Paradise Theater
231 N. Pulaski Road,
Chicago,
IL
60624
231 N. Pulaski Road,
Chicago,
IL
60624
41 people
favorited this theater
Showing 276 - 300 of 344 comments
Well, Mr Lauter, it may not be that easy to really fake convincingly that auditorium of the PARADISE. For example, that trio of plaster horses above the stage was life size, and reared out over the fourth row of seats, almost 40 feet out from the stage edge behind the vast orchestra pit. It was so vast that it is difficult for most camera angles to capture it as it was for the thousands inside. Most all movie palaces were a loss, but this was one of the special ones that must have inspired awe. One must really get large photos of it (which can be ordered from www.historictheatres.org ) and either have enlargements of several feet square made locally, or take each 8x10 bought from THSA and, using a magnifying glass under bright light, put the photo close to your nose and then back it away slowly, and you will get somewhat the illusion of being in there.
I have often thought the Chicago Paradise would be a great (digitally created) backdrop for an american version of “Cinema Paradiso”. Film in another Eberson atmospheric and digitally fake the Chicago Paradise proscenium detail.
Hello
JIM.
I am getting pretty good at this theatre research thing :).
http://www.wagnersign.com/bardavon-903.jpg
Well, this answers my question above. Some theatres STILL have kept their old “electric fantastic” marquees. This one is on a theatre in Poukeepsie, NY.
Granted this one is small and probably would never come close to the grandeur of that of the Paradise, Granada, or Marbro. But it is still very 20’s
JG
Hello JIM
I found the article by accident when I was at work. Some genius closed the screen and I didn’t find the original article I read but here is another one…
View link
Just to the bottom left of the writing below the picture this site also mentions the 10 different colors.
Yeah, I noticed that many theatres changed their marquees. Most of the more elaborate and larger theatres had the characteristic vertical sign in addition to the front marquee. I found another nice theatre…The Capitol in Wisconsin…which shares a very similar ‘wave’ type marquee like the Granada and Marbro. (See pix)
View link
I am not sure if this theater had a marquee change, but just about all the ‘changed’ marquees were drab in comparison to the originals. Oh Ok, the Granada’s second marquee wasn’t too bad…but still, it doesn’t compare to the original. The wave pattern on a chaser must have looked awesome! Like a carnival ride :).
Speaking of which…I know what you mean about America’s facination with the light bulb. I read much about that in regards to my research on Coney Island. It did seem early Amusement Parks and Theatre’s did share much in common with attracting patrons.
I must say your explanation of the demise of the “electric fantastic” theatre marquees is probably the best reason why they disappeared.
Still I only can imagine what one of these marquees must have looked like. I would love to witness one that is operational on a theatre today. But I would gather that would be a rare find indeed.
JG
Hello, JG: Glad you found the data about the PARADISE’s marquee’s ten bulb colors (Where was that article, please?) Yes, the movie palaces were expensive affairs from many standpoints, including electricity, and even though rates were just a few cents per kilowatt hour back then, it all added up. As the years wore on and the PARADISE proved less a gold mine than expected, the owners may well have regretted the cost of the marquee lights adding to costs, but it was usually other reasons that changed the marquees across America.
In many cities, marquees were indeed taxed to reduce the proliferation of “gaudy” signs then crowding building fronts. Such light bulb extravaganzas were originated in the years not long after the invention of the light bulb, something that so changed the street scape and way of life back then that we can scarsely believe its significance today; even an entire book was written about this phenomenon: “Disenchanted Night” by Wolfgang Schivelbusch, 1983. After the Second World War, the entire attitude of our society changed drastically, and formerly admired European precedents came to be sneered at as the new world ‘conquerer’, America, embraced the souless ‘International style’ of architecture and decor wholeheartedly. The ornate curves of marquees were only some of the graciousness that was denigrated and discarded as fast as a society running toward televisioin and blatant materialism could. Sign companies hearlded this post-war change since it meant fortunes for them as they convinced owners that they had to modernize to compete, and then the companies made millions removing old marquees and designing and building new, plastic and fluorescent ones to reeplace them. No doubt the PARADISE’s fell victim to this same ethos spreading across the land. The owners were running scared in view of television, and the sign guys played expertly upon the owner’s desperation to get the public to notice them against competition! Within just the decade of the ‘50s, many thousands of theatres were re-signed, now that men and materials were again available after the war. The sign companies then made more fortunes melting down the removed marquees and verticals, and the wholesale slaughter of the previous 30 years of artistic signs went on as vigorously as Urban Renewal in the next decades — and for some of the same reasons! So, the PARADISE’s marquee was replaced, but not necessarily due to maintenance costs alone.
