This past January, while flying into LAX at night, I looked out my window and saw that, although the marquee of the Academy was not on, the tower was—completely operational and animating!
I highly recommend Darkside Cinema owner Paul Turner’s book, “Prancing Lavender Bunnies,” which is a collection of essays he’s written about the world of operating an independent cinema. There are also stories of when he worked at other, older theatres as well. He really gives a sense of the nitty-gritty of exhibition. As for WHY the funny title, well, you should get the book! After enjoying my copy, I donated it to the Theatre Historical Society Archives, as I felt it gives glimpses into cinematic exhibition not detailed as colorfully anywhere else.
Small architectural correction, as I stopped by the former Burl today: The exterior of the commercial block in front is, and always was, faced in wood, not stucco as I erroneously said in my description above.
I took a close look yesterday at the storefronts which now occupy the spaces which were once the Guild and Centre theatres in the same building. Some of the terrazzo from the entrance to the Guild is still visible, partly obscured by a later wall. The whole entry terrazzo floor of the Centre’s entry is exposed, as well.
I walked by the former Centre yesterday. A very nice bike shop now occupies the space. The original terrazzo floor of the theatre’s entrance is now fully on view. Brass holes for rope stanchions are still to be seen, sunk into the terrazzo. The bike shop management has the theatre’s little safe on display. Some of the terrazzo of the Guild/Pussycat next door is visible as well, though not nearly as much as what one can see at the Centre.
Were the Pagoda to be demolished, I would not feel all that badly. It is just a shell. There remain absolutely no use-specific or decorative features inside. My suggestion would be to build an entirely new structure for the transit station, and attach the old vertical sign of the theatre—repurposed to herald the station in neon or LED lettering—to the new building. The only remaining aesthetic feature of the theatre would thus be recycled and remain visible. Its Streamlined profile would fit the image of mass transit nicely.
Jack Tillmany, early CinemaTreasures contributor, historian, Theatre Historical Society co-founder, and theatre owner/manager, began his career in exhibition at this theatre.
Nice to see from the photo that the new theatre has a vertical sign. I’ve noticed Century is building them on their new theatres. The Century in Newark, CA has a vertical that was clearly inspired by that of the Millbrae, in Millbrae. The Century in Pleasant Hill has a sign and tower clearly inspired by the Orinda. Nice to see some architectural pizzazz being created.
I was the artist who designed and executed the above-mentioned mirror mural. I did so—paid by United Artists—in 1994. Though I designed it to look like it had been there since the 1930s, I signed and dated it in the lower Left corner, so future historians would not be confused. The one panel of the mirror was cracked during a fight that occurred in the lobby several years later. According to the manager at the time, one guy was pushed into the door to the auditorium, and the doorstop broke and the handle of the door hit the mirror and cracked it. I do not know the fate of the surviving mirror panels. I hear the theatre has been gutted and is being converted to other commercial uses.
If you look at the marquee in the Street View, there are reddish blank spaces above the reader boards. As late as the mid 1990s, there were metal channel letters reading DOS PALOS, with magenta neon in them. At that time, they mostly worked. A few letters were out.
To clarify: By African warriors, I am referring to the men on horseback in the next to photos. The kneeling archer (and it’s mate) flanked the screen, which is to the left of the photo.
I always got a kick out of the Islamic style arches on this theatre. quite a departure for architect Vincent Raney—a Modernist for nearly all his career.
I have updated the Street View to show precisely the modern building which occupies the complete footprint of the Appleton/T&D/State Theatre building. The alley to the Right ran along the East flank of the office block and the auditorium behind.
Joe Vogel: The Architect and Engineer issue you found refers to the construction of what would long since be known as the Fox. It was independently financed by a group of local investors which called themselves the El Pajaro Company. They hired G. Albert Lansburgh to design the theatre for them, and it was originally to have been called El Pajaro. It opened instead in 1923 as the California (and as such was on the Jr. Orpheum vaudeville circuit), and was remodeled and renamed Fox in 1931 after having become part of the Fox West Coast circuit. The theatre that became known as the Pajaro was a retrofit of an existing brick commercial building across the street and one block South of the California/Fox. As late as the 1960s, the Fox would still be owned by the El Pajaro Company, though run by Fox/NGC, according to a gentleman who once worked for the chain. The brick building which once housed the Pajaro was demolished c. 1986.
This past January, while flying into LAX at night, I looked out my window and saw that, although the marquee of the Academy was not on, the tower was—completely operational and animating!
The interior is almost entirely gutted down to the wood frame. The marquee and vertical sign have been removed for off-site refurbishing.
I highly recommend Darkside Cinema owner Paul Turner’s book, “Prancing Lavender Bunnies,” which is a collection of essays he’s written about the world of operating an independent cinema. There are also stories of when he worked at other, older theatres as well. He really gives a sense of the nitty-gritty of exhibition. As for WHY the funny title, well, you should get the book! After enjoying my copy, I donated it to the Theatre Historical Society Archives, as I felt it gives glimpses into cinematic exhibition not detailed as colorfully anywhere else.
