Maxine Hall, in knit dress, and Virginia Allabach, in light jacket and dark skirt, seated in garden chairs, with Margaret Johnson, in light suit, and Mary Ann Flock, in light suit with large buttons, seated on arms of chairs, on lawn with house and rosebushes in background
A woman in Spanish style costume holds a terracotta pot on a potting wheel at the Old Spanish Days Fiesta in Santa Barbara. She stands in front of a crate and pots are on the ground next to her. Palm frond-covered stalls are in the background.
Woman on horseback wearing a hat, short jacket and matching trousers and waving to the spectators. Her white horse is decorated with a garland. Another rider follows her in the intersection of Orange Grove Blvd. and Colorado Blvd.
Woman and two little girls model swim suits by local designers in a fashion show. The show was part of a fashion event that lasted for a week and featured designs by Mary Ann De Weese, Margit Fellegi, and Lynn Lester
Float with a person in costume seated next to a striped tent with small palm tree placed saround it. A floral sign on the side identifies the sponsor of the float as the "W. K. Kellogg Arabian Horse Ranch." The float is at the intersection of Colorado Blvd. and Orange Grove Blvd.
Hubert Castle (a.k.a. Hal Smith or Hal Silvers), wirewalker, prepares for his act at the Shrine Charity Circus. The circus is an annual 10-day event held at Shrine Auditorium, which features an indoor show by the Polack Bros. Circus. Orphaned and underprivileged children are allowed to visit the circus as their admission is paid by affluent members of the community. The circus also travels to the children's hospital to entertain the sick children who can't attend. Proceeds from the circus go to Shrine charitable activities.
The "Whistler's Mother" float with Mrs. Howard J. Sloan and with a Bible and a floral U. S. flag draped over the front.The float was entered by the Antlers of the B.P.O.E. and is shown at the intersection of Orange Grove Blvd. and Colorado Blvd.
The Conference of Studio Unions strike was against all Hollywood studios. The CSU strike began in March 1945 and was around the six month mark when it turned violent on October 5, 1945, known as Hollywood Black Friday. National exposure of this violence forced negotiations between studios and the CSU. Negotiation ended the strike about a month later, but CSU didn't last much longer and was eventually disbanded and absorbed by rival union IATSE.
With plush upholstered seats, touches of gilt and glitter, formal pilasters, and the almost Japanese delicacy of a mural, Lee suggests an atmosphere of elegance to transport the audience from their daily lives
Vittorio Mussolini (at microphone right), Italian film critic, producer and son of dictator Benito Mussolini, is greeted by the press upon his arrival at Union Air Terminal. Mussolini is spending about two weeks in Los Angeles with his wife and daughter to study motion-picture manufacture in Culver City and visit friends in Hollywood and Beverly Hills. His host for the visit is film producer Hal Roach (at microphone left). Police expected a protest or demonstration from anti-Fascists at the arrival, but none occurred
Lee's rendering of this small-town theatre on a corner site in Visalia shows a simple Streamline Moderne two-story building with glass block, tile, curved glass windows and butt-jointed glass box office windows. The flat marquee shows recessed downlights, almost the only feature retained in the final design.
This night view is a simplified design for a one-story building, retaining the downlighting in the lobby area, but eliminating the curved Streamline effects of the daytime view. Here the sign at the corner becomes the principal element of the design. Lee uses a series of recessed frames highlighted by indirect lighting, around the entire entrance, the poster cases, the false windows on the façade, and above the box office as a unifying motif.
The finished theatre conforms closely to the design of the night-time rendering. The box office and sign focus attention on the corner. The use of artificial brick cladding was fashionable for both commercial and residential building of the period. (See also the Garmar Theatre in Montebello 30301-30305 for similar treatment of the exterior.
The auditorium interior reveals Lee's use of the inexpensive Quonset hut truss system, also used in the Puente Theatre (51101-51110) and the Garmar Theatre ((30301-30305) from the same period. In the immediate post-war period the system was used to build housing, commercial and factory buildings to satisfy the pent-up demand for new construction.