Showing posts with label 1944. Show all posts
Showing posts with label 1944. Show all posts

4/1/13

Greetings from 1944 TAMPA, FLORIDA


It's May, 1944, and you're "stuck" in Tampa with a guy named Bill. Something is a mess, but I'm not sure what. The hotel? The town? The room? You figure it out and get back to me.




The word "Tampa" may mean "sticks of fire" in the language of the Calusa, a Native American tribe that once lived south of today’s Tampa Bay. This might be a reference to the many lightning strikes that the area receives during the summer months. Other historians claim the name means "the place to gather sticks". (SOURCE: Wikipedia)
The word "Bill" means:
  1. an amount of money owed for goods supplied or services rendered, set out in a printed or written statement of charges : he was running up a bill of hundreds of dollars | the bill for their meal came to $17.
  2. a draft of a proposed law presented to parliament for discussion : a debate over the civil rights bill.
  3. a program of entertainment, esp. at a theater : she was top of the bill at America's leading vaudeville house.
  4. a banknote; a piece of paper money : a ten-dollar bill.
  5. a poster or handbill : the circus promoters were posting bills all over town.
or...the guy who dragged you to Tampa.

2/22/13

ACME BEER in 1944


I won't bother to do any writing about this beer company since everything you could want to know is available here and here.

I can say that I've been to the brewery in Fort Bragg, California, North Coast Brewing Company, which currently owns the rights to the Acme name. Unfortunately I don't drink beer so I can't make any comments about the product.

This ad is the back cover of the 1944 The Playgoer from Montez Lawton's scrapbook.


Click on image to see it larger.

2/21/13

San Francisco Nighclubs 1944: CHINATOWN


Chinatown, in San Francisco, California, is the oldest Chinatown in North America and the largest Chinese community outside Asia. Since its establishment in 1848,it has been highly important and influential in the history and culture of ethnic Chinese immigrants in North America. Chinatown is an enclave that continues to retain its own customs, languages, places of worship, social clubs, and identity. There are two hospitals, numerous parks and squares, a post office, and other infrastructure. Visitors can easily become immersed in a microcosmic Asian world, filled with herbal shops, temples, pagoda roofs and dragon parades. In addition to being a starting point and home for thousands of Chinese immigrants, it is also a major tourist attraction, drawing more visitors annually than the Golden Gate Bridge. (SOURCE: Wikipedia)
In the 1940s nightclubs in Chinatown became very popular with the soldiers passing through town on their way to the Pacific. These ads are all from the Curran Theatre’s The Playgoer magazine that is from Montez Lawton’s scrapbook (click on her name in the labels to see more).



Things get a little confusing when researching these places. In one piece it's stated that Club Shanghai was owned by Fong Wan, a famous Chinese herbalist. He called his shows:
'the Chinese ‘Folies-Bergere’ of the Americas.' He boasted, 'Our entertainment costs more than $2,000 per week' and offered what had become a nearly standardized Chinese-American menu. Still, patrons could order 'other native dishes upon request.' (SOURCE: Flavor and Fortune)
Obviously the problem is that the ad above says it was owned by D.W. Low. I'm throughly baffled, but I'll give you what I found.

To read about the different clubs, the entertainers, and the food visit here and here.


Click on image to see it larger.

There's a variety of ephemera online from some of these places:
here to see the cover of a menu for Shanghai Low,
here to see a postcard of the interior of Club Shaghai,
here to see a postcard of Shanghai Low,
here to see a photo holder for Club Shanghai,
here to see a photo of D.W. Low, owner of Shanghai Low, in traditional Chinese clothing
here for another menu cover of Shanghai Low,
here to see a bit of the exterior of Shanghai Low on Grant Avenue,
and here to see a photo of the interior of Shanghai Low.
Click here to read about Ed Pond, owner of Dragon's Lair.

Click here to see a menu from Club Shanghai featuring a photo of showgirl Miss Lana Wong and the owner, Fong Wan.

I did not find any ephemera for Lion's Den or Dragon's Lair.


Click on image to see it larger.

Sadly, I'm not finding anything definitive about these old clubs. It's just bits 'n' pieces from the past like these old advertisements; places and performers long gone. It would be nice if there was a book about this period in Chinatown featuring the stories and ephemera. Perhaps there is and I just haven't found it.

—————
UPDATE: From reader Willard:
Club Shanghai opened around 1913 by D.W. Low. My father, Fong Wan, who had an interest in this nightclub, took sole ownership of it in 1946 until around 1956.

