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Singer - Stepping out in Cincinnati: Queen City entertainment 1900-1960

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Singer Stepping out in Cincinnati: Queen City entertainment 1900-1960
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Long before folks had a television set and radio in every room, they sought entertainment by stepping out for a night on the town. The choices around Cincinnati were nearly limitless: live theater at the Cox; spectacular musicals at the Shubert; hotels featuring fine dining and dance orchestras; talking pictures at everyones favorite movie palace--the Albee; burlesque and vaudeville shows at the Empress Theater on Vine Street; and gambling casinos were just a short drive across the river in Newport. All of the major entertainment venues in the Queen City during the first half of the 20th century are explored in Stepping out in Cincinnati. From saloons to ornate movie palaces and from the Cotton Club to the Capitol, you join those pleasure seekers, getting a real sense of what they saw: wonderful events and their countless images--the things of which fond memories were made. Today, those memories have faded and virtually all of the once-glittering showplaces have been bulldozed into history. But within these pages, we get to experience first hand what it was like to be there. Unique among the many photographs featuring unforgettable movie houses and nightclub orchestras are never-before-published images of actual live vaudeville performances onstage at the Shubert, plus rare, clandestine pictures snapped inside the casinos in Newport. Also revealed are the locations of the better-known speakeasies during Prohibition; where the best halls to dance to live orchestras were; what the earliest movie houses were like; and what black Cincinnatians did for entertainment.

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Table of Contents ACKNOWLEDGMENTS The creation of this book required the - photo 1
Table of Contents

ACKNOWLEDGMENTS

The creation of this book required the cooperation and generosity of numerous helpful people who donated images or reviewed portions of the manuscript. The project demanded a wide variety of images and the utmost in accuracy, and I appreciate everyone who donated their memories, information, and irreplaceable photographs.

I must thank my wife, Deanna, for helping with newspaper microfilm research at the library and for her unending support through the whole process. For the third time, I am indebted to Cincinnati veteran broadcaster Bill Myers for his wonderful image donations, manuscript proofreading, and continued assistance. Transportation historian Earl Clark again pitched in with firsthand information and photographs of orchestras and the Beverly Hills Country Club. Railroadiana collector Dan Finfrock donated a collection of unpublished photographs taken by Ed Kuhr of vaudeville and burlesque shows and various Cincinnati scenes prior to 1940, including the image on the cover of this book. The movie theater chapter would not have been as comprehensive without help from www.cincinnatihistory.com and the photographs of Ben Rosen supplementing the many never-before-published photographs from Bill Myers. The chapter on black entertainment would not exist without the knowledgeable assistance of local musician and amateur historian Michael G. Smith. His experiences and willingness to share his history were immensely appreciated. The photographs provided by Toilynn ONeal and the Cincinnati Arts Consortium wonderfully illustrate the black entertainment chapter.

Further contributions were made by the following: the nice folks at the Colony in Latonia; local singer Rita Robertson, who donated several great orchestra images from her family; Newport memorabilia collector Dave Horn; musicians Dick Meyer and Carl Grasham; the Cincinnati Symphony Orchestra; Jack Doll and the Delhi Historical Society; the Price Hill Historical Society; the Cincinnati Historical Society; Steve Pettinga at the Saturday Evening Post ; John Vissman at the Cincinnati Post ; Cliff Radel at the Cincinnati Enquirer ; Eugene Frye of the Musicians Union; Cincinnati broadcast legend Bill Nimmo; George Ferguson and Dave Schroeder and the Kenton County Library; the Pleasant Ridge Public Library; Suzanne Fleming at Photosmith for quickly printing the 75-year-old negatives; Mike Martini; Steve Thompson; Tim Lucas; Howard Melvin; Barbara Trauth; Joe Moran; Bruce Evans; Larry Bonhaus; George Fortner; Roberta Michel; Gordon Huntley; Simon Anderson; Judith Santavicca; Kimberly Booker; Charles L. Lillard; Earl Pitstick; Annie Wagner and Ken Kallick at 89.3 FM WMKV radio; Don Prout at www.cincinnativiews.net ; Bernie Spencer at www.nkyviews.com ; the Jim Hawkins radio and technology page at www.j-hawkins.com/radio.html ; my mother, Beverly Singer; my sister Julie for cleaning up the newspaper advertisements and illustrations; my editor, Melissa Basilone; and James MacDonald and the rest of the group at www.absolutewrite.com , who provided continued support and inspiration.

