UPDATE and the marquee and facade at Hollywood Theatre, the vintage theater I'm able to go to on the bus, when I feel good enough! Plus, the facade of the Laurelhurst Theater, which is close enough that I can walk, when I feel good enough and the weather cooperates!

UPDATE: No nausea, even without the anti-nausea meds--I've made it past the number of days that I'm prescribed to take them. Hooray! Less peripheral neuropathy today, too. Another hooray! Still very tired, but I've managed to stay awake all day so far. Maybe I'll sleep longer than a couple of hours at a time during the night. I am thankful for all of your continued prayers, love, and concern.



Here you see the results of two successful fundraising campaigns, one to install a marquee reminiscent of the theater's 1926 original, plus a recent campaign to clean and restore the gorgeous facade, along with other needed repairs, etc. I went to see Straight Outta Compton and am glad that I saw it although I know little about the real people it supposedly portrayed and I wonder about the degree of verisimilitude in the film. Still and all, it was an emotional ride for the entire movie.

Here's some info about the marquee, from the theater's Web site:  

The new neon, illuminated sign is the latest sequel to many other Theatre improvements. New auditorium seats, digital projection systems, screens and sound systems were recently installed as well as a fresh coat of paint inside and out (done by pro-bono worker extraordinaire Joel Hamberg.) The marquee was funded by grant funders, businesses and over 1,100 people who donated to a Kickstarter campaign.

And here's some about the facade project and what else is planned at the same time:

Starting July 13, we’re beginning a $265,000 building project to restore and repair the facade and roof of our historic 1926 theater. This project will include the in-depth cleaning and restoration of the Theatre’s stunning façade, the re-tiling of the Theatre’s period clay roof, and the repair of water leaks throughout the building. Which means:

• We can re-open and operate our former box office window • We can proceed in partnership with the Columbia River Theatre Organ Society with the installation of a functioning pipe organ (now that our organ loft is dry) • The Theatre as a structure will be stabilized and weather-resistant for decades to come • This Portland landmark will be more beautiful than ever!

This exciting restoration project is made possible through the generous support of the Kinsman Foundation, Jackson Foundation, Pacific Power Foundation, ESCO Foundation, Fred W. Fields Fund of The Oregon Community Foundation, and Collins Foundation, and through the ongoing support of the Hollywood Theatre’s board of directors, members, and donors. Thank you!



For comparison, here's photo of the previous marquee and the facade before any restoration and repair. At two different times during their runs, I saw Win Win (fabulous film with the the wonderful Paul Giamatti) and Jane Eyre (the 2011 version, totally gorgeous and breath-taking in all aspects).



I enjoy going to the movies here, too, especially when the weather's right for walking the eight blocks there and back, when my health permits. Plus, neon always gives me a thrill! I went to see Kingsman: The Secret Service--a totally entertaining movie loaded with mayhem and violence; I believe I can say that because there was little blood and flesh flying around, exploding on the screen. Both Colin Firth and Samuel L. Jackson played their characters to perfection!

Here's some info about the Laurelhurst, from its Web site:

The Laurelhurst Theater became part of Portland's cultural and architectural history when it first opened in 1923. The original single screen could seat 650 people and was one of the first art deco style theaters of the period. Over the years the Laurelhurst has been added onto and now offers four auditoriums with modern amenities but still maintains its classic appeal. Now celebrating our 15th year as a theater and pub. Thank you Portland!

Enjoy microbrews, wine, pizza, salads, wraps, popcorn and candy. All of which may be brought into the auditoriums to enjoy at your table while you watch your movie.

The theater's four screens bring the best of modern cinema, Independent, art and classic film to Portland's movie lovers.

Taking a break from the Nature's beauty series to share some joyous family time at the Hollywood Theatre, experiencing "Muscle Shoals" together!

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Back story. Born in 1947 in Jackson, Mississippi; graduated from high school in 1966; went to Mississippi State in Starkville until we needed for my parents to send my brother to school to defer the possibility of being drafted; moved to Kansas City, Missouri, in 1969; listened to various radio stations in Jackson and Starkville and Kansas City. Every chance I got, I went to live music at clubs and at  concerts. Dec. 31, 1972, married a music lover named LeRoy--he had more albums than I'd ever seen outside of a record store. We continued those habits, spending some of life's time and money and love on music. LeRoy died in 1983 in Houston, Texas, where we had moved. Lamont, Leland and I moved back to Jackson, Mississippi. I took my sons to as many live music performances as we could afford. We listened to the radio, watched early MTV together, and bought some music. We came to appreciate each others tastes, one of the blessings of being their mother that causes my heart to swell. To me it means their Daddy is here with us, helping us understand each other just a little bit better.

