Drive-In Theaters - MS. HANNAWI'S CLASSROOM - Home



STATION 3Cars in the 1950s1950s cars were some of the most classic, powerful and unsafe cars ever driven. The modern designs and acceleration abilities were getting more and more amazing every year. If you ask someone who loves classic cars what their favorite car is, 8 times out of 10 they’ll say ’57 Chevy.The auto industry was starting to experiment with a new concept called a “sports car.” The “hardtop convertible” was introduced in 1950 models. It was announced that air conditioners would be available as optional equipment on three 1953 cars. Power steering had its use extended to five cars. Research & engineering teams worked hard at making the 1954 models safer, less expensive and easier to drive. The wrap-around window was a nice look though. Many striking design changes were made to the 1958 models. And for the first time in history, the US imported more cars than they exported. CARS IN 1950 The automobile industry in the United States established in 1950 a new all-time production record for the second successive year. Total 1950 production was 7,987,000 vehicles.The most serious event of the year for car salesmen was the reimposition of Regulation W, the government’s credit control bill which had limited purchases during and immediately after World War II. A mild form of this control, requiring a one-third down payment with the balance to be paid within 21 months (three months longer than the wartime version) was restored in September.Two manufacturers introduced new “small” cars during 1950, to meet the demand for (1) an economical second car for middle income families and (2) a car whose initial price placed it within reach of many people who previously had to buy used cars. Just how strong the demand was in each of these cases had yet to be established.In design, the outstanding feature of the 1951 model year was the popularity and extension of the “hardtop convertible” introduced in 1950 models. Not convertible in the true sense of the word, these cars embodied the racy lines of a convertible while retaining a fixed steel top. This body style was extended to include four-door sedans in 1951 models. About half of the 1951 models offered hardtop styling.In other respects the 1951 designing differed only slightly from that of 1950, since most manufacturers had provided new designing for their 1950 models. The majority of the 1951 changes were cosmetic.There was a spectacular increase in the number of automatic transmissions offered and sold during 1950. It was estimated that well over 1.5 million fully automatic units were produced during the year.CARS IN 1952Many factors hindered production in the motor industry during 1952, the longest stoppage being caused by the nation-wide steel strike in June and July.The job of stepping up defense production while maintaining a profitable level of civilian output was continued in 1952.Several companies devoted as much as 60% of their work to defense, turning out, in addition to aircraft and parts, tanks and tank cannon, tactical trucks, shells and many other military items.Shortage of materials was the greatest production problem of the industry. Copper and steel headed the list of scarce materials, with aluminium running a close second.It was announced that air-conditioners would be available as optional equipment on at least three 1953 cars. Power steering, found on only one 1951 automobile, had its use extended to five 1952 cars. Brought out in 1951, power braking was available on two models in 1952.Automatic transmissions were introduced on one line of delivery vehicles.Prices on new cars climbed in 1952, but taxes rose even higher. By mid-year, it was estimated that of $2,000 paid for a new automobile, $650, or about a third, went into taxes.The possibilities of mass producing an American sports car were investigated by two manufacturers, the Packard Motor Car company and Buick Motor Division. Both companies showed their versions. While immediate production was not scheduled for either model, the producers exhibited the sports cars to test public reaction and to determine the possible extent of the market for such an automobile.Chevy also made a concept sports car that later had some success. They called this new car a Corvette. Many people weren’t sure if they would even make a 1954 model.CARS IN 1953After two years of shortages and restriction, the U.S. automobile industry enjoyed in 1953 what promised to be one of its best years.One of the main factors in this production upswing was the government’s relaxation of controls on