1924test

1924 (1923) (1925) (1910-1920) (1920-1930) Table of Contents

Sources

Fred E. Basten Santa Monica Bay: The First 100 Years, A pictorial history of Santa Monica, Venice, Ocean Park, Pacific Palisades, Topanga and Malibu, Douglas-West Publishers: Los Angeles, CA, 1974, 227 pp., 1924 See Text

John Cage A Year from Monday, Wesleyan University Press: Middletown, CN, 1967. 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., 1924, 1920s See Text

Ed Howe and his Model T, 1924 (Photographer unknown), See Text and Image

Barbara*, Virginia and Jimmy Howe, Los Angeles, 1924 See Text and Image, 2005

James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1924 See Text

Tom Moran and Tom Sewell Fantasy by the Sea Peace Press: Culver City, CA, 1980 (1979) (Originally published by Beyond Baroque Foundation with a grant from the Visual Arts Program of the National Endowment for the Arts) 1924, 1932 See Text

Cecilia Rasmussen L.A. Then and Now: In 'Whites Only' Era, an Oasis for L.A.'s Blacks Los Angeles Times, 3 July 2005 B2, 1998, 1924 See Text

Karl Rydgren* (1914-) I Remember, Unpublished Ms., 1975 [Reprinted 2005], 1924, 1920s, 1919, 1914, See Text

Ruth St. Denis with Ted Shawn and the Denishawn Dancers Three Concert Program, Dec., 30 and 31, 1924 and January 1, 1925 See Images and Text

Santa Monica Planning Division Santa Monica Landmarks Tour, 2003.
33. Santa Monica Pier See Text

Amanda Schacter (ed.) Santa Monica Landmarks Santa Monica Landmarks Commission, 1990.
8 Santa Monica Municipal Pier See Text

Allan Seeger (1888-1916) "I have a Rendezvous with Death", 1916 in Marguerite Wilkinson New Voices: An Introduction to Contemporary Poetry, The Macmillan Co.: New York, 1924 (1919), revised 1921, 454pp. [This volume was obtained in January, 2005 from the Ocean Park Library on-going book sale and is signed and dated Gertrude Morrow, 1927.] See Text

Betty Lou Young and Randy Young Santa Monica Canyon: A Walk Through History Casa Vieja Press: Pacific Palisades, CA, 1997, 182pp., 1924 See Text

Notes:

Pp. 44, 45 [Photo captions: "The second great Ocean Park fire, an event of 1924"], Storrs, 1974

Documents

"The La Monica Ballroom on Santa Monica Pier was billed as the largest ballroom in the world (it could accommodate 10,000 persons easily-with room to roam). Inside, with its ornamental carvings, gilt chandeliers, carved ballastrades(sic) and upholstered settees, the setting was palatial, reminescent(sic) of some exotic far-off land (the vogue in silent movies of the day). Outside, with its stylized Byzantine domed turrets, the building looked strangely fascinating as it 'floated' on pilings above the surf-a giant arena from another time and place. page 146.

"In 1924, the La Monica Ballroom was open for dancing at 7:30 pm every night of the year-with afternoon matinees scheduled for 2:30 pm. Loge seating was available around the perimeter of the dance floor for spectators and reservations were necessary. The resident orchestra of 18 musicians was conducted by Don Clark." p. 147

(Back to Sources)

John Cage A Year from Monday, Wesleyan University Press: Middletown, CN, 1967.

On page 132 of A Year From Monday, "I was twelve years old. I got out my bicycle and rode over to KFWB. They said, "What do you want?" I said, "I'd like to give a weekly radio program for the Boy Scouts." They said, "Are you an Eagle?" I said, "No, I'm a Tenderfoot." They said, "Did the Boy Scouts send you?" I said, "No, I just got the idea and came over." They said, "Well, run along." So I went over to KNX. They liked the idea and arranged a time for the first program. I then went to the Boy Scouts, told them what had happened, and asked for their approval and cooperation. They said it was all right to give the program but that they would not cooperate. In fact, they never did. Every time I asked for the Boy Scout band, they said No. Individual scouts all gave their services willingly. There were boy sopranos; trumpet, trombone, and piano soloists; and Scouts who spoke on their experiences building fires and tying knots. The volume of fan mail increased each month. After two years, the organization called up KNX, said they'd never authorized the program, and demanded that I be put out and they be put in. They were. The band finally played. A few weeks later, KNX took the program off the air."

(Back to Sources)

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., 1924, 1920s

The further development of the elementary school program came about through the adoption of the platoon system in 1924, and consideration will be given to the effect this had upon the construction of new elementary buildings of the period.

