Flashback : Dallas

A Miscellany: History, Ads, Pop Culture

Category: Downtown

The Zodiac Room

zodiac-room_ebay_menu_cover

by Paula Bosse

The tastefully swanky Zodiac Room opened at the downtown Neiman-Marcus store on April 27, 1953. (Interestingly, there was an earlier — and presumably unrelated — Zodiac Room, in the Jefferson Hotel, from at least 1950 to 1952.)

The Zodiac, a fashionable restaurant and tearoom featuring select foods, will open Monday on the sixth floor of Neiman-Marcus Company’s downtown store. Designed by Eleanor LeMaire of New York, the restaurant’s décor will suggest the roof of the world with signs of the Zodiac represented in both the main dining area and the terrace. (The Dallas Morning News, April 26, 1953)

Stanley Marcus wanted a restaurant in the store in which customers could take a break from shopping by having lunch or afternoon tea on-site, without having to leave the premises. Customers could continue to “shop” while dining as models walked around modeling fashions from the store’s inventory.

“[W]e installed a large restaurant, the Zodiac Room, to attract more people to the downtown area and as a service to those customers from out of town who were spending the day in the store.” (Stanley Marcus, in his book Minding the Store)

Below are a few ads from the Zodiac’s first week (click to see larger images).

zodiac_opening-ad_042653
April 26, 1953

COME AND SEE DALLAS’ NEW AND DISTINCTIVE RESTAURANT — THE ZODIAC.

Just completed on our new sixth floor, the Zodiac Restaurant is another step in our downtown expansion program to bring to Dallas the most luxurious and elegant store in America.

The star studded atmosphere of the Zodiac will give you an out of this world feeling. The walls are a wonderful cerulean blue, the carpet’s deep enough for snowshoes and an Italian tile pool sprouts water lilies for the occasion. Informal modeling every day at luncheon.

Plan to have lunch with us this week and bring your guests. We think you’ll be enchanted with the atmosphere as well as the excellent cuisine. Luncheon 11:00 to 2:30, tea 2:30 to 5:00, dinner Thursday night 5:00 to 8:00. NEIMAN-MARCUS

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April 27, 1953

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April 28, 1953 (N-M ad, detail)

You could even get a Zodiac-inspired hair-do, the Zodiac Cut: “Sophisticated, spherical — without a hint of a part.”

zodiac-cut_nm-ad_042953April 29, 1953

Other than the fact that this elegant dining space was part of the world-famous Neiman-Marcus department store, its main draw was its food. According to Stanley Marcus, in his book Minding the Store, the Zodiac struggled for the first year or two and didn’t find its footing until he hired the now-legendary Helen Corbitt as the restaurant’s director. He wrote the following in a guest column in The Dallas Morning News in 1979:

“A landmark in the culinary history of Dallas was the arrival of Helen Corbitt, who made a monumental contribution to improvement of food and service standards in the community. The Neiman-Marcus Zodiac Room became famous under her direction.” (Stanley Marcus, DMN, April 12, 1979)

Below is an example of the fare favored by the Ladies Who Lunch (and the occasional Men Who Lunch), seen in a menu from 1956. (The most expensive item on the menu was the Roast Prime Rib of Beef, which came with a Baked Idaho Potato, a salad from the “Salad Wagon,” and a choice of coffee, milk, or “exquisite tea” — the price was $2.25, which in today’s money was a shockingly affordable $21.00.)

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A dessert menu (a bit hard to read, I’m afraid) is below:

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There was also a children’s menu, which was so charmingly designed by Neiman’s gift-wrap designer, Alma Shon, that I don’t blame a customer for having spirited away a copy of the menu as a holiday-time souvenir of what was no doubt a very special occasion (the date penciled at the top is Dec. 23, 1966). (More information about Ms. Shon is in the “Sources & Notes” section at the bottom of this post.) Below, the front and back of the children’s menu, illustrated with the signs of the zodiac:

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zodiac-room_childrens-menu_instagram_back

Inside, meal options for well-appointed kiddies and a “Zodiac game” to keep them occupied.

