Ocean Park

1910 (1909) (1911) (1900-1910) (1910-1920) Table of Contents

Sources

Louis Adamic Dynamite: The Story of Class Violence in America, AK Press: Edinburgh, U.K., Oakland, CA, West Virginia, 2008 (Jon Bekken, Foreword), 1934 revised edition of the 1931 ed.] See Text

Reyner Banham Los Angeles: The Architecture of Four Ecologies, Pelican: NY, 1971(1976), 256 pp., 1976, 1971, See Text

771-Auditorium and Bath House From Horse Shoe Pier, Ocean Park, California, Edward H. Mitchell, Publisher San Francisco, 1910, SLL 2005 See Image and Text

Robert J. Burdette (ed.) Greater Los Angeles & Southern California: Portraits & Personal Memoranda The Lewis Publishing Company: Chicago, Los Angeles, New York, 1910  See Text

Harry Carr Los Angeles City of Dreams (Illustrated by E.H. Suydam), D. Appleton-Century Co.: NY, 1935, 402 pp., 1935, See Text

Donald M. Cleland A History of the Santa Monica Schools 1876-1951, Santa Monica Unified School District, February 1952 (Copied for the Santa Monica Library, July 22, 1963). 140 pp., 1910, 1900, 1889  See Text

J.A. Graves My Seventy Years in California, Los Angeles: The Times-Mirror Press, 1927 478 pp.  See Text

Jolly Eight Post Card, Ordered by Eliza McConnell on May 6, 1910 for a May 18 deadline. See Image and Text

Mark E. Kann Middle Class Radicalism in Santa Monica, Temple University Press: Philadelphia, 1986. 322pp., 1910 See Text

Long Wharf, Port of Los Angeles, Visited on the Balloon Route Excursion, Benham Co., 1526, 1910 See Image and Text

James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1949, 1928,1910, 1908, late 1890s See Text

Esther McCoy Irving Gill 1870-1936 Five California Architects, 1960, Reprinted in Marvin Rand Irving J. Gill: Architect 1870-1936, Gibbs Smith, Publisher: Salt Lake City, UT, Design, Ahde Lahti; Photographs, Marvin Rand, 2006, 238 pp. pp. 219-227, 2006a, 1916, 1910 See Text

No, 279. Pike's Peak from Palmer Park, Colorado Post Card, The Thayer Publishing Co.. Denver, Colo. KR 1910 See Image and Text

Alva Richmond 1910  See Image and Text

Harold Osmer & Phil Harms Real Road Racing: The Santa Monica Road Races, Harold L. Osmer Publishing: Chatsworth, CA 1999, 1911, 1910, 1910s, 1909 See Text

Curt Sachs (1881-) World History of the Dance, (Trans, Bessie Schönberg) The Norton Library: N.Y., 1937 (1965), 1910  See Text

John W. and Anna George House, 2424 Fourth Street, Ocean Park (designated Santa Monica Landmark) Craftsman bungalow built 1910. See Image and Text

Amanda Schacter (Ed.) Santa Monica Landmarks Santa Monica Landmarks Commission, 1990.

14. John and Anna George House See Text

Kevin Starr Embattled Dreams California in War and Peace 1940-1950, Oxford University Press: Oxford, UK, 2002, 386 pp., 2002, 1911, 1910, 1909, 1908, 1900s See Text

Notes:

     "By 1910, Santa Monica claimed 7,847 permanent residents."

     "The Sells-Floto Circus made Venice their winter quarters from December to March. They returned in 1907 and 1910." Anon. Web Doc., 2005b, 1910

Documents

Louis Adamic Dynamite: The Story of Class Violence in America, AK Press: Edinburgh, U.K., Oakland, CA, West Virginia, 2008 (Jon Bekken, Foreword), 1934 revised edition of the 1931 ed.

     [Louis Adamic [1899-1954] whose first book was a biography of Robinson Jeffers, U. Washington Press, 1929. Dynamite was his second book.]

[p. 143] Chapter 19 The Plot to Dynamite the Los Angeles Times

     "From the viewpoint of the class struggle, a peculiar situation existed in California early in 1910, or just prior to the dynamiting of the Los Angeles Times.