I cannot play anything. I cannot sing. I can appreciate music that grabs hold of me and won't let go. In fact, I willingly allow this to happen from the second I hear some songs, whether it is the first time or the hundredth time. Before LeRoy, who really just about wouldn't dance, ever, I used to get up on the dance floor and get down. Nowadays, I jump at the chance to do the Electric Slide, as well as bobbing my head with the best of 'em. And I fondly remember dancing with Lamont and Leland at their various high school proms. (I taught at their school.)

Now for why I'm smiling so much in all of the photos in the collage. A few months ago when I read about "Muscle Shoals" in an e-mail I received from the Portland Art Museum's NW Film Center, I knew I had to see it. No wavering in my determination--I bought a ticket to see it on Friday, October 11, at 6:45 p.m. When I walked in, I decided to sit on row seven, in the 11th seat, for luck. Did that ever turn out to be the case! Here's something I wrote about the experience afterwards--"Let me tell you, if you get the chance to see the documentary "Muscle Shoals," you should take it. I can't think of enough words to accurately convey how splendid it is. Go see and you'll find yourself feeling the same. If you don't, I'm sorta worried about you."

Several times as I sat there in the dark, among surely lots of non-Southerners who nevertheless loved the music, I wondered what they thought about the word kudzu, did they recognize it for those few seconds it was on the screen? Did they understand what those interviewed really meant when they talked about the singing river, the mud, the place of Muscle Shoals, Alabama? It didn't take much for me to become homesick for my Mississippi because those beautiful skies and landscapes and small town sights spoke deeply and quickly to my memories. Those young men, barely out of boyhood, struck me with such familiarity that I felt I knew them, yet I remained amazed at the chance of the whole thing--they are the living, breathing, talented truth of being in the right place at the right time. Let's add in having the right skills and determination and flexibility and the ability to not be racists, too, in those turbulent times in the South.

Overcome with the gut-impact of deep emotions I had not expected, somehow I swallowed the sobs I felt coming on as I sat there while folks all around me got up and left as the credits rolled. I couldn't move, not yet. I had to drink from "Muscle Shoals," the final drop of the well-realized effort on the part of all involved in its coming together. When I got to the top of the aisle, I noticed to  my right that the auditorium's control room door stood ajar. I leaned into the darkness and said with a still choked up voice, "Thank you, thank you so much for bringing that here." I heard a voice reply, "You're welcome." And I walked away, knowing immediately that I had to see it again.

This past week when I got an e-mail from the Hollywood Theatre saying that I could get free tickets to "Muscle Shoals," I immediately started clicking and typing, with a huge grin plastered all over my mug. I got the confirmation e-mail the next day, and both sons, Lamont and Leland, willingly said Yes to my invite. I knew we three had it made in the shade. That we were cooking with gas. That our ship had come in. OK, I'm going off the deep end here, but I do not care. Look at the collage above and see how I looked out front afterward, and you see the truth in those cliched phrases, plastered all over my mug! I sat there between the two of them, patting their knees every once in a while, wondering if they could believe any better than I could that these men who looked and sounded like their Papaw used to look and sound had been the creators of much of the musical soundtrack of our lives. Once we hit the sidewalk outside, I handed my iPhone to Leland so that I could have these photos to enjoy over and over.

I know this has been a lot to read. Thanks for indulging an ol' woman's family and musical whims, reflections, and joys. I know just how blessed that I am, y'all.

About the film: MUSCLE SHOALS - DIRECTOR: GREG “FREDDY” CAMALIER - US, 2013

In a small Alabama town called Muscle Shoals—on the banks of the Tennessee River—legendary musicians including Aretha Franklin and Wilson Pickett gathered in the late 1960s to create music that would inspire later recordings by Bob Dylan, The Rolling Stones, The Allman Brothers Band, Simon and Garfunkel, Lynyrd Skynyrd, The Black Keys, and many more. Tracing the storied history of this unlikely musical birthplace, Camalier’s colorful film centers on Rick Hall, the founder of FAME recording studios and creator of the Muscle Shoals Sound and its legendary house rhythm section, The Swampers. Along with rare archival clips are the memories of legend after legend—all testimony to one of America’s most creative musical melting pots. (111 mins.)

Where I like to watch movies, the Hollywood Theatre

I ride the bus to and from my neighborhood movie house. Recently I've seen seven interesting and well-done music documentaries.

Here's the e-mail I got today: Free Member Tickets to the Sept 5th event celebrating our new marquee!

To celebrate the installation of our new marquee, the Hollywood Theatre is presenting a 35mm screening of Buster Keaton's THE GENERAL with live organ accompaniment by Dean Lemire! (Thanks to the Columbia River Theater Organ Society.)

Johnnie (Buster Keaton) loves his train ("The General") and Annabelle Lee. When the Civil War begins he is turned down for service because he's more valuable as an engineer. Annabelle thinks it's because he's a coward. Union spies capture The General with Annabelle on board. Johnnie must rescue both his loves.