steel, copper and aluminum. The only major hindrance to production was a $70 million fire at GM’s Hydramatic plant in Livonia, Michigan.Materials shortages, although getting much better in 1953, had inspired new ways to make car bodies. Two different cars were introduced in 1953: one with a magnesium body and the other was plastic-fiberglass.Prices saw very little change in the 1954 models from last year’s models. And while no radical departures in styling were seen, some significant changes were made.For example, wire racing wheels, recently only found on sports cars, enjoyed considerable popularity in the big car market. The wrap-around back window was extended to more models and the same type front windshield was introduced on the 1954 Oldsmobile Ninety-Eight Starfire, which was named after the Lockheed F9413 Starfire Fighter Jet.The ever-swelling rural and suburban population was held responsible for the increasing popularity of the station wagon. The it had been around for over 30 years, the production volume of station wagons never rose above 1% of total production before WWII. Staying consistent with post-war utilitarian attitude, the station wagons were build with strong steel bodies and a minimum of luxury frills.Research and engineering teams bent their efforts toward making the 1954 models safer, less expensive and easier to drive. Many lower-priced cars were being fitted with power steering. GM also introduced a new invention called the “Autotronic-Eye” which would automatically dim the high beams when a car would approach and then turn them back up when the oncoming car passed. (See ad to the right)The postwar years watched the automatic transmission become?increasingly?more accepted. In 1953, more than 50% of all new U.S. models were equipped with some form of automatic shift.CARS IN 1957One of the most noteworthy trends in 1957 was the rise of the station wagon. Before the war, this body style was regarded as a luxury suitable only a country-estate, a resort or an occasional business establishment. By 1957, however, it had arrived as a truly popular and useful family car and accounted for more than 14% of new car sales.Automatic transmissions, power brakes, power steering, power adjusted front seats, power window lifts and air conditioning increased in popularity. Over 80% of 1958 models had automatic transmissions.It was at this time, car manufacturers agreed not to advertise horsepower — as it had very little connection with actual top speed. Obviously that changed.For the first time, the US imported more cars than it exported. Volkswagen was the most popular foreign car company. The 1958 Bianchina Supermini clocked in at 40mpg!At this time the automobile industry dreamed of a time when a one-car family would be insufficient and people would buy different cars for different uses for different family members.Chevrolet made striking changes to rear-end styling in their 1958 models. Ford offered a full line of luxury model Continentals as well as the medium-priced Edsel. The 1958 Oldsmobile had a completely redesigned body.Italian car-maker Autobianchi made a supermini called Bianchina that got 40 miles per gallon. The car was presented to the public on September 16, 1957 at the Museum of Science and Technology in Milan.STATION 4 The Drive-In TheaterDrive-In Theaters Hit the high Numbers!!left000The drive-in boom was under way. Going from less than 1,000 in 1948 to close to 5,000 by 1958. The drive-in etched it's place in history, not just in the U.S.A. but in many countries across the world. During the same years of 1948 to 1958 over 5,000 indoor theaters closed reducing their number from 17,000 to 12,000.Not just the # of drive-ins increased, but the size.They said you can't build one that big!One of the largest Drive-In Theaters was the All-Weather Drive-In , Copiague, New York. parking spaces for 2,500 cars. It also had an indoor 1,200 seat viewing area, that was heated and air-conditioned, a playground, a cafeteria, a restaurant with full dinners. A shuttle train that took customers from their cars to the various areas, on the 28 acres.List of theaters by size.Troy Drive-In: Detroit, Michigan. 3,000 carsPanther Drive-In: Lufkin, Texas. 3,000 carsAll-Weather Drive-In: Copiague, New York 2,500 cars110 Drive-In Melville, New York. 2,500 carsNewark Drive-In: Newark, New Jersey 2,400 carsBelair Drive-In, Cicero, Illinois. 2,300 carsTimonium Drive-In: Timonium, Maryland 2,479 carsLos Altos Drive-In: Long Beach, California 2,150 carsWhat was the smallest?Harmony Drive-In: Harmony Pennsylvania. 50 carsHighway Drive-In: Bamberg, South Carolina. 