Flashback : Dallas

A Miscellany: History, Ads, Pop Culture

Category: Entertainment

You Never Even Called Me by My Correct Name — 1975

Photo: Buddy Magazine

by Paula Bosse

Every time I come across this photo I clipped from an old Buddy magazine, I laugh. I don’t think I’ve ever considered the word “disgruntled” as an adjective to describe David Allan Coe, but I think we’d all be pretty disgruntled if we were the headliner at the Longhorn Ballroom, and they couldn’t even spell our name right on the marquee.

A disgruntled David Allan Coe points to the marquee with his name misspelled in front of the Longhorn Ballroom. Photo by Stoney Burns.

If you aren’t familiar with the excessively “colorful” David Allan Coe… well… you’re probably not a fan of the extreme side of Outlaw Country Music. I swear I heard “You Never Even Called Me by My Name” every single time I went to the Lakewood Landing, back when I went there a LOT. I hope it’s still on the jukebox. You can’t call yourself a true Texan unless you’ve sung along to this song in a packed bar. (You can listen to this legendary DAC song on YouTube here — listen all the way through!)

And speaking of Buddy, enjoy this Shiner Beer ad that appeared in its pages in 1975:

And still speaking of Buddy, I understand that all (…ALL!) (…or almost all…) back issues — going back to the first issue from July 1973 — are in the process of being fully scanned and will be coming soon to an internet near you. This is such an important cultural archive of Texas music (and Dallas music)! There is a very large selection of Buddy at the downtown Dallas Public Library, but there are gaps in the collection. I look forward to wandering through the back issues when the archive is up and running!

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Sources & Notes

Photo of David Allen Allan Coe is by the legendary Stoney Burns; it appeared in a May 1975 issue of Buddy magazine. The Shiner ad is from an April 1975 issue of Buddy. Both issues are from the very large collection housed at the Dallas Public Library.

Buddy is still going strong, after 53 years. (And so is the 86-year-old DAC!)

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Copyright © 2026 Paula Bosse. All Rights Reserved.

Dallas, Through Soviet Eyes

Valentin Zorin

by Paula Bosse

A bit of a departure here: I’m recommending a very interesting article by my friend Julia Barton, a writer and broadcaster who often combines her love of various aspects of media and her love of her hometown, Dallas. I’ve mentioned Julia several times in Flashback Dallas posts. I stumbled across a taped presentation she had made at SMU about the history of the Trinity River, and I was struck by how similar we were. We’ve corresponded and have met a few times when she’s been back in Dallas for visits with her family. We’re, as they say, simpatico. She’s given me some great tips on topics I ended up writing about; one of my favorite posts — “‘Enemy Aliens'” and the WWII Internment Camp at Seagoville” — was written because of her.

Back to this article she’s written that you should really check out: it’s about a weird and fascinating television production from the late 1970s that appeared on Soviet TV as an odd bit of anti-Capitalist propaganda masquerading as travelogue. It was filmed here and is jam-packed with Dallas stereotypes and all its extravagant extravagances, its big shiny things, its “haves” and its “have nots.” Big hair, Society People at parties, and ripped-off footage of H. L. Hunt. The “journalist” tour guide was Valentin Zorin, a big name in Soviet Russia, who had legions of fans, including one V. Putin.

If you want to dip your toe into this story, head over to Julia’s newsletter, Continuous Wave, and read her article “Sound Off: How Not to Be a Propagandist.” Click a bunch of her links. It’s quite the strange journey into a lopsided version of Big D that is probably not one you’d expect.

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Sources & Notes

Top image is from Julia Barton’s newsletter — it’s a screenshot from the 1978 program “The Puzzles of Dallas” — in her article, Julia links to the full film on YouTube (it’s in Russian, but you get the idea…).

Thank you, Julia!

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Copyright © 2026 Paula Bosse. All Rights Reserved.

Vaudeville at the Sportatorium? — 1936

Original Sportatorium, in all its octagonal glory

by Paula Bosse

I saw this ticket recently on eBay:

SPORTATORIUM, Cadiz and Industrial Blvd.
Harley Sadler In Person
And His Company of 100 Stage Players Present
UNCLE TOM’S CABIN
And Vaudeville, Musical Floor Show, Refreshments

…What?!