Also discussed will be the extension of the regular high school program, which came about in two ways.

" . . .

Each year brought a sharply increased enrollment [at Santa Monica High School], compelling the construction, in 1924, of a fourteen-room addition at Seventh Street and Pico Boulevard, at a cost of $132,000. Included in this new building were the library facilities to provide for the school of even larger enrollment, the Board having estimated that the maximum number of students might reach two to three thousand. [62. Pearl, op. cit. , p. 93.]

" . . .

Special Services

Many special services have been introduced in the Santa Monica schools during the years, some of the earlier ones being these: [46: Martin, op. cit., p. 60.]

1924 Community Service Program Adopted.

1924 Research Department established.

" . . .

"But in Santa Monica, it was the establishment of the research department, now the guidance department, which probably had the most far-reaching influence on the program of the schools. This department was instituted in September, 1924, through cooperation with the University of California, Los Angeles, and its work was directed by J. Harold Williams of the University faculty. In the first two years of its operation, a program was developed which included demonstration testing, test surveys, and the training of teachers. Many of the teachers had had no previous experience in testing and research methods. [48. Martin, op. cit. p. 25.]

The research department staff consisted of the director, who served on a part-time basis, a supervisor, and two assistants. The department was organized to serve the various levels of the school system and provided six major activities: (1) measurement, (2) counseling, (3) clinical investigation, (4) organization and supervision of special classes, (5) curriculum research, and (6) the study of special problems. [49. Loc. cit.]

One of the most practical results of the research work in Santa Monica was the organization of special classes for children whose progress in the regular grades would be seriously retarded by maladjustment which could be minimized under conditions of more individual teaching. Three types of classes were established: opportunity classes for gifted children, adjustment classes for pupils who had fallen behind in their work but who were mentally capable of making normal progress in school, and development classes of the mentally retarded. [50. Ibid., p. 26.] Supervision of these special classes was provided directly from the research office, were arrangements were made for the admission, promotion, and transfer of pupils in any of the special groups. In cases of severe maladjustment, the work was handled on a clinical basis. The use of numerous mental tests, interviews with parents and with teachers, and the study of data supplied by the school physician, nurses, and visiting teachers provided the information needed to aid in special placement. [51. Martin, Loc. cit.]

While the opportunity classes no longer exist, special training classes have replaced the development classes and special remedial reading classes operate in place of the former adjustment classes. The research department established the beginnings of the testing program now used in the schools, and has had the responsibility of developing the counseling and guidance program for the entire district."

" . . .

(Back to Sources)

Ed Howe and his Model T, 1924 (Photographer unknown)

Ed Howe and his Ford Model T in which he drove to Los Angeles California in 3 1/2 months, with his wife, Matilda, and children, Virginia, Barbara, and Jim..

(Back to Sources)

Barbara*, Virginia and Jimmy Howe, Los Angeles, 1924

On the back of the photograph, in Barbara Roberts' hand, in blue ink, "Barbara, Virginia, Jim Howe-in Cal. Around 1924"

In another hand, in sepia ink, "Here's the kids feeding the mud hens. They dive like lightning and are so tame they'll come right up to your feet. Don't you think Jim has grown. Of course he's close to the camera." Then a blue stamp "474".

(Back to Sources)

James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1924

Santa Monica Pier-Arcadia Terrace

"9. The Overlook Hotel, 1605 The Promenade. A small hotel with beachfront stores and restaurants on the first floor. Built in 1924, located directly opposite the Merry-Go-Round and below the Colorado Avenue Viaduct, the hotel is one of the most familiar buildings on the beachfront.

Ocean Park

"1. Pritikin Longevity Center, 1910 The Promenade. The former Casa Del Mar Beach Club, at the foot of Pico and The Promenade, the five-story club, built in 1924, was the largest of the several beach clubs along the ocean front. It remained in use until the '60s, when it became the headquarters of the Synanon Foundation and, more recently, the Pritikin Longevity Center."

"7. Christie Court, 125 Pacific. Built in 1924, this is a good example of the "California Court" style of dwellings. It was also the first Santa Monica residential development to be equipped with a radio in every unit."

(Back to Sources)

Aquatics

" . . . Wallace O'Connor . . . won gold and bronze medals in both the 1924 and 1932 Olympic games."

" . . ."

Ku Klux Klan

"The California branch of the Knights of the Ku Klux Klan listed Venice as its headquarters when it applied for incorporation in 1924.