50 carsPonce DeLeon Drive-In: Ponce DeLeon, Florida. 60 carsTwilite Drive-In: Nakina, North Carolina. 60 carsNorwood: Norwood, Colorado. 64 carsMore to do at the Drive-InAs the size and number of drive-ins increase, many go from just a playground to:Miniature TrainsPony RidesBoat RidesTalent ShowsMiniature GolfAnimal Showsright000Many theaters would open the gates as much as 3 hours before the movie would start. This allowed customers to bring the kids early. Many theaters began to serve a wide variety of dinners such as Fried Chicken, Barbecued Sandwiches, Hamburgers, Pizza, etc. A few theater owners even gave the customers the ability to order from their car and have a car hop deliver. To increase sales the intermission trailers were invented. Theaters using these gained increased sales between films.STATION 5 (or search “I Love Lucy chocolate”)STATION 6STATION 7Elvis Presley on The Ed Sullivan ShowAFTER DECLARING THAT ELVIS PRESLEY WOULD?NEVER APPEAR ON HIS PROGRAM, ED?SULLIVAN BACKED DOWN AND SIGNED?ELVIS FOR THREE SHOWS.Two weeks after Elvis' first RCA recording session, he made his first television appearance on Tommy and Jimmy Dorsey's weekly?Stage Show.?During the next eight weeks, he appeared on this variety series five more times, and each time the show received better ratings. The first show, however, was only moderately successful and was beaten in the ratings by?The Perry Como Show.Stage Show?was typical of television variety programs in the mid-1950s. Understanding the nature of these variety shows helps us to understand why Elvis created such a stir. With an hour-long format,?Stage Show?featured performances by a diverse group of entertainers, ranging from popular singers to animal acts to ballet dancers. Each week a guest host introduced some of the acts for that particular program.On Elvis' first appearance, he was introduced by Cleveland disc jockey Bill Randle, who was supposedly the first radio personality to play an Elvis record outside the South. Randle, however, would be the only person featured on any of Elvis'?Stage Show?appearances who had any connection with the young singer.The other hosts and guest stars who appeared with Elvis included jazz singers Sarah Vaughan and Ella Fitzgerald, stand-up comedians Joe E. Lewis and Henny Youngman, a chimpanzee act, an acrobatic team, and an 11-year-old organist. Compared to these types of entertainers -- who were considered suitable for family audiences -- Elvis' new, high-powered music and dynamic performing style seemed alien. The young singer's Beale Street clothing and ducktail haircut made him stand out even more.On his first appearance, Elvis was visibly nervous. He sang "Shake, Rattle, and Roll" and "Heartbreak Hotel," doing a little shaking and shimmying, and then quickly moved offstage. By his final appearance, more of an interaction between Elvis and his audience took place as the young man worked hard to drive the girls in the crowd into a screaming frenzy.When he strummed the opening chord of "Heartbreak Hotel" on his guitar, a burst of screams and applause broke out. Elvis hesitated for a moment, tantalizing the audience with anticipation. As he broke into song, he moved across the stage, shaking his shoulders and swinging his legs.Certain moves were obviously designed to elicit emotional responses from the girls, and Elvis' smiles proved he was delighted at this explosive effect on his female fans. The interaction between Elvis and his fans was much like a game: He teased the women with his provocative moves; they screamed for more; he promised to go further; sometimes he did.In late spring of 1956, Elvis appeared on?The Milton Berle Show?for the first time. The show was broadcast from the USS?Hancock,?which was docked at the San Diego Naval Station. Despite the novel location, this television appearance is barely mentioned in biographies or other accounts of Elvis' career, because his second appearance on the Berle program has completely overshadowed it.This appearance on June 5 fanned the flames of the nationwide controversy over his hip-swiveling performing style. Elvis sang "Hound Dog" for the first time on television that spring night. When he began the song, no one knew what to expect, because the tune was new. But the audience responded immediately with enthusiasm. Elvis then went a bit further in his performance: He slowed down the final chorus of the song to a blues tempo, and he thrust his pelvis to the beat of the music in a particularly suggestive manner. The studio audience went wild with excitement.The next day, the press nicknamed