Hello all again,
UPDATE:
JIM—You are right about the bulbs. I read an article just now stating that the “Paradise Theatre in Chicago was very unique in that it’s marquee had over 10,000 bulbs in 10 different colors”. 10 different colors huh? I sure would think that would keep the maintenance guys on their toes. Could you imagine though…10,000 bulbs??? If each lamp was a standard 11 watt bulb, if all the lamps were steady burning at one time, the sign would pull a staggering 956 amps (at 115volts). Even if they used a standard chase-4 circuit AND 220 volts that would still mean the sign pulled a continuous 120 amps. That is just the sign…rest of the building not included!! OUCH!! No wonder why they replaced the sign.
SCOTT—I was definately seeing double today. You are right, the Granada had an (almost) identical twin! I finally saw a picture of the Marbro…and a good picture it is.
View link
There is another picture I seen of the Marbro but at a distance. The crest on top is very different from that of the Granada. I couldn’t paste the link on that one though.
Absolutely Gorgeous though. It looks like I just became a fan of Levy & Kleins work in additon to J. Eberson’s work.
JG
Hello SCOTT,
Yes, I put that Annual in my order. I definately want to do more research on the Granada Theatre now. It is too closely linked to Album Art.
Speaking of which…I knew the concept behind the album already, I knew that by heart when I was kid and it was back then I first researched the Paradise Theatre. So there is no confusion there. Perhaps I just worded something poorly up there and I apologise for that. What I was doing now was trying to dig deeper as to why the actual Paradise Theatre was not accurately represented in the cover art of the album. I knew for a long time already that the real Paradise Theatre didn’t look like the art work on the Album cover. But, I let it go thinking the cover art was fictious and was “an original design” and left it at that. But I also know how artists are…especially when it comes to period based material and designs. They are usually always inspired by something, so I knew I was going to revisit this to investigate further and that is what I am doing here and now. In a way you have actually provided much of the information I was looking for. So based on what I seen it is very clear to me now that Robert Addison seen that picture of the Granada with it’s old Marquee and worked off that. The details in both his work and the Granada are far too similar to be conincidence. I am wondering now if both ideas came together at around the same time. Perhaps Addison really intended to create a rendition of the Granada theatre. Somehow Dennis from Styx got wind of it, loved the drawing, commissioned Addison and the drawing was adapted for the Album cover art. Of course that is just speculating, and it is just a hypothesis. So now I am interested in finding out the facts. While Robert Addison has passed away…Dennis would logically be the next person to try and ask. Wish me luck on this one!
I am off.
JG
Hello,
JIM—Thanx for the tip on Annual #27. But it will have to wait for now. I just put my money order in at lunch time. I guess I will poke around on the net for now to see what other creations J. Eberson did.
As for theater work…I have not anything etched in stone in terms of planning. But it would be cool to hook up with someone who is restoring a theatre with intentions of running it as a Performing Arts Theatre. As I mentioned I have done mixing and sound work before in this field, so I would fit right in. As for risks…well, isn’t it like that with any self made business? I figured I was either go into the amusement or theatre industry. It is just in the cards right now to plan something as my current line of work is winding down and my wife’s office just closed down. Ironically, she worked for Loews Theatre’s AP department in Manhattan, but AMC, the new owners, decided to close the Manhattan office down
Anyway, I will check out that link/story you provided. Oh, so that is how the email thing works. Ha! Didn’t know. Learn something new everyday. Thanx for that info.
I just checked out the links to the Pabst Theatre. Pretty nice place…it looks pretty big that is for sure. I see they went the concert route like the Loews Paradise. It is a shame that one cannot support a place like this with movies like they were initially designed to do. But pretty much my interests lie in the performing arts anyway. But it is nice that you helped to save a classic theatre…and that is the main thing. I am surprised that you were not involved with theatre directly. You sound like a seasoned vet on the topic :).
As for bulbs, I honestly don’t know their history but it just seemed like most marquees used white bulbs. Even in amusement parks of the period, they had a tendency to stick with white or clear bulbs. It is funny how you mention the ‘shading’ of bulbs in B&W pictures. When I receive the THSA paperwork, that was the exact thing I was going to look for to verify what Scott was saying. However, it seems like you have done that already. Yep, color photography would have been a plus. Too bad there wasn’t anyone that created artwork on the theatre, then you would have an idea of what it would look like in color. Like a postcard or something. I have some old postcard pictures of Coney Island in the 20’s and most of them are in color..but they are obviously all artist renderings and not photographs. They are really well done though.