It was my father who brought Lana Wong from China to perform at his Club Oakland, formerly the New Shanghai Terrace Bowl in Oakland CA before her performing at the Club Shanghai. Barbara Yung, was the featured dancer after Ms. Wong left my father's employ.
Thank you Williard!



2/20/13

San Francisco Nightclub 1944: SLAPSY MAXIE'S and GEORGIE PRICE


There were two Slapsy Maxie nightclubs that were popular back in the ‘40s and 50s. One was located in Los Angeles, the other in San Francisco. This ad is for the San Francisco location and is in the 1944 The Playgoer magazine that Montez Lawton kept in her scrapbook.


Click on image to see it larger.

I’ll give you a little information about the clubs and this fellow with the top billing, Georgie Price.

The clubs were named after American boxer/actor Max Everitt Rosenbloom who was known as "Slapsie Maxie." He was born on November 1, 1907 in Leonard’s Bridge, Connecticut. He died from Paget’s disease of bone on March 6, 1976 in South Pasadena, California. He got the name Slapsie Maxie from a journalist who was making reference to his open gloved boxing style.
Few fighters stepped into the ring more often than Maxie Rosenbloom, who fought 299 times in sixteen years. Raised on the Lower East Side of New York, Rosenbloom left school after third grade and later served time in reform school. Reportedly, actor George Raft spotted the young Rosenbloom in a street brawl and advised him to become a boxer.Rosenbloom had an unusual style. He was a weak puncher and often slapped at his opponents with an open hand—earning him the nickname "Slapsie"—but he was a consummate defensive fighter and did whatever was necessary to avoid getting hit. He won the vast majority of his fights, although he only recorded nineteen knockouts in his entire professional career. (SOURCE: Harry Greb
In 1930, he won the New York light heavyweight title. In 1932, he won the Light Heavyweight Championship of the World. He held and defended the title until November 1934, when he lost it to Bob Olin.As a professional boxer, Rosenbloom relied on hitting and moving to score points. He was very difficult to hit cleanly with a power punch and his fights often went the full number of required rounds. In his boxing matches he suffered thousands of head punches, which eventually led to the deterioration of his motor functions. (SOURCE: Wikipedia
The story goes that the club was owned by mobster Mickey Cohen, but according to this December 1, 2011 article in the L. A. Times by Patrick Goldstein, that’s not the story.
According to most historical accounts, Maxie Rosenbloom, a former prizefighter, was simply the front man for Cohen, who actually owned the joint. In the film (The Gangster Squad), Cohen has a special table at the club, which has his bookmaking operations housed upstairs. But the nightclub's ownership history turns out to be more complicated than I realized.
After my story ran, I got an email from Marti Devore, setting me straight. Even though the club was originally in Cohen's hands, from 1947 through 1950 it was owned by Sy Devore and his older brother, Al. Marti, who is Al's daughter and Sy's niece, is the Devore family's unofficial historian, which, as it turns out, makes her something of an expert on Hollywood history too.

Her uncle Sy, who ran a men's store originally located on Vine near Sunset, was known for years as Hollywood's "tailor to the stars." Born in Brooklyn, Sy Devore was a natural-born hipster, operating a store in New York, at Broadway and 42nd Street, before he moved west.

Sy spent a lot of time in Harlem, running with the likes of Count Basie, Ella Fitzgerald and the Dorsey brothers, who bought their threads at his store and were the ones who told him that he'd be a natural fit in Hollywood. So he moved west, doing custom tailoring and throwing parties. His regular showbiz customers included Frank Sinatra and most of the Rat Pack as well as Bob Hope and Nat King Cole. Being flush with cash, they made Sy a lot of money. Marti says that Jerry Lewis used to boast that after hitting the bigtime, he bought 100 suits from Sy in 1949 alone.

Being so good at hanging out, it was inevitable that Sy would try his hand at running a nightclub. He knew Slapsy Maxie well—according to Marti, the ex-boxer turned bit actor showed up nearly every day at a barber shop that was located inside Sy's Vine Street store. So Sy and Al bought themselves a nightclub. (SOURCE: LA Times)
Click here to see a photo of the outside of the Los Angeles club.

I’m finding very little about the San Francisco club other than this from Billboard magazines August, 8, 1942 edition:


Here is an interior photo from 1942 of the San Francisco club.


You can see matchbook covers from the San Francisco and Los Angeles clubs here, here, and here.

And here and here are the outside of a photo holder.

