Arlene Schnitzer Concert Hall
The Arlene Schnitzer Concert Hall, opened as the Portland Publix Theater before becoming the Paramount Theatre after 1930, is a historic theater building and performing arts center in Portland, United States. Part of the Portland Center for the Performing Arts, it is home to the Oregon Symphony, Portland Youth Philharmonic, Metropolitan Youth Symphony, White Bird Dance Company, Portland Arts & Lectures, it is a concert and film venue. The Paramount Theatre, it is locally nicknamed "The Schnitz", it is the last surviving theater building on Broadway, once lined with large theater houses. Seating for 2,776 Dressing rooms for 90 Portable acoustic shell Entries on Broadway and Main Street; the architectural firm Rapp and Rapp, famous for its theater buildings, designed the Italian Renaissance-style building. The building was variously described by the newspapers as being of the French Renaissance or Northern Italianate style; the Paramount was considered, at its opening, to be the largest and most lavish theater for a city the size of Portland.
Opened as the Portland Publix Theatre, a vaudeville venue in March 1928, the name changed to the Paramount Theater in 1930, as the owners had a contract to run Paramount films locally. The building continued to show films until 1972. Visitors were greeted by a 65-foot high "Portland" sign above the Broadway Marquee, which contained 6,000 theatrical lights; the sign read "Paramount" from 1930–1984. The theatre was designed with many lobbies; the main entrance to the auditorium boasted huge French-paned windows facing east and south, covered with velvet drapes. The walls were covered with mirrors and marble, the floors were covered with expensive carpets; the furnishings had been purchased from private collections. The concessions stand was stretched nearly half the length of the main lobby, it was described as the "longest candy counter in the West."The lobby was lit with huge crystal chandeliers. Nearly $35,000 had been spent on them; the largest had a span of nearly 8 feet, containing 181 lights.
The largest chandelier has 137 candle bulbs, the smaller ones each have 124 bulbs. The top row of the balcony seats was six stories above the stage. Small staircases from the main lobby led to the balcony area which contained men's and ladies' lounges; the men's lounge was equipped with fireplaces, radios and attendants. The women's lounge was furnished with dressing tables, mirrors and hairdressers. There was a self-playing Louis XV Ampico-Knabe grand piano in ivory and gold on the bridge over the lobby; the walls of the auditorium were elaborately decorated with murals and near the front of the stage, small balconies were hung with drapes which hid the pipes from the $46,500 Wurlitzer organ. This four-manual organ console was mounted on an elevator and could be raised to the level of the stage at the touch of a button; the seating capacity of the theater was said to have been 4000 seats by the newspaper ads of the day. The ads promised "An acre of seats"; the seating capacity was 3000. The ceilings were of a special design.
The ceiling panels were suspended from the roof of the building and jutted out toward the sides of the auditorium, leaving a small cove next to the wall. A series of electric light bulbs were set in the hollow, not visible to the audience, their glow fell on the patrons indirectly, giving the effect of freedom. The orchestra pit could hold a 30-piece orchestra. There was a "flying" stage which could be raised or lowered or moved about above the main stage. In July 1928, the theatre appeared on the front page of the newspaper, figuring in an unusual robbery. A young man, Robert Nolan, had lived in Southern California for a time. While living there, he appeared as an extra in the movie, "Wheel of Chance." He had moved back to Oregon and when he saw that the movie was showing at the Portland theatre, he decided to go see himself on the "silver screen." While he was in the lobby, he saw two people walking by carrying the day's receipts. As he was watching the movie, the idea formed that he should take a chance before he left Portland to acquire a little extra money.