Finally, I thank all the readers of my first two books and the people of Cincinnati who never stop appreciating the history of our fine city.

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One
WHERE THE FLICKER SHOWS WERE

At the dawn of the 20th century, the motion picture had just recently made its public debut with the kinetoscope. Hand-cranked machines located in downtown penny arcades showed the minute-long flicker shows through a peephole. Films were soon edited into 5- and 10-minute features, and new projectors put them on screens. The only places big enough to show these photoplays and photodramas were dark storerooms often infested with bugs and mice. These were soon replaced with buildings designed especially as theaters, charging 5 admission. These nickelodeons were clean, comfortable, and vermin-free.

Mostly working-class folks patronized the nickel shows, but general audiences were growing. Programs changed weekly and usually included five different films: a drama, comedy, adventure, novelty, and documentary or other short feature with accompaniment by a live piano or organ. Nickelodeons lasted until around 1910 and were either renovated to accommodate the larger crowds or closed, unable to compete with the big theaters being built around the Queen City.

Folks developed interesting new habits as they got used to stepping out to see the picture shows. They read the title cards out loud. They chatted and shared recipes. Nobody minded, because that was what happened during the show. Prime advertising space was utilized on the screen just like today. In addition to the coming attractions, slides promoting local businesses were shown. The main feature then appeared on the screen and generally lasted an hour and a half, followed by serials, comic shorts, and newsreels. Hollywood studios soon began releasing full-length feature films such as Birth of a Nation in 1915 (shown at the Grand Theater in 1917), and admission rates soared by 10 or more.

These were the days before air-conditioning. Cold refreshments were sold during the shows, and attendants walked the aisles squirting disinfectant to freshen the air. The primitive projection equipment was not always reliable, and the nitrate film was flammable. At the Grand Theater in June 1917, two small explosions occurred in the projector and a fire broke out in the booth. The projectionist extinguished the flames while the audience of 200 calmly filed out to the current melodies played by the organist.

Upon a movies release, distributors sent the films directly to the first-run theaters. Second-run houses received them next, and by the time the films arrived at the small third-run suburban theaters, the abused film had been repaired with chewing gum, safety pins, hairpins, and sometimes even horseshoe nails. The projectionist made repairs before showtime. Whenever the film broke during the show, the projectionist fixed it while audience members booed, yelled, and stomped their feet.

Moviegoers tended to drop a lot of personal articles in the theaters. During comedies, small items fell from their pockets while they were laughing at the slapstick antics onscreen. In melodramas or action films, patrons tore or crushed their belongings in the excitement. Among the items in the lost-and-found bin at the Walnut Theater in 1920 were a porcelain tooth, a stethoscope, gold and jeweled fraternal pins, class pins, a gold watch, watch fobs, earrings, bracelets, a string of beads, scores of eyeglass cases, gold pocket pieces and stick pins, gold and silver cufflinks, shoes, gloves, ties, belts, scarves, fur pieces, pocketbooks, a wallet containing $98, and a purse containing $500. Most of these went unclaimed.

Sound effects like chirping birds and train whistles in early-1920s movies came from a record playing on a specially equipped phonograph, usually poorly synchronized with the film. In 1926, Warner Brothers Vitaphone films introduced high-quality sound and voice on a specialized accompanying record. The first talkie The Jazz Singer , starring Al Jolsonopened in 1927. Lights of New York premiered in 1929 as the first movie to feature all-synchronous dialog. Soon after, theaters that showed the new sound films proudly proclaimed, Not a Vitaphone.

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