Well thank you for the information. I will check out those links you provided in detail.
JG
Hello…
SCOTT—Thank You that link now works. I am so shocked that the Granada was around into the 90’s and nothing was done to save this theatre. But the thing that would make me send a 1000 thank you’s to you for pointing this link out to me is this picture right here.%20%3cbr%3eHABS%20ILL,16-CHIG,109-30&displayProfile=0)
What I am pointing out here is the marquee. I didn’t know that the Marquee was changed on the Granada. THIS IS the elusive marquee I was looking for. There is my wave. So apparently the artist, Robert Addison, based the concept art of the Paradise Theatre almost entirely on the Granada Theatre. I did some more digging and found out that the concept art for the Paradise Theatre album was done WAY before the album came out. Styx Paradise Theatre was released in 1981 and the concept art was done in 1977. More then likely it was a pre-existing drawing, or one in the works. So last question is…Why was the name Paradise slapped on a drawing which was supposed to be the Granada Theatre? Legalities does come to mind as the Granada was still open during this time. Perhaps it was Addison’s initial purpose to capture the essence of the Granada as it existed. He could have been commissioned by Styx’s graphic artists to come up with a concept drawing based on the Paradise Theatre. I guess this answer I will never know anytime soon.
Once again, Scott, 1000 thank you’s for that link. That one picture alone answers a bunch of questions.
JG
Well, JG, you may want to revise that order to THSA, since there is yet another of their Annuals that you may want, given your great interest in Ebersonian’s works: Annual #27 for the Year 2000 = “A John Eberson Scrapbook.” Its 40 pages are filled with photos of his works, including many of his less known works, and a portrait of the master himself with a mini-biography. There is a list of his theatres inside the back cover. THSA no longer has a formal Index to give out, but you might ask them for a gratis copy of their “QR” (Quick Reference) which has other citations to mentions of Eberson within the Society’s publications; likely they will include it with your order for Annuals.
You ask about working in theatres, and I hope your plans for such go well, but you might want to observe some of the cautions I and others gave a young woman with similar asperations at: http://cinematreasures.org/news/14407_0_1_0_C/ It can be a rewarding occupation from the perspective of an outsider, but given its unpredictable nature, you might want to plan for a back-up career if you can. By all means, go to the sources we mention there and let them help you analyze the potential in light of your own needs.
Should you wish to contact anyone making comments here, merely click on their name or ‘handle’ in blue at the bottom of any comment. This takes one to their Profile page where there is a field: CONTACT INFO where they may have left such as an E-mail address, as I did. Many people have left nothing there, as in your case, but that can be revised by clicking on the link PROFILE which is on the upper right corner of every page (if one is registered and signed in, which is done by this site’s ‘cookie’ on your computer automatically if you have ‘cookies’ turned on, and if you have set up a profile here). I will be happy to supply you with what little information I might have, given that I’ve never worked in theatres directly. I was the Archivist/Historian to my native Milwaukee’s PABST THEATER ( /theaters/2753/ ) in 1990-91 and wrote their 2-volume Application for National Historic Landmark designation —successfully— but that is as close as I’ve gotten in my 60 years. ( www.pabsttheater.org ) Best Wishes.
By the way, as Scott brings out, colored light bulbs were quite common in the ‘Twenties, as you will discern from the photos in the Annuals when you notice in the black & white photos the different tints of the light bulbs. Oh, to have had color photography back then! As the late Ben M. Hall says on the page 42 caption of the NYC’s RIALTO’s photo of its sign in his 1961 landmark book “The Best Remaining Seats”: “This was designed by men who knew what light bulbs were for!”
Hello…
SCOTT—Thanx for that tidbit of info. I was trying to look up the Granada by NAME and never thought twice of searching by the designer. I will probably add those to my list. The link you provided is not working for some reason. Either something is missing or there is not enough there.
Wow, so the Paradise DID have multi-color bulbs? I guess that could be one of the reasons why they changed the sign. Even nowadays there is a price difference between white and colored bulbs. Back in the day colored bulbs were not common, the price difference (by ratio comparing to todays cost) was probably greater. Then again, they could have changed them all to white if that were the case…certainly easier than replacing the entire marquee. But I guess too probably it was the operating costs in terms of power requirements that could have did the marquee in. I remember a while back I did a power calculation for someone that was restoring an antique carousel that had almost 1000 bulbs. It used 11 watt bulbs and pulled about 90 amps. NINTY AMPS!!! The lighting pulled more power then the actual carousel drive itself. The owner of the carousel almost dropped dead after we figured that out! We came up with a lower power solution that dropped the current below 60 amps, so as the carousel would not put that much of a dent in the power budget. I could only imagine what the Paradise Theatre sign pulled…even if it was on a chaser control.