This evening will give you a chance to come out and marvel at the new marquee as well as experience an amazing film that was shot in Oregon and made the same year as the theatre was built, 1926! THE GENERAL is considered by critics to be one of the greatest films ever made - and a live organ soundtrack will make it a cinematic experience not to be missed!

I ordered my ticket and one to the 2 p.m. matinee of "Close Encounters of the Third Kind" on September 7. Can't wait!

I've been to my own music festival.

My bus stop bench where I catch the 12 home after seeing movies and/or documentaries at the Hollywood Theatre. I sat there waiting Friday, Saturday and Sunday evenings after seeing three nights of music-related documentaries. I'm a member of the Hollywood Theatre at the Producer level, so my admission is free and I get a free member-size popcorn.

I'm very happy to give you a list of the documentaries that I saw.


Friday night, 20 Feet From Stardom - The untold true story of the backup singers behind some of the greatest musical legends of the 21st century. Triumphant and heartbreaking in equal measure, the film is both a tribute to the unsung voices who brought shape and style to popular music and a reflection on the conflicts, sacrifices and rewards of a career spent harmonizing with others. These gifted artists span a range of styles, genres and eras of popular music, but each has a uniquely fascinating and personal story to share of life spent in the shadows of superstardom. Along with rare archival footage and a peerless soundtrack are intimate interviews with Bruce Springsteen, Stevie Wonder, Mick Jagger and Sting to name just a few. I left wishing more than ever that I could sing. 


Saturday night, three Les Blank documentaries. I left well-pleased that I'd been able to see these three jewels, to witness the creativity captured on film by an equally creative man. 
Dizzy Gillespie (1965 – 23 min) – Les Blank’s earliest music film. Great Dizzy performances and personal moments.
The Blues Accordin’ to Lightnin’ Hopkins (1970 – 31 min) – A portrait of the great Texas bluesman, Lightnin’ Hopkins.
Hot Pepper (1973 – 54 min) – profile of Clifton Chenier – the self-crowned “King” of Zydeco accordion.

Sunday night, two more Les Blank documentaries. I felt the same way Sunday night that I did on Saturday. 
Sprout Wings and Fly (1983 – 30 min) – A compassionate, life-affirming document of Appalachian fiddler Tommy Jarrel.
A Well Spent Life (1971 – 44 min) – Tribute to the Texas songster and guitar great, Mance Lipscomb. 

There was a third one on Sunday evening, Chulas Fronteras (51 min) – portrait of the Tex-Mex scene and its musical protest against migrant worker oppression, opting instead to head for the bench at the bus stop so that I could stop by on my way home for the last 30 minutes of Kevin Selfe's Blues Jam at the Blue Diamond PDX.

Hollywood Theatre, No. 5

Looking west at the Hollywood Theatre in a photo that I took on September 30, 2012. Now you can see the apartment building standing on what was a vacant lot, seen in yesterday's post. I can tell you that the view when you're eastbound on NE Sandy Blvd. is no longer what it was in yesterday's post.

See the lights on the left side of the Hollywood Theatre building? They are in the ladies restroom--it has a small vestibule or lobby or seating area, I'm not sure what to call it. I'm pretty sure it's original to the building which has been turned into a theater with three screens, one big one downstairs and two smaller ones upstairs. Despite that yellow insulation showing on the apartment building, I like how this photo turned out.

Here's an article about the plans for the building, from the Portland Mercury, May 2, 2011. And here's another article from the Daily Journal of Commerce, December 5, 2011, about the beginning of the building project. It remains to be seen what sort of business will be on the first floor of the apartment building. It would be cool if it were a good restaurant.

Hollywood Theatre, No. 4

Here's a photo of the Hollywood Theatre that I took May 19, 2011. Can you imagine how fine that tower looked as you drove or rode eastbound on NE Sandy Blvd.? What a sight to see.

Speaking of seeing, I did see "Win, Win" and "Jane Eyre" here--thoroughly enjoyed both. "Hobo with a Shotgun" is not my cup o' tea.

Hollywood Theatre, No. 3

A surprise addition, atop the marquee and barely visible to me as I sat on a bench in front of the theater, waiting for a friend so that we could go see "The Best Exotic Marigold Hotel." I've looked at a whole lot of other photos I've taken over the years of this marquee--the owl is not in any of them.

Whose eyes scare you the most? The one visible owl eye, all golden and huge? Or the deep-set, wide-opened eyes of that slightly smiling man's face behind the owl? Maybe it's the other man, in the blue circle with the with rim? He looks like he's been goosed by something--maybe the owl's sharp beak got to him before it "landed" on the edge.

The owl must be there to scare birds from landing on the edge of the marquee. However, even pre-owl, I cannot remember seeing evidence of birds on the marquee or on the sidewalk in front of the theater. What amazes me is that the small owl can be noticed by birds, considering the myriad details included in the colorful and ornate tower above the marquee. (More photos of it to come.)

