FYI March 11, 2017

March 11 is National “Eat Your Noodles” Day

 

March 11, 2017 – NATIONAL PROMPOSAL DAY – NATIONAL JOHNNY APPLESEED DAY – NATIONAL OATMEAL NUT WAFFLES DAY – NATIONAL WORSHIP OF TOOLS DAY

On this day:

1927 – In New York City, Samuel Roxy Rothafel opens the Roxy Theatre.
The Roxy Theatre was a 5,920[a] seat movie theater located at 153 West 50th Street between 6th and 7th Avenues, just off Times Square in New York City. It opened on March 11, 1927 with the silent film The Love of Sunya, produced by and starring Gloria Swanson. The huge movie palace was a leading Broadway film showcase through the 1950s and was also noted for its lavish stage shows. It closed and was demolished in 1960.

Early history
The Roxy Theatre was originally conceived by film producer Herbert Lubin in mid-1925 as the world’s largest and finest motion picture palace. To realize his dream, Lubin brought in the successful and innovative theater operator Samuel L. Rothafel, aka “Roxy”, to bring it to fruition,[1] enticing him with a large salary, percentage of the profits, stock options and offering to name the theatre after him.[2] It was intended to be the first of six planned Roxy Theatres in the New York area.

Roxy determined to make his theater the summit of his career and in it realize all of his theatrical design and production ideas. He worked with Chicago architect Walter W. Ahlschlager and decorator Harold Rambusch of Rambusch Decorating Company on every aspect of the theater’s design and furnishings.

Roxy’s lavish ideas and his many changes ran up costs dramatically. Shortly after the theater’s opening, Lubin, who was $2.5 million over budget and near bankruptcy, sold his controlling interest a week before the theater opened to movie mogul and theater owner William Fox for $5 million. The final cost of the theater was $12 million.[3] With Lubin’s exit, Roxy’s dreams of his own theater circuit also ended. Only one of the projected Roxy chain was built, the planned Roxy Midway Theatre on Broadway on the Upper West Side of Manhattan, also designed by Ahlschlager. The nearly complete theater was sold to Warner Bros. who opened it as Warner’s Beacon in 1929.[3]

Design and innovation
Known as the “Cathedral of the Motion Picture”, the Roxy’s design by Ahlschlager featured a soaring golden, Spanish-inspired auditorium. Its main lobby was a large columned rotunda called the “Grand Foyer”, which featured “the world’s largest oval rug”,[4] manufactured by Mohawk Carpets in Amsterdam, New York, plus its own pipe organ on the mezzanine. Off the rotunda was a long entrance lobby that led through the building of the adjacent Manger Hotel to the theater’s main entrance at the corner of Seventh Avenue and W. 50th Street. The hotel (later called the Taft Hotel) was built at the same time as the theater.

Ahlschlager succeeded in creating an efficient plan for the Roxy’s irregular plot of land, which utilized every bit of space by featuring a diagonal auditorium plan with the stage in one corner of the lot. The design maximized the auditorium’s size and seating capacity but compromised the function of its triangular stage. The Roxy’s stage, while very wide, was not very deep and had limited space off stage.

Despite the stage limitations, the theater boasted lavish support facilities including two stories of private dressing rooms, three floors of chorus dressing rooms, huge rehearsal rooms, a costume department, staff dry-cleaning and laundry rooms, a barber shop and hairdresser, a completely equipped infirmary, dining room, and a menagerie for show animals. There were also myriad offices, a private screening room seating 100, and massive engine rooms for the electrical, ventilating and heating machinery. The Roxy’s large staff enjoyed a cafeteria, gymnasium, billiard room, nap room, library and showers.[5]

The theater’s stage innovations included a rising orchestra pit which could accommodate an orchestra of 110 and a Kimball theater pipe organ with three consoles which could be played simultaneously. The film projection booth was recessed into the front of the balcony to prevent film distortion caused by the usual angled projection from the top rear wall of a theater. This enabled the Roxy to have the sharpest film image for its time.[6]