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zodiac-room_childrens-menu_instagram_zodiac-game

A few years later, this Stanley Marcus-penned letter appeared as a 1976 N-M ad — it was a personal reply to a nine-year-old Zodiac patron who had apparently written to Neiman’s inquiring about the children’s menu, which she was distressed to see had disappeared on her last visit:

zodiac-room_051776_ad-det_childrens-menu
May 17, 1976

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Lastly, a memory of the downtown Zodiac, from the Department Store Museum website:

The downtown Dallas store was in its entirety a magic store. Every step and turn off the escalators to the top floor was amazing. The Zodiac room with its floor-to-ceiling diaphanous curtains that filtered the bright Texas sky made for a dreamlike atmosphere along with the slender long-legged models in evening gowns and furs and the Andre Previn-inspired piano player. The popovers with strawberry and cinnamon butter weren’t bad either. Thank you, Dallas and Neiman-Marcus, for such a rich time in my life.

And it’s still going strong.

zodiac_matchbox_cook-collection_degolyer-library_SMU

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Sources & Notes

Top image and other (non-children’s) menu images from eBay.

The four images of the Zodiac Room children’s menu are the reason I decided to do this post. My whimsy-threshold is pretty low, but I love the utterly charming drawings which grace the front and back covers. I saw them posted on the Instagram account @reflectionofaman (a cool account — here, for the desktop site — which features the photographs of Stanley Marcus, curated by his granddaughter, photographer Allison V. Smith); it had been shared there by Babs Bern (@mullett7665.manor). The menu’s artist — Alma Shon — was identified by her daughter Kate Heyhoe (@StarkRavingCat) in the comments. According to a 1953 Dallas Morning News profile, Shon was born in California in the early 1920s to Korean refugees who had fled Korea in 1905 during the Russo-Japanese War. She grew up in Los Angeles but made her way to Dallas by at least 1948; she began working for Neiman Marcus in 1948 or 1949. She was in charge of Neiman’s giftwrap design, but also designed other merchandising elements — she was with the store for several decades. More on Ms. Shon (including a photo of her from the ’50s) can be found in a post by her daughter Kate, here.

Color postcard of the Zodiac Room was found on Flickr, here. I used this same card in a previous Flashback Dallas post, “Luncheon at The Zodiac Room, Darling.”

Image of the  blue matchbox at the bottom is from the George W. Cook Dallas/Texas Image Collection, DeGolyer Library, SMU Libraries; more info is here.

More on Helen Corbitt can be found in articles in Texas Monthly and in Legacies; a couple of her recipes — including her famous Poppy-Seed Dressing — can be found here.

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Copyright © 2019 Paula Bosse. All Rights Reserved.

Interurban Coming Through

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Street traffic used to be a lot different… (click for larger image)

by Paula Bosse

Great photo of Interurbans trundling down Commerce Street, past the Adolphus Hotel. …Wish I’d been there.

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Sources & Notes

Photo is from the Dallas Area Rapid Transit archives, but I neglected to note a linkable source. (Click photo to see a larger image.)

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Copyright © 2019 Paula Bosse. All Rights Reserved.

Republic Bank Branding — 1955

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When the uniforms match the exterior of the building…

by Paula Bosse

Republic National Bank opened its dazzling new building on N. Ervay in December, 1954. It was the tallest building in the city, the interior boasted gold leaf everywhere, and the exterior was covered with thousands of aluminum panels embossed with a distinctive four-pointed “star” shape.

The building’s opening was quite the PR extravaganza — so much so that Life magazine sent photographer Joe Scherschel to take photos for the Feb. 28, 1955 article “Dazzler For Dallas.” Scherschel took a ton of photos, but only a handful made it into the article — one that didn’t make it is the one above which shows five young women on a staircase, all of whom are wearing dresses with those Republic Bank “stars” on them! I have to admit, I was a little more excited than I should have been to have noticed what I assume must have been a (fairly stylish) uniform (hostesses? elevator girls?). Kudos to whomever came up with that clever way to celebrate the bank’s home by incorporating one of the most distinctive elements of one of the city’s most distinctive buildings into something as easily overlooked as an employee’s uniform. That is attention to detail!

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republic-national-bank_entrance_life-mag_1955

republic-national-bank_sidewalk_1954_color_life-mag

republic-national-bank_aluminum-panels_life-mag

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Sources & Notes

All photos were taken by Joe Scherschel for Life magazine, ©Time, Inc. A large collection of the photos Scherschel took while on assignment in Dallas for this article can be viewed here.

I wrote about those fantastic embossed aluminum panels in the Flashback Dallas post “The Republic Bank Building and Spain’s ‘Casa de Los Picos,'” here.

All photos are larger when clicked.

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Copyright © 2019 Paula Bosse. All Rights Reserved.

