained a jewel at the center of the city's cultural landscape as generations of patrons stole their first kisses in the balcony, followed the world through the newsreels and grew up coming to the theatre week after week. 

By 1973, the Tampa Theatre was slated for demolition though the citizens rallied, committees were formed, community leaders got involved and the City Council struck a deal to purchase and preserve the building.  By the time the Tampa Theatre reopened to the public in January 1977, it had become something of a national model for how to sae an endangered theatre.  It was named to the National Register of Historic Places in 1978 and as a Tampa City Landmark when the designation was created in 1988. 

Today, the Tampa Theatre opens its doors more than 1,000 times each year. Since its rescue, the theatre has welcomed more than 5 million visitors to downtown including 1 million school children for field trips and summer camps.  All within the context of one of Tampa's largest historic preservation projects.

I appaud the citizens of Tampa for having the foresight to save their most unique and special atmospheric Tampa Theatre.

Tampa Theatre showing an orchestra pit

Historical theatres often remove orchestra pits for modern needs like larger stages for shows or to create more seating/floor space.  Orchestra pits are valued though can be costly to maintain. Opening in 1926 as a lavish movie palace, the Tampa Theatre transitioned from silent films (with lie ustic) to "talkies" and then evolved into a live performance venue, likely altering its stage needs.

The Tampa Theatre first broke ground on April 12, 1925 and opened October 15, 1926.  Construction cost was $1.2 million ($21.5 million in 2024 dollars). Its style was Mediterranean Rival and was added to the National Register Historic Places January 3, 1978.

The Mighty Wurlitzer Theatre Organ is a magnificent 1,400 pipe instrument originally installed to accompany silent films in 1926. As "talkies" took over in the early 1930s, the organ was retired and eventually sold to Bayshore Baptist Church, but in the 1980s the theatre enlisted the help of volunteers from The Central Florida Theatre Organ Society to reacquire and reinstall the Mighty Wurlitzer to its original home.  Today, Tampa Theatre's Artist in Resident, Steven Hall and volunteer CFTOS members maintain the Mighty Wurlitzer and play the instrument before film screeings and for special silent film events as part of their ongoing dedication to the preservation of the theatre pipe organ and its music. 

The Tampa "blade" sign above the marquee.

The Tampa Theatre vintage ticket kios.

 

Checker Marathon/Taxi

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Interiors were spacious and durable, featuring heavy-duty materials like linoleum floors.

Morris Markin was a Russian-born American businessman who founded the Checker Cab Manufacturing Company which later became the Checker Motors Corporation.  

Morris Markin

(1893-1970)

Markin was born into a Jewish family in western Russia.  He worked in a clothing factory during his young years, working his way up to supervisor by the age of 19.  At 22 he emigrated to the United States.  When he arrived at Ellis Island in November 1912, he spoke no English and couldn't afford to pay the bond required to enter the country.  A janitor at the facility loaded him the necessary twenty-five dollars.  From NYC, Markin went to Chicago to live with his uncle.  He held several jobs as an errand boy, the last for a tailor who taught him the trade. Eventually, Markin purchased the business on credit from the owner's widow.  He worked hard and saved enough money to bring seven brothers and two sisters to the United States.  Markin then partnered with one of his brothers and opened a factory which made pants under government contracts during WW1. The company prospered after the war.

In 1929, Markin purchased the Yellow Cab Company from John Hertz.

Sidenote:  John Hertz, Jr. married actress, Myrna Loy.

The average price of a Checker Marathon Taxi is $24,892.  The cabs were sold for model years 1961 to 1982.

If you watch essentially any film or television show from the late 1950s into the 1980s that has scenes of New York City, you can't escape seeing Checker Cabs.

The Checker Marathon is an automobile which was produced by the Checker Motors Corporation of Kalamazoo, Michigan between 1960 and 1982.  It was marketed as a passenger car for consumers. Marathons were produced in both four-door sedans, the four-door station wagons plus the six-door 9-seater and eight-door, 12 seater "Aerobus" sedans and wagons.