He went to the box office and held up the attendants for $1176. He was apprehended several days having spent all but $1.50 of the money on bootleggers and drinking parties. During the Great Depression, the theatre hired roving musicians and a "psychic" to entertain in the lobby before movies, in an effort to attract patrons to the theatre. Admission was 50 cents at this point, down 10 cents from opening night. By 1936, the theater had been sold to the Evergreen chain, in conjunction with John Hamrick, between them, they owned eight movie theatres in Portland. In 1965, the exterior and interior of the building were in a decline, in September of that year, part of the cast iron balcony which faces Park Avenue, gave way and fell to the pavement below; the break was along an old fracture line caused by a previous earthquake. The iron had rusted over time without proper maintenance. In August 1970, chunks of the masonry on the corner of Main and Broadway gave way. Two huge blocks, 350 lb each, fell from the facade, one of them crashing into the main marquee below.
The masonry blocks were said to have fallen due to the age of the building. The owners did not seem to be putting any money into maintenance; the theatre was offered for sale in December 1970 and was purchased by John Haviland in 1
Crystal Ballroom (Portland, Oregon)
Crystal Ballroom built as Cotillion Hall, is a historic building in Portland, United States. Cotillion Hall was built in 1914 as a ballroom, dance revivals were held there through the Great Depression. Starting in the 1960s, the hall has been host to many popular pop, folk and jazz artists, as well as beat poetry and other entertainment. What is now known as the Crystal Ballroom was constructed in 1913–1914 and opened in early 1914, as Ringler's Cotillion Hall. Owned by Montrose Ringler, the ballroom fell victim to heavy persecution of jazz and dance and Ringler lost the ballroom in the early 1920s; the ballroom was bought by Dad Watson in the mid-1920s, held square dances during that period. After Watson's death in the 1930s, Ralph Farrier bought the ballroom and renamed it the Crystal Ballroom, he continued in Watson's footsteps. In the early 1960s, due to flagging revenues, new acts were brought in, such as gypsy brass bands and R&B performers, such as James Brown, Marvin Gaye, Ike & Tina Turner.
In 1967 psychedelic acts such as the Grateful Dead, Blue Cheer, The Electric Prunes performed in the ballroom. This was cut short in 1968, due to concerns about what such music was doing to the youth of Portland. From the 1970s through the mid-1990s, the ballroom was not used for any public events, it became a residence for squatters and bohemians, who used it as studio space, private invite-only parties were given. In 1979, the building was listed on the National Register of Historic Places as Cotillion Hall. In 1997, the ballroom was re-opened by McMenamins, featuring a bar/restaurant on the first floor, a brewery and a new dance floor on the second floor, the restored main ballroom on the third floor; the main ballroom features a mechanical "floating" dance floor, thought at the time of its building to be the only one on the West Coast, is the only one still in existence in the United States. Following the reopening of the Crystal Ballroom in 1997, McMenamins expanded the nearby Crystal Hotel to reflect the historical significance of the Ballroom's memorable performances.
The fifty-one guest rooms at the Crystal Hotel are named after songs or performances from the Crystal Ballroom's last one hundred years. The hotel offers pre- and post-show concerts in conjunction with the Ballroom. In 2000 or 2001 a large 20'x20' square opening was cut into the center/middle edge of the main ballroom floor to make additional fire exits in order to sell more tickets for live music events; this is the only hole of its kind in a "floating" dance floor still in existence in the United States. There are ballroom dance lessons each Sunday available to the public. During the early hours of April 14, 2014, the ballroom was evacuated during a show by Schoolboy Q due to a possible crack in a support beam. Oregon bands that have played at the Crystal Ballroom include Portland's Everclear in'01, Cherry Poppin Daddies in'02, Portland's The Decemberists in'14, Modest Mouse in'04, The Shins in'05, Portugal; the Man in 2017. An urban legend in the Portland area purports that on April 5, 1965, Little Richard fired guitarist Jimi Hendrix onstage during a concert at the ballroom for lack of skill.