Yes, I would agree. Even the B&W photos of the Paradise are awesome. But it probably wouldn’t compare to color. Seeing the color photos of the newly renovated Loew’s Paradise (Bronx) really got me fixated on these theatres. I saw the color pictures of the Akron Loews theatre (also a John Eberson creation), and again I had to scrape my jaw off the floor.
Yes it was I that asked if you witnessed the demolition of the Paradise. It must have been awful to have memories of that especially if you have an interest in theatre history.
Last night I found more pictures of the Granada, including the demolition. It is an un-nerving thought that some many beautiful theatres were destroyed like this.
JG
Hello again,
JIM—Off topic. Would you happen to have a list of John Eberson theatres. I would like to check out more of this Architect’s work. Moreover I would like to know more of his theatres that are still standing.
Also, I am interested in seeking a career in theatre…perhaps help restore an old theatre and stay on for sound work. However, I feel that discussion would be out of place here since that is a topic not related to the Chicago Paradise. Would you have a direct email where I can reach you to discuss this further?
Thank You,
JG
Hello
JIM—Just was double checking again, that was all. I already had the letter (order) made up for the two items, but would have had to redo it if the one was not in stock. I would have added the Granada Theatre as well, but didn’t find one on the THSA website. There IS a Granada Theatre, but it was for the San Franciso one.
Wow, that was a nice bit of info to learn that the Paradise intended to have a revolving “lighthouse” sign, but I do like the original Marquee and how it turned out. But the Styx album cover is still my favorite. My next favorite Marquee was the one featured in the movie, “The Majestic”. Not so much so in the day time, but lit up at night, it was awesome! I could only imagine what the original Paradise’s Marquee looked like at night. More then likely it was all white lights…I don’t think colored bulbs were that much in vogue in the 20’s.
JG
Sorry to have thrown you a curve again, JG, but I must need new glasses! You are right, of course, that the Bronx PARADISE’s Annual is indeed back in stock, I’m happy to see. So, do send off that money order as soon as you can —before it again goes out of print!
Speaking again of the Chicago PARADISE, there was an “Encore” article about it in their MARQUEE: Vol. 10 #4, 4th Qtr. 1978 which IS listed as out-of-print there, but perhaps one of the libraries I mentioned will let you photocopy the relevant pages (page 16 is a drawing of a planned revolving roof-top tower “lantern” sign that was never built, and 17 is two photos; one across the upper balcony with the cove lights turned on and ‘clouds’ retouched onto the sky portion, and also a view of an area not well represented in the Annual’s photos: “beyond the vestibule, but before the lobby.” THSA is nothing if not thorough!
Hello all,
Sorry about the double post again, but I had a recollection…
BAM! It finally came to me after I banged my head against the wall a couple of times. It was Robert Addison that created the artwork for the Styx Album. I tried to track him down but I came across a website that said he died in 1988 :(.
I did find a teeny tiny picture of his original concept art for the album, which is the full drawing of the theatre. It is definately Granada inspired without a doubt. Damn, and come to think of it back in the 80’s I should have asked the record store for the promotional display for the Paradise Theatre album when they were through with it. The thing was 6 feet tall!!
JG
Hello
SCOTT—Good to know that the Bronx Paradise publication was reprinted. Are you a member of the THSA as well? I am surprised that if it went back to print that Jim didn’t mention it. But I am definately going to get both Annuals without a doubt. I have to see if they have one on the Granada Theatre since it appears that it too was some inspiration in the creation of the Styx album cover.
It is a shame that the Paradise had to destroy that beautiful marquee because of darn taxes. Well, I guess the thousands of light bulbs didn’t help the issue any either.
Sorry, but I have not seen any later pictures of the Paradise…just those when it was in it’s full glory. Must have been awful with all that black crap on it. Worse, it sounds like you must have witnessed the demolition as well, huh?
BRYAN—I have dug up that picture myself about an hour ago…but the Marquee is at a bad angle and the picture dark…so I really cannot make anything of it. What I would need is a good head on shot of the Marquee.
Well, I am off. I am gawk over some pictures I found of the restored Bronx Loews Paradise.
Thanx guys.
JG
Scott,
I hate to say it, but I have a picture of the new vertical and marquee of the Paradise, and it seems to be in the same size of the original marquee…..anyone that would like to see this pic, write me at
Hello again,
PAUL—I finally dug up a good picture of the Granada Theatre.