     "San Francisco was a stronghold of trade unionism. Labor had been well entrenched there even before the earthquake in 1906; after that catastrophe it became the dominent ekement in the city. The unions, especially those of the building trades, had taken advantage of the chaotic situation following the quake and organizsed so that in a couple of years they controlled practically every job in San Francisco. In achieving this control, the laborites had used strong-armed methods, including dynamite.

     " . . .

     "Labor leaders in San Francisco, as elsewhere, were go-getters of the first order, motivated by the same psychology as the directors of great trusts and corporations. They demanded high wages for labor and graft for themselves, and, holding an advantageous position, managed to get [p. 144] both . The membership of the trade unions was limited and corresponded to the body of stockholders in a capitalistic "racket."

     " . . .

     [p. 144] "In 1909, after the Schmitz machine was discredited, the laborites put forth a candidate completely their own-Patrick H. "Pinhead" McCarthy, president of the San Francisco Building Trade Council . . . Behind him was a master-mind in the person of another laborite, O.A. Tveitmoe, a dark Scandinavian of powerful build, a "gorilla," who was secretary of the Building Trades Council, boss of the Labor Party, and Samuel Gompers' big friend and trusted henchman on the Coast. And the men around Tveitmoe were such fellows as Anton Johannsen and Tom Mooney, thick-fisted, bull-necked, dynamic men, trained in the rough school of labor leadership; intolerant, tyrannical, loud-mouthed, direct. Some of them were firm believers in dynamite. They loved Roosevelt's phrase about "the big stick." They laughed at naive socialists who were conducting classes in economics, educating labor groups. "What we need is not classes in economics, but classes in chemistry." They were barbaric Nietzcheans. The socialists called them "gorillas."

    [p. 145] " . . .

     "II: "On the other hand, Los Angeles, 500 miles to the south was a booming open-shop town, its industrial history closely linked with the career of an energetic personage, General Harrison Gray Otis, a union hater, publisher-editor of the Los Angeles Times.

     "Otis had come to Southern California in the early eighties and, acquiring control of the Times, then a struggling sheet in a town of 12,000 developed "a tremendous and abiding faith in the future of Los Angeles," with its climate. He was an aggessive man, bound to be noticed in a small city. An ex-soldier of two campaigns, he was full of the martial spirit; when prosperity came his way, he built himself a mansion and called it "The Bivouac," and when he built the fateful Times Building, he made the architect give it the suggestion of a medieval fortress with battlements and other challenging appurtenances. Just before the McNamara case, while fighting the unions, he mounted a small cannon on the hood of his automobile.

     "He loved a fight and, when in 1890 the local printer's union declared a strike against the newspapers in the city, demanding closed shop and a higher wage scale, he fought the movement with every means at his command, fair and foul. He won the battle and thus became the generalissimo of the open-shop forces in Los Angeles. He had the anti-union idea in his blood; early in the nineteenth century, his uncle and namesake, Senator Harrison Gray Otis of Massachusetts, was an intense opponent to all organzed efforts of labor to improve its lot.

     "During the nineties Otis had become the most savage and effective enemy of labor unionism in the country, and as a result of his doings Los Angeles was-and is today- the outstanding open-shop town in the United States, "the white spot" on the industrial map of the country. Otis fought the unions tooth and nail. Often he picked fights. In the Times, referring to organized workers he used such terms as "sluggers," "union rowdies," "hired trouble breeders," "gas pipe ruffins," "strong-armed gang."-some of which at certain times, no doubt, were justified.

     [p. 146] "Otis organized a Merchants' and Manufacturers' Association which was primariky a union of business people against labor unions; and merchants, manufacturers, and contractors were compelled to join if they wanted to operate in Los Angeles. The greatest sin that a Los Angeles employer could commiit was to hire a union worker as such.

     "About 1909 Otis discovered Nietzche, or rather he was introduced to Nietzscheism by a young gentleman, Williard Huntington Wright (now S.S. Van Dine, the detective story writer), who became literary editor of the Times. Wright had not yet written his summary of old Fredrich's philosophy, What Nietzche Taught, nor his Nietzchen novel, Man of Promise, but he was even then a Nietzchen, a believer in aristocracy, in superiority, in the exercise of might. He was a great find for Otis. At any rate, during Wright's literary editorship, the Times made frequent reference to those phases of Nietzche that seemed to agree with the polices and temperment of General Otis.

