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j<br />
'<br />
'<br />
iminate oH Cluster Light<br />
Smg Fit<br />
Potent Applied for<br />
Cat. No. CLD-150 for 150-<br />
watt lamps.<br />
Cat. No. CLD-3S for 300<br />
and SOO-watt mogul base<br />
lamps.<br />
Aluminum alloy. Completely<br />
wired. Heatproof, weatherproof<br />
gasket. Removable retaining<br />
ring for easy socket<br />
replacement.<br />
Under A/[ Conditionsf<br />
WHY AUSTIN GIVES YOU<br />
THE BEST IN OUTDOOR<br />
THEATER LIGHTING<br />
No tAa'tnienance Problems!<br />
No lamp breakage when you use the<br />
Austin "Floating Socket" lampholder<br />
— no broken lamp bases to remove<br />
from live sockets — a job that calls for<br />
a high priced electrical maintenance<br />
man. Burned out lamps can be removed<br />
intact by the porter because<br />
they won't be broken or separated<br />
from their bases.<br />
Versaiile Fittings Permit<br />
Flexible Installations I<br />
Austin fittings arc- designed to give lampholders<br />
the utmost flexibility of installation<br />
— mount them in any position, in a variety<br />
of combinations, under any conditions.<br />
Used for Spot or Flood<br />
CLD-150 Lampholder for 150-watt Par-38<br />
spot or flood lamps.<br />
CLD-.S5 for mogul base R-40 spot or flood<br />
lamps.<br />
CLD-56 for the new Par-56 300-watt 100,000<br />
candlepower narrow beam lamp.<br />
Write to Dept, OD for<br />
Catalog on Mtre Line<br />
Headaches]<br />
with Austin's new<br />
Accomodates Physical<br />
Variations in<br />
Assures Positive<br />
Lamp—<br />
Contact-<br />
Eliminates Breakage<br />
Floating socket moves forward<br />
or side to side in an<br />
eccentric plane to compensate<br />
for variations in size<br />
and shape of lamps, sockets<br />
and castings. Insures tight<br />
seal and positive electrical<br />
contact.<br />
A few of the many<br />
that<br />
Austin fittings<br />
provide complete<br />
lighting flexibility<br />
Maintenance<br />
For<br />
Drive-Ins<br />
by GEORGE M. PETERSEN<br />
Points<br />
The appearance of the landscaping<br />
and the ramp area has a definite effect<br />
upon the patron appeal of all drive-in<br />
theatres. It is of vital importance, therefore,<br />
that weed control be provided on<br />
these operations.<br />
Pest control should be employed on<br />
the comparatively few operations that<br />
are troubled with mosquitoes or other<br />
pests.<br />
Keep the exterior of all<br />
buildings attractive.<br />
A little paint does not cost<br />
much but does wonders in the appearance<br />
of the surfaces upon which it is<br />
used.<br />
Restrooms should be checked at least<br />
every hour during the time the show is<br />
in operation and they should be tidied<br />
up whenever necessary.<br />
Concessions and their equipment<br />
should be kept immaculately clean. Merchandise<br />
should be attractively packaged<br />
and displayed.<br />
All light sources should be constantly<br />
watched and defective units should be<br />
promptly replaced.<br />
^^ ^ ^<br />
In-car speakers should be checked at<br />
frequent intervals and defective units<br />
should be replaced.<br />
^ ^ ^<br />
Playground equipment should be kept<br />
well painted and any items that might<br />
cause injury to persons or clothing<br />
should be promptly repaired.<br />
Paint the screen area before the season<br />
opening and at any time during the<br />
season when such work is necessary.<br />
^i «k ^<br />
Ticket offices should receive special<br />
attention from the maintenance angle.<br />
No loitering around the ticket office<br />
should be allowed.<br />
Maintain the contours of all ramps<br />
and make repairs when they are required.<br />
Pi-ojection and sound equipment<br />
should be kept in continual repair to<br />
prevent interruption of the show.<br />
^'<br />
i<br />
;l<br />
lU 7K. '8. /4tMtiH Ca4H^«4Uf<br />
NOKTHBKOOK, ILLINOIS<br />
Designate one employe to keep a constant<br />
check on all plumbing fixtures and<br />
to see that all sewers are operating<br />
properly.<br />
(Continued on page 65)<br />
II<br />
64<br />
The MODERN THEATRE SECTION<br />
t