"The Klan's doctrines of racism, supra-patriotism, xenophobia and evangelical fundamentalism had been revived following the 1915 motion picture, "The Clansman." While the greatest appeal remained in the southern states, supporters existed in small towns throughout America.

"An initiation ceremony at Ocean Park Heights [now Mar Vista], near the Venice High School, claimed 2,000 new Klan members, instances of Klan visits to local churches were reported.

"An investigation by Los Angeles District Attorney Thomas Lee Woolwine implicated several Venice officials and prominent merchants as possible Klan members or associates. The county Grand Jury reported Klan involvement in the Venice Police Department and alleged that 19 Klan members had been sworn in as special deputies."

" . . .

"Thornton Kinney tried to have the canals filled in 1924 but was enjoined by canal-area residents. Venice Mayor C. Gordon Parkhurst* . . ."

(Back to Sources)

Cecilia Rasmussen L.A. Then and Now: In 'Whites Only' Era, an Oasis for L.A.'s Blacks Los Angeles Times, 3 July 2005 B2, 1998, 1924

Inkwell in Santa Monica was the only local beach African Americans could go to in the 1920s. It was also home to the first black surfer.

"When 17-year-old Verna Deckard and her fiance, 21-year-old Arthur Lewis, visited Santa Monica in 1924, Inkwell Beach was the only place they could spread a blanket.

""All the rest of the beach … you couldn't go there unless you belonged to a club, and we couldn't belong to a club" because of racial restrictions, she recalled in a four-hour interview for the Los Angeles Public Library's Shades of L.A. project, which was taped before Verna Deckard Lewis Williams, as she later became, died in 1998."

", , ,

"Black investors had tried to purchase the adjacent Crystal Plunge site; they were rejected. But in 1924, it was sold to white developers who wanted to build a private beach club and hotel. Even before they broke ground, builders erected fences for the "safety of our members," The Times reported."

(Back to Sources)

Karl Rydgren* (1914- ) I Remember, Unpublished Ms., 1975 [Reprinted 2005], 1933, 1929, 1924, 1920s, 1919, 1914,

I was selling Daily News newspapers (on Sundays) at 4th and Santa Monica Boulevard, when the Ocean Park Pier Fire started. I put a cigar box on the newspapers and ran down to the fire. The fire trucks were pumping ocean sea water, because they ran out of water from the pipes."

(Back to Sources)

Ruth St. Denis with Ted Shawn and the Denishawn Dancers Three Concert Program, Dec., 30 and 31, 1924 and January 1, 1925

(Back to Sources)

M. Weinstein Advertisement

Philharmonic Auditorium 5th and Olive St.

Ruth St. Denis with Ted Shawn and the Denishawn Dancers Three Concert Program, Dec., 30 and 31, 1924 and January 1, 1925: Doris Humphrey, Betty May, Pauline Lawrence, Anne Douglas, Georgia Graham, Ruth Austin, Lenore Helleckson, Ernestine Day, Pearl Wheeler, Charles Weidman, George Steares, Howle Fisher, Ralph Parker
And an Instrumental Quartet, Louis Horst: Piano-Conductor; George Palotay, violin; Ugo Bergamasco, flute; Gino Allessandri, 'Cello, 1925, 1924
Management : Daniel Mayer, Aeolian Hall, New York City,: Tuesday Evening, December 30, 1924 (Philharmonic Course Event)
Wednesday Evening, December, 31, 1924: Thursday Matinee 2:15, January 1, 1925
Program (Subject to change)

I. Music Visualizations,

1. Allegro Risoluto, from the Suite for Violin and Piano, Op. 44 (Edward Schutt) . . . Ensemble of Denishawn Dancers
2. Adagio Pathetique (Godard) . . . Ted Shawn (Mr. Shawn will alternate this number with Etude Op. No. 11 of Chopin)

3. Scherzo Waltz (Ilgenfritz) . . . Doris Humphrey

4. Album Leaf, Op. 45, No. 1; Prelude, Op. 11, No. 10 (Scriabin) . . . Ruth Austin and Chas. Weidman

5. Valse, No. 14 (Chopin) . . . Anne Douglas and Georgia Graham

6. Waltz, Op. 33, No. 15 (Brahms); Liebestraum (Liszt) . . . Ruth St. Denis

7. Voices of Spring (Strauss) . . . Ensemble of Denishawn Dancers

(Pictorial inspiration from Botticelli's famous painting: (Intermission)

II. Cuardro Flamenco. A Spanish Gypsy Scene. (See Synopsis next page). (Cuadro Flamenco is the name give to those bands of gypsy dancers, singers and guitar players who form an inevitable part of every concert hall and cabaret performance in the province of Andalusia). Music arranged by Louis Horst from native MSS. collected by Mr. Shawn in Spain. Scene: A cafe concert hall in Seville. Choreography by Ted Shawn.