     [p. 146] "Otis, naturally, acquired numerous enemies. He was personally disliked even by some of his business friends. Labor, of course, hated the ground he walked on. Union leaders referred to him by unprintable titles. Plain folks, reading his vituperative attacks on labor, would say: "It's a wonder somebody doesn't blow him up!" One of his journalistic rivals called him a "surly old swill dispenser." W.C. Brann, the iconoclast, could not find a mean enough word in the English language to call him by: Hiram Johnson, then an up-and-coming liberal politician, called him, "depraved, corrupt, crooked, putrescent." Still others considered him vain and pompous, quarrelsome and intolerant, unfair in his tactics, viscious in his attacks. One generous woman, Mrs. Fremont Older of San Francisco, said he was merely "an honest man who believes in the sacredness of property above all other things."

     "Due mainly to Otis, the unions were extremely weak in Los Angeles, and wages were low and the working hours long."

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Reyner Banham Los Angeles: The Architecture of Four Ecologies, Pelican: NY, 1971(1976), 256 pp., 1976, 1971, 1910

     ". . . The movies [1910] seem to have been the great imponderable in the history of the area; their economic consequences were undoubtedly great, but it was mad money that the film industry brought in, and in any case it is the cultural consequences that now seem most important. Hollywood brought to Los Angeles an unprecedented and unrepeatable population of genius, neurosis, skill, charlatanry, beauty, vice, talent, and plain old eccentricity, and it brought that population in little over two decades, not the long centuries that most metropolitan cities have required to accumulate a cultured and leisured class . . ." p. 35

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771-Auditorium and Bath House From Horse Shoe Pier, Ocean Park, California, Edward H. Mitchell, Publisher San Francisco, 1910, SLL 2005

771-Auditorium and Bath House From Horse Shoe Pier, Ocean Park, California

     Franked with green Franklin laurel one cent (Scott # 632); Postmarked Los Angeles, Cal, Mar. 12:30pm 1910

     Addressed to Miss Minnie Binder/601 Leland Ave. South Bend, Indiana: Dear Fra . . ., Now if you were here you could be bathing in the Pacific. Instead of [walking] thro snow storms. With love from De Veruf?"

771-Auditorium and Bath House From Horse Shoe Pier, Ocean Park, California, Edward H. Mitchell, Publisher San Francisco, 1910, SLL 2005

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Robert J. Burdette (Ed.) Greater Los Angeles & Southern California: Portraits & Personal Memoranda The Lewis Publishing Company: Chicago, Los Angeles, New York, 1910

p. 130 Stephen Harris Taft, Sawtelle

     Born Sept. 14, 1825, at Palermo, N. Y. Abolitionist speaker at

eighteen; entered ministry at twenty-two. Delegate to tlie

National Free Soil Convention of 1852, the Anti-Nebraska con-

vention held at Saratoga Springs, and to the Maine Law conven-

tion of New York that nominated Governor Clark in 1854. Came

to Iowa in 1862; laid out the town of Humboldt, organized a church

and built a saw- and grist-mill; founded Humboldt Coll., in 1872,

of which Pres. nine years. Has attended five centennial celebra-

tions-Battle of Lexington, Boston Tea Party, Declaration of

Independence, Discovery of Oxygen Gas and World's Centennial

Temperance Congress of 1908; also, bi-centennial of the coming

of Great Ancestor from England to America. Has entertained at

his eastern home many celebrated reformers, men and women.

Came to California, 1896; superintended founding of Sawtelle; first

Pres. Los Angeles County Anti-Saloon League.

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Harry Carr Los Angeles City of Dreams (Illustrated by E.H. Suydam), D. Appleton-Century Co.: NY, 1935, 402 pp., 1935

     "The two high spots of Los Angeles sports were the first aviation meet ever held in the world-and the Olympic Games.