This alleged incident has been played up in marketing literature for the ballroom published by McMenamins. It is known that Little Richard did play the Crystal on that date, that Hendrix was in his touring band for much of 1965. In addition, the two men did have a rocky relationship, with Hendrix leaving and rejoining the tour several times. However, there is no documented evidence that Hendrix played with Little Richard on that particular date, or that Little Richard fired any musicians onstage that day. In addition, Hendrix would appear with Little Richard at shows in other cities that same month, he had a well-established reputation as a guitarist by that point in his career; the Crystal Ballroom—the third floor of the building—has high ceilings, a balcony, grand chandeliers and wide floor-to-ceiling arched windows. The room can be rented for group meetings of up to 1,000 people or, in concert configuration, up to 1500 standing persons or 850 seated. Cotillion Hall listing at Archiplanet wiki, with interior photos List of bands who played at Crystal Ballroom during the R&B and psychedelic eras, from Pacific Northwest Bands.com
How the García Girls Lost Their Accents
How the García Girls Lost Their Accents is a 1991 novel written by Dominican-American poet and essayist Julia Alvarez. Told in reverse chronological order and narrated from shifting perspectives, the text possesses distinct qualities of a bildungsroman novel. Spanning more than thirty years in the lives of four sisters, the story begins with their adult lives in the United States and ends with their childhood in the Dominican Republic, from which their family was forced to flee due to the father’s opposition to Rafael Leónidas Trujillo's dictatorship; the novel's major themes include acculturation and coming of age. It deals with the myriad hardships of immigration, painting a vivid picture of the struggle to assimilate, the sense of displacement, the confusion of identity suffered by the García family, as they are uprooted from familiarity and forced to begin a new life in New York City; the text consists of fifteen interconnected short stories, each of which focuses on one of the four daughters, in a few instances, the García family as a whole.
Although it is told from alternating perspectives there is particular focus throughout the text on the character of Yolanda, said to be both the protagonist and the author's alter ego. The years between 1956 and 1970 were a period of oppression and instability in the Dominican Republic as the dictatorship of Rafael Trujillo came to an end with his assassination in 1961, only to be followed by military rule, intervention by the United States, further dictatorship. Central control over the military, the economy, the people meant that only a select few were allowed to leave the island. Critic William Luis describes the situation of immigrants from the Dominican Republic to the United States during the revolution: "The displacement of Caribbean people from their islands to the United States, for political or economical reasons, has produced a tension between the culture of the country of origin and that of the adopted homeland, one representing the past and the other future of the immigrant".
The García family is an example of this phenomenon. In How the García Girls Lost Their Accents, Alvarez succeeds in altering the events of her own life to create fiction; the family is displaced to the United States after living an established, upper-class life in the Dominican Republic, is forced to face the challenges which come along with being an immigrant family in a foreign land. Julia Alvarez herself was not in the United States. After her parents' failed attempt at a life in America, she returned to the Dominican Republic at the age of three months as her parents preferred the dictatorship of Trujillo to the US. In the novel, this is not the case, however throughout, the reader witnesses the Garcia family assimilate into American society. Although their Hispanic roots are reflected in their personalities, it is evident that the stories which focus on the four daughters depict many problems that normal North American girls do. Though How the García Girls Lost Their Accents was written in the United States, there are significant historical ties between the novel and the author’s country of origin.
Alvarez wrote an essay entitled "An American Childhood in the Dominican Republic", in which she reveals some information about her own life. This is evidence. For example, she mentions that it was Mr. Victor, of the US embassy and a member of the Central Intelligence Agency, who persuaded Carlos García to join the resistance against Trujillo, helped him in leaving the country, obtaining a job with an international cardiovascular team; this is a parallel to the novel. Julia Alvarez emigrated to the United States at the age of 10 with her parents and three sisters as political refugees from the Dominican Republic; the novel is a variation of her real-life experiences, which have been altered. The majority of her literature is constructed from multiple viewpoints and a concealed political undercurrent is present in her literature. In this case, that undercurrent is her family fleeing the Trujillo revolution, something she did as a child; the novel encompasses the impact living under a regime can have on a family, the way it shaped the four girls' upbringing.
