Daily Prompt: Island of Misfit Posts – Odd Ends


And then, there are the pictures I take because I see something. I’m not always sure what it is. Often, it’s something in my house, something just standing on a shelf, dusty, forgotten … but then, I see whatever it was that made me want it originally and snap, it becomes a picture. One of the odd pictures that never seems to fit anywhere. Here are five of these.

A Palace in Queens: Loew’s Valencia

English: Looking northwest across Jamaica Aven...

Looking northwest across Jamaica Avenue at Loews Valencia.

Growing up, my favorite theater was the Valencia in Jamaica. No mere movie theater, it was an experience, a Hollywood production its own right. Here with my brother Matthew, I first experienced the glorious, magical world of movies.

It wasn’t my first trip to the movies, but it was my first trip to a real movie palace.

That first excursion to the Valencia was on a rainy Saturday afternoon. With not much else  to do, off we went to see Shane with Alan Ladd. It had just opened at the Valencia. It was 1953. I was 6. When I had to go to the ladies room, I became so enchanted by the theater, I got lost. The ceiling of the Valencia was called “atmospheric,” a dark distant sky full of realistic twinkling stars.

Not to mention the fountains and strange Rococo architecture the likes of which I doubt were ever seen in a “real” building and certainly never by me, even in my imagination. I couldn’t pull my eyes away and eventually forgot where we were seated in that vast building.

An usher with a flashlight had to help me find my family.

Today, as a Pentecostal Church.

The Valencia was in downtown Jamaica, Queens, about 3 or 4 miles from my house. It opened in 1929 and was the first of the five Loew’s ‘Wonder’ Theaters. Others would be in various parts New York, including Astoria, Queens, the Bronx, Brooklyn, and Manhattan. My sister-in-law graduated in the Loew’s Paradise in the Bronx, twin theater to the Valencia.

Inside the Valencia.

The decorations are described variously as a mix of Spanish Colonial and pre-Columbian, but that doesn’t do it justice. It was fantasy land, and it was entirely unlike anything in reality. Certainly unlike anything in my reality or experience. The theater was enormous, with seating for 3,554, including a vast orchestra section and several balconies.

Architect John Eberson supposedly based his design on Spanish architecture motifs, using wrought iron railings, ornate tile work, sculpture and murals. I suspect a drug induced hallucinogenic state, but perhaps he just had an amazing imagination.

Its extraordinary combination of brick and glazed terra-cotta outside was purportedly inspired by Spanish and Mexican architecture of the Baroque or “Churrigueresque” period, though I have my doubts about that. Details included elaborate terra-cotta pilasters, cherubs, half-shells, volutes, floral swags, curvilinear gables and decorative finials … and of course within, lay that astonishing “atmospheric ceiling” full of stars.

English: 3-Manual, 8-Rank, Robert-Morton Organ.

The Valencia’s 3-Manual, 8-Rank, Robert-Morton Organ. (Photo credit: Wikipedia)

In 1935, the Valencia began to show double features. By the 1950s, it had become my family’s the “go to” movie theater for a special Saturday afternoon. This continued right through the 1960’s.

The Loew’s Valencia was the most successful movie theatre in Queens. Its location in downtown Jamaica, which was then the primary shopping area in the borough and for Long Island before shopping malls changed all that, combined with the theater’s ability (part of the MGM system) to show new movies a week before any other theater in the borough, made it wildly popular.


The Valencia (Photo credit: ho visto nina volare)

As for me, I’d have happily gone there even if no movie were showing. The theater was a star. Just those twinkling stars held me transfixed, hypnotized.

I would stand staring up at it until someone asked me if I was alright. I wasn’t, really. I was lost in the stars.

The Valencia ended its life as a movie theatre in May 1977. Since then, it has been the Tabernacle of Prayer for All People church.

At least it was spared the fate of so many other movie palaces. It was not leveled to make way for yet another cookie-cutter cinemaplex. That’s something.

The Non-Complexities of Pretty Racist Chef Paula Deen

See on Scoop.itBooks, Writing, and Reviews

By JOSH MARSHALL JUNE 21, 2013, 11:50 AM

Paula Deen Diabetes

I must say. I love Paula Deen’s defense. It has the benefit of being both ridiculous and perhaps something her critics could actually agree about. According to the Wall Street Journal, “A representative for Paula Deen says that the 66-year-old celebrity chef used the “N-word” because she has roots in another era.” Or as you might translate this, ‘Look, she’s on the old side and pretty racist.’ Which sounds about right and sort of like the criticism rather than the defense.

Another thing it made me think about though is that these days, in 2013, if you’re in your 60s, you really didn’t grow up in the ‘Old South’. More like you grew up in the Civil Rights Era. Paula Deen was born in 1947. So she was 8 or 9 during the Montgomery bus boycott, sixteen for the March on Washington and twenty-one when Martin Luther King was assassinated.