Courteous service to the patron was a key part of the Roxy formula. The theater’s uniformed corps of male ushers were known for their polite manner, efficiency and military bearing. They went through rigorous training, daily inspections and drill, overseen by a retired Marine officer. The ushers’ crisp attire was favorably mentioned by Cole Porter in a stanza of the song “You’re the Top” in 1932.[7][8]

The Roxy presented major Hollywood films in programs that also included a 110-member symphony orchestra (the world’s largest permanent orchestra at that time), a solo theater pipe organ, a male chorus, a ballet company and a famous line of female precision dancers, the “Roxyettes”. Elaborate stage spectacles were created each week to accompany the feature film, all under the supervision of Rothafel.

The theater’s orchestra and performers were also featured in an NBC Radio program with Roxy himself as host. The Roxy Hour, was broadcast live weekly from the theater’s own radio studio.[9] Thanks to Roxy’s radio popularity, his theater was known to radio listeners nationwide.

The Roxy after “Roxy”
In spite of the theater’s fame and success, the financial problems of its majority owner, the Fox Film Corporation, after the stock market crash of 1929 destabilized the Roxy’s operations and it was often saddled with inferior films. In 1932, Rothafel left the theater named for him for Rockefeller Center where he opened the new Radio City Music Hall and RKO Roxy theaters. Most of the Roxy’s performers and artistic staff moved with him to the Music Hall, including producer Leon Leonidoff, choreographer Russell Markert, and conductor Erno Rapee.[10] The Roxyettes went on to greater fame at the Music Hall, becoming the Rockettes in 1935.[11] (The RKO Roxy soon changed its name to the Center Theatre after the owners of the original Roxy sued Rockefeller Center for exclusive rights to the Roxy name.)

After Rothafel’s departure, the Roxy Theatre never quite regained its former glory but it remained a leading New York showcase for film and stage variety shows. In 1942, A. J. Balaban, co-founder of the Balaban & Katz theater chain, began nearly a decade as Executive Director of the Roxy.[12] He came out of retirement to run the theater at the urging of Spyros Skouras,[13] the head of the Roxy’s parent company National Theatres, as well as 20th Century-Fox Studios. Balaban restored the theater to profitability with access to first-run Fox films, as well as the production and presentation of first-class live shows.[14] Among his innovations were building an ice rink on the Roxy stage, and engaging many noted performers of the era, such as the Nicholas Brothers, Carmen Cavallaro, and The Harmonicats to appear on the Roxy stage. Even classical ballet dancers, such as Leonide Massine, performed there. Balaban invited the New York Philharmonic to the Roxy along with soprano Eileen Farrell for a two-week engagement in September 1950. Appearing for the first time as the main attraction at a movie palace, the orchestra played an abbreviated concert program four times a day between showings of the feature film, The Black Rose.[15]

The Roxy’s stage was rebuilt twice, in 1948 and 1952, to add the ice surface for skating shows. During the latter refurbishing the stage was extended out into the house over the orchestra pit and had colored neon embedded in the ice.[16] Ice shows were presented, along with the feature film, on and off through the 1950s. In January 1956, skating star Sonja Henie brought her revue to the Roxy in her final New York appearance.[17][18][page needed]

Widescreen CinemaScope was introduced at the Roxy with the world premiere in 1953 of 20th Century-Fox’s film The Robe. The Roxy had also introduced the original 70mm widescreen format “Fox Grandeur” in 1930 with the premiere of Fox Films’ Happy Days. Due to the Great Depression, however, the Roxy was one of only two theaters equipped for 70mm Grandeur and it never caught on (Grauman’s Chinese was the other).[19] Another widescreen format, the three-projector Cinemiracle debuted at the Roxy as well on a curved 110-foot screen with the 1958 film Windjammer.