     "The aviation show was in 1910 on a high mesa of the old Dominguez ranch, near the scene of the Battle of the San Pedro where Mervine's American sailors retreated before [p. 186] the ancient pueblo cannon . . . [p. 186] There were only two aviators who figured to any extent-a Frenchman named Paulhan . . . The other flyer was Glenn Curtiss a pioneer manufacturer who came to sell planes . . ."

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Donald M. Cleland A History of the Santa Monica Schools 1876-1951, Santa Monica Unified School District, February 1952 (Copied for the Santa Monica Library, July 22, 1963). 140 pp., 1910

Santa Monica High School

     In 1910, twelve years after the revelation by the Weekly Signal, [48. Supra, p. 110] it had become an established fact that the high school had outgrown the "borrowed" Lincoln School building, and that a new building must be provided. The Board desired to find a site that was large enough to meet the existing needs of the high school and to allow for future development. A good many people thought that it would be expedient to consolidate the two sections of the town by building a polytechnic high school where it would serve both areas. Thus, at a public meeting in the City Hall, called October 27, 1910, school functionaries of both Ocean Park and Santa Monica gathered to discuss the feasibility of such a plan. [49. Board Minutes, Oct. 27, 1910.]

     In the early days, a good deal of bitterness had developed between the community that lay south of the arroyo and that which comprised the north section of Santa Monica. The southern portion of the city began to impute the city leaders from the north with unprogressiveness. As early as 1900, Ocean Park had had its own water system, post office, amusement pier, race track, and golf course. The fact that Ocean Park had developed its own business section and had its own school, churches, and civic organizations made the southsiders somewhat independent. Ocean Park, moreover, had become popular with summer visitors, a fact which some of the more conservative Santa Monica residents were inclined to minimize by referring to its amusement pier as "cheap and gaudy," and averred that it attracted "undesirable elements." The phenomenal growth of Ocean Park, they said, belonged in the "mushroom" category. [50. Pearl op. cit., p. 89.]

     It is not surprising, then, that the strong feelings of each side of town precluded an immediate solution to the problem of locating the high school. But the meeting of October 27 was not entirely without results, for an advisory committee to represent the city, in cooperation with the Board of Education, was appointed. This committee consisted of Roy Jones, chairman; George D. Snyder, secretary; Carl F. Schader, Robert White, and Horace M. Rebok. It later was expanded and became known as the "Committee of Fifty," [51. Ibid., p. 90.]

     On December 12, 1910, a resolution was adopted by the Board of Education declaring its intention to call an election for a $200,000 bond issue. [52. Board Minutes, Dec. 12, 1910.] On the same date, another resolution was adopted declaring the board's intention to establish the high school on Prospect Hill located between Fourth and Sixth Streets and between Michigan and Fremont Avenues. [53. Loc. cit.] Prospect Hill, a spot rich in local history, had been selected for the high school site partly because of its location midway between the two sections interested in it, and partly because of its topographic features. At its crest, the hill stands 120 feet above sea level, and offers a view of the entire city. A visitor once said of the spot:

"I have seen the best of public sites, both in Europe and America, and some of them on one side are equal to your Prospect Hill; but never have I seen a public building site as good as this on every side, with sea, hills, mountains and valleys so spread out in a continuous panorama." [54. Pearl, op. cit., p. 90.]

     " . . .

Adult Education

     As early as July, 1889, adult education had begun in the Santa Monica Schools. As the Board Minutes record:

"The application of L.B. Lawson was granted to conduct a writing class in the school building [Sixth Street School] the room to be designated by Mr. Rowell [principal], provided the district be at no expense and the house to be left in as good condition as when he takes it." [52. Board Minutes, July 6, 1889,]

     Again, in the spring of 1900, a Mrs. Cook was granted the use of Room 6 in the Sixth Street School to conduct a "kindergarten and Mother's Study Group. Rent for same to be free." [53. Board Minutes, Mar. 6, 1900.] These early classes were voluntary efforts on the part of individuals interested in forming classes for their own improvement. But despite the implications inherent in this fact, it was not until 1910 that the Board of Education took official action to establish a regular evening school program. The following entry in the Board Minutes revealed the plan:

"Moved . . . , and seconded . . . , that it is the sense of the Board of Education that an Evening Elementary School be established as soon as it is definitely ascertained that conditions warrant the establishment of such school, and Superintendent is hereby authorized to make a preliminary enrollment of such persons as may desire to attend an evening school and present to the Board of Education, at his convenience a report embodying such preliminary enrollment and other information as may be serviceable [sic] to the Board of Education in determining the matter, also to communicate with the School Boards of several cities of Southern California as to the success of evening schools where the same has been established." [54. Ibid., Aug. 8, 1910.]