Characters:

Cuadro Flamenco . . . Pauline Lawrence, Anne Douglas, Ernestine Day, Doris Humphrey, and Charles Weidman

Flower Sellers . . . Georgia Graham, Ruth Austin, and Lenore Hellekson

Sevillanos . . .George Steares, Howle Fisher and Ralph Parker

Lalanda, a famous matador . . . Ted Shawn

La Macarena, a dancer, the idol of all Seville . . . Ruth St. Denis

The Story of Cuadro Flamenco: It is the evening of the day of a great bull fight. The cafe life is just beginning to become gay. The gitanas are mingling among the men of the concert hall, and the flower girls are plying their trade. La Macarena, so named because she is the idol of the quarter of Seville famous for its great dancers, is one of the Cuadro Flamenco and the curtain rises discovering the audience under the spell of her song. When she finishes, the other dancers of the group each take her turn. Then Lalanda enters in full regalia and is persuaded to recount his afternoon's triumphs in the Plaza de Toros. L Macarena comes back into the cafe and Lalanda who has long been her ardent suitor, demands an answer. He promises to buy her the most beautiful shawl in all Seville if she will promise to marry him. She agrees, and he goes to the shawl merchant next door, returning with a chest full of gorgeous fabrics. He offers them to her one by one-the fifth and last wins her. The entire assemblage celebrates their betrothal in typical gypsy manner.

{Tr 2891 Henry J. Martin, Prescription Druggist, Auditorium Building, Fifth and Olive, Directly opposite Hotel Biltmore.}

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Program-Continued

Intermission

III: Divertissments:

1. Dance of the Black and Gold Sari (Music by R.S. Stoughton) . . . Ruth St. Dennis

2. Tragica . . . Danced by Doris Humphrey, Charles Weidman and Ensemble (This is an experiment which Mis St. Denis is making in The Dance as an Independent Art-that is, without music. The dance writing of this composition is by Doris Humphrey.

3. Balinese Fantasy (Bali is an island off the coast of Java) (music by Paul Seelig, based on native airs) . . . Ruth St. Denis and Ted Shawn

4. Ballerina Real (Music by Tarenghi) . . . Doris Humphrey

5. Five American Sketches;

(Choreography and creation by Ted Shawn) (Music by first four by Eastwood Lane; music of the fifth by John Philip Sousa)

(a) Crapshooter . . . Charles Weidman

(b) Around the Hall . . . Ted Shawn and Anne Douglas

(c) Gringo Tango . . . Ted Shawn and Ernestine Day

(d) Boston Fancy-1854 . . . Misses Humphrey, Graham, Lawrence, Austin; Messrs. Weidman, Steares, Fisher and Parker.

(e) Invocation to the Thunderbird . . . Ted Shawn (An Indian dance ritual during which the pattern of the rain God is drawn on the earth with meal, designed to bring rain)

6. Theodora, Empress of Byzantium (Music arranged by Louis Horst) (The background designed and painted by Mr. Albert Herter)

Theodora . . . Ruth St. Denis

Constantine . . . Charles Weidman

Justinian . . . Howle Fisher

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Program-Concluded

Intermission

IV. The Vision of the Aissoua. An Algerian Dance Drama.

(Created and produced by Ruth St. Denis. Choreography by Ruth St. Denis and Ted Shawn. Costumes are original pieces secured by Mr. Shawn in North Africa, and supplemented by creations of Pearl Wheeler. Decorative panels by Nino Ronchi. Music especially composed by R.S. Stoughton).

Scene I. The Mosque of Sidi Okba near Biskra.

Scene II. The House of Fatma, a coffee house in Algiers.

The Story: A girl of the tribe of the Ouled Nayil loves a youth who is poor. She, according to the custom of her tribe, must be sold into the cafes of Algiers to dance and earn money for the tribe. The boy and girl part sadly, and the youth, in his reaction and disappointment, enters the Mosque and becomes a fanatic devotee, an Aissoua, which is a sort of dervish. In the Mosque we see him performing a dance of frenzy which is designed to produce a form of hysteria. He falls unconscious and in his trance state, his boyhood sweetheart appears to him as a houri of the Mohammedan paradise. She dances and tells him to come to a certain coffee house in Algiers which goes by the name of "The House of Fatma."