The ticket is undated, but “vaudeville” had mostly faded by the 1930s. The original (octagonal!) Sportatorium was built in 1935 and opened as a premiere sporting venue for wrestling (and boxing) in December 1935.

The new sports bowl, under construction at Cadiz and Industrial, will have its official opening Monday night, December 9, when Promoter Bert Willoughby will offer the biggest wrestling program ever staged in Texas, if present plans go through as outlined. This 10,000-seating capacity structure, built as the home of wrestling, will also entertain many other events, such as boxing, basketball, indoor circuses, style shows [!], conventions and gatherings of all kinds. (Dallas Morning News, Dec. 1, 1935)

Sounds huge. But it’s really hard to keep those seats full — especially on nights when wrestling is not scheduled. By the end of April, there were already plans to do something about one of their biggest problems.

“We feel,” declared [manager W. T.] Cox, “that this concern is too big and that there is too much money already invested to have five or six dark nights a week, so we are going to make it possible for everyone, with anything to show, to bring it to our place, whether it be a political gathering, religious services or merchants’ and manufacturers’ exhibits. The policy of the house will be to encourage and promote sports, but it will be available to all.” (DMN, Apr. 20, 1936)

Sportatorium management came up with the idea of presenting a massive show on non-wrestling nights. They gave Harley Sadler — a longtime traveling Texas showman (and later a politician) — a long-term engagement in which he basically crammed as much “show” into one evening as was humanly possible. A stage was built, and many of those 10,000 seats were removed in order that patrons could sit at tables to enjoy the relentless, non-stop entertainment. Sadler’s company consisted of 100 players. 100!

So what could a Sportatorium visitor expect on one of these Harley Sadler nights? Brace yourself:

The Sadler players will offer two complete plays each evening — an original four-act [play], “The Siege of the Alamo” — and a three-act modern comedy farce, “This Thing Called Love.” In addition to those two complete plays, he will offer vaudeville acts, a band, novelty numbers, and 32 singing waitresses […]. The show will start at 8:30 and run for 8 hours, for those who care to stay that long. (DMN, July 8, 1936)

EIGHT HOURS! And, there were 3 different shows produced weekly. That’s a lot of entertainment. Perhaps too much entertainment. But ladies got in free.

July 12, 1936

I’m not sure how long this “residency” lasted, but however long it was, I assume all involved — performers and spectators alike — were exhausted afterward.

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Sources & Notes

Source of the top photo of the Sportatorium is unknown, but I came across it on the wrestling website World Class Memories. (this Sportatorium page is a great read). (If you know the source of this photo, please let me know.)

Sportatorium ticket was found on eBay (still there, as I write this).

More on the history of the Sportatorium here.

More on empresario Harley Sadler can be found at the Handbook of Texas, here.

Previous Flashback Dallas posts on the Sportatorium can be found here.

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Copyright © 2025 Paula Bosse. All Rights Reserved.

When Big D Had No Love for Bruce — 1974

Imagine what coulda been… (click for larger image)

by Paula Bosse

First off, apologies for the image quality of this advertisement. It’s from eBay (“He’s from Barcelona…”).

I thought it was an interesting ad, because I never knew that Bruce Springsteen played the Sportatorium, Dallas’ legendary wrestling mecca and off-and-on home to the Big D Jamboree. How had I never heard about this? (This was a show put together by local promoter Gene McCoslin, who had a long history with Willie Nelson.)

1974 was pretty early for Bruce to play in Dallas. He was starting to gain notice nationally, but he wasn’t a star yet. The tickets to the Sportatorium show were $4.50 in advance/$6.00 at the door (roughly $30 and $40 in today’s inflation-adjusted money). As it turns out, the show was canceled, because — hold onto yourselves — only 28 advance tickets had sold. …TWENTY-EIGHT.

That show was scheduled for November 10, 1974. A few months earlier — in June 1974 — Bruce was, for some inexplicable reason, booked as the opening act for… Maria Muldaur (“Midnight at the Oasis”). That show was scheduled at the UTA campus in Arlington. The Dallas Morning News reported that Bruce was a last-minute no-show, claiming a bout with the flu, but, apparently, he was unhappy with the small turnout and just didn’t go on. (Trouper Maria, having lost her opening act, performed for nearly 2 hours, and got rave reviews.)