It is an attempt to understand memory, the past, a time before the sisters lost their innocence and accents. The novel is written episodically and in reverse-chronological order, it consists of fifteen chapters in three parts: Part I, Part II, Part III. Part I is centered on the adult lives of the García sisters; the Garcías are one of the Dominican Republic's prominent and wealthy families, tracing their roots back to the Conquistadores. Carlos García, a physician and the head of the family, is the youngest of 35 children his father sired during his lifetime, both in and out of wedlock. Laura, Carlos's wife comes from an important family: her father is a factory owner and a diplomat with the United Nations. Many members of the extended family live as neighbours in large houses on an expansive compound with numerous servants. In the early 1950s the García girls are born. Carla, Sandra and Sofía enjoy a happy, protected childhood and are brought up by their parents and uncles to preserve the family traditions.
Their countless cousins serve them as playmates. The first part of the novel establishes Yolanda at the centre of the story as she narrates the opening and closing chapter: "Antojos" and "The Rudy Elmenhurst Story", resp
Portland is the largest and most populous city in the U. S. state of Oregon and the seat of Multnomah County. It is a major port in the Willamette Valley region of the Pacific Northwest, at the confluence of the Willamette and Columbia rivers; as of 2017, Portland had an estimated population of 647,805, making it the 26th-largest city in the United States, the second-most populous in the Pacific Northwest. 2.4 million people live in the Portland metropolitan statistical area, making it the 25th most populous MSA in the United States. Its Combined Statistical Area ranks 18th-largest with a population of around 3.2 million. 60% of Oregon's population resides within the Portland metropolitan area. Named after Portland, the Oregon settlement began to be populated in the 1830s near the end of the Oregon Trail, its water access provided convenient transportation of goods, the timber industry was a major force in the city's early economy. At the turn of the 20th century, the city had a reputation as one of the most dangerous port cities in the world, a hub for organized crime and racketeering.
After the city's economy experienced an industrial boom during World War II, its hard-edged reputation began to dissipate. Beginning in the 1960s, Portland became noted for its growing progressive political values, earning it a reputation as a bastion of counterculture; the city operates with a commission-based government guided by a mayor and four commissioners as well as Metro, the only directly elected metropolitan planning organization in the United States. The city government is notable for its land-use investment in public transportation. Portland is recognized as one of the world's most environmentally conscious cities because of its high walkability, large community of bicyclists, farm-to-table dining, expansive network of public transportation options, over 10,000 acres of public parks, its climate is marked by cool, rainy winters. This climate is ideal for growing roses, Portland has been called the "City of Roses" for over a century. During the prehistoric period, the land that would become Portland was flooded after the collapse of glacial dams from Lake Missoula, in what would become Montana.
These massive floods occurred during the last ice age and filled the Willamette Valley with 300 to 400 feet of water. Before American pioneers began arriving in the 1800s, the land was inhabited for many centuries by two bands of indigenous Chinook people—the Multnomah and the Clackamas; the Chinook people occupying the land were first documented in 1805 by Meriwether Lewis and William Clark. Before its European settlement, the Portland Basin of the lower Columbia River and Willamette River valleys had been one of the most densely populated regions on the Pacific Coast. Large numbers of pioneer settlers began arriving in the Willamette Valley in the 1830s via the Oregon Trail, though life was centered in nearby Oregon City. In the early 1840s a new settlement emerged ten miles from the mouth of the Willamette River halfway between Oregon City and Fort Vancouver; this community was referred to as "Stumptown" and "The Clearing" because of the many trees cut down to allow for its growth. In 1843 William Overton saw potential in the new settlement but lacked the funds to file an official land claim.
For 25 cents, Overton agreed to share half of the 640-acre site with Asa Lovejoy of Boston. In 1845 Overton sold his remaining half of the claim to Francis W. Pettygrove of Maine. Both Pettygrove and Lovejoy wished to rename "The Clearing" after their respective hometowns; this controversy was settled with a coin toss that Pettygrove won in a series of two out of three tosses, thereby providing Portland with its namesake. The coin used for this decision, now known as the Portland Penny, is on display in the headquarters of the Oregon Historical Society. At the time of its incorporation on February 8, 1851, Portland had over 800 inhabitants, a steam sawmill, a log cabin hotel, a newspaper, the Weekly Oregonian. A major fire swept through downtown in August 1873, destroying twenty blocks on the west side of the Willamette along Yamhill and Morrison Streets, causing $1.3 million in damage. By 1879, the population had grown to 17,500 and by 1890 it had grown to 46,385. In 1888, the city built the first steel bridge built on the West Coast.