In the second scene, we see the girls of the different parts of North Africa who have been gathered together for the entertainment of the wealthy Arabs. Each girl does the dance of her own tribe. Sheiks and other rich natives come and go, and are served with sweetmeats and coffee. The young Aissoua comes warily in, finds his own beloved and persuades her to flee with him into the desert.

(Miss Ruth St. Denis and Mr. Ted Shawn use the Steinway Piano Exclusively. All costumes designed by Ruth St. Denis, Ted Shawn and Pearl Wheeler, and executed under the direction of Miss Wheeler at Denishawn, 327 West 28th St., New York City.)

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{Ruth St, Denis and Ted Shawn: Ernest Belcher and the Pupils of the Celeste School of Dancing welcome you back to Los Angeles.}

{Lytell Studio of the Dance A Private School of Dancing Velma Lytell Selma Lytell Mid-winter Classes Forming Russian Ballet, Grecian For Piano and French Conversation Adelaide Le Clercq 546 So. New Hampshire Fitzroy 1529 Studio Available for Musicals.}

Philharmonic Auditorium 5th and Olive

Thursday Evening, January 1, 1925; Tuesday Matinee 2:15, January 6, 1925

Ruth St. Denis with Ted Shawn and the Denishawn Dancers: Doris Humphrey, Betty May, Pauline Lawrence, Anne Douglas, Georgia Graham, Ruth Austin, Lenore Hellekson, Ernestine Day, Pearl Wheeler, Charles Weidman, George Steares, Howle Fisher, Ralph Parker. And an instrumental Quartet: Louis Horst, Piano-Conductor; George Palotay, Violin; Ugo Bergamasco, Flute; Gineo Allesaandro, 'Cello; Management Daniel Mayer, Aeolian Hall, New York City.

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Anna Pavlowa Incomparable Ballet Dancer and Her Company Including Volinine and Novikoff One Week Com. Wednesday Eve. March 11

Pavlowa's visit to America this season, announced as the dancer's final in this country, has eclipsed in public artistic interest, all of her former engagements. Bringing with her, direct from the Champs Elysees, Paris, and Covent Garden, London, upwards of twenty different productions, Pavlowa's repertoire comprises also two-score divertissements, both solo and ensemble.

Pavlowa's Ballet Russe and Orchestra numbers nearly one hundred artists. This total is this season replete with new dancers and new personalities, and it will interest devotees of the ballet to know that the Incomparable Anna has brought two distinguished dancing partners with her instead of one. Alexandre Volinine, who, it is recalled, toured America with Mme. Pavlowa some few years back, now alternates with M. Laurent Novikoff in the pri(n)cipal masculine characters of the ballets.

Three new and gorgeous ballet productions have also been added to Pavlowa's already astonishing repertoire. They are: "Don Quixote," a presentation with which the dancer recently opened her London engagement at Covent Garden-a Spanish creation with scenes laid in the Land of the Dons; "Romance of a Mummy," with a new and romantic story of the Royal Tombs of Egypt; "La Fille mal Gardee," (Sans Chaperon), from the humorous French story, "The Unprotected Damsel." Pavlowa also had designed and executed new scenic and costuming effects for the revival of such favorite ballets as "Invitation to the Dance," "Flora's Awakening," and "Coppelia," (first act) and these likewise are being performed on tour.

The popular ballets, "Chopinianna," "Fairy Doll," "Snow Flakes," "Magic Flute," "Amarilla," "Oriental Impressions," "Les Preludes," "Visions" (from "The Sleeping Beauty"), "Old Russian Folklore," and other favorites are comprised in Pavlowa's repertoire. 10.

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Program (Subject to Change)

I. Music Visualizations:

1. Beethovan-Sonata Pathetique, First Movement.

In this number, Miss St. Denis approaches a literal visualization of the actual rhythmic and architectural structure of the composition, as well as an expression of its emotional coloring. Doris Humphrey and the Ensemble.

2. Chopin-Revolutionary Etude.

imposed a consecutive dramatic structure. The two girls in red, symbolic of flame and destruction, are visualizing the accompaniment. The movements of the revolutionist express the melodic theme. Ted Shawn and the Misses Lawrence, Hellekson, and Graham.