 

Merry Christmas from Dallas Artist Bud Biggs

xmas_bud-biggs_shamrock-mag_1959_texas-tech
The bright lights of Christmas in downtown Dallas…

by Paula Bosse

An evening in downtown Dallas at Christmastime — alive with traffic and lights and energy — by Dallas artist Bud Biggs.

The painting appeared on the cover of the Christmas, 1959 issue of The Shamrock, a magazine published by the Shamrock Oil and Gas Corporation. The magazine’s description:

On the sidewalks, shoppers dart to and fro. On the street, autos dash by, leaving streaks of light in their haste. Gay lights and laughing Santas swing gayly overhead, festooning the area in a holiday glow. Above all this man-made madness, stars twinkle in contrast, reflecting a serenity reminiscent of a night nineteen hundred years ago. This is what The Shamrock staff sees in this vivid water color of Downtown Dallas at Christmastime by Artist Bud Biggs.

Merry Christmas and Happy Holidays to all!

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Sources & Notes

This work by artist Bud Biggs appeared on the cover of the Christmas, 1959 edition of The Shamrock; this magazine is part of the Southwest Collection, Special Collections Library, Texas Tech University — the entire issue has been scanned and may be viewed as a PDF here.

My guess is that the title of the original painting is “Main Street, Christmas Night” and that it was one of the 12 paintings produced by Biggs in the mid 1950s as cover art for Dallas Magazine, a Dallas Chamber of Commerce publication. These paintings of Dallas scenes appeared as cover art for the monthly issues of 1956, in honor of the city’s centennial. The series won the “Best Covers of 1956” award from the American Association of Commerce Publications, and in 1958 all 12 of the original watercolors were purchased by Southwest Airmotive Company to be displayed in their new Love Field terminal. The 12 covers featured Biggs’ depictions of the following Dallas scenes and landmarks:

  • “Aerial View of Downtown Dallas”
  • “Ervay Street”
  • “Ground-breaking, Dallas University”
  • “Midway, State Fair of Texas”
  • “Trinity Industrial District”
  • “Central Expressway”
  • “Commerce Street”
  • “City Auditorium”
  • “Looking Up Pacific”
  • “Main Street, Christmas Night”
  • “SMU Legal Center”
  • “The Katy Round House”

More on this series of paintings can be found in the Dallas Morning News article “Art & Artists: Biggs Series Bought by Firm” by Rual Askew, Feb. 20, 1958.

Dallas native Bancroft Putnam “Bud” Biggs (1906-1985) attended Forest Ave. High School, SMU, and the St. Louis School of Fine Arts. He was primarily a commercial artist, working first for Dallas artist Guy Cahoon before opening his own advertising studio. He produced fine art as well, specializing in watercolors, and was a respected art instructor.

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Copyright © 2018 Paula Bosse. All Rights Reserved.

 

Crozier Technical High School — ca. 1946

crozier-tech_woodworking_cook-coll_degolyer_SMUThe Tech woodworking shop… (click for larger image)

by Paula Bosse

It’s always seemed strange to me that Dallas had a technical high school where students were able to learn all sorts of various trades: auto mechanics, metal-working, industrial machine operation, commercial art, introductory science and engineering courses, and much more. Students — while still in high school — could develop skills and acquire practical knowledge in areas they wanted to pursue as careers; they could also discover (while still in high school) that what they thought they wanted to do as a career was absolutely NOT something they wanted to pursue. I imagine that many graduates were ready to step to into jobs immediately after graduation. 

In 1929, Bryan High School (the old “Central High School”) became Dallas Technical High School. In Denman Kelley’s “Principal’s Message” in the 1929 yearbook, he noted that this new idea in education “offers a wonderful opportunity to build up a school for those pupils whose educational needs are not met in the traditional schools…. As the volume of students grows, as the offerings increase with increasing needs, this school must truly become ‘A Greater School for All Dallas.'”

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Dallas Technical High School, 1929 yearbook

It offered four “general divisions of study” (each arranged in four-year courses): an industrial course, a commercial course, a home-economics course, and the regular literary course. Among the specialized classes offered were automotive repair, woodworking, architectural drawing, stenography, painting, and elementary business training. These courses at Dallas Tech were available to all high school students in the city, and many students jumped at the opportunity to transfer to the downtown campus. (In 1942 the school’s name was changed to N. R. Crozier Technical High School in honor of the late Dallas school superintendent.)