One of the last big combined shows was in 1959 with feature film This Earth Is Mine starring Rock Hudson and Jean Simmons, followed by The Big Circus starring Victor Mature. On the Roxy stage were Gretchen Wyler, The Blackburn Twins, Jerry Collins, and The Roxy Orchestra. The managing director since 1955 was Robert C. Rothafel, son of the original Roxy. By this time the Roxy’s appearance was altered considerably from its golden 1920s design. Part of the proscenium and side walls had been removed to accommodate the huge Cinemiracle screen and much of the rest of the auditorium was covered in heavy drapes. The big orchestra pit was mostly covered by the stage extension with the organ consoles removed. The elegant lobby areas, however, remained largely intact.

Closing
The Roxy closed on March 29, 1960. The final movie was The Wind Cannot Read,[21] a British film with Dirk Bogarde which opened March 9.

The Roxy had been acquired by Rockefeller Center in 1956, and then sold to developer William Zeckendorf. It was Initially purchased to obtain air rights for the Time-Life Building, built to its east, and was finally demolished by Zeckendorf for an expansion of the Taft Hotel and for an office building that is now connected to the Time-Life building.[22] Life Magazine photographed Gloria Swanson in the midst of the ruins during the theater’s demolition.[23]
Legacy
The spectacular stage and screen programming ideas of the Roxy’s founder continued at Radio City Music Hall into the 1970s. Radio City’s lavish Christmas stage show, created in 1933 by the Roxy’s former producer and choreographer, Leon Leonidoff and Russell Markert, continues to this day as the Radio City Christmas Spectacular. The Music Hall itself was saved from demolition by a consortium of preservation and commercial interests in 1979 and it remains one of New York’s entertainment landmarks. Its restored interior includes the lavish art deco offices created for “Roxy” Rothafel, preserved partly as a tribute to the visionary showman.

 

Born on this day:

1872 – Kathleen Clarice Groom, Australian-English author and screenwriter (d. 1954)
Kathleen Clarice Groom (née Cornwell; 11 March 1872 – 29 April 1954) was a British writer of short-stories and novels from 1907 to 1952, she signed under different pen names: Kit Dealtry, C. Groom, Mrs. Sydney Groom, and K. C. Groom (playing with her different names and surnames).

She started a dynasty of popular writers; her eldest son Adrian Bernard Klein, changed his name to Adrian Cornwell-Clyne, and became an artist, who wrote books on photography and cinematography, her daughter Denise Naomi Klein also followed in her footsteps and became the popular romance writer Denise Robins, who was the first president of the Romantic Novelists’ Association (1960–1966), and her granddaughter Patricia Robins (aka Claire Lorrimer), who is Denise Robins’ daughter, is also a popular romance writer.

Biography
Personal life
Groom was born Kathleen Clarice Louise Cornwell on 11 March 1872 in Melbourne, Australia, the daughter of Jemima Ridpath, and her husband George Cornwell, married in 1850.[1]

On 19 February 1890, at 17, Kathleen Clarice became the second wife of Herman Klein (1856–1934), an English musical author, teacher and critic, who was 16 years older than she was. He had a daughter Sibyl Klein, from a previous marriage, and they had two sons: Adrian Bernard Klein (1892–1969) and Daryl Klein (1894) and a daughter Denise Naomi Klein (1897–1985).[2] During her marriage with Klein, she began an affair with a young man, Herbert Arthur Berkeley Dealtry (1878-19??), who was a Worcestershire Regiment officer. When Herman Klein became aware of it he filed a petition for divorce, which was granted in December 1901. After the divorce Kathleen Clarice married with Dealtry in 1902. The marriage was going through financial difficulties and Dealtry had to declare bankruptcy in 1905, and they left for America with her daughter, Denise Naomi.

Some years later, Kathleen Clarice returned to London, and in 1918, she married for a third time with Sydney H. Groom, while her daughter Denise married for the first time and also started to write.