3. Chaminade-Valse Caprice . . . Doris Humphrey

4. Schumann-Soaring.

The lyric idea of wind, wave and cloud in the fleeting forms of the great veil, is here added to the music visualization. The Misses Humphrey, Douglas, Austin, Day and Hellekson

5. Brahms-Waltz, Op. 33, No. 15

Liszt-Liebestraum . . . Ruth St. Denis

6. Mana Zucca-Valse Brillante . . . Doris Humphrey and Ensemble

Intermission

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{Denishawn The Ruth St. Denis and Ted Shawn School of Dancing and its Related Arts Los Angeles Branch Hazel Lee Kraus, Director. Daily Professional Classes; Semi-Weekly Adult and Children's Courses; Private and Coaching Lessons; Choral Rehearsals; All regular pupils are eligible for the choral-dancing rehearsals; Additional courses, professional and non-professsional, open in January. Beginning Class for Children forming. Address inquiries to L. Fay Riley, Secretary. Phone Vandyke 5932; 932 South Grand Ave.; Hollywood Sub-branch 1742 Ivar Ave.; National Headquarters-Katharane Edson, National Director, 327 West 28th St., New York City. Line illustrations by o'neill} pp. 12, 13

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II

1. Spanish Suite (a) Granados, Danza Espanol, No. 5 . . . Ruth St. Denis (b) Jonas, Tango . . . Ted Shawn (c) Moszkowski, Malaguena . . . Ruth St. Denis and Ted Shawn

2. In the Garden: (a) Von Blon, Serenade d'Amour . . . Doris Humphrey (b) Bond, Betty's Music Box . . . Misses Graham, Hellekson and May (c) Moszkowski, Waltz, Op. 34, No. 1 . . . Charles Weidman and Misses Graham, Hellekson and Austin

Intermission

III. Xochitl-A Dance Drama based on an ancient Toltec Legend

Music composed by Homer Grunn; Scene designed by Francisco Cornejo; Costumes designed by Mr. Shawn and Sr. Cornejo; Choreography by Ted Shawn.

Scene I. A countryside of prehistoric Mexico.

Scene 11. Interior of the Palace of Tepancaltzin, the Toltect Emperor.

Characters:

Tepencaltzin, Emperor of the Toltects . . . Ted Shawn

Xochitl, the Flower . . . Georgia Graham

The Father of Xochitl . . . Charles Weidman

The Flute Player . . . Howle Fisher

Maidens, Court Dancers, etc.

The Legend: The father of Xochitl discovers that an intoxicating liquor can be brewed fromthe maguey plant. He and his daughter bring the discovery to the Toltec Emperor. Xochitl dances for her king, who, inflamed by the liquor, forces evil attention upon her. The father has been lured from the room, but hearing her screams, rushes back and is about to plunge his knife into Tepancaltzin, when with the usual feminine inconsistency, Xochitl begs that his life be spared. The Emperor, in love and gratitude, calls in his court to witness the making of Xochitl the Empress of the Toltecs.

Intermission

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{America's most satisfying choir, Friday Evening Jan. 9 Monday Evening Jan. 12 L.E. Behymer Presents St. Olaf Lutheran Choir F. Melius Christiansen, musical director of St. Olaf College, Northfield, Minnesota Two remarkable ensemble programs Seats on sale at Central Box Office 50c, 75c, $1.00, $1.50, $2.00, $2.50-No Tax}

{The one you always love to hear Thursday Evening January 15, Only Madame Schumann-Heink The world renowned contralto in a programme replete with favorites Seats on sale at Central Box Office $1.00, $1.50, $2.00, $2.50, $3.00-Plus Tax}

{Why don't you learn to dance?" Gentlemen instructors for Ladies-Lady instructors for Gentlemen We guarantee to teach anyone to dance who can walk Teaching dancing is our business at Wilson Danse Studio 417 W. Fifth St., Los Angeles, Calif. Private lessons every week day from morning to midnight Matinee Dancing and Class Lessons 2 to 5. Evening Social Dancing and Class Lessons, 8 to 11:30 Orchestra Music every afternoon and evening. No appointments necessary at Wilson's Phone MAin 1937}

IV. Orientalia

China: Kuan Yin, Goddess of Mercy . . . Ruth St. Denis

The dance of Kuan Yin, a Buddhist deity, is based upon symbolic postures (Mudras derived from the innumerable paintings and sculpture of this Chinese equivalent of the East Indian Avalokitesvara.

Crete: A Priest of Knossos . . . Ted Shawn

A dance before the Snake Goddess.