I’m still amazed by this — shouldn’t we still be doing this? I guess this is what magnet schools do, but is magnet-school participation among DISD students anywhere near as widespread as it once was when vocational classes were concentrated at the huge campus of Tech?

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Below are photos showing students in some of the classes available at Crozier Tech in the 1940s. (All photos are larger when clicked.)

crozier-tech_auto_cook-coll_degolyer_SMUUnder the hood

crozier-tech_forge_metal-works_cook-coll_degolyer_SMUAt the forge

crozier-tech_clinical-laboratory_cook-coll_degolyer_SMUIn the laboratory

crozier-tech_sewing_cook-coll_degolyer_SMUModeling finished products in sewing class

crozier-tech_radio_cook-coll_degolyer_SMUNoodling with radios?

crozier-tech_machine-shop_cook-coll_degolyer_SMUIn the machine shop

crozier-tech_nursing_cook-coll_degolyer_SMUIn the nursing course

crozier-tech_printing_cook-coll_degolyer_SMUSetting type in the printshop

crozier-tech_printing_linotype_cook-coll_degolyer_SMUWorking a letterpress and linotype machines (!)

There were also studio and commercial art courses. (I have to add this one because I’m pretty sure I now have evidence that in a previous life I was in a Crozier Tech sculpture class in 1946 — my doppelganger is the blurry girl in the center of the photo, looking with suspicion at the camera.)

crozier-tech_sculpture-clay-modeling_cook-coll_degolyer_SMU

Lastly, a photo of the handsome photography teacher, Orbette A. Homer, who taught at Tech from 1937 until his retirement in 1962. He and his students were responsible for these photos, some of which appeared in the 1946 Crozier Tech yearbook, The Wolf Pack.

orbette-a-homer_crozier-tech-yearbook_1960O. A. Homer, 1960

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Sources & Notes

All classroom photos are from the George W. Cook Dallas/Texas Image Collection, DeGolyer Library, SMU Libraries, Southern Methodist University; these images (and more from this Crozier Tech collection) can be found here.

The photo of Orbette Anderson Homer (1901-1968) is from the 1960 Crozier Tech yearbook.

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Copyright © 2018 Paula Bosse. All Rights Reserved.

 

“Triple Underpass” by Florence McClung — 1945

mcclung_triple-underpass_1945_david-dike-fine-art“Triple Underpass” by Florence McClung (photo: David Dike Fine Art)

by Paula Bosse

The word “iconic” is used way too much these days, but I suppose Dallas’ triple underpass is something that truly deserves to be described as “iconic.” Aside from the beauty, the engineering, and the usefulness of the underpass/railroad bridge, it is also, of course, known around the world for its cameo appearance in the Kennedy assassination.

Built in 1936, after years of back-and-forth planning and negotiating, the triple underpass was open in time for the Texas Centennial Exposition. It finally opened up a straight shot from Fort Worth to Dallas via Highway 1, and it and the concurrently-built Dealey Plaza served as Dallas’ welcoming “gateway” into the city for visitors approaching from the west.

The 1945 painting seen above — “Triple Underpass” by Dallas artist Florence McClung (1894-1992) — may be one of the first depictions of the structure in a fine art context. This painting goes up for sale this weekend, as the featured lot in the David Dike Fine Art Texas Art Auction. The estimate is $75,000-$175,000. Florence would be shocked by that, as her original price — which she wrote on a checklist for a show at the then-Dallas Museum of Fine Arts was $300 (which would, today, be about $4,000). (UPDATE 10/27/18: The painting sold for $252,000 — which, I assume, includes the buyer’s premium.)

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As a fan of Texas art — and especially of the Dallas regionalist group, the Dallas Nine (with which McClung, though not a member, was closely associated) — I hope this wonderful piece of Dallas art (and you can’t get much more quintessentially Dallas than this!) goes for much more than the gallery estimate. (I wrote about McClung previously, here, with images showing a couple of other Dallas “cityscapes” done around the same time as “Triple Underpass.”)

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Below is a photo from 1945 showing an aerial view of the scene captured by McClung that same year. (A photo from a little later, with a view to the west, is here.)

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Dallas, 1945 (click for larger image)

A few things are interesting to me:

  • McClung neglected to include the ever-present billboard atop what was then the Sexton Foods building (later the School Book Depository) — in the photo above, U. S. Royal tires are being advertised.
  • I love that little oval, landscaped island, which is also seen in McClung’s painting.
  • Those four obelisk-y pillars, seen in both the photo and the painting, two on either side of the roadway, west of the underpass — what are those?
  • Is that large white building in the lower middle of the photograph Pappy’s Showland? Maybe the Sky-Vu Supper Club (which I have meant to write about for years)? (No! It’s the Chicken Bar, at the northeast corner of Commerce and Industrial. A photo of it under construction in 1945 is here.)