The Superintendent returned his report early in September and the board immediately authorized the establishment of four classes. These were held for adults who wished to study the elementary subjects and complete their grammar school education.

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The Jolly 8 Post Card, Eliza McConnnell, Published or Printed 32 copies, KR 1910

Jolly Eight Post Card, Ordered by Eliza McConnell on May 6, 1910 for a May 18 deadline. Thirty two copies, done in the Laurel Photograph style. Eliza is marked with an x on the front photograph, "The one nearest this way." She was probably teaching elementary school in Riverbend, Mich. in 1910. This may have been some of her college graduating class.

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Mark E. Kann Middle Class Radicalism in Santa Monica, Temple University Press: Philadelphia, 1986. 322 pp., 1910

     "Again, those who had invested in Santa Monica's metropolitan future suffered when the Southern Pacific bubble burst. However, the various promotional schemes of Jones and Huntington had produced a steady stream of tourists and small businesses plying the tourist trade . . . Santa Monica's 1900 population was 3,000 residents, increasing to 7,800 by 1910 . . ." p. 33

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Long Wharf, Port of Los Angeles, Visited on the Balloon Route Excursion Post Card, 1910

Long Wharf, Port of Los Angeles, Visited on the Balloon Route Excursion Post Card 1526, Benham Company, Publisher, Los Angeles, Cal., Made in California, Neuner Co. Caitype Process. Los Angeles Pacific Co. Balloon Route, Electric Railway. Balloon Route Excursion. KR The scenic trolley trip. 101 miles for 100 cents. One whole day for one dollar. Reserved seats free. Get them in advance. Observation parlor cars-competent guides. Thirty-six miles along the ocean. Only trolly trip going one way and returning another. Free attractions: An ocean voyage on Wheels; Roller Coaster of Ocean Park; Largest Aquarium on Pacific Coast at Venice. Last car 9:40 a.m. daily. Los Angeles, Cal., 429 South Hill.

Postmarked Nov 16, 10am, 1910 and franked with a green One Cent Franklin, Addressed to Mrs. Wm. Stief(lier)(iel), 244 West 52nd Place, Los Angeles, Calif. with a message on top of the reverse side of the Long Wharf, Dear Friend, If . . . John Tracy's address will you drop me a card at 851 Wall St. and let me know same. yours truly, R..A. Hausemann

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James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1949, 1928, 1910, 1908, 1890s

     Ocean Park

     "28. Virginia Apartments, 2804 1/2 Main Street. The long-time home of Bertha May King*, undefeated World Women's Billiards Champion, who held the championship from 1910 until her retirement in 1928."

     "56. Phillips Chapel, CME Church, 401 Bay Street. This may be the oldest continuously occupied public building in the city. Originally built in either 1890 or 1895 as the Washington School at Fourth and Ashland, it was later moved to this site and dedicated on October 4, 1908. It was remodeled in 1910 and again in 1949, but the original architecture of the building has been retained."

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Esther McCoy Irving Gill 1870-1936Five California Architects, 1960, Reprinted in Marvin Rand Irving J. Gill: Architect 1870-1936, Gibbs Smith, Publisher: Salt Lake City, UT, Design, Ahde Lahti; Photographs, Marvin Rand, 2006, 238 pp. pp. 219-227, 2006a, 1916, 1910

     " . . .

     " . . [Gill] could not have been influenced by the work of [Adolf] Loos because Loos' first opportunity to put these theories into practice did not come until 1910, with the Steiner house in Vienna. This house, whose facade curved so awkwardly into the roof, and whose stark rear elevation lacked any feeling for scale, showed Loos to be more of a polemicist than an architect. His architectural performances never quite shed the paper on which they were drawn. In contrast, Gill was first of all a builder; his first forms grew out of structure. His development of cubic masses in the Holly Sefton Hospital [1909], however, revealed a definite relation to the Cubist painters.

