Trademarked or registered business names are portable. They must be renewed periodically, and you must actually be doing business under that name or you can’t renew your registration, so if Ms. Cote does hold the rights to the name she will have to get something up and running before those rights lapse.
If the outfit that bought the theater building didn’t buy the business name along with it, they can’t use it, unless the owner of the name lets them do so, or loses the rights to the name through non-use. Whether or not they could use the shorter name “State Theatre” I don’t know. It makes me wonder what will become of that neon signage.
And the Auburn Journal apparently doesn’t know the difference between a copyright and a registered business name or trademark. Most people probably don’t, but a newspaper should know better. They use both!
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 20 at The District was designed by FFKR Architects of Salt Lake City.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 17 at Jordon Commons was designed by FFKR Architects of Salt Lake City.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 12 at The Gateway was designed by FFKR Architects of Salt Lake City.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 13 at The Junction was designed by FFKR Architects of Salt Lake City.
Various issues of Southwest Builder & Contractor from August through November, 1921, carry items about the Red Lantern Theatre. It was designed by architects Jeffery & Schaefer (Elmore Robinson Jeffery and Frank R. Schaefer.) The project was built for investors Culp & Sexton, and the construction company was Fowler & Lindsay, of Santa Ana. Early plans called for reinforced concrete construction, and later articles say the theater was being built of concrete block.
Dawn: If you search the Life Magazine archive hosted by Google, you’ll find a few more photos of this drive-in (search term: Drive Ins) and also several night shots (search term: drive-in theatres) of what I think might be the 4-screen drive-in opened at St. Ann, Missouri, in 1951.
On michigandriveins' Flickr page with the photo of this drive-in, there’s a link to an aerial photo from 1952. Click on the 1962 link on its page for an aerial showing the theater after its conversion to a single-screen. The screen in use is at upper left in that photo, and is obviously a CinemaScope replacement, but you can see that one original screen is still standing at lower left, undoubtedly being used as the entrance sign. The other two screens have been removed.
If the disused screens had been moved to new drive-ins in 1952, they’d still have become obsolete soon. The first CinemaScope movie was released in 1953, and by 1955 over half of Hollywood’s product was being released only in wide-screen formats.
Southwest Builder & Contractor, issue of March 28, 1930, said that architect Rudolph Falkenrath, Jr. had been authorized to proceed with the final working drawings for a 1200 seat, reinforced concrete theater building to be built at Auburn, for the Auburn Amusement Company.
The September 2, 1950, issue of Boxoffice Magazine revealed that the 4-Screen Drive-In was designed by Los Angeles architect Lewis Eugene Wilson. Wilson was also the architect of the Baldwin Theatre in Los Angeles, opened in 1949, and in 1951 a second four-screen drive-in of his design began operating in St. Ann, Missouri (Cinema Treasures page here.)
Boxoffice published an item in its December 15, 1951, issue, announcing that Chicago’s 4-Screen Drive-In, operated by the Essaness circuit, would not open for the 1952 season. Edwin Silverman, speaking for the company, blamed “featherbedding” by the projectionists union for the decision to remain closed. He said that the union was “…demanding four men at the highest wage scale in America,” and that the operation of the theater was impossible under those circumstances. Apparently, the company was unable to resolve this conflict with the union, and this drive-in never returned to four-screen operation.
There was another Hall Theatre, in Cassville, Missouri, built in 1945, and also designed by Robert Boller. The owners were a Mr. and Mrs. Glen Hall, according to an item in the December 15, 1951, issue of Boxoffice Magazine. The article was mainly about a new drive-in to be built by the Halls (and again designed by Boller) on a site south of Cassville. Does anybody know anything about these theaters in Cassville? Cinema Treasures currently has nothing listed for that town.
Charles: Thanks for the clarification. I see that Cinema Treasures has a Victory Drive-In listed as being in Menominee Falls. Is that the one that was actually in Butler? If so, I can place a comment there mentioning the Journal article’s attribution of the design to Urban Peacock.
The December 15, 1951, issue of Boxoffice Magazine carried a small ad placed by Jim West, owner of the Hollywood Theatre, offering the house for sale or lease. No price was quoted, but the ad boasted “Everything Modern – Good Location” and said that the Hollywood had 875 seats.
The current introductory paragraph for this theater needs to be updated with the opening date of June 18, 1940, given by Charles Bruss above.
The ads on the page that he linked to (and Lost Memory re-linked to just above) don’t use the name “Blue Mound Drive-In” until 1949. Before that they usually say simply “Drive-In Theatre” with Blue Mound Road usually mentioned somewhere below. Drive-In Theatre should probably be an AKA.