It’s worth remembering how ingrained these words were for whites from the South from a certain era, not only for people who were fierce opponents of civil rights but even from some of their greatest advocates. The words signal the mental world of Jim Crow.

I’ll always remember this story told by Roger Wilkins, who was a young attorney in the Johnson administration, but also then and later a civil rights leader, historian, journalist and more.

This is back during the bleeding, breakthrough years of the Civil Rights Movement, with a President who is pushing through the big epochal legislation that changed the face of the nation but also helped wreck his presidency (in electoral terms) and tear the Democratic party apart for a generation. Notably, for Johnson, he did all of this with his eyes quite wide open.

I’ve read many things about Johnson in this period and it’s really human, almost Shakespearean stuff, because you’ve got this guy raised in the Jim Crow South, who’s gotten religion on the civil rights issue and is pushing the stuff in spite of the politics. And yet at some level he’s still an old school guy from Jim Crow Texas and can’t make sense of why after he’s been part of pushing through this landmark legislation and putting the presidency on the side of right that African-Americans aren’t more grateful to him. On thr contrary, the country starting to tear itself apart with riots in the big cities and young African-Americans and many non-young African-Americans not at all satisfied with the post-Civil Rights Act status quo.

In any case, Wilkins – then in his early thirties – saw all of this up close and clearly loved and admired the guy at a deep level and understood and breathed the historical context of all he was accomplishing and yet saw his limitations and how he was actually totally lost in the racial politics of the 60s.

Back to that anecdote, Johnson’s there with a bunch of aides in Oval Office, Wilkins included, and in a moment of frustration he slips into using the word ‘nigger’. This is from an American Experience documentary. It starts with the historian Robert McCullough talking and then Wilkins comes in …

“McCullough: [voice-over] It was called “the Golden Chalice”, the marriage of the President’s younger daughter, Luci Baines Johnson. One reporter said, “Nobody was invited except the immediate country.” It was August 6, 1966. There was war in Vietnam and riots in the streets, but there was still more Johnson hoped to do. What he wanted was time — time to build his Great Society. “We can’t quit now,” he told an aide. “This may be the last chance we have.” But time was running out.

Over four long, hot summers, riots had become a brutal fact of American life. Johnson looked helplessly on as more than 150 cities went up in flames. Detroit was the worst — 43 dead, 7,000 arrested, 1,300 buildings destroyed. Johnson dispatched army paratroopers and prepared to send his own task force to investigate. As part of the task force, Roger Wilkins was there as the President issued his final instructions.

Roger Wilkins, Attorney, Johnson Administration: And he started in a low-key. “I don’t want any bullets in those guns. You hear me? I don’t want any bullets in those guns! You hear me, gentlemen? I don’t want any bullets in those guns. I don’t want it known that any one of my men shot a pregnant nig — ” and he looked at me and his face got red. I was the only black in the room. “Well, I don’t — I just — no bullets in those guns.” But he was clearly embarrassed, and everybody in the room was embarrassed. So then he told us to go home and pack and get an Air Force plane to go to Detroit.

And as we’re leaving, he called me and he said, “Come in here, Roger,” and I went into his office with him. And he didn’t say anything. I mean, I knew he wanted to say, “I didn’t mean to say ‘nigger’,” but he meant to say ‘nigger’. And I knew he wanted to say, “I apologize.” He didn’t know how to say it.

And so he walked me over to the French doors that went out to the Rose Garden, and it’s the area where Eisenhower had his putting green. And he looked out, and he looked at me, and he looked down, looked out, looked down. There were pockmarks on the floor where Eisenhower’s golf shoes had hit the floor. And he finally looked at me, and he looked at the floor, and he said, “Look what that son of a bitch did to my floor!” And then he patted me on the back and said, “Have a nice trip.” And that was his way of apologizing. It was very human, I thought.”

Not to state the obvious, but Lyndon Johnson was born in 1908.

It’s not proven from the deposition – but the nature of the plaintiff’s deposition combined with Deen’s ‘defense’ in her deposition makes it pretty clear that Deen speaks like this … today, pretty much all the time. And far more than ‘talks’ like this, it seems pretty clear that she thinks that way too.

That’s why I think it’s a good thing when this stuff comes out. Because it shakes us up from the comforting denial that there aren’t a lot of people in the country still living in the Paula Deen world, which it would be nice to think is the world of the 1920s but in fact, for a lot of folks, is the world of 2013.

Marilyn Armstrong‘s insight:

A beautifully written reminder that it was Lyndon Johnson who got it done. Others talked the talk. He walked the walk. He knew in pushing through the civil rights bill, he was falling on his political sword and ending his career. He used all his political leverage because he believed he was the only one who could do it.He was probably right. It was LBJ’s finest hour, an act of genuine political valor.

The heart has gone out of our political system. We may never live to see it again.

See on talkingpointsmemo.com