View link
So you are RIGHT! This is it! I compared this closely to my Paradise Theatre Album and the facade clearly resembles the Granada more than the actual Paradise. The three window layout and the top arch are just about identical. I wonder why the artist chose to do this? I do understand the fancier marquee, but he still could have used the original Paradise facade. Why did he choose a different theatre altogether? Hmmmm, I guess one may never know. Paul, I was wondering if you have a scanner if you could scan that picture of the Tivoli marquee for me and post it here. It would be the last element I need to complete this puzzle.
BRYAN—Eeewwww! That second marquee is horrible. If that was the choice back then…I would have NEVER replaced the original.
JG
Hello,
JIM—Thank you for verifying that about the Chicago Paradise Annual, however you tossed me another curve ball on the Bronx Paradise Annual. On the THSA website it shows 1972 – No. 2 Paradise (Bronx, NY). There is nothing showing the Annual is out of print. If it is out of print then someone is not keeping up the website. That annual doesn’t even have a LOW COUNT warning next to it either. Are you sure it is out of stock? Reason I ask is because I was going to put that one on the order as well. If you could double check that for me I would appreciate it. I was almost ready to go to the post office now and cut a money order and send it out to THSA, but I will wait until I hear from you.
PAUL—Ahhh, so I see you got the information from a book. I was going nuts trying to find pictures of the Chicago Tivoli on line…kept getting pictures of the Downer’s Grove one :(. So far I have not found pictures on the Granada either…but honestly I have not been actively looking for that one. I will give it a whirl.
But real or not I just fell in love with that Marquee on the Styx album. Should I eventually ever own a theatre you bet the Marquee will look very much like that one…that is if the building had no historic significance, of course.
JG
JG,
For decent photos of the Chicago Tivoli Theatre, you can find them in history books about Chicago. An excellent example is LOST CHICAGO by David Gerrard Lowe (ISBN: 0823028712). It was in reading that book in 1981 that I discovered how much the PARADISE THEATRE album cover resembled the Tivoli.
If you look closely at the marquee on the STYX album, you’ll see how it resembles a genie’s hat. The artist may have, however, used the basic archeitecture of the Granada for his model.
Yes, it is the 1977 Annual as you surmise. I’m sorry if my mistake mislead you. Given your nearness to the Paradise in the Bronx, it is a pity that it is out of print — hence my comment about getting them while one can. You would do well to check the NY area libraries for a copy of that Annual, including the Avery Library at Columbia University. It was by the late Michael Miller, though I believe the copyright is owned by the Society, so it might be cataloged under that name. Let us know what you thought of the publications.
The 1977 No. 4 Paradise (Chicago) booklet is the right one.
Sorry for the double post guys…
JIM, I looked on the THSA site and found the area you were referring to. I believe I am in the right area. However It says “1977 No 4. Paradise (Chicago)”. I am assuming this is the right one correct? Only making sure because you mentioned 1973 above.
JG
Hello
PAUL—Yes, that was what I did hear story about, that it was based on the Granada Theatre. But if that isn’t the case, then there still remains the question if Marquee, as pictured on the Styx album cover, really did exist on a theatre.
As for the Tivoli theatre you mentioned, I only can find pictures on the Downers Grove one. Where can I see a picture of the theatre you mentioned? I did try to look it up here, but the caption for the Chicago Tivoli has no picture attached to it.
JIM—Thank you for the tip on that paper on the Paradise. I believe I will head over there get a copy. I will definately keep it with my original Styx Paradise Theatre album.
Yes it is facinating how they did the lighting mechanically back then. I am very much familiar with the old cam set ups. You can get them still made like that nowadays…especially for very high current applications. Contact blocks are too slow for that application.
Nice to hear you are with the THSA. I guess you have been following the progress on the sister theatre to the Chicago Paradise, the Bronx Lowes Paradise. I live just a little over an hour away from that one. I am happy to see that it was restored. It is a very beautiful theatre and I am happy to see that it was saved. Now that they are using it for concerts…the icing on the cake would be to have Styx have a concert there. Kind of like a ‘Paradise Reborn’ concert…or something like that. I would be there in a heartbeat.
Thanx for the info guys.
JG
It was said that the artist who painted the cover to Styx’s PARADISE THEATRE used the Granada Theatre (which was extant and hosting concerts at the time) as his model. However, the Granada had a modern marquee by that time.
However, I’ve always thought that if you look at the marquee for the Tivoli (the demolished on in Chicago, not the one in Downers Grove), you’ll notice some striking similarities.