The Parkway's Hurricane Katrina Benefit

James Bond and Hurricane Sandy both made headlines lately, reminding me of a very special Parkway memory. On August 29, 2005, Hurricane Katrina struck the Gulf Coast and nearly wiped the city of New Orleans off the map. The world responded with both horror and love, and The Parkway community was no exception. We regularly hosted fundraisers for local causes, but the widespread misery being suffered by our brothers and sisters down South touched our hearts and inspired us to organize our own benefit in cooperation with major charities like the Red Cross. I programmed two movies set in New Orleans - the 1973 James Bond classic Live and Let Die (Roger Moore's first and IMO best 007 flick), and the sexy 1986 neo-noir The Big Easy starring Dennis Quaid and Ellen Barkin, both prints donated for free exhibition by the studios. We also hosted an action with numerous items donated by local businesses, and collected canned goods  and other items from patrons as well. There were some delicious Louisiana food specials on the menu that night. It was a very successful event, proving that the global community knows no bounds. Cheers.

The "Reel" Truth About The Parkway

The movie theater biz has changed dramatically since I abruptly lost my 12-year gig as The Parkways publicist/programmer on March 22, 2009. For one thing, 35mm prints are pretty much obsolete nowadays, from what I understand. Digital projection is the rule, and The New Parkway, for practical purposes, will be no exception. Due to the high costs of storing and shipping film prints, most major  studios simply are no longer trafficking in that traditional but obsolete format. New releases are commonly distributed in something called DCP - Digital Cinema Projection - while repertory (old) movies are generally projected via DVD or Blu Ray. Technology tends to constantly advance, and if a business wants to survive in a rapidly evolving industry, it adapts or dies. It's that simple. 

Back when I was programming the old Parkway, we showed mainly 35mm prints, and eventually added a DVD player (though hardly a state-of-the-art projector), for locals films, private parties, as well as for our infamous introductory promo videos (remember, I was "the white guy"). 

For my Midnight Lounge/Thrillville cult movie series, I booked prints from both studios with vintage vaults to mine as well as private collectors, often but not always respectful of exhibition rights for these personally procured titles. It became quite challenging to maintain variety, given the limited accessibility of 35mm prints for older titles, particularly more obscure cult flicks that became my specialty. Another ongoing obstacle was the deteriorating condition of the few existing prints. These were the main drawbacks to the 35mm (and 16mm) film formats, along with the exorbitant shipping fees, which often rendered these screenings non-cost-effective, especially since their appeal to mainstream audiences, to paraphrase This Is Spinal Tap, was growing increasingly more "selective." Also, we did not have what was known as "change-overs" at The Parkway, meaning the booth wasn't equipped with two film projectors for a single screen so the projectionist could build up prints "reel to reel" without splicing, a pre-requisite for many popular archival titles. (The Parkway was split into two levels in the 70s, so the second projector was used for the upstairs auditorium.) This fact further limited my programming options. It's amazing I managed to book as many old movies as I did over the years (literally hundreds.)

Early on in my so-called "career," in the spring or summer of 1997, one of the first movies I booked for The Midnight Lounge (which eventually became Thrillville) was a personal favorite called Blood of Dracula (1957), the female flip side to I Was a Teenage Werewolf and I Was a Teenage Frankenstein from the same year. These films, along with 1958's How to Make a Monster, all from the innovative, influential studio American International Pictures, basically invented and inaugurated the whole teenage monster genre that was successfully rebooted in the 90s with Buffy the Vampire Slayer. Anyway, I was lucky to score this rare print, from the now defunct distributor Kit Parker Films, without having reel-to-reel capability. The print was in pretty decent shape, too. The only problem was the projectionist confused reels two and three and built them up out of order. There were only four reels, so basically half the movie was out of order.

Nobody noticed.

We won't be testing the audience's plot awareness at The New Parkway. Cheers.

"Baby Brigade": Meet the Parents

From the East Bay Express

Though Speakeasy Theaters didn't invent the concept of a specially designated movie night for new parents, the Parkway's phenomenally popular and world famous "Baby Brigade" on Monday nights, wherein  filmgoers with infants had the 6:30 and 7pm shows to themselves, became one of the unique venue's trademark offerings. Baby Brigade was the brainchild of Speakeasy president and co-founder Catherine Fischer, who gave birth to the notion after her sister complained she couldn't go to the movies anymore after her first child was born, since most movie theaters didn't allow screaming babies because of the possible distraction and disruption. So Catherine figured, if they're all crying in unison (the babies, that is), nobody will complain. (Except for non-breeders like me, but we soon learned to avoid those particular showtimes. Too bad they didn't have a cat daddy night...) Even the individual film's sound levels were adjusted depending on the genre - for instance, action films in particular had to be toned down so as not to wake the kids. But that was okay, because Baby Brigade was mainly a social event. Fellow breeders traded toddler tips between beer sips, creating their own networking support system and subculture within the greater Parkway community. It was an immediate sensation, and made a typically slow night at the theater a lucrative occasion. It was the proverbial win-win situation. 