Kathleen Clarise started a saga of popular writers; her eldest son Adrian Bernard Klein, changed her name to Adrian Cornwell-Clyne, and became an artist, who wrote books on photography and cinematography, her daughter Denise Naomi Klein also followed in her footsteps and became the popular romance writer Denise Robins, who was the first president of the Romantic Novelists’ Association (1960–1966), and her granddaughter Patricia Robins (aka Claire Lorrimer), who is Denise Robin’s daughter, is also a popular romance writer.

Kathleen Clarise died in the Hove area, Brighton[2] on 29 April 1954,[3] aged 82.

Writing career
Kathleen Clarise started writing very young short stories; later wrote several serial thrillers for a Scottish newspaper.[4] She wrote several short stories in Magazines and novels under different pseudonyms (playing with her different names and surnames). She is known as a prolific writer and screenwriter, but it is difficult to know how many pennames she used and how many books she wrote. She wrote as Kit Dealtry (her second married name) at least four short stories by the All-Story Magazine (1907–1908) and two novels (1908–1909). As C. Groom (her third married name), she wrote at least two novels (1918–1919). She signed at least four novels as Mrs. Sydney Groom (1920–1924). And some of her latest tree novels was signed as Kathleen Clarice Groom (1947–1952).

Bibliography
As Kit Dealtry
Short stories in magazines

“The Voice in the Dark” in The All-Story Magazine (1907/May)
“The Cipher Skull” in The All-Story Magazine (1907/Aug)
“Shadowed” in The All-Story Magazine (1908/Feb)
“Pearls and Perfidy” in The All-Story Magazine (1908/Dec)

Novels

Under the Mistletoe Bough (1908)
Ill-Gotten Gain (1909)

As C. Groom
Novels

Love in the Darkness (1918)

As Mrs. Sydney Groom
Novels

Shadows of Desires (1919)
The Mystery of Mr Bernard Brown (1920)
Greatheart (1921)
The Knight Errant (1922)
Sylvia Shale, Detective (1924)

K. C. Groom
Novels

Phantom Fortune (1945)
The Folly of Fear (1947)
The Recoil (1952)

As Clarice Klein
Short story collection

The Paving of Hell (Perth, Scotland: Cowan & Co., 1895)[2] and (London: Dean & Co., 1895)[5]

 

FYI:

By LEANN SCHENKE: Spreading wonder with local authors
Every summer since she was young, Behr travels to Alaska to fish commercially for salmon. Swanson and their children join Behr on these trips, and Swanson said he wanted to write about Alaska’s beauty.

 

This self-taught Bolivian is a robotics genius, and he’s using his talent to help humanity

 

Women Auto Know: March, 2017

 

https://youtu.be/4YPtDtKY__Y

 

 

 

Excellent! Courtesy of Just A Car Guy:

A movie film recorded 4 days before the 1906 San Francisco disaster, from the front of a streetcar during filming on Market Street from 8th, in front of the Miles Studios, to the Ferry building. Your coffee and donuts morning video

 

thanks Jeff!
From the you tube video notes:

The origin of the film was an enigma for many decades, and it was long thought to have been shot in September of 1905, after being dated as such by the Library of Congress based on the state of construction of several buildings. However, in 2009 and 2010, film historian David Kiehn, co-founder of Niles Film Museum in Niles, California, dated the film to the spring of 1906 from automobile registrations and weather records. Kiehn eventually found promotional materials from the film’s original release and dated the film to April 14th, 1906, and finally gave credit to the filmmakers, the Miles Brothers.

Accuracy: Automobile sounds are all either Ford Model T, or Model A, which came out later, but which have similarly designed engines, and sound quite close to the various cars shown in the film. The horns are slightly inaccurate as mostly bulb horns were used at the time, but were substituted by the far more recognizable electric “oogaa” horns, which came out a couple years later. The streetcar sounds are actual San Francisco streetcars. Doppler effect was used to align the sounds.