India:

(a)The three Apsarases:

Misses Douglas, Graham and Hellekson

(b) Nautch Dancer . . . Ruth St. Denis

Siam:

Rama . . . Ted Shawn

Sita . . . Doris Humphrey

Ravan . . . Charles Weidman

Hanuman . . . Howle Fisher

Japan: Lantern Dance . . . Ruth Austin O-Mika . . . Ruth St. Denis

Java: The Princess and the Demon . . . Anne Douglas and Charles Weidman

Egypt: TheTillers of the Soil . . . Ruth St. Denis and Ted Shawn Thoth and Horus . . . Charles Weidman and George Steares Priestesses with Tambourines . . . Ensemble Dance of the Rebirth . . . Ruth St. Denis and Ted Shawn

Miss Ruth St. Denis and Mr. Ted Shawn use the Steinway Piano exclusively. All costumes designed by Ruth St. Denis, Ted Shawn and Pearl Wheeler, and executed under the direction of Miss Wheeler at Denishawn, 327 West 28th St., New York.

{Correct Corsetry Scores of types of your choosing at Newcomb's, varying from the soft, light little dancing corset to that which is more heavily boned. Expert Corsetiere Service. Newcomb's Corset House 429 West Seventh St.} p. 17

{New to us but phenomenal in the east Thursday Evening, Jan. 9 Erna Rubinstein The new surprise and satisfying violinist Seats now Selling at Central Box Office 75c, $1.00, $1.50, $2.00, $2.50-Plus Tax}

{Philhamonic Auditorium 5th and Olive L.E. Behymer and Geoffrey Bushby have the distinguished honor Friday evening, February 6 in a festival of Hellenic arts of introducing Kanellos, Premier Greek Dancer of the World direct from the Theatre Royal, Athen and the Royal Grecian Corps de Ballet with rare traditional Greek music from unpublished manuscripts First program of its kind on the Pacific Coast after triumphs in Carnegie Hall, New York $1.00, $1.50, $2.00, $2.50, $3.00 Seats on Sale at Central Box Office War Tax 10%.}

{Pantomime and Dramatic Art under direction English actress Miss Ethel Ransome Course starting during January, for Adults and Children, in Drama-Radio Plays-Pantomime Sommerset Studios 6075 Franklin Phone HE 4161}

Friday Evening, January 2, 1925

Saturday Matinee, January 3, 1925

Monday Evening, January 5, 1925

Ruth St. Denis with Ted Shawn and the Denishawn Dancers

Doris Humphrey, Betty May, Pauline Lawrence, Anne Douglas, Georgia Graham, Ruth Austin, Lenore Hellekson, Ernestine Day, Pearl Wheeler, Charles Weidman, George Steares, Howle Fisher, Ralph Parker, and an instrumental Quartet:

Louis Horst: Pianist-Conductor

George Palotay, Violin

Igp Bergamasco, Flute

Gino Allessandri, 'Cello

Management: Daniel Mayer, Aeolian Hall, New York City.

{Edith Lindsay School of Dancing Daily Classes Main Studio 5756 Carlton Way, Hollywood; Branch Glendale, (Saturday mornings) Tuesday Afternoon Club House. Miss Edith Lindsay: Note-Miss Lindsay has recently returned from Europe with an extensive repertoire of Operatic and National Dances.} p. 19

{Breon & Darrow School of Ballet: Grecian, Toe, Character, Spanish, Ballet, Oriental. New classes for all grades and ages now forming. The Misses Beverly Breon and Virginia Darrow are pupils of the famous Russian dancers, Andreas Pavley and Serge Oukrainsky, with whom they were associated for several seasons, with the Chicago Grand Opera Co. The Misses Breon and Darrow have been secured for the direction of the ballet, for the coming season of the San Carlo Grand Opera Co. Members for this ballet, will be chosen from among their best pupils. Register Now! 6318 Hollywood Blvd. Granite 3079.}

Program

I. The Spirit of the Sea. An elemental Dance Poem.

Choreography by Ruth St. Denis

Music by R. S. Stoughton

Scene designed and executed by Robert Law Studio.

The Fisher-boy . . . Ted Shawn
His Playmates . . . Misses Graham, Douglas, Day, Austin, and Hellekson
The Spirit of the Sea . . . Ruth St. Denis

II. The Feather of the Dawn. A Pueblo Pastoral.

Choreography by Ted Shawn

Music by Charles Wakefield Cadman

Scene designed by Earle Franke, executed by Law Studio.

Costumes are original Hopi Indian pieces, and duplications made at Denishawn. Masques and headdresses executed by Earle Franke, from authentic designs.

The Action:

The legend has it that a feather blown into the air at dawn, if caught by a breeze and carried out of sight, marks a propitious day. A Hopi Indian youth, in the village of Walpi, takes this as a sign that this is the day to propose marriage to the daughter of the chief of the tribe. Various dances of this tribe are performed: The Corn Grinding Song; Basket Dance; Dance of the Corn Maiden, the Eagle Dance, the Proposal Ceremony, the Blessing of the Bride, the Wolf Dance, and the Assemblage of the Catcinas (Hopi Gods) for the Wedding.