Here is a video of Jerry Lewis recalling his appearance with Dean Martin at the Copa in New York and in Los Angeles at Slapsy Maxie’s.



Now, Georgie Price, headliner at the San Francisco Slapsy Maxie’s.

Georgie was born on January 5, 1901 in New York City. He died from a heart attack on May 10, 1964 in New York City.
When Georgie was born, his mother missed work as janitor of the building, and the landlord evicted the entire family of 11, carrying Mrs. Price and Georgie into the street in her bed. A famous lady social worker saved them, letting the family return home.

Georgie started singing and dancing on the streets and subways of New York at a very early age, and in 1907, accompanied an older brother on his dry-cleaning delivery rounds. He sang for the wife of Gus Edwards, a Vaudeville entrepreneur, and was adopted by the Edwards, thereafter taking Edwards as a middle name. He and "Lila Lee" starred as "Little Georgie and Cuddles" in Gus Edwards song review, "School Days". Surrounded and adored by old-timers of Vaudeville, he mastered many arts, including tap dancing, soft shoe, gag-writing, double-talk, and especially imitation, at which he was regarded as one of the best, not only for his accents and voices, but also for his ability to imitate dancers, singers (including Enrico Caruso, who offered to adopt him), and entertainers of the past—as taught to him by those who remembered them best.

He fell on hard times during his adolescence, when though short, he could no longer play children. Bribing an elevator operator at the Shuberts' office building, he donned the operator's uniform, and imprisoned one (or more) of the Shuberts between floors, just long enough to audition. He became their "headliner", replacing Al Jolson, and later became the first non-classical singer to get a long-term recording contract with RCA Victor.

In the Thirties, he took the advice of his friend Bernard Baruch to buy a seat on the New York Stock Exchange, beginning a second career, but continued on in show business, notably as president of The American Guild of Variety Artists, as a frequent emcee of charitable fund-raisers, as the host of "The Big Time", a CBS radio show in the early Fifties, and as a spokesman for Vaudeville and retired Vaudevilleans. (SOURCE: IMDb, Marshall Price)
Click here to read more about Georgie Price.

Here is an old Vitaphone video featuring Georgie.



Again, an old piece of paper has lead me on an interesting journey.

2/18/13

San Francisco nightlife 1944: FINOCCHIO'S


On March 26, 1944 Montez Lawton went to see the musical Blossom Time at the Curran Theatre in San Francisco with a man named Stewart. This is the exact same sentence that began my last post, but now I'm going to deal with some ads that were in the Curran Theatre magazine that Montez saved.

If you go to the theatre and buy a program or get a Playbill there are always lots of ads telling you of places you could go following the show. I'm going to deal with some rather exotic places the Curran advertised back in '44.


Click on image to see it larger. (SOURCE: The Playgoer)

You really couldn't grow up in the San Francisco Bay Area and not know about Finocchio's until it closed in 1999. I never got to go to there show, but it was supposed to be classy, but brassy. I wish I'd seen it.

Joe Finocchio opened his famed San Francisco nightspot after a customer, drinking in his father's speakeasy, performed an imitation of the legendary Sophie Tucker. This gave Joe the idea of a nightclub with men performing with all the glitter, sophistication and glamour of sophisticated women.
He opened a speakeasy in 1929 at 406 Stockton St, which he managed with his wife Marjorie. Initially the show was a female impersonator paired with a exotic dancer – hula or Chinese.
In 1933 with the repeal of Prohibition, it became legal, and Joe hired more dancers and expended the floor show. In 1936 the police raided the club and arrested five female impersonators, including Walter Hart and Carroll Davis, and the owners for employing entertainers on a percentage basis. Police Chief Quinn ‘declared war’ on female impersonators, and also revoked the permit of the 201 Club.
After the raid, Finocchio’s moved to a larger location at 506 Broadway, and hired more impersonators. Marjorie planned the entertainment on a grand scale. She booked the finest entertainers, supervised and planned elaborate productions. The club was allowed to exist because it became a tourist attraction, a symbol of the city’s sophistication. Joe had to promise the police that the entertainers would not mingle with the customers. Tourist magazines billed Finocchio’s as ‘America’s most unusual night club’. This was reinforced during the 1939 World’s Fair in San Francisco.
The club always included ethnic impersonators. Li-Kar did a Geisha dance; Billy Herrero recreated Hedy Lamarr in the film Algiers, 1938;  in 1940 the club developed an Argentine feature; later Juan Jose did a flamenco dance; Reene de Carlo a hula dance; Bobby de Castro did a striptease in a gorilla costume (this was supposed to be Cuban).
There was little trouble at the club over the years, though military authorities declared Finocchio's "off limits" for selling liquor to WWII military personnel outside of authorized hours. That temporary sanction was lifted New Year's Eve 1943 after Joe Finocchio and other bar owners signed an agreement to limit liquor sales to military personnel to between 5 p.m and midnight. Beer could, however, be sold between 10 a.m. and midnight. The future Tony Midnight, who was working in munitions during the war, snuck into Finocchio’s using fake ID.
Joe Finocchio died in 1986, aged 88. Eve Finocchio, his widow, decided to close the club in late 1999 because of a major rent increase and dwindling attendance. The club closed November 27, 1999. Eve died 2007. (SOURCE, including club photo: Zagria)
Visit the above source link to read more. To see vintage photos, programs, matchbooks, etc. click here.