See here for as close to the angle of McClung’s view as I could get, from a 2014 Google Street View. (The painting shows the Dallas County Courthouse as it was then, without its now-replaced tower.)

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Good luck to the bidders this weekend. It’s a great painting!

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Sources & Notes

Image of Florence McClung’s painting “Triple Underpass” is from the David Dike Fine Art catalog, which is illustrated with the works to be auctioned on Saturday, October 27, 2018; the catalog can be viewed in its entirety, here (this painting and its description are on p. 45). The website of David Dike Fine Art is here. The prices realized for this auction can be found here — McClung’s painting is Lot 163.

I am unsure of the source of the 1945 aerial photo — I saved it years ago and did not make note of the source, although I highly suspect it is from one of the many fine collections held by SMU.

See McClung’s application for the DMFA show where “Triple Underpass” was shown, here; her checklist of works to be shown is here (both documents are from the Dallas Museum of Art’s Exhibition Records, via UNT’s Portal to Texas History).

The earlier Flashback Dallas post “Dallas Scenes by Florence McClung — 1940s” (with two other paintings from the same period as “Triple Underpass”) is here.

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Copyright © 2018 Paula Bosse. All Rights Reserved.

 

Nighttime Bird’s-Eye Views of Dallas

skyline_legacies_spring-2012All lit up… (click for larger image)

by Paula Bosse

In my opinion, Dallas has always been most impressive at night. The view above is from the east. Among other familiar landmarks, we see skyline icons the Mercantile Building, the Sheraton Hotel, the Southland Life Building (at the time the city’s tallest building), and the rocket-topped Republic Bank Building (previously the city’s tallest building). I think that’s Live Oak St. on the left running in and out of downtown and Bryan on the right.

And, below, a view toward the east, with Jackson Street on the right, and dramatically-lit appearances by the Adolphus Hotel, the Magnolia Building, the Baker Hotel, and the Mercantile.

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Sources & Info

These postcard images were featured on the front and back covers of the Spring, 2012 issue of Legacies magazine (viewable on UNT’s Portal to Texas History site, here).

A similar photo (colorwise) to the second image above (but taken from a rotated angle) can be found in the Flashback Dallas post “Dallas Skyline At Night — ca. 1965” — this photo shows the skyline just a few short years later after the new Republic Tower II had appeared on the horizon and claimed the title as the city’s tallest building — the Southland Life Building’s reign was only about five years long..

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Copyright © 2018 Paula Bosse. All Rights Reserved.

 

A Rainy Opening Day of the State Fair of Texas — 1967

sfot_rain_1967_wbap_unt_fair-park_texas-carthageA damp day at the fair… (click for larger image)

by Paula Bosse

It’s  been raining pretty heavily today. And the State Fair of Texas is underway. I always feel bad for the people visiting and working at the fair when it rains like this. What a disappointment!

It rained so much on Opening Day of the State Fair in 1967 that the downtown parade ended up being canceled, as did the ceremonial ribbon-cutting which was to have been performed by Governor John Connally. That day — Oct. 7, 1967 — was also Rural Youth Day, and newspaper reports estimated that more than 100,000 “farm boys and girls” from more than 200 Texas counties had traveled to Dallas for what turned out to be a soggy day at the fair. (But kids never seem to mind being out in the rain as much as adults do.)

Watch rainy footage of the parade preparations downtown and wet-haired teenagers at the fair in an atmospheric clip shot by WBAP Channel 5 News cameramen, collected and digitized by UNT (see bottom of this post for more info). The 1:47 film footage can be viewed here (be sure to watch it in full-screen mode).

Below are a few screenshots.

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At the top, a girl from Carthage, wearing a Future Farmers of America jacket (it was Rural Youth Day, and the FFA was well represented) as well as a couple of ladies in coif-preserving plastic rain bonnets.

Below, a rain-drenched downtown.

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El Chico float getting soaked.

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Marching band guys taking shelter.

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Grandma as human umbrella.

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Quadrupedestrians. (Pretty sure horses shouldn’t be trotting along sidewalks….)

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A break in the precip — rides are revved up.