Fort Worth Star-Telegram, June 9, 1974

Springsteen’s first actual performance on a Dallas stage appears to have been sometime in the same year as those two ill-fated non-gigs: 1974. Freelance rock critic Kim Martin-Pierce remembered it: “He always had a troubled history here. [He was booked to play at the old Mother Blues nightclub, but] he sold so poorly at Mother Blues that they moved him over to Gertie’s on Lemmon Avenue. He didn’t draw well at all there either, but he gave the greatest performance I’ve ever heard in a small club.” (DMN, “Springsteen Finally Shows Big D Who’s Boss” by John Anders, Nov. 30, 1984, after Bruce’s two sold-out shows at Reunion Arena)

Sorry, Bruce, for the cold shoulder! I think Dallas eventually came around. But you missed out. Playing the Sportatorium would have been really, really cool. And those 28 people would still be talking about the most amazing show they had ever seen.

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Sources & Notes

Top ad from the Dallas underground newspaper Iconoclast, Nov.8-15, 1974; found on eBay in April 2024.

This post appeared previously in a slightly different form on the Flashback Dallas Patreon page.

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Copyright © 2025 Paula Bosse. All Rights Reserved.

Lulu Roman, 1946-2025

In a Dallas courtroom, 1971

by Paula Bosse

Lulu Roman — known for her appearances on the TV show Hee Haw and her numerous gospel recordings — died last week (on April 23, 2025). She was a Dallas native and a graduate of Samuell High School. A summary of her life and career can be found in the Hollywood Reporter obituary and her Wikipedia entry.

She graduated from W. W. Samuell High School in 1964 (her name back then was Louise Hable), and five years later, she became an original member of the cast of Hee Haw. In 1971, her Oak Lawn apartment (2627 Douglas) was raided by seven narcotics agents, who seized 5.5 pounds of marijuana and small amounts of LSD and hashish. She was booked for drug possession, and this effectively ended her connection with Hee Haw (she later found religion, gave up drugs, and was welcomed back to the show when she was clean — you can see her talk about her new-found “high” to a Channel 8 reporter in 1973 on YouTube here). (The photo at the top is from one of Lulu’s appearances in court in 1971.)

She then went on to a successful career as a gospel singer. RIP, Lulu.

1963 Samuell yearbook, Junior class photo

Performing a “Calypso Christmas carol”:

1963 Samuell yearbook

1964 Samuell yearbook, Senior class photo

With classmate David Henderson, in costume for a theatrical production.

1964 Samuell yearbook

Detail of a photo of members of the Thespians Club:

1964 Samuell yearbook

Hitting the big-time, on Hee Haw:

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Sources & Notes

Top image is a screenshot from Channel 8 news footage of Lulu’s drug possession trial in Dallas on Sept. 3, 1971, from the WFAA Collection, G. William Jones Collection, Hamon Arts Library, Southern Methodist University.

School photos from the 1963 and 1964 Samuell High School yearbooks.

Color photo of some of the Hee Haw cast members (Gordie Tapp, Junior Samples, Grandpa Jones, and Lulu Roman), from The Tennessean; black-and-white photo from Alamy.

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Copyright © 2025 Paula Bosse. All Rights Reserved.

The Bright Lights of Big D — 1951

…Forget all your worries, forget all your cares…

by Paula Bosse

This is the downtown Dallas I’ve always wished I had seen.

Check out a clipping from the 1953 city directory for a list of the businesses in this immediate block, from about Akard to Ervay, here.

Then click over to the 2015 post “Dazzling Neon, Theater Row — 1929” to see how drastically Elm Street — and Movie Row — changed in just 22 years.

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Sources & Notes

Photo by Denny Hayes, Hayes Collection, Dallas History and Archives, Dallas Public Library; Call Number PA76-1-576-2.

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Copyright © 2024 Paula Bosse. All Rights Reserved.

KVIL: The “VIL” Stands for Village

sewell-auto_KVIL_ebayNortheast corner of Preston & Mockingbird…

by Paula Bosse

Sewell Village Used Cars and a Mobil station were at the northeast corner of Preston and Mockingbird (Sewell was at 5460 Preston Road), catty-corner from Highland Park Village. The KVIL studios were right around the corner, at 4152 Mockingbird Lane, across the street from the Dallas Country Club — you can see the jauntily-lettered sign in the background of this undated.photo. I am really bad at determining car-model years, but let’s say this is about 1960. What does this corner look like these days? It looks like this.