him "Elvis the Pelvis." Many described his act by comparing it to a striptease. Jack Gould of?The New York Times?declared, "Mr. Presley has no discernible singing ability," while John Crosby of the?New York Herald Tribune?called Elvis "unspeakably untalented and vulgar." The criticism prompted parents, religious groups from the North and South, and the Parent-Teacher Association to condemn Elvis and rock 'n' roll music by associating both with juvenile delinquency.Elvis could not understand what all the fuss was about: "It's only music. In a lot of papers, they say that rock 'n' roll is a big influence on juvenile delinquency. I don't think that it is. I don't see how music has anything to do with it at all....I've been blamed for just about everything wrong in this country."After?The Milton Berle Show,?Colonel Parker booked Elvis on?The Steve Allen Show,?a new variety program that aired at the same time as Ed Sullivan's immensely popular show. Allen hated rock 'n' roll, but he was aware of the high ratings Berle's show received when Elvis appeared. He was also aware of the controversy.To tone down Elvis' sexy performance, Allen insisted that he wear a tuxedo during his segment, and he introduced him as "the new Elvis Presley." Elvis sang one of his latest singles, a slow but hard-driving ballad called "I Want You, I Need You, I Love You."Immediately after that number, the curtain opened to reveal a cuddly basset hound sitting on top of a tall wooden stool. Elvis sang "Hound Dog" to the docile creature, which upstaged the singer with his sad-eyed expressions. Allen used humor to cool down Elvis' sensual performing style, prohibiting him from moving around much on stage and even preventing him from wearing his trademark Beale Street clothes. The fans were furious, and they picketed NBC-TV studios the next morning with placards that read, "We want the gyratin' Elvis."Later in the program, Elvis joined Allen, Imogene Coca, and fellow Southerner Andy Griffith in a comedy sketch that satirized country-western programs, not unlike?Louisiana Hayride.?Many of the jokes were condescending toward Southern culture. Allen's presentation of Elvis singing to a dog plus the appearance of the "hayseed" sketch actually ridiculed Elvis. Steve Allen was the real winner that night, because his show beat Sullivan in the ratings.Elvis had established himself as an entertainer who could attract a large television audience and boost ratings, so it's not surprising that after many rejections, the Colonel finally arranged for Elvis to appear on?The Ed Sullivan Show,?a highly rated, prime-time variety program.Sullivan, who was a powerful figure in the industry, had stated publicly that he would not allow Elvis to appear on his show because it was a family program. But ratings speak louder than scruples, and Sullivan backed down from this stance after?The Steve Allen Show?was so successful. Elvis was paid an unprecedented fee of $50,000 for three appearances on?The Ed Sullivan Show.?This was a lot more than the $5,000 per show Colonel Parker had asked for only a few weeks earlier when Sullivan turned him down.Elvis' performance on?The Ed Sullivan Show?is cemented in the annals of rock music history because of the censors' decision to shoot the volatile young singer only from the waist up. However, contrary to popular belief, this decision was not made until his third appearance.Actor Charles Laughton served as substitute host the night of Elvis' first appearance because Sullivan was recuperating from an auto accident. In kinescopes and video footage of that performance, Elvis can be seen in full figure, crooning "Love Me Tender" and "Don't Be Cruel," then later belting out "Hound Dog" and "Ready Teddy."Elvis' third and final appearance on Sullivan's show on January 6, 1957, contains the legendary moments when the CBS censors would not allow his entire body to be shown. Seen only from the waist up, Elvis still put on an exciting show, singing seven songs in three segments. In one segment, Elvis and the Jordanaires sang "Peace in the Valley," which Elvis dedicated to the earthquake victims of Eastern Europe.But it was his rendition of such Presley hits as "Heartbreak Hotel" and "Hound Dog" that stirred up the studio audience. Their screams and applause clued the television viewers in to what Elvis was doing out of camera range, almost subverting the censors' intent. Once again, the interaction between Elvis and the studio audience added to the power of his performance. After Elvis' final number, Sullivan declared him to be "a real decent, fine boy" -- a rather