     "He expressed his beliefs in the May, 1916, issue of The Craftsman, "There is something very restful and satisfying to my mind in the simple cube house with creamy walls, sheer and plain, rising boldly into the sky, unrelieved by cornices or overhang of roof . . . I like the bare honesty of these houses, the childlike frankness, and chaste simplicity of them."

     "How did San Diego receive this reduction of the house to its simplicities? There were rumblings about "shoebox houses," but Gill's sincerity produced a feeling of trust. According to Louis Gill, he was not only interested in every aspect of the design, but had a passionate interest in saving the client's money.

     "Eloise Roorbach, who often wrote of his work in The Craftsman, told me, "People of wealth liked him for his forthrightness and honesty. His ideas had great refinement, although he often expressed them roughly. He didn't deify his work, but when he made a plan he stuck to it."

     "According to Lloyd Wright, "He didn't win his clients to his style by any sociological arguments, but by his great charm."

     " . . .

     "[Irving Gill] He was the first West coast architect to give attention to company towns, barracks for laborers, housing for the unemployed, and that vast segment of the population who had to be content with hand-me-downs. His favorite of all his designs was the 1910 low-cost garden court for Sierra Madre.

     "This phase of his career began in 1908 when he built two contiguous houses on a two-acre tract he had bought for experimentation. The land, cut by canyons, appeared to be useless, but to Gill the rise and dip of the terrain added to its beauty. A single house was already on this land; he had built it for himself about four years earlier. It marked the beginning of his dissatisfaction with the standard framing and plan and also reflected a simple and austere way of living. For example, in the ceiling of the main room there were hooks by which the bed was lifted during the day.

     "The units in his first venture in group housing were flush with the street. as was customary in the Mexican house, where there were no setback requirements. The garden wall and house wall formed a continuous surface. The front door of each house was a gate in an arch of a high walled garden. Here, for the first time, the possibilities of a variety of outdoor living spaces on a narrow canyon ledge were explored. Each house expanded through French doors to a brick terrace; one portion of the terrace was roofed, another shaded by a vine-covered pergola, and the remainder was an open garden.

     "The walls were mainly of 1 x 4-inch construction, but in some he used 1 x 12-inch uprights, butted together, lathed over and plastered. He also tried out Maybeck's scheme of plastering over burlap, according to Lloyd Wright.

     "The houses had a Mediterranean feeling: casement windows outset from the cement plastered walls, and lattice work copied from iron gratings. The floors were concrete, a material which pleased Gill because of its relation the earth floor. He had first used the concrete floor in 1894.

"In the December, 1915, issue of Sunset magazine, he wrote, "If half the thought and time and money had been expended on perfecting the concrete floor that had been spent on developing wood from the rough board sidewalk to fine parquetry flooring, everybody would want concrete. (p. 224) To overcome the popular prejudice against concrete floors is the business of the architect."

     "He mixed color with the cement, "usually tones of red and yellow, red and brown or yellow and brown, slightly mottled. Tempered by the gray of the cement these colors produce neural tones that are a splendid background for rugs and furniture. When quite dry the cement should be cleaned with a weak solution of ammonia and water, given two coats of Chinese nut oil to bring out the color, then finished with a filler and waxed like hardwood. Well done, this treatment gives an effect of old Spanish leather."

     "In 1910, when Gill designed his [ ], a colony for low-income families on a square block of land in Sierra Madre, he followed the same scheme as the 1908 houses, a continuous wall flush with the street on the north and west sides. One cottage was separated from the next by a long shallow porch intended for lounging or sleeping. On the south and east sides were cottages spaced in such a way that they did not interfere with garden areas or light and sun for the row houses.

     "Each unit had its own private garden, leading into a community garden, with a large pergola in the center. Less than a third of the land was used for dwellings.

     "There was a reverence for the individual in the plan that has never been equalled in the field of minimum housing. For years it stood as a superb example of site planning, until its meaning was changed by the construction of additional cottages in the communtiy garden.