The only strict rule was that parents had to be 21 or over per the regular age policy, and their babies had to be one year or under, basically too young to run around and possibly bump their heads on a table in the dark or something.  The Parkway even set up diaper-changing stations in the restrooms. No poopy pants on the sofas!

From the San Francisco Chronicle

Procreating patrons were incredibly grateful to enjoy a temporary weekly haven where they could sit back and relax and not worry about cooking and washing dishes, while keeping up with the latest flicks. The concept's notoriety also garnered press for The Parkway in many major publications, including the front page of the San Francisco Chronicle and People Magazine. Even Al Roker flew out and filmed a segment for The Today Show on NBC! All in all, a screaming success.

The New Parkway plans its own Baby Night, stay tuned for details on that. Cheers.

The Big Cheesy

Many people love eating pizza while watching movies. Also while not watching movies. But by and large, indulging in both pleasurable pastimes simultaneously is popularly deemed by the public at large as a sensuously satisfying experience. The Parkway was both famous and infamous for its pizza, which was only part of a wide-ranging, often-changing menu. Some folks loved it, others hated it, while many were neutral and just grateful for the option. And in sundry cases, it was washed down with beer and/or wine so it ultimately didn't matter much. Palates differ from patron to patron, and there's nothing more subjective than tastes in food. Except maybe sex. And movies. You can't please everybody all the time in any of these fields of common interest. In any case, The New Parkway is promising consistent quality and service regarding its entire menu, which will be quite eclectic, concocted by experienced, highly qualified culinary experts. The basic goal  and general idea is to become established as a Bay Area-wide destination both as a distinguished restaurant and as a unique  theater. The menu matters as much as the movies.

There's nothing more fun than watching a good (or bad) movie while eating a good (or bad) pizza, but if you're enjoying a great pizza, then even a so-so movie suddenly seems better, too. At least a little. Especially if you throw in the beer. Not literally, of course. And no sex on the sofas, either, please. Let's keep it clean (except maybe on the screen, depending on the program.) Though you can always come back to Baby Night after private procreation. We'll make dinner and do the dishes, too. Cheers.

Pizza and Politics at the Parkway

The Parkway Speakeasy was more than just a movie theater that served beer and pizza. It became beloved as a Bay Area institution by the local community because it gradually, organically evolved over time as a significant social nexus, a safe place to vent one's views in a public forum that was respectful and fair, offering a high profile platform for marginalized voices and visions often ignored by the mainstream media. It also became the place for patrons to gather and watch the 2000, 2004 and 2008 presidential debates, the election returns from those crucial contests, and the historic inaugural speech by the first African American (and "Tiki") president. We were always jam-packed for these events, and we appreciate the fact that the large, boisterous, passionate crowds were always polite to each other as well as to us (for the most part....). Today, people are again lining up at the polls for a high stakes election. The New Parkway really wanted to be open to the public in time for this momentous occasion, but the pace of careful construction didn't cooperate with that plan. Definitely next time. Cheers.

"The Parkway News": blast from the past (28 days until opening)

Back in the day, meaning the previous century, when the Parkway Speakeasy Theater opened in January 1997, Al Gore had already invented the Internet, but not as many people had access to it as they do now, with iPhones and iPads and iWTF ubiquitous in our society, and all kinds of information easily accessible literally with the touch of a button. So it was much harder to get the word out about this unique theater. My first duty at the Parkway was hosting and programming my weekly live cult movie show, "The Midnight Lounge," which eventually morphed into Thrillville. But before I was appointed full time programmer/publicist, I also worked briefly as a ticket taker at the box office, and as a paperboy - literally. I already had the training from when I delivered the Philadelphia Inquirer and Atlantic City Press while growing up in South Jersey. But this time, my involvement with the media for which I served as messenger was a bit more proactive and creative...