This can’t be a 1991 photo. The Embassy closed due to the 1989 earthquake.
Small architectural correction, as I stopped by the former Burl today: The exterior of the commercial block in front is, and always was, faced in wood, not stucco as I erroneously said in my description above.
Considerable remnants of the interior decor survive, mainly rows of Ionic pilasters along the sidewalls.
I took a close look yesterday at the storefronts which now occupy the spaces which were once the Guild and Centre theatres in the same building. Some of the terrazzo from the entrance to the Guild is still visible, partly obscured by a later wall. The whole entry terrazzo floor of the Centre’s entry is exposed, as well.
I walked by the former Centre yesterday. A very nice bike shop now occupies the space. The original terrazzo floor of the theatre’s entrance is now fully on view. Brass holes for rope stanchions are still to be seen, sunk into the terrazzo. The bike shop management has the theatre’s little safe on display. Some of the terrazzo of the Guild/Pussycat next door is visible as well, though not nearly as much as what one can see at the Centre.
It should be noted that the Metro is on the Right in the photo. The theatre on the Left is the Miami, which looks vastly different today.
Actually, I think this is the outer lobby of the Boston Opera House (ex B.F. Keith Memorial/RKO Keith’s/Savoy), not the Center’s lobby.
Were the Pagoda to be demolished, I would not feel all that badly. It is just a shell. There remain absolutely no use-specific or decorative features inside. My suggestion would be to build an entirely new structure for the transit station, and attach the old vertical sign of the theatre—repurposed to herald the station in neon or LED lettering—to the new building. The only remaining aesthetic feature of the theatre would thus be recycled and remain visible. Its Streamlined profile would fit the image of mass transit nicely.
Jack Tillmany, early CinemaTreasures contributor, historian, Theatre Historical Society co-founder, and theatre owner/manager, began his career in exhibition at this theatre.
I just discovered this fact. I’m honored! :-D
Nice to see from the photo that the new theatre has a vertical sign. I’ve noticed Century is building them on their new theatres. The Century in Newark, CA has a vertical that was clearly inspired by that of the Millbrae, in Millbrae. The Century in Pleasant Hill has a sign and tower clearly inspired by the Orinda. Nice to see some architectural pizzazz being created.
This is (obviously) the terrazzo pavement in the entrance, the only “historic” decorative feature visible on the theatre’s exterior today.
I was the artist who designed and executed the above-mentioned mirror mural. I did so—paid by United Artists—in 1994. Though I designed it to look like it had been there since the 1930s, I signed and dated it in the lower Left corner, so future historians would not be confused. The one panel of the mirror was cracked during a fight that occurred in the lobby several years later. According to the manager at the time, one guy was pushed into the door to the auditorium, and the doorstop broke and the handle of the door hit the mirror and cracked it. I do not know the fate of the surviving mirror panels. I hear the theatre has been gutted and is being converted to other commercial uses.
If you look at the marquee in the Street View, there are reddish blank spaces above the reader boards. As late as the mid 1990s, there were metal channel letters reading DOS PALOS, with magenta neon in them. At that time, they mostly worked. A few letters were out.
The theatre was also known as the Circle, in 1951.
To clarify: By African warriors, I am referring to the men on horseback in the next to photos. The kneeling archer (and it’s mate) flanked the screen, which is to the left of the photo.
The cartouche reads, “Men-kheper-ra,” throne name of the pharaoh Thutmose III.
I always got a kick out of the Islamic style arches on this theatre. quite a departure for architect Vincent Raney—a Modernist for nearly all his career.
No. The Arkley Center is the former State Theatre.
I have updated the Street View to show precisely the modern building which occupies the complete footprint of the Appleton/T&D/State Theatre building. The alley to the Right ran along the East flank of the office block and the auditorium behind.
mhgaither: Yes, I still have that Starlite stamp.
Joe Vogel: The Architect and Engineer issue you found refers to the construction of what would long since be known as the Fox. It was independently financed by a group of local investors which called themselves the El Pajaro Company. They hired G. Albert Lansburgh to design the theatre for them, and it was originally to have been called El Pajaro. It opened instead in 1923 as the California (and as such was on the Jr. Orpheum vaudeville circuit), and was remodeled and renamed Fox in 1931 after having become part of the Fox West Coast circuit. The theatre that became known as the Pajaro was a retrofit of an existing brick commercial building across the street and one block South of the California/Fox. As late as the 1960s, the Fox would still be owned by the El Pajaro Company, though run by Fox/NGC, according to a gentleman who once worked for the chain. The brick building which once housed the Pajaro was demolished c. 1986.