I just learned (from the KVIL Wikipedia page) that the “VIL” in the station’s call letters stood for “Village,” as in Highland Park Village. Who knew? The AM station began broadcasting on March 1, 1960, and the FM station hit the airwaves on Aug. 25, 1961. I believe both stations had a strict “no-rock-and-roll” policy. In the early days, a block of programming was aimed directly at housewives:

The program policy followed by the station is designed to fit the various hours of the day. For the driving hours when listeners drive to work (5:45 to 9 a.m.) and return (4:30 to 6:55 p.m.) the music is livelier. “Sing Along” is the order of the day from 9 a.m. to noon for the housewife’s work hours. (“KVIL Mark’s First Birthday Wednesday,” Dallas Morning News, March 1, 1961)

Here are a couple of hep, caffeinated KVIL ads from those early days:

patreon_KVIL_HPHS_1961-yrbk1961 ad

patreon_KVIL_HPHS_1962-yrbk1962 ad

kvil-logo_broadcasting-mag_122462_ad-det1962 logo

Most of my sort of generally vague awareness of KVIL was in the 1980s, when it was an absolute powerhouse in the ratings. But even its most stalwart fans would probably not describe its playlist as “bright,” “exciting,” or “swinging.” But look how much fun the promotions department imagined the effect on “young adults” was!

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And what about Sewell Village Cadillac and its selection of “Village Fine” used cars? If circa-1960 Highland Park is going to have a used car lot, you better believe it’s going to be populated with Cadillacs. (UPDATE: Thanks to Peter K’s link in the comments, check out what appears to be the original photo by Squire Haskins, with a wider view, at the UTA Libraries website, here.)

sewell-village-cadillac_032158March 1958

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Sources & Notes

Photo from eBay.

KVIL ads from the 1961 and 1962 Highland Park High School yearbooks.

KVIL logo is a detail from an ad that appeared in the Dec. 24, 1962 issue of Broadcasting magazine.

This post appeared in an abbreviated form on the Flashback Dallas Patreon page.

sewell-auto_KVIL_ebay

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Copyright © 2024 Paula Bosse. All Rights Reserved.

Jimi Hendrix in Dallas, 4/20/69

jimi_WFAA_042069_SMU_aDoug, Mitch, Noel, and Jimi

by Paula Bosse

Today is 4/20 Day. An alternate (or parallel) way to celebrate the already alternative “holiday” is to mark the anniversary of one of Jimi Hendrix’s best interviews, on the Love Field tarmac on April 20, 1969, given to Dallas reporter Doug Terry (still a college student when he was at WFAA-Channel 8). The band was in Dallas for a show at Memorial Auditorium. It’s just a fantastic, laid-back, cool interview.

I had tried contacting Doug several years ago to let him know this clip was racking up the hits on YouTube, in case he wasn’t aware it was there, but I didn’t hear back from him until this week! He had seen the post I had written about this interview and wrote a bit about that momentous occasion in the email. He also adds some interesting behind-the-scenes tidbits I always find interesting (the following is used with Doug’s permission):

I was still a college student most of the time I worked at WFAA. I handed in my resignation after covering the north Texas pop festival in that same year. [Watch one of Doug’s reports from the Texas International Pop Festival here.] Your comment about being in a large city and its advantages was something that I did not fully grasp until years later. The access was wonderful, I saw Hendrix at least three times, on one occasion being in the dressing room with a camera when he warmed up for a show (that footage is nowhere to be found).

There are two aspects to mention about that interview. First, I was a weekend reporter and late night news anchor at Ch. 8 and I assigned myself to go interview him. In those days, one could call up the airlines when a notable person was coming in and they would give the flight number and arrival time. Amazing. Most of the people at the station at that time probably had no idea who Jimi was and wouldn’t have cared if they did know.

The other interesting point is the work of the photographer. Ordinarily, we did over the shoulder interviews, the camera to the back and side of the reporter. The fact that this was shot from the side made all the difference. As a shooter, he was not otherwise outstanding but this interview would be much less interesting if it had been shot in the traditional line-up sort of way. The two bandmates goofing around was distracting but great.

Thank you so much for getting in touch, Doug!