Kyle had decided to publish our very own newspaper! The Parkway News debuted as a very thin, four-to-six page tabloid-style publication in the summer of 1997, shortly after we opened, then eventually grew into a full sized, full blown monthly newspaper. Kyle wrote many of the film reviews and a regular column, called "To Our Loyal Supporters." For someone who didn't consider himself a writer per se, he was very witty and customers really responded to his colorful use of the language. As for me, the "professional" writer, I was given my own column to promote myself as "Will the Thrill." I also became Editor-in-Chief while Kyle remained the Publisher. It was very much an ensemble effort. I have many memories of the entire staff sitting around the theater lobby, stuffing advertising inserts into the thousands of papers. And of course, I was the designated driver - delivery man, that is, picking up the bundles of monthly papers from the printer and distributing them around the East Bay at cafes, restaurants, bars, clubs, stores and any local venue that would have us. Mostly, people picked them up at the theater. The papers featured the regular columns, special articles, film reviews, our menu, and a calendar that was hardly ever accurate since when it came to the second run fare, our daily bread and butter, we could only guess what movies we'd be playing any given week.

This brings up a crucial bit of business: "second run" refers to movies that have already completed their first runs at local theaters in the designated district, decided collectively by the film studios. In our case, we were subrun to the Grand Lake Theater, Jack London Cinemas, and the joint that booked and hung onto our most coveted product, the Piedmont. This means as long as they decided to show these movies, we could not. As the programmer, it was difficult for me to explain this to frustrated patrons anxious to see movies before they came out on DVD (or back then, VHS). This will also be the challenge at The New Parkway, which is subrun to the same three venues. The trick is making it worth the wait, and augmenting the new movies with special events.

You'll get a taste of some of this specialty programming by checking out these scans of old issues, as well as some feature articles like my interviews with former Oakland Mayor Jerry Brown and the late KTVU Creature Features host Bob Wilkins, who later made several personal appearances at my Thrillville gig. Due to high layout/printing costs and our increasing dependence on something called a "web site," The Parkway News ceased publication in December 1999. It was a unique piece of the theater's history. I'm sure The New Parkway's media methodology will be much more sophisticated and contemporary....but it looks like I still have a column! Funny. Weird. Dig. Cheers.

  

About Those Notorious Parkway Videos... (29 days until opening)

Ever since the original Parkway suddenly closed its doors on March 22, 2009, the local community has been in mourning, spawning a post-mortem subculture, like Trekkies after the cancellation of Star Trek: TOS. I know this for a fact because hardly a week has gone by since then that someone on the street, in a local store, at Forbidden Island Tiki Lounge here on my island of Alameda, and all around the Bay Area hasn't stopped me and said, "Hey! You're the Parkway Guy! I really miss that place! Is it ever coming back?"

Finally, much to my personal relief, since I'm tired of people bugging me about it ;), the answer is yes, though it's a New Parkway, due to the many failed negotiations with the landlord of the original location at 1834 Park Blvd. The all new "enterprise," with a fresh crew, will take off on November 30 at a strategic location in Uptown Oakland, right in the heart of Art Murmur, at 474 24th St. near Telegraph Ave., easily accessible via BART and bus. But people still identify me as "the Parkway Guy" wherever I go, thanks to those stupid damn preview videos that played for years before movies at the old Parkway, featuring Speakeasy CEO Kyle Fischer and me, babbling about what was coming up, riffing off each other, totally improvising, often making utter fools of ourselves. They were shot and edited by Speakeasy president Catherine Fischer down in the basement of their Berkeley house, with Kyle and me just sitting on an  old couch, filmed totally off-the-cuff and always in one take, very Wayne's World-style. This semi-informative informality suited the Parkway's overall friendly, funky style.

People seemed to either love or hate 'em, but we kept doing 'em, month in, month out, for many years. Me, I just went along for the ride. It was all Kyle's idea, so if you loved 'em, you can thank him, and if you hated them, you can blame him. Ultimately, and objectively speaking, it was an ingenious and successful marketing ploy, since the videos gave the theater a unique personality and further distinction from other cookie cutter venues, literally putting a face - or faces - on the operation for the audience to recognize, and one of those faces was mine.

The videos worked as well as they did, if they did, because Kyle and I had developed a natural rapport honed over the years, ever since we'd first met while working together at the UC Berkeley Faculty Club, back in the 1980s, along with his future wife Catherine, who even then dreamed of someday opening a movie theater that served food, beer and wine, just like the one she frequented while living briefly in Washington DC. In January of 1997, Kyle and Catherine Fischer presented the Parkway Theater to the world, the first "picture, pub, and pizza" movie theater in California. Me, I was just the programmer, publicist, and "Will the Thrill" (host of  my cult movie cabaret "Thrillville"), but to most people, simply "the white guy in the Parkway video." That's okay. I can dig it. Just remember I sometimes write novels too...(this won't be one of them, relax, it's almost over. I know, the videos went on way too long too. I still hear about it...)

Anyway, don't worry. Much of what you loved about the old Parkway will return in the new incarnation, but not these videos. Not with Kyle and me, anyway. Kirk and Spock have left the building. Time for Picard and his crew to take it from here, though I will be making cameos from time to time....Cheers.

