Showing 1 - 25 of 56 comments
Chicago has had some amazing movie palaces.
Pretty cool the last picture looks like the board before being installed.
Man that is so sad.
Now the church that was near it just burned. I know it’s a theater site but it’s sad nonetheless.
I hadn’t heard this. I was just near there a couple weeks ago.
I saw the episode but that daughter said it was open in the 1970’s when Mike was talking to her? I wonder if that 1968 date is correct then?
Excellent thanks for that link!
Here is a local organist who has a lot of information on the theater and a Facebook page with great photographs:
Check this out everyone:
Great information. Thanks!
Yes I posted that above. Pretty cool that he could do that. I had the original magazine article.
Yeah it is a great site. I used to go there more but it is pretty extensive with the pictures and all.
Try this site: It is a fan site and not owned by MTA but is a wealth of information. My ex worked for MTA and told me about it:
Did anyone notice on last nightâ€™s episode of â€œAmerican Pickersâ€ that they bought one of the lobby card cases from The Fox theater in Brooklyn. They got it from a warehouse in Staten Island.
Very cool photo’s.
It’s too bad now because the technology exisits to save that theatre with good acoustics.
You guys might be interested to know a guy in Philadephia that owns a company “Urban Artifacts” has a lot of Mayfair artifacts that a guy named Eric Von Grimmenstein III from Indianappolis bought to restore. He has build a small replica home theatre in his house to look like the MayFair. There is an article about it in June/July/August edition of Sound and Vision magazine. If anyone wants it let me know.
It makes no sense? Why could they have just let the building alone like it was? Unbelievable.
Its so sad to look at these pics. Again Rochester tears down things like they did with the RKO and old train terminal. I can’t believe it is allowed to happen. People don’t appreciate anything.
Guys I took some pictures today before work but I did not get the best shots because the construction workers were digging up what appeared to be cement. The auditorium has been ripped off and you can see the projection room. It is pretty sad this was allowed to happen:
Let me know if these don’t come out.
I looked this up because my band did a wedding on July 27th around the corner at the renovated masonic temple on Cazenovia St. I noticed it was a theater as I drove by. Here is the link from google maps. Look at the street view portion:
Guys here is an article for you Springsteen fans. He started the Darkeness on the Edge of Town in Shea’s 30 years ago. Here is the article from Backstreets.com:
It is too bad about Danny. Here is some information about the show from backstreets.com:
Darkness and Born to Run in their entirety at the Basie, May 7
Ah, the stuff that dreams are made of… or at least the stuff that fan rap sessions are made of: “They should do the Darkness album start to finish!” Well, they just did, at the 1,500-seat Count Basie Theatre in Red Bank, NJ. And it wasn’t just a Darkness 30th anniversary celebration — Bruce and the E Street band tackled the full Born to Run album in order, too, for what he described at the outset as “something we’ve never done before and you’re not gonna see anywhere else.” An E Street Band theater show — finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days — would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
The evening began with the Basie’s Rusty Young describing the benefit show’s mission, to raise money for the restoration of this 80-year-old theater to its original glory — “when the ceiling wasn’t covered in netting” — and this night alone brought in more than three million dollars. Young noted that Patti Scialfa is the “honorary co-chair of our capital campaign,” and after he asked her for ideas… “tonight is her answer.” Generous donations also made it possible, Young said, for 37 wounded veterans to attend the show, talking the bus in from Walter Reed.
Patti came out next to a mighty standing ovation — “I’m supposed to welcome you, and you’re welcoming me!” — speaking of her and the rest of the band’s history at the Basie, and of the importance of saving venues like this one. She was followed by NBC anchor Brian Williams, who goes back a long way as a fan and was clearly psyched just to be talking through Springsteen’s mic (“the first and last time that will ever happen”). He recalled hitting the Stone Pony and the Tradewinds back in the day, ever on Bruce-watch; he also touched on the recent loss of Danny Federici, saying that “Great families endure. And great, great bands endure.” “The netting is just to keep the larger pieces of debris from falling down,” he added, “and if there’s an entity that could cause the big ones to fall, it’s this group here…. Ladies and gentlemen, Bruce Springsteen and the E Street Band!”
And with that, it was Darkness, side one, to start the show. “We’re gonna start with Darkness, so we don’t send you home suicidal!” Bruce quickly aborted “Badlands” seconds in, after a rough start: “We fucked it up already! I knew there was a reason why we didn’t do this,” he laughed. “Maybe we shouldn’t do it!” But they did it. And man, they did it. From track to track, for the first time live, it was Darkness sequenced as Bruce originally intended it to be heard, full of intensity from the howls on “Something in the Night” to the seemingly never-ending coda of “Racing in the Street,” a straight-ahead “Factory” (not the Bruce/Patti duet of recent years) with Steve on mandolin, the modern twist on “Prove It All Night” as Nils rocked the new solo, and at the end of “side two,” a hugely powerful vocal on the title track. Loads of guitar from Springsteen, too — every solo except that Nils spectacular, in fact. Bruce offered a solo to Steve at one point, which was respectfully declined.
After an only-fitting intermission, Born to Run got the same sequential treatment, offering a distinct reminder of what a freakin' masterpiece it is, as well as of the difference in tone between the two records. After the ferocity of the first set, here Bruce was having a blast, jumping into the crowd on the “Freeze-out” and even being held up by the crowd — did we mention this was a theater show? Several clambers up on the piano throughout this second set, too. “Tenth” also brought a full horn section to the stage — “The Mighty Max Horns,” as Bruce later called them — consisting of Mark Pender on trumpet, LaBamba on trombone, Jerry Vivino and Ed Manion on saxes. Pender came back out for “Meeting Across the River,” giving his own spin to Randy Brecker’s original trumpet part for a few minutes of absolute magic, also thanks to the beautfiul accompaniment from Roy and Garry. “Jungleland” had Steve stepping up for a soaring solo, and of course Clarence — invigorated, up and around for much of this night — did his thing and did it well.
And that wasn’t the end — as the needle hit the runout groove, Bruce said, “Let’s bring out the horns! We’ve got a few more for you!” And they used the horn section to maximum effect for the entire encore, four bonus tracks starting off with BTR/Darkness outtake “So Young and in Love.” “Kitty’s Back” was next — “and she’s got somebody with her!” Bruce teased at the end, “Kitty’s back, and she’s got somebody with her!” That somebody was “Rosalita,” and finally, Eddie Floyd’s “Raise Your Hand” made sure we got an R&B cover in there for the full effect of this ‘70s theater revival.
It was a particular bygone era brought back to life, a celebration of the band’s history and just one of its heydays, and a tip of the hat to a couple of 30th anniversaries… yet as ever with Springsteen, it was most notably moving forward and trying something new at the same time. And playing for a take-‘em-all-in-with-one-glance crowd from the orchestra to the balcony, a packed theater practically on top of Bruce and the band (at least compared to where they have been and will be playing in this new millenium), it was the perfect crucible for revisiting the passion and the power of these classic records. An experiment, no doubt — and an electrifying success.