hypocritical statement considering what he and the censors had just done to Elvis' act.For years people have wondered why Elvis was censored during his third appearance on Sullivan's show. The simplest and most probable explanation is that Sullivan received negative criticism about Elvis' earlier appearances. Other, more outrageous explanations include the theory that the Colonel forced Sullivan to apologize publicly for remarks he'd made about Elvis to the press the previous summer, and the waist-up-only order was Sullivan's way of getting back at Parker.The wildest explanation was offered by a former director of?The Ed Sullivan Show,?who said that during his second appearance, Elvis put a cardboard tube down the front of his trousers and manipulated it to make the studio audience scream. To avoid a repeated occurrence of that behavior, Sullivan supposedly insisted on the above-the-waist coverage for Elvis' final appearance. None of these explanations offers any real insight into Sullivan's motivations but all add to the folklore surrounding this event, thereby enhancing Elvis' image as a notorious rock 'n' roller.Elvis' image also owed a lot to his portrayal in the media. See the next section to learn more about Elvis and the press.STATION 8Slang Terms from the 1950s No One Uses AnymoreThe first thing you might notice about 50s slang is how wordy it can be. It's a stark contrast from modern slang, which often tries to communicate ideas not just with less words but less letters. Not so with 50s slang. Why just say someone is lying when you can claim they're lighting up the tilt sign? Crazy, right? Well, here are slang terms from the 50s that used to be common but have become extinct in the 21st century. WordMeaningExampleDaddy-OYour daddy is your actual father, but your daddy-O is just a generally cool dude… Who for some reason you're calling daddy."Whatever you say, daddy-O!"Made in the shadeToday, being in the shade means you're avoiding sun damage to your skin. But in the 50s, being made in the shade meant things are going well for you and you don't have a care in the world. Remember: Shade is a good thing. "Now that I've got a new job, I'm made in the shade!"GinchiestA way to tell somebody you admire their appearance or personality."Baby, you're the ginchiest!"Burn rubberNo point in having a hot rod if you're not going to show off its speed. And when you press that pedal to the metal, your tires are gonna burn some rubber. Which is a good thing… if you like buying new tires every year. Stupid kids!"Let's burn rubber and show 'em what this car can do!"PadPeople in the 50s possibly thought they were frogs. Or they envied the amphibious lifestyle. We can't think of a better explanation for why they'd call their homes or apartments their "pad.""Let's go back to my pad and have some drinks, daddy-o!"Ankle-biterIf it's small, crawls near your feet and has teeth (from pets to children), it's an ankle-biter. This begs the question, did all Baby Boomers grow up gnawing on their parents' ankles?"You've got some cute ankle-biters. How old are they?"Beat feetWhen you've got to get away fast, usually because you've done something wrong, it's time to beat feet the heck out of there. Just think of your feet like they're the hands of a jazz drummer."Let's beat feet before the cops get here!"Cruisin' for a bruisin'The 50s had their own version of "a face that's just begging to be punched.""That dude is so annoying, he's cruisin' for a bruisin'."GreaserIt could mean someone who uses an excessive amount of hair products, or just a tough guy you might want to stay away from."You don't want to mess with them, they're greasers."Cut the gasPretend your face is a car. And your mouth is the gas pedal. Or something. Yeah, this is a weird one. Basically, it means to shut up."Cut the gas, I'm tired of listening to you."Word from the birdIf someone doubts that you're telling them the truth, you can assure them that it's the "word from the bird." "I saw Johnny necking with your best girl, man, word from the bird."Wet ragAnother one of those disses that could only have existed in the 50s. "Don't be a wet rag, let's go hit the clubs!"Knuckle sandwichWell when you put it that way, your closed fist that's heading towards my face sounds almost appealing. "Get ready, jerk, I'm about to give you a knuckle-sandwich!"CatNot exactly referring to a feline companion, in certain circles of artistic types and musicians "cat" became a catch-all term for any kind of hip person."That Miles Davis is one hip cat!" ................
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