The Parkway Begins, and Thrillville Rises (30 Days to Opening)

I was the proud programmer/publicist for the Parkway Speakeasy Theater for twelve years, though patrons knew me better as either "the white guy in the Parkway video" or as "Will the Thrill," host/producer/programmer of my live cult movie cabaret, "Thrillville." Initially, Speakeasy CEO/co-founder/entertainment lawyer Kyle Fischer asked me, their movie geek friend, to create and host a weekly midnight movie show, primarily to promote the novel of mine, he and his wife, Speakeasy Theaters president/mastermind/chef Catherine Fischer, had published with their small publication company, Wild Card Press (which has since folded, along with Speakeasy Theaters.) The book was called Love Stories Are Too Violent For Me, the first in my Vic Valentine, Private Eye series, and it's since been optioned for a movie by Christian Slater, with production finally on the fast track. The Parkway opened in January of 1997, and I hosted my first live show - initially called "The Midnight Lounge," every Saturday at midnight (or technically, Sunday), beginning with the David Lynch classic, Blue Velvet, in April that same year. 

My public persona as "Will the Thrill," a neo-lounge lizard with retro tastes and style sensibilities, was somewhat inspired by Jerry Lewis's character "Buddy Love" in the original version of The Nutty Professor (1963).  However, as time went on, I eventually just played a broader version of myself, totally improvising, choosing my personal favorite cult movies, so it was like a big party at my house, except I didn't have to clean up afterwards.  I showed a lot of movies initially released by American International Pictures and then available via the now defunct distributor "Kit Parker", all in 35mm, from 50s monster/JD flicks like How to Make a Monster, Reform School Girl, The Cool and the Crazy, Invasion of the Saucer Men, and It Conquered the World, to '60s druggie/biker flicks like The Trip, Wild in the Streets and The Wild Angels, to '70s blaxploitation like Coffy, Cleopatra Jones and The Mack.  It was fun, though crowds were scarce until we switched the show to "prime time" on Thursday nights, selling out the house with Viva Las Vegas, my first "Elvis B-day" show at the Parkway, on January 8, 1999.  When I began adding bands and burlesque acts to the lineup, the show, now re-christened "Thrillville," took on a life of its own.  I put my literary career on pause, until the Parkway closed unceremoniously and with only four days' notice (even for me) on March 22, 2009 - William Shatner's birthday.

When I first started hosting the show, my "lovely assistant" was my first wife, who will go unnamed. As you all know, the Parkway served beer along with wine, pizza, etc. My first wife was in AA. Let's just say neither the marriage nor the gig lasted very long....So I began auditioning new lovely assistants by selfishly selecting a sexy female audience member to spin the big carnival wheel that became a staple of the show, and to help me give out prizes, which consisted of a few valuable donations from local merchants (but mostly kitschy crap from my house I grabbed on the way out the door).  On May 31, 1997, at my midnight screening of Jailhouse Rock, I called up the hottest babe in the small crowd to the big stage, as usual, and it happened to be one Monica Cortes, Elvis's #1 fan. She showed me her Elvis/Navajo tattoo on her lower back, and, well, she left an impression. I gave her an Elvis blanket for her efforts...Then months later, while hosting an Elvis B-Day Party at the Ivy Room in Albany on January 8, 1998, who should walk in to the party....yada yada yada, on May 31, 2001, Monica Cortes, by then locally famous as my regular lovely assistant "Monica Tiki Goddess," became Monica Viharo at our Rat Pack-mariachi wedding ceremony at the Ca-Neva Lodge in North Tahoe, formerly owned by Sinatra. Suffice to say, she got both gigs.

Naturally, this is my favorite Parkway memory, since I'm still reaping the dividends. Since then, many other couples have mated and sometimes married after meeting at The Parkway. 

I'll be recounting many more memories of "Thrillville" and the Parkway in this blog, daily for the next 30 days, counting down to the grand opening of The New Parkway on Friday, November 30, 2012. I am proud to be serving as their publicist/special events consultant. Though now busily employed as a freelance writer and novelist, I'll be programming two regular repertory shows a week, "Parkway Classics" on Thursday nights, beginning with The Big Lebowski on December 6, and "Thrillville Theater"on Sundays, kicking off with Forbidden Planet on December 2, both former crowd-pleasing favorites at the "old" Parkway.  I don't plan to host any more shows, except for an occasional "Shatfest" (my popular annual tribute to Shatner), but more on what we do have in store for you later. Don't worry, you'll love it.

The moral of this particular story? Get off your butt and go out for dinner and a movie at The New Parkway. You never know who you're going to meet there. A random encounter may just change your life.  Cheers.