As to Johnny Mangum the performer, I've found nothing.

2/16/13

Montez H. Lawton SILHOUETTE


On March 26, 1944 Montez Lawton went to see the musical Blossom Time at the Curran Theatre in San Francisco with a man named Stewart. The program from the presentation is glued into her scrapbook. Inside the program I found this in a small envelope. I can only guess that at some point that evening they found an artist, perhaps at the theatre or a restaurant, that did silhouettes.

1/21/12

CARNIVAL paper dolls by Saalfield in 1944


If you have been following my other blog, Tattered and Lost Photographs, this week you'll know I've been featuring photos of little girls with dolls. Meanwhile, at this site I've been featuring paper dolls.

Today I'm featuring a doll created by Jean Morse for Saalfield, Carnival, published in 1944.

The cover features die-cut windows showing two of the dolls heads riding in the carriage.



Inside, first page, the two complete dolls.





There are many more costumes than what I feature here.







If you take a look at Tattered and Lost Photographs you'll see paper dolls being held by two little girls. I know one of them is Patty and Sue also published by Saalfield in 1944. Do you think it was also illustrated by Jean Morse? Any information would be helpful.

And I've mentioned this before, but I think with this doll set it could be mentioned again. Why were male dolls always so effeminate? Was it because parents or the manufacturers simply didn't want little girls dressing and undressing "masculine" looking dolls? Was it that the artists couldn't draw masculine images? Somehow I doubt it. And considering how homophobic this country is, were these dolls ever a problem for the manufacturers? Just something I've wondered about since I started collecting paper dolls. As a child I never noticed it.

1/7/11

World War II, Books for Soldiers, and MARION HARGROVE


Yesterday’s post was partially about a mystery author from the early part of the 2oth century who appears now to be virtually unknown. Fame doesn’t last and a writer’s work can soon be forgotten except by the devoted fans who must search out used editions. Makes me continue to wonder about books in the future on digital devices. There won’t be books to pass down to family and friends. No books found at thrift stores. What will even be in libraries?

Authors, such as Anthony Berkeley, could actually enjoy a resurgence if a publisher chooses to reissue the books digitally, but first there needs to be a demand and how will that happen if he’s forgotten? In this respect I really like what Google Books is attempting to do. The writing from the past will not be forgotten. But again it will all be ultimately determined in this country by supply and demand. If there isn’t a profit to be made the words of a deceased author may simply vanish. I happen to like the fact that I will always have books in my life and hope to be gone before everything becomes digital. Which brings me to today’s post...

This book was found on a table at my post office where they used to allow a book and magazine exchange. The current postmaster has stopped this practice, turning what was a fun and friendly place into just another boring post office I rarely visit.


See Here, Private Hargrove_tatteredand lost

See Here, Private Hargrove__bk_tatteredandlost

I have not read this book, but eventually will having now found out some interesting information about the author (I will also be reading the one from yesterday). And isn't it interesting that the author's name does not appear on the cover except as part of the title?

Again, one of the things that drew me to the book is the fact it too was published during war time, World War II, just as yesterday’s book was.

First, let us deal with that little black box on the back cover. In yesterday’s post it was noted that the publisher, Pocket Books, encouraged readers to “share” the book with someone in uniform. Today’s book, published in 1944, a year before yesterday’s, asks you to “Send this book to a boy in the armed forces anywhere for only 3 cents.” Now we’re talkin’! This makes sense. Why did things change in ’45? Did they sense the war was coming to an end? Had too many people taken them up on the 3 cent deal and they’d found their profits dropping? Had the government stepped in and changed the rules? I haven’t a clue. Probably something worth researching.