     "Gill had demonstrated that he could build a good house at a price which would allow a landlord to rent it for a nominal sum. But the court was such a success that rents were fixed beyon the means of the workmaen for it was designed. Gill was angered by this turn of events because it thwarted his hope of benefitting the low income groups always ignored by architecture. Gill believed that these groups had the reputation of being poor householders because no one had ever taken the trouble to design houses that would help them be orderly. They were used to badly arranged and poorly lighted kitchens. In many of Gills minimum houses he placed the kitchens on the front, and built drains in the concrete floors so they could be washed easily. Both kitchens and baths were skylighted, and had five coats of white paint on the walls. There was a sense of compassion at work, in plan and in detail.

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No, 279. Pike"s Peak from Palmer Park, Colorado Post Card, KR 1910

No, 279. Pike's Peak from Palmer Park, Colorado Post Card, The Thayer Publishing Co.. Denver, Colo. KR 1910 Addressed to Mr. J. Rentz, 467 25th Place, Chicago, Ill, by Lillie who writes "John you are always a lively fellow you ought to come and dig for gold in the mountains. everything goes good. Lillie." Franked with a Benjamin green one-cent, Jul 5, 1910.

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Alva Richmond, 1910

Alva Richmond Postmarked Los Angeles, Nov. 28, 3:30 am, 1910. Addressed to Mr. W.S. Roberts, Rural Route 5, Grand Rapids, Mich., 11/27/10 "From the summit of the Sierra Madre Mts., I greet you. Finest weather you can imagine. How are things in old Mich. since Teddy got sat upon? How did mother come out with you this last summer." Alva

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Harold Osmer & Phil Harms Real Road Racing: The Santa Monica Road Races, Harold L. Osmer Publishing: Chatsworth, CA 1999, 1911, 1910, 1910s, 1909

     The 1910 Santa Monica race was held on Thanksgiving.
"The parade of motor cars started from Los Angeles, 14 miles from the scene of the race, early Wednesday evening. There was no let-up and throughout the night the chugging of motors continued. By midnight all the desirable parking space was occupied and 10,000 people were within a mile of the grandstand. . . .

"After dancing on an immense platform for several hours the fog and the chill morning air proved too much for the awaiting spectators and they proceeded to demolish said dance hall and burn it up in several gigantic bonfires. The special police who dared to interfere were threatened with a ducking in the ocean and retired. The beach resorts for miles along the coast were crowded throughout the night and those who could not find better accommodations slept in the sand and under the many palm trees." -Motor Age

"The hegira to the city which followed the finish of the race was tremendous. Automobiles lined up for miles and plodded their way slowly to Los Angeles. There was no use of endeavoring top speed. There were too many machines. From the summit of one hill between Santa Monica and the city the long line of automobiles, leading away from the scene of the great race, resembled a mammoth serpent crawling over the roads. . . ."Los Angeles Times

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Curt Sachs [1881- ] World History of the Dance, (Trans, Bessie Schönberg) The Norton Library: N.Y., 1937 (1965), 1910

     "Since the Brazilian maxixe of 1890 and the cakewalk of 1903 broke up the pattern of turns and glides that dominated the European round dances, our generation has adopted with disquieting rapidity a successsion of Central American dances, in an effort to replace what has been lost to modern Europe: multiplicity, power, and expressiveness of movement. to the point of grotesque distortion of the entire body. We have shortly after 1900 the one-step or turkey-trot; in 1910, inspired by the Cubanhabanera, the so-called "Argentine" tango with its measured crossing and flexing steps and the dramatic pauses in the midst of the glide; and in 1912 the fox trot with its wealth of figures. After the war we take over its offspring, the shimmy, which with toes together and heels apart contradicts all the rules of post-minnesinger Europe; the grotesquely distorted Charleston; in 1926 the black bottom with a lively mixture of side turns, stamps, skating glides, skips and leaps; and finally the rocking rumba-all compressed into even movement, all emphasizing strongly the erotic element, and all in that glittering rhythm of syncopated four-four measures classified as ragtime. One can hardly imagine a greater contrast to the monotony of steps and melody of the latter part of the nineteenth century.