I read online at the Oregon Historical Society's Web site, The Oregon History Project:
"The Hollywood was designed by the architectural firm of Bennes & Herzog of Portland. The style has been described as “Byzantine,” but is better characterized as Spanish Colonial Revival. It was constructed of poured concrete, but the entrance was topped by an elaborate tower of polychrome (colored) terra cotta with arched niches flanked by turned pillars. The two-story street side of the theater was capped by roof tiles that carried out the Spanish Colonial theme. Most theaters of this size were located in downtown areas, but the Hollywood was sited in a neighborhood shopping district that was well served by both streetcar and automobile."

It is very easy for me to get to the Hollywood on the 12 bus--it's just 20 blocks away from my street.

Hollywood Theatre, No. 2

Check yesterday's post for the first part of the story of how I became the proud owner of the movie poster for my favorite movie of 2012--The Best Exotic Marigold Hotel.

Here's the man in the plaid shirt, with the window open, about to unpin the poster and take it back inside the lobby so that he can roll it up and then put a rubber band around it and hand it to me. I say, "Thank you, sir!"

I like the side story here--the lady gazing at the big, varying shades of red, plastic letters for the right ones to finish readying them to be placed up on the movie marquee. Can't you just see her brain running through the remaining letters and movie titles?

Hollywood Theatre, No. 1

Hollywood Theatre marquee the evening of September 6, 2012. In honor of probably my last time to see "The Best Exotic Marigold Hotel" in a theater. To tell you the truth, it was the third time I saw that fantabulous movie in a theater.

As I left the upstairs theater that night--the movie's last at the Hollywood--I wondered whether or not anyone had already begged to take home its poster hanging in the display window beside the front door. So, I quickly made my way down the curving, banked ramp and the few steps at the bottom, spied the poster still in the window, made a B-line for the cash register, and asked the guy there, "Whom should I beg for 'The Best Exotic Marigold Hotel' poster in the window out front?"

He looked at me, looked out the front door, and replied, "See that man in the plaid shirt? He's the one." Within mere moments, that nice young man had listened to me beg, pulled the key from behind the register, unlocked the window, removed the poster, rolled it up, put a rubber band around it, handed it to me, and said, "I like knowing this is going to someone who really loves it!"

Not too many days later, my sons hung in on my closet door so that I can see it any ol' time I want. Hey, Lamont and Leland, I'll take a DVD of "The Best Exotic Marigold Hotel" for my birthday!

Eye-catching kick at the intersection.

Naturally I noticed this inflatable martial arts character, but not in time to get a photo as the bus buzzed by going east to Killer Burger on Saturday a week ago. So, on the way back towards home, I remembered to swivel around and make the effort to get a few photos as we slowed down for the bus stop diagonally across the street. That's why this photo is at a slant--I decided to share it with you SOOC, straight out of camera, no alteration at all, not even any cropping.

The intersection--the blue car is turning northeast from NE 42nd onto NE Sandy Blvd.--is five blocks west of Killer Burger , a block wset of Whole Foods , and two blocks east of the Hollywood Theatre , and one block east of Paulsen’s Pharmacy .

No. 4, May 16, 2011

Plenty of rain led to an open umbrella. It brought back memories of the 1970s for me, in that it reminded me of one that I had, though it did have white band around the border and a white plastic handle that curled upward at its end. I also had white, lace-up go-go boots and several outfits which incorporated hot pants. I was something else!

Some who have left comments have praised my photo manipulation skills. While I would love to take all the credit for making the changes I've been making in these photos, I'm here to tell you that anyone who subscribes to Picnik Premium will be able to do the same things, and way, way more, with their very own photos. It is a whole lotta fun!

Flickr, Picnik, Create, Effects, Gritty with the Darkness increased.

By the way, Tuesday night I was too give out, as we say back home in Jackson, Mississippi, to blog. I'd been on a date with Lamont and Leland--burgers and fries and Barq's Root Beer at Killer Burger, followed by the Shaw Brothers Studio 1982 Kung Fu film "Buddha's Palm" at the Hollywood Theatre, the first of their Kung Fu Theater offerings. You see, the three of us have a history with an earlier Kung Fu Theater, back when those two sons of mine were little boys. Saturdays back in Jackson some network or other broadcast a different movie each week, filled with whirling, swirling folks bent on mayhem and destruction. When I found out about the movie, I immediately e-mailed the guys right away. The 35 mm movie was in excellent condition so that we didn't miss anything at all, not one extension of the longest kicking leg I've ever seen or one yucky emission from the cyst that shoots acid. "Buddha's Palm" was a mostly entertaining hoot! We just might make it to the next offering on June 28, "Shaolin vs Wu-Tang" because we had a fun night.