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Menacing clouds as seen from the top of the Comet.

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San Antonio Express-News, Oct. 8, 1967

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Sources & Notes

Screenshots are from the video titled “News Clip: 1967 Texas State Fair Begins, Parade Rained Out.” It is part of the KXAS-NBC 5 News Collection and was provided by UNT Libraries Special Collections to The Portal to Texas History, a digital repository hosted by the UNT Libraries. More info — including the video itself — can be accessed here.

More rainy-day SFOT weather can be seen in this clip from 1970, courtesy of SMU.

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Copyright © 2018 Paula Bosse. All Rights Reserved.

The Palace — 1969

palace-theatre_1969_color_portalMovies and Dilly Bars, Elm Street, 1969… (click for larger image)

by Paula Bosse

The only thing more exciting than seeing a cool nighttime photo of Dallas’ Theater Row with neon blazing, is discovering that there was once a Dairy Queen downtown!

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UPDATE: That DQ was there for a VERY short time. It shows up in none of the directories. In fact, its address — 1621 Elm — shows as “vacant” in the 1969, 1970, and 1971 city directories (it was occupied in 1968 by a newsstand — the Elm Street News — until it was raided that year for selling nudie mags). The address disappears altogether after the 1971 directory (it and the Palace Theatre were demolished in 1971). The only evidence I can find of the downtown Dairy Queen’s brief existence on Elm was in a handful of want-ads placed in October, 1969 (about the same time this photo was taken). My guess is that DQ bugged out when they learned the building was going to be torn down. It may have been there only a couple of months. Downtown DQ, we hardly knew ye.

dairy-queen_elm-street_100269Oct. 2, 1969

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Sources & Notes

“Exterior of Palace Theatre at Night” is from the Lovita Irby Collection via the Spotlight on North Texas project, UNT Media Library, and may be viewed on UNT’s Portal to Texas History site here.

The movie on the marquee is “A Nice Girl Like Me,” starring Barbara Ferris, which opened at the Palace on Sept. 19, 1969.

The Palace Theatre was located on the north side of Elm Street, just west of Ervay, at 1625 Elm — by 1969, “Theater Row” consisted of only a handful of theaters. The Palace (and the building housing the Dairy Queen) was demolished in 1971; most of the north side of that block is now occupied by Thanksgiving Tower.

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Copyright © 2018 Paula Bosse. All Rights Reserved.

Main & Ervay, Pedestrians — 1970

DTC_pedestrians-2_main-ervay_1970_SMU

by Paula Bosse

The other day SMU released fantastic 35mm color film footage captured from a camera mounted atop a car cruising downtown streets in 1970. Today they released a little more, this time a short clip showing pedestrians walking across the intersection of Main and Ervay (be sure to watch this silent footage in full-screen mode).


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The Skillern’s drug store in this footage was at 1700 Main, on the southeast corner of Main and Ervay, in the Mercantile Bank Building complex; the building across Main on the northeast corner was Dreyfuss & Son Men’s Clothing, and the large building in the distance (at St. Paul) is the Titche’s department store. The end of the clip has shots of the (surprisingly red) (and no longer standing) Jefferson Hotel; sharing the frame is the fountain in Ferris Plaza (Union Station would be to the left of the camera operator, across Houston Street). This footage was shot for Dallas Theater Center productions, which I hope to write about soon.

Cool footage, SMU. Keep it coming!

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Here are a few screenshots. There were a lot of vivid colors being worn by downtown workers and shoppers in 1970. I’m so accustomed to seeing black-and-white images of Dallas, that all this color is a little startling!

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DTC_pedestrians-4_main-ervay_1970_SMU


DTC_pedestrians-3_main-ervay_1970_SMU


DTC_pedestrians-5_main-ervay_1970_SMU

Below, a brief glimpse of the H. L. Green store, in the Wilson Building on the northwest corner of Main and Ervay. (And evidence that, yes, men also shop on their lunch hour.)

DTC_pedestrians-6_main-ervay_1970_SMU_sm


DTC_jefferson-hotel_1970_SMU

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Sources & Notes

These screenshots are from 35mm color film footage owned by the Dallas Theater Center, held at Southern Methodist University (the direct link to the YouTube video is here). Again, thanks to SMU curator Jeremy Spracklen.

See more of this fantastic color footage of downtown in the Flashback Dallas post “A Drive Through Downtown — 1970.”

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Copyright © 2018 Paula Bosse. All Rights Reserved.

 

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