Portland's access to the Pacific Ocean via the Willamette and Columbia rivers, as well as its easy access to the agricultural Tualatin Valley via the "Great Plank Road", provided the pioneer city with an advantage over other nearby ports, it grew quickly. Portland remained the major port in the Pacific Northwest for much of the 19th century, until the 1890s, when Seattle's deepwater harbor was connected to the rest of the mainland by rail, affording an inland route without the treacherous navigation of the Columbia River; the city had its own Japantown, for one, the lumber industry became a prominent economic presence, due to the area's large population of Douglas Firs, Western Hemlocks, Red Cedars, Big Leaf Maple trees. Portland developed a reputation early in its history as a gritty port town; some historians have described the city's early establishment as being a "scion of New England. In 1889, The Oregonian called Portland "the most filthy city in the Northern States", due to the unsanitary sewers and gutters, and, at the turn of the 20th century, it was considered one of the most dangerous port cities in the world.
The city housed a large number of saloons
Hawaii Five-O (1968 TV series)
Hawaii Five-O is an American police procedural drama series produced by CBS Productions and Leonard Freeman. Set in Hawaii, the show aired for 12 seasons from 1968 to 1980, continues in reruns. At the airing of its last episode it was the longest-running police drama in American television history. Jack Lord portrayed Detective Captain Steve McGarrett, the head of a special state police task force, based on an actual unit that existed under martial law in the 1940s; the theme music composed by Morton Stevens became popular. Many episodes would end with McGarrett instructing his subordinate to "Book'em, Danno!", sometimes specifying a charge such as "murder one". The CBS television network produced Hawaii Five-O, which aired from September 20, 1968, to April 5, 1980; the program continues to be broadcast in syndication worldwide. Created by Leonard Freeman, Hawaii Five-O was shot on location in Honolulu and throughout the island of Oahu and other Hawaiian islands with occasional filming in locales such as Los Angeles and Hong Kong.
The show centers on a fictional state police force led by former US naval officer Steve McGarrett, a detective captain, appointed by the Governor, Paul Jameson. In the show, McGarrett oversees state police officers – the young Danny Williams, veteran Chin Ho Kelly, streetwise Kono Kalakaua for seasons one through four. Honolulu Police Department Officer Duke Lukela joined the team as a regular, as did Ben Kokua, who replaced Kono beginning with season five. McGarrett's Five-O team is assisted by other officers as needed: Douglas Mossman as Det. Frank Kamana, P. O. Sandi Wells, medical examiner Doc Bergman, forensic specialist Che Fong, a secretary; the first secretary was May Jenny, Malia and Luana. The Five-O team consists of three to five members, is portrayed as occupying a suite of offices in the Iolani Palace. Five-O lacks its own radio network, necessitating frequent requests by McGarrett to the Honolulu Police Department dispatchers. For 12 seasons, McGarrett and his team hounded international secret agents and organized crime syndicates plaguing the Hawaiian Islands.
With the aid of District Attorney and Hawaii's Attorney General John Manicote, McGarrett is successful in sending most of his enemies to prison. One such crime syndicate was led by crime family patriarch Honore Vashon, a character introduced in the fifth season. Other criminals and organized crime bosses on the islands were played by actors such as Ricardo Montalbán, Gavin MacLeod, Ross Martin as Tony Alika. By the 12th and final season, series regular James MacArthur had left the show. Unlike other characters before him, Fong's character, Chin Ho, at Fong's request, was killed off, murdered while working undercover to expose a protection ring in Chinatown in the last episode of season 10. New characters Jim'Kimo' Carew, Lori Wilson, Truck were introduced in season 12 alongside returning regular character Duke Lukela. Most episodes of Hawaii Five-O ended with the arrest of criminals and McGarrett snapping, "Book'em." The offense was added after this phrase, for example, "Book'em, murder one."