Here’s another puzzle: A 1995 article from the Milwaukee Journal (about the Paradise Theatre in Milwaukee) mentions that architect Urban Peacock was the designer of the “Victory Drive-In” in Brookfield. Was this theater ever called the Victory? Did Brookfield have another drive-in, not yet listed at Cinema Treasures? Did the Milwaukee Journal make a mistake? Was the Victory Drive-In that Peacock designed in some other town? Charles? Anybody?
The December 9, 1950, issue of Boxoffice Magazine announced the recent opening of the Donna Theatre “…after many delays in construction.” The architect was named as Urban F. Peacock, of Milwaukee. The article says that “The theatre is named after Mrs. Donna Borchert, owner of the Donna and the older Door Theatre here.” A Mr. Herman Graefe was named as being the manager of both houses.
The feature on opening night was “King Solomon’s Mines” and there was also a marionette show. Mrs. Borchert, mayor Stanley Greene, and “…visiting theatre officials” gave brief talks. A glittering night for Sturgeon Bay, indeed.
A small article about this theater appears in the September 2, 1950, issue of Boxoffice Magazine. It says the architect was Urban Peacock of Milwaukee. The Kewaskum was built long after the firm of Peacock & Frank was dissolved, so it can just be listed as the work of Urban F. Peacock.
The article says that the theater was of “modernistic” design, built of concrete blocks with a brick facing, and describes the interior as “…finished with varicolored Celotex blocks and lighting is of trough type.” It says that the theater had RCA projection and sound equipment, and “…475 Kroehler seats are installed in the auditorium.”
The architect for the restoration of the Grand Opera House was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Ritz Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Paramount Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Fox Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Palace Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Alameda Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Majestic Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect of the Cinemark Melrose 10 was Kip E. Daniel. Here’s a pdf file about the construction of this theater. It mistakenly adds an “s” to the end of his name. Kip E. Daniel is a principal and a managing director of the Beck Group, a design-build firm headquartered in Dallas, which has built numerous multiplex cinemas for Cinemark and other exhibitors.
Trademarked or registered business names are portable. They must be renewed periodically, and you must actually be doing business under that name or you can’t renew your registration, so if Ms. Cote does hold the rights to the name she will have to get something up and running before those rights lapse.
If the outfit that bought the theater building didn’t buy the business name along with it, they can’t use it, unless the owner of the name lets them do so, or loses the rights to the name through non-use. Whether or not they could use the shorter name “State Theatre” I don’t know. It makes me wonder what will become of that neon signage.
And the Auburn Journal apparently doesn’t know the difference between a copyright and a registered business name or trademark. Most people probably don’t, but a newspaper should know better. They use both!
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 20 at The District was designed by FFKR Architects of Salt Lake City.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 17 at Jordon Commons was designed by FFKR Architects of Salt Lake City.
Photos.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 12 at The Gateway was designed by FFKR Architects of Salt Lake City.
Photos.
Like three of the other four current locations of the Megaplex Theatres chain, the Megaplex 13 at The Junction was designed by FFKR Architects of Salt Lake City.
Photos.
A 1946 aerial view from the Historic Aerials wesbsite shows the auditorium of this theater. It had an awfully small footprint.
<img src=“http://www.historicaerials.com/featuredPOIImage.aspx?poi=3194” /><br />Aerial photography from the past to the present!
Various issues of Southwest Builder & Contractor from August through November, 1921, carry items about the Red Lantern Theatre. It was designed by architects Jeffery & Schaefer (Elmore Robinson Jeffery and Frank R. Schaefer.) The project was built for investors Culp & Sexton, and the construction company was Fowler & Lindsay, of Santa Ana. Early plans called for reinforced concrete construction, and later articles say the theater was being built of concrete block.
Dawn: If you search the Life Magazine archive hosted by Google, you’ll find a few more photos of this drive-in (search term: Drive Ins) and also several night shots (search term: drive-in theatres) of what I think might be the 4-screen drive-in opened at St. Ann, Missouri, in 1951.
On michigandriveins' Flickr page with the photo of this drive-in, there’s a link to an aerial photo from 1952. Click on the 1962 link on its page for an aerial showing the theater after its conversion to a single-screen. The screen in use is at upper left in that photo, and is obviously a CinemaScope replacement, but you can see that one original screen is still standing at lower left, undoubtedly being used as the entrance sign. The other two screens have been removed.
If the disused screens had been moved to new drive-ins in 1952, they’d still have become obsolete soon. The first CinemaScope movie was released in 1953, and by 1955 over half of Hollywood’s product was being released only in wide-screen formats.
Southwest Builder & Contractor, issue of March 28, 1930, said that architect Rudolph Falkenrath, Jr. had been authorized to proceed with the final working drawings for a 1200 seat, reinforced concrete theater building to be built at Auburn, for the Auburn Amusement Company.