My original 2017 post about this interview (with the film clip of Jimi, Mitch Mitchell, and Noel Redding at Love Field) — which includes additional info about Jimi’s other performances in Dallas — is here: “Jimi Hendrix, Glen Campbell, Tiny Tim — In Dallas (…Separately), 1969.”

jimi_WFAA_042069_SMU_b

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Sources & Notes

Screenshots from the WFAA Collection, G. WIlliam Jones Film and Video Collection, Hamon Arts Library, SMU.

Excerpt from Doug Terry’s email to me (April 16, 2024), used with permission.

jimi_WFAA_042069_SMU_a

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Copyright © 2024 Paula Bosse. All Rights Reserved.

The Forest Theater You’ve Never Heard Of — ca. 1912-1914

forest-avenue-theater_1638-forest_mike-cochranForest & Colonial in 1914 (courtesy Mike Cochran)

by Paula Bosse

There are so many posts I’ve begun but, for whatever reason, never finished. This is one of them. I started this one in 2015! I was sidetracked by a family member’s lengthy health setback, and I just never got back to it. But I’ve thought about it every time I’ve written about something in South Dallas.

This great photo — from about 1914 — was sent to me by Mike Cochran (he has a site on Denton history here). It shows a theater with a tie to his great-grandfather, Oscar F. Gould, who became something of a legend in the running of Interstate theaters in Dallas and Fort Worth (most notably the Majestic Theatres in both cities).

I think the reason I never finished the post was because it was hard to research. The theater lasted only a couple of years, and its name was incredibly confusing!

The Forest Avenue Theatre/Theater was in operation in, for sure, 1913 and 1914 — and possibly part of 1912 and part of 1915. It was located at 1638 Forest Avenue (now MLK Blvd.), at Colonial. The owner appears to have been Mike’s great-grandfather, O. F. Gould — as he was busy with the Dallas Majestic at the time, the Forest was managed by his son, Harry Gould.

Family lore suggests that the Forest was the first suburban theater in Dallas. There might have been a couple that pre-dated it in South Dallas and Oak Cliff, but it definitely is a very early moving-picture house outside of the downtown area.

The main Forest Avenue theater confusion has to do with its name. Oscar Gould’s theater was at 1638 Forest Avenue from… let’s just say 1913-1914. It was on the southwest corner of Forest and Colonial, in the heart of the lively South Dallas business district. About the time the Forest closed, the Colonial Theater popped up across the street, at 1702 Forest Avenue, on the southeast corner of Forest and Colonial. (I don’t think there was any relation, but there had been a previous Colonial Theater downtown about 6 years earlier — it can be seen in the foreground of the right side of this photo, at what would now be 1520 Main.) At some point, the Colonial changed its name to… guess what? The Forest Theater! THEN… in 1949, decades later, it changed its name back to “Colonial.” Why? Because there was a NEW Forest Theater (my head…), several blocks away, at 1914 Forest Avenue (which is still standing and is perpetually being re-envisioned). I don’t know how much arm-twisting was done, but in order to, I guess, prevent confusion between the modest neighborhood theater and the much larger and more sophisticated showplace down the street, the (second) Forest reverted back to “Colonial.” And that didn’t last long, because, in the blink of an eye, the “Colonial” at 1702 Forest disappeared and was replaced in 1949 by the Theater Lounge, which started out (I think) as a club presenting Black entertainment, before it eventually became Barney Weinstein’s famed South Dallas stripper mecca. So, there were (at the very least) three different Forest theaters, two (or, really, three) Colonial theaters, and two Theater Lounges.

That paragraph is why it’s taken me 9 years to write this post.

These buildings are still standing. Below is what the original Forest Avenue Theater looked like in 2019, before renovation work began on the block. (The numbering is different these days. See a 1922 Sanborn map here. The theater would have been in the “MainView” building.)

forest-ave-theater-block_google-street-view_may-2019_detGoogle Street View, May 2019

See the most recent Street View, here (the “original” Forest Avenue Theater building is on the right, the Colonial/Forest/Colonial/Theater Lounge is on the left).