In many episodes, this was directed to Danny Williams and became McGarrett's catchphrase: "Book'em, Danno." McGarrett's tousled yet immaculate hairstyle, as well as his proclivity for wearing a dark suit and tie on all possible occasions entered popular culture. While the other members of Five-O "dressed mainland" much of the time, they often wore local styles, such as the ubiquitous Aloha shirt. In many episodes, McGarrett is drawn into the world of international espionage and national intelligence. McGarrett's nemesis is a rogue intelligence officer of the People's Republic of China named Wo Fat; the communist rogue agent was played by veteran actor Khigh Dhiegh. In the show's final episode in 1980, titled "Woe to Wo Fat", McGarrett sees his foe go to jail. Unlike the reboot the show's action and straightforward storytelling left little time for personal stories involving wives or girlfriends, though a two-part story in the first season dealt with the loss of McGarrett's sister's baby. A show would flash back to McGarrett's younger years or to a romantic figure.
In the episode "Number One with a Bullet, Part 2", McGarrett tells a criminal, "It was a bastard like you who killed my father." His 42-year-old father had been killed by someone who had just held up a supermarket. Because Steve McGarrett is a commander in the Naval Reserve, he sometimes uses their resources to help investigate and solve crimes. Hence the closing credits of some episodes mentioned the Naval Reserve. A 1975 episode involving Danno's aunt, played by MacArthur's mother Helen Hayes, provided a bit of Williams' back story. Sources differ on. Producer Leonard Freeman moved to Hawaii to recuperate after suffering a heart attack. One source states the idea for the show may have come from a conversation Freeman had with Hawaii's then-Governor John A. Burns. Another source instead claims that Freeman wanted to set a show in San Pedro, Los Angeles, California until his friend Richard Boone convinced him to shoot it in Hawaii. A third source claims Freeman discussed the show with Governor Burns only after pitching the idea to CBS.
Before settling on the name "Hawaii Five-O", Freeman considered titling the show "The Man". Freeman offered Richard Boone the part of McGarrett.
White Bull was the nephew of Sitting Bull, a famous warrior in his own right. White Bull participated in the Battle of the Little Bighorn on June 25, 1876. For years it was rumored that White Bull boasted of killing Lt. George Armstrong Custer at the infamous battle. However, others who knew White Bull claim that he never made that statement but instead admitted to struggling with Custer. Born in the Black Hills in South Dakota, White Bull came from a prominent Sioux family, he was the son of a Miniconjou chief and the brother of One Bull. After the battle, White Bull joined his uncle, Hunkpapa Sioux leader Sitting Bull, while fleeing to Canada. Young Chief Solomon "Smoke" and Chief No Neck, fled with White Bull and Sitting Bull and their bands to Canada. White Bull surrendered to government troops in 1876, he became a chief, replacing his father Chief Makes Room upon his death. He acted as a judge of the Court of Indian Offenses, was a proponent of Lakota land claims in the Black Hills. White Bull died in South Dakota in 1947.
White Bull's relationship to his uncle made him an important contributor to Stanley Vestal's biography of Sitting Bull. White Bull, played by Sal Mineo, was used as a character in the 1958 Disney Western adventure film Tonka. Stanley Vestal, Warpath: The True Story of the Fighting Sioux Told in a Biography of Chief White Bull ISBN 0-8032-9601-0 The Warrior Who Killed Custer: The Personal Narrative of Chief Joseph White Bull. Translated and Edited By James H. Howard. Lincoln: University of Nebraska Press, 1968. Lakota Warrior: A Personal Narrative. Edited by James H. Howard. Lincoln: University of Nebraska Press, 1998. Sioux History in Pictures at The University of North Dakota The Man Who Killed Custer American Heritage Magazine