Checker Marathon Wagon

Aerobus

The Marathon was introduced in September 1960 for the 1961 model.  In 1963, the Marathon Town Custom, a limousine version appeared which seated eight passengers.  The Marathon remained virtually unchanged during its 21-year production run.  

The final Marathon was manufactured in 1982 when Checker exited the automobile manufacturing business.  For decades, Checker was the taxicab of choice for New York City and many other American cities.  The last New York City Checker cab retired in 1999, operated by Earl Johnson.  The Marathon covered nearly one million miles and had three engine replacements over the years. Many movies set in the 1950s and 1960s use Checker cabs.

A Checker taxicab is prominently featured in the movie Breakfast at Tiffany's in the opening scenes though not the 50s style as the film directed by Blake Edwards was produced in 1962. One specific scene involves her teaching Paul Varjak protrayed by George Peppard how to properly hail a cab. 

As Holly whistles for a cab Paul is heard to say ..

"I never could do that."

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Apart from taxicab use, Marathons were also bought by police departments, most notably in Kalamazoo, where Checker had its factory. 

Checker cabs, iconic for their sturdy build often featured simple, utilitarian steering wheels, but some custom or later models might have used unique wheels, while the trademark checkerboard pattern was usually on the exterior trim, not the steering wheel.  The "checker" theme was most prominent in the exterior paint schemes, often with checkerboard trim, not necessarity the steering wheel.

So while you might find modified or replica Checker cabs with custom checkered steering wheels for car show or themed events, it wasn't a factory feature. The iconic look came from the body shape and the checkerboard decals on the sides. 

The iconic front hood enblem

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Those of us who remember and experienced the Bemus Bay Pops recall all the magic for many summers along the shores of Chautauqua Lake in Bemus Point NY. All of this was brought to us thanks to the vision of Dan Dalpra and his family .. wife, Sue and their three daughters Danelle, Dana and Deanna.  

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Bemus Bay Pops Summer Concert Season Lineup

20th Anniversary

2017 

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 VIP Seating on a sunny Sunday afternoon at the Pops!

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Jimmy and the Soulblazers were a popular band who came every year from the Canton, Ohio area.  Everyone was on their feet for the soulful tunes on a Sunday afternoon.

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The Chippewa Lake Water Ski Team is Ohio's only competitive water ski show team.  They appeared on Chautauqua Lake for several seasons to the delight of Pops spectators performing various acts like pyramids, ballet and jumps.

These four chairs were built by Artone Industries in Jamestown NY for the judges during the popular singing competition called "The Choice".  

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The Pops lawn looking West from The Italian Fisherman Restaurant.

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As summer evenings fell upon the Pops an even more magical feel was experienced through the sights and sounds of the performers and their music. Music is Life.  That's why our hearts have beats.

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Even the water took on a reflective hue from the floating stage lights.

One of the most popular bands to appear on the Bemus Bay Pops Floating Stage!

Boogie Wonder Band from Montreal, Canada

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Boogie Cindy, BWB Founder

Marky de Sax

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Thank You

Boogie Wonder Band

for all the disco memories!

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Master of the Sound

Thank you Russ Illig and Raven Sound

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When night fell after a beautiful sunset the real magic was experienced.

This Pops evening the BCC Band from Buffalo, NY stepped onto the Bemus Bay Pops Floating Stage and brought joy to all who loved and remembered The Beatles. 

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A special salute to Bemus Bay Pops 2017 from Mike Ferguson, the official Pops announcer which turned out to be the final Pops season in Bemus Point.

Thanks for the Memories.

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Gus

A special Pops employee who kept a loving watch over the Pops.

Thank you.

❤️ 

Memories are echoes of our past, both bittersweet and bright, acting as lanterns guiding us through life's dark or sunny days, a library in the heart, a bridge of love, or whispers of what was, holding laughter, lessons, and loved ones close, reminding us that even when time pulls us apart, these moments remain, a treasure to cherish or a gentle ache, a story played forever.