A discussion about downtown area in Philadelphia and connections from today with its historical past.
Theatre in Philadelphia
Theater has declined, everywhere in the western world. But in Philadelphia, even today if you attended every new play you would keep pretty busy.
The 20% federal tax credit for historic preservation is said to have been the special pet of Senator Lugar of Indiana. Much of the recent transformation of Philadelphia's downtown is attributed to this incentive.
Customs, Culture and Traditions
Abundant seafood made it easy to settle here. Agriculture takes longer.
Architecture in Philadelphia
Originating in a limitless forest, wooden structures became a "Red City" of brick after a few fires. Then a succession of gifted architects shaped the city as Greek Revival, then French. Modern architecture now responds as much to population sociology as artistic genius. Take a look at the current "green building" movement.
Right Angle Club 2007
A report, to the year 2007 shareholders of the Right Angle Club of Philadelphia, by the outgoing president. www.philadelphia-reflections.com/topic/73.htm
Touring Philadelphia's Western Regions
Philadelpia County had two hundred farms in 1950, but is now thickly settled in all directions. Western regions along the Schuylkill are still spread out somewhat; with many historic estates.
Howard B. Haas a lawyer, and Shawn Evans an architect, are captains of a team trying to "save" the old Boyd Theatre at 1908 Chestnut Street. Since Clear Channel the present owner has invested $13million in the property, and the preservationists agree that renovation of the movie palace to all its former glory would cost between $20million and $30million more, it's easy to understand why every other movie palace in central Philadelphia has been demolished. Furthermore, that area of town is having a resurgence of high-rise construction, so one use of the property must be balanced against others.
The Boyd was built in 1928, just before the stock market crash, and closed in 2002. In fact, it changed its name to SamEric in its dying days, but the public remembers it as the Boyd, one of ten movie palaces in center city. The definition of a "palace" is arbitrary, but is generally taken to be a theater with more than a thousand seats, normally with hyperbolic architecture to fit its hyperbolic advertising. Scholars of the matter say the earliest movie houses were constructed in Egyptian style, soon evolving into French Art Deco. Ornate, whatever it's called.
The palace concept developed in the era of silent films, with subtitles. Anyone who has experimented with home movies knows that the silent film sort of lacks something, particularly between reels and at times of breakdown in the projection. That's why brass bands played on the sidewalk outside, pipe organs played during intermissions, and all manner of vaudeville appeared on stage. Sound movies, or talkies, were immediately much more popular when they appeared in 1927, and had less need of the window dressing from other distractions which had grown into a moviehouse tradition which was slow to die.
The movie studios owned the films and soon built theaters to display them. The movie business was quite profitable from the start, so studios had the necessary finance to spread a network of very large theaters across the country quickly. The ability to concentrate hyped-up advertising with immediate display of the product in large captive theaters tended to drive the model of the "palace" , which was able to sustain higher ticket prices than trickling a larger number of film copies to myriads of small "mom and pop" local theaters. In very short order, going downtown to see movies became at one time the largest reason for suburbanites to go to the center of town on public transportation, fitting in nicely with the concentration of huge department stores, also located there. Restaurants, bars, bowling alleys and shops grew up to address the crowds. Furthermore, the economic depression of the 1930s slowed down what was to become a relentless automobile-flight to the suburbs. After the spread of free television at home in 1950, the downtown movie palaces were doomed. The legal profession helped, too. Small suburban theater operators eventually won an antitrust suit against what they described as monopoly power of studio-owned center city palaces, so a host of small sharks in the suburbs started to eat the whales downtown. Furthermore, sound quality was easier to achieve in a smaller auditorium. To tell the truth, fire hazard was also lessened without the arc-lamps needed to project images across a long distance.
So, a new technology interacting with an old theatrical tradition quickly created the movie industry in its downtown movie palace form; more advancing technology quickly destroyed it, with a little help from economics and politics. Good luck to the friends of this historical epoch, who have a monumental task ahead to work up the public nostalgia and political strength required to overcome a huge economic obstacle of the "highest, best use of the land". In many ways, the most valuable contribution of this movie palace restoration movement is to dramatize in the public mind just how urban centers function. Department stores are gone, going intown to the movies is over. How else are you now going to get the couch potatoes to go downtown voluntarily, and often? Just imagine ten palaces simultaneously filling up with several thousand suburbanites apiece, seven nights a week. Without those additional drawbacks on ample display in Atlantic City and Las Vegas, please.