Take a look at the following pages and try to imagine a company today asking anyone to give something of themselves for the country. We are told on a daily basis to take, take, take and buy, buy, buy. We are not asked to put ourselves second by any corporation, or for that matter even by many in the government. The war and those serving are someone else’s problem. Unless we are constantly reminded about the fact we’re at war we conveniently forget it.

help win the war_tatteredandlost

paper drive WW2_tatteredandlost

list of Pocket Books 1944_tatteredandlost

Marion Hargrove, the author of this book, which was originally published in 1942 by publisher Henry Holt, is a man who left his mark on many of us, even if we don’t know it.

Did you ever watch the much loved movie The Music Man? Mr. Hargrove wrote it. He wrote for the tv shows Maverick, The Rogues (a show I loved during its brief run), I Spy (LOVED that show), 77 Sunset Strip, even The Waltons. So most likely at some point you’ve seen some of Marion Hargrove’s work.

As to this book, here’s a bit of a piece posted at AMC’s site that explains how the book came about:
Marion Hargrove was an author, Hollywood screenwriter, and writer for television whose initial success came through a series of accidents, including numerous experiences in military training. Born Edward Thomas Marion Lawton Hargrove, Jr. in Mt. Olive, NC, and later raised in Charlotte, he developed an interest in journalism while in high school. At age 20, he took a full-time job with the Charlotte News as a features and women's page editor as well as a writer and rewrite man. In July of 1941. Hargrove was drafted and, through a combination of physical ineptitude and an individualistic approach to following orders, achieved an astonishing level of incompetence as a rookie soldier. He became a legendary incompetent at Fort Bragg, the camp where he was stationed, and he wrote about some of his experiences for his old newspaper.

Fate took a hand in early 1942 when, by sheer chance, he was assigned to show playwright Maxwell Anderson around the base. He presented some of his writing about his comical exploits to Anderson, who, in turn, passed it along to publisher Henry Holt, who was impressed enough to assemble Hargrove's columns into a book, which was published as See Here, Private Hargrove (1942). The book enjoyed combined hardcover and paperback sales of over two-and-a-half-million copies and also earned the blessing of the War Department, which wisely saw Hargrove's gently self-deprecating, humorous vignettes of army life as a way of reassuring prospective draftees and their families that military service wasn't all danger and hardship. (SOURCE: AMC)
Click on the source link above to read more of their column. And click here to see his listing at IMDB.

Wikipedia provides the following information:
Marion Hargrove (October 13, 1919 – August 23, 2003) was an American writer noted for the World War II bestselling book See Here, Private Hargrove, a collection of humorous newspaper columns written mostly before the United States entered the war. (The book was made into a 1944 movie with Robert Walker as Hargrove and Donna Reed as his love interest.) During the war, he served on the staff of Yank, the Army Weekly. After the war he wrote two novels: Something's Got to Give (1948) and The Girl He Left Behind (1956). He also wrote for various popular magazines, and served as feature editor of Argosy.

In 1955, Hargrove settled in Los Angeles and began writing television and film scripts. His credits include Cash McCall (1960), The Music Man (1962), and television episodes of Maverick (1957), The Restless Gun (1957), Colt .45 (1957), Zane Grey Theater (1957), the pilot script for 77 Sunset Strip entitled Girl on the Run (1958), The Rogues (1964), I Spy (1966), The Name of the Game (1969), Nichols (1972), The Waltons (1975), and Bret Maverick (1981). Collaborator Roy Huggins discusses Hargrove at length in his Archive of American Television videotaped interview. Hargrove was one of three Hollywood writers interviewed and analyzed at length in Prime Time Authorship (2002), by Douglas Heil. While working at Warner Bros. in 1959, he was the center of a successful grass-roots letter-writing campaign to acquire a suitable couch for his office on the studio lot. A selection of these letters was published in Playboy Magazine under the title Hollywood Horizontal (1959) and anthologized in The Playboy Book of Humor and Satire (1965). With characteristic modesty, Hargrove never publicly claimed to be their sole author. (SOURCE: Wikipedia)
Click here for another column with photos of Mr. Hargrove.

And you can click here to read a rather touching post from his son following his father’s death.

All in all I’m quite happy I took this little old paperback off the shelf today.

5/3/10

Jackass falling off A JACKASS


This old linen post card was mailed by my father to my mother in December 1944. The card was mailed from Orem, Utah. My mother was in Harrisburg, Pennyslvania. The following March they would marry. I do not believe the sentiment on this card is the only thing that brought them together.


Click on image to see it larger.