The September 2, 1950, issue of Boxoffice Magazine revealed that the 4-Screen Drive-In was designed by Los Angeles architect Lewis Eugene Wilson. Wilson was also the architect of the Baldwin Theatre in Los Angeles, opened in 1949, and in 1951 a second four-screen drive-in of his design began operating in St. Ann, Missouri (Cinema Treasures page here.)
Boxoffice published an item in its December 15, 1951, issue, announcing that Chicago’s 4-Screen Drive-In, operated by the Essaness circuit, would not open for the 1952 season. Edwin Silverman, speaking for the company, blamed “featherbedding” by the projectionists union for the decision to remain closed. He said that the union was “…demanding four men at the highest wage scale in America,” and that the operation of the theater was impossible under those circumstances. Apparently, the company was unable to resolve this conflict with the union, and this drive-in never returned to four-screen operation.
There was another Hall Theatre, in Cassville, Missouri, built in 1945, and also designed by Robert Boller. The owners were a Mr. and Mrs. Glen Hall, according to an item in the December 15, 1951, issue of Boxoffice Magazine. The article was mainly about a new drive-in to be built by the Halls (and again designed by Boller) on a site south of Cassville. Does anybody know anything about these theaters in Cassville? Cinema Treasures currently has nothing listed for that town.
Charles: Thanks for the clarification. I see that Cinema Treasures has a Victory Drive-In listed as being in Menominee Falls. Is that the one that was actually in Butler? If so, I can place a comment there mentioning the Journal article’s attribution of the design to Urban Peacock.
The December 15, 1951, issue of Boxoffice Magazine carried a small ad placed by Jim West, owner of the Hollywood Theatre, offering the house for sale or lease. No price was quoted, but the ad boasted “Everything Modern – Good Location” and said that the Hollywood had 875 seats.
The current introductory paragraph for this theater needs to be updated with the opening date of June 18, 1940, given by Charles Bruss above.
The ads on the page that he linked to (and Lost Memory re-linked to just above) don’t use the name “Blue Mound Drive-In” until 1949. Before that they usually say simply “Drive-In Theatre” with Blue Mound Road usually mentioned somewhere below. Drive-In Theatre should probably be an AKA.
Here’s another puzzle: A 1995 article from the Milwaukee Journal (about the Paradise Theatre in Milwaukee) mentions that architect Urban Peacock was the designer of the “Victory Drive-In” in Brookfield. Was this theater ever called the Victory? Did Brookfield have another drive-in, not yet listed at Cinema Treasures? Did the Milwaukee Journal make a mistake? Was the Victory Drive-In that Peacock designed in some other town? Charles? Anybody?
The December 9, 1950, issue of Boxoffice Magazine announced the recent opening of the Donna Theatre “…after many delays in construction.” The architect was named as Urban F. Peacock, of Milwaukee. The article says that “The theatre is named after Mrs. Donna Borchert, owner of the Donna and the older Door Theatre here.” A Mr. Herman Graefe was named as being the manager of both houses.
The feature on opening night was “King Solomon’s Mines” and there was also a marionette show. Mrs. Borchert, mayor Stanley Greene, and “…visiting theatre officials” gave brief talks. A glittering night for Sturgeon Bay, indeed.
A small article about this theater appears in the September 2, 1950, issue of Boxoffice Magazine. It says the architect was Urban Peacock of Milwaukee. The Kewaskum was built long after the firm of Peacock & Frank was dissolved, so it can just be listed as the work of Urban F. Peacock.
The article says that the theater was of “modernistic” design, built of concrete blocks with a brick facing, and describes the interior as “…finished with varicolored Celotex blocks and lighting is of trough type.” It says that the theater had RCA projection and sound equipment, and “…475 Kroehler seats are installed in the auditorium.”
The architect for the restoration of the Grand Opera House was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Ritz Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Paramount Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Fox Theatre was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Palace Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Alameda Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The architect for the restoration of the Majestic Theater was Killis Almond, of Killis Almond & Associates, a San Antonio, Texas, based firm specializing in the restoration of historic buildings. Click on their “Projects” link to find a link to a page about this theater, as well as links to pages about some of their other theater projects.
The AmStar Stadium 12 is now operated by Southern Theatres.
Here’s Southern Theatres' The Grand Theatre web site, which provides listings for all seven AmStar Theatres locations.
The architect of the Cinemark Melrose 10 was Kip E. Daniel. Here’s a pdf file about the construction of this theater. It mistakenly adds an “s” to the end of his name. Kip E. Daniel is a principal and a managing director of the Beck Group, a design-build firm headquartered in Dallas, which has built numerous multiplex cinemas for Cinemark and other exhibitors.