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Oscar F. Gould was an interesting person, and I hope his great-grandson Mike Cochran has written about him (and will direct me to a link I can add here). He protested the state law that made it illegal for theaters to open on Sundays, going so far as to be fined multiple times and to sue the state.

gould-oscar_FW-record_010122Fort Worth Record, Jan. 1, 1922

gould-oscar_exhibitors-herald_010926O. F. Gould, Exhibitors’ Herald, Jan. 9, 1926

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I like this related tidbit. The man who ran the Forest Avenue Theater was Oscar Gould’s son, Harry Gould, who, like his father, had a long and respected career running theaters. When the Forest closed, he operated theaters in Waco, Houston, and eventually Fort Worth. After several years, he ended up at the Palace in Fort Worth. This is a photo from his days at the Palace — the 1936 photo ran with this caption in the Fort Worth Star-Telegram:

Harry Gould, manager of the Palace Theater, points out the electric light which has burned continuously for the last 28 years, except when the current was shut off at the electric company’s power plant. Gould and other showmen who have been connected with the palace are superstitious about the light, believing it will bring good luck as long as it remains lighted.

gould-harry_palace-theatre-fort-worth_UTA_090536_FWST_longest-burning-bulb

I think the bulb is still burning, into what must be its 116th year. That’s a pretty good bulb. It was moved — still burning — when the theater was demolished and, last I saw, was in the Stockyards Museum in Fort Worth. (The lightbulb was profiled by Channel 8 in 1973, in a short, filmed report here.)

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Thank you, MIke Cochran, for sharing your family photo! I’m sorry it took me NINE YEARS to write this!

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Sources & Notes

The top photo is from the collection of Mike Cochran, used with permission. (Thank you, Mike!) On the left of the photo was Chapman’s Pharmacy, and at the right was Leader Grocery,

The movie showing is “A Man’s Faith,” produced by Siegmund Lubin and released in 1914.

Photo of Harry Gould and the lightbulb (Sept. 25, 1936) is from the Fort Worth Star-Telegram Collection, University of Texas at Arlington Libraries, here.

Need a daily dose of Dallas history? Please consider supporting me on Patreon!

forest-avenue-theater_1638-forest_mike-cochran_detail

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Copyright © 2024 Paula Bosse. All Rights Reserved.

Oak Lawn Ave. — Keep on Truckin’ (1971)

iconoclast_oak-lawn-avenue_iconoclast_aug-1971

by Paula Bosse

This is a great little ad, which includes a bunch of notable Oak Lawn landmarks in the neighborhood’s hippie-fabulous days. I love this artwork — it’s almost as good as a photograph!

The 3500 block of Oak Lawn — between Lemmon and Bowser — is depicted in super-groovy, early-’70s, patchouli-scented artwork (inspired by R. Crumb). Starting at the left, here’s what we see:

  • A tiny portion of the sorely missed diner mainstay, LUCAS B & B, 3520 Oak Lawn
  • Next, NAME BRAND SHOES (men’s shoes), 3516 Oak Lawn
  • Next, R.F.D. No. 1 COUNTRY STORE (clothing), 3514 Oak Lawn, subject of the ad (formerly El Chico, which you can see in the second and third photos here)
  • Next, THE FOG (rock club), 3508 Oak Lawn
  • Next, SUPERIOR BAKERY, 3502 Oak Lawn
  • Next, NATIONAL AUTO SOUND OF DALLAS (car stereos), 3500 Oak Lawn (at Lemmon)

iconoclast_oak-lawn-avenue_aug-1971_1972-directory1972 city directory

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Watch silent home movie footage shot in this block around this same time at the Portal to Texas History, here (unfortunately, there are only glancing images of The Fog, which I would have liked to have seen more of). The Oak Lawn footage begins at 10:34 and continues until the end, with scenes shot at Lee Park. (There’s a guy who looks like he should be someone important — he looks a bit like Harry Nilsson — at 10:59.)

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The illustration is by Steve Brooks, a 1967 graduate of Sunset High School who has had quite the career in illustration, commercial art, and rock posters. He’s worked extensively with Willie Nelson and Buddy magazine, and… yes, if you saw that drawing above and thought “head shop,” he’s the guy (THE guy) behind all the artwork connected to The Gas Pipe (which deserves a post of its own as a truly iconic Dallas success story!). Read an interesting biography about Brooks here. See some of his work in the collection of his alma mater, UNT, here.

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Sources & Notes

Ad from the August 1971 issue of the underground newspaper, The Iconoclast.

iconoclast_oak-lawn-avenue_iconoclast_aug-1971

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Copyright © 2024 Paula Bosse. All Rights Reserved.