Kwahu, the Eagle . . . Ted Shawn

Kodeh, daughter of the chief . . . Ernestine Day

The Old Crone . . . Pauline Lawrence

Youths and Maidens of the Hopi Tribe . . . Denishawn Dancers.

{Happy New Year "Dress well and succeed." That Self-satisfaction felt when conscious of appearing at one's best is assured if you wear Richards' Clothes, 210 Haas Bldg., Broadway at Seventh. Sketch by Cooke} p. 20

{Beatrice de Troost Voice Musicianship Correct Diction Only Serious and Talented Students Accepted Studios 706-707 Majestic Theatre Bldg. VAandike 1910 Hollywood Studio HEemsted 4397}

III Divertissements

1. Waltz (Brahms) and Liebstraum (Liszt) . . . Ruth St. Denis

2. Pasquinade (Gottschalk) . . . Doris Humphrey

3. Spear Dance-Japonesque (Horst) . . . Ted Shawn

4. Danse Americaine (Mowrey) . . . Charles Weidman

5. Waltz (de Lachau) . . . Doris Humphrey and Misses Graham, Douglas, Hellekson and Day

6. The Legend of the Peacock (Roth) . . . Ruth St. Denis

Intermission

IV. Cuadro Flamenco. A Spanish Gypsy Dance Scene.

(Cuadro Flamenco is the name given to those bands of gypsy dancers, singers, and guitar players who form an inevitable part of every concert hall and cabaret performance in the province of Andalusia}

Music arranged by Louis Horst from native MSS. collected by Mr. Shawn in Spain.

Scene: A cafe concert hall in Seville.

Choreography by Ted Shawn.

Characters:

Cuardro Flamenco . . . Pauline Lawrence, Anne Douglas, Ernestine Day, Doris Humphrey, and Charles Weidman

Flower Sellers . . . Gloria Graham, Ruth Austin and Lenore Hellekson

Sevillanos . . . George Steares, Howel Fisher and Ralph Parker

Lalanda, a famous matador . . . Ted Shawn

La Macarena, a dancer, idol of all Seville . . . Ruth St. Denis

The Story:

It is the evening of the day of a great bull fight. The cafe life is just beginning to become gay. The gitanas are mingling among the men of the concert hall, and the flower girls are plying their trade. La Macarena, so named because she is the idol of the quarter of Seville famous for its great dancers, is one of the Cuadro Flamenco and the curtain rises discovering the audience under the spell of her song. When she finishes, the other dancers of the group each take her turn. Then Lalanda enters in full regalia and is persuaded to recount his afternoon's triumphs in the Plaza de Toros. L Macarena comes back into the cafe and Lalanda who has long been her ardent suitor, demands an answer. He promises to buy her the most beautiful shawl in all Seville if she will promise to marry him. She agrees, and he goes to the shawl merchant next door, returning with a chest full of gorgeous fabrics. He offers them to her one by one-the fifth and last wins her. The entire assemblage celebrates their betrothal in typical gypsy manner.

{-We invite you to visit the new addition to our Biltmore Shop. If Merchandise purchased from Milnor's can be duplicated anywhere in the United States for less, or you are in any way dissatisfied, you have the privilege of obtaining a refund. Milnor Inc. Importers Hotel Biltmore, Los Angeles, Calif.; Hotel Maryland, Pasadena, Calif.; Hotel Beverly Hills, Beverly Hills, Calif.; Hotel Virginia, Long Beach, Calif.; Hotel Raymond, Pasadena, Calif.; Hotel Arlington, Santa Barbara, Calif.; Hotel Moana, Honolulu, T.H.; Hotel Huntington, Pasadena, Coronado, Calif.; Waldorf Astoria, New York; The Plaza, New York}

{FC Fountain Cafe 508 So. Hill St., opposite Pershing Square, finish your night's pleasure. A few steps from this Auditorium, on Hill, near Fifth. Broiled Steaks and Chops, all kinds of Sandwiches, our own home-made Pastry and our Famous Coffee.}

V. Ishtar of the Seven Gates

A Mystic Dance of the Babylonian Aphrodite, Goddess of Love and Creation. Choreography by Ruth St. Denis. Music arranged from the works of Charles T. Griffes. Scene by Robert Law Studio.

Scene: Interior of Ancient Babylonian Temple of Ishtar.

The Ritual:

First Phase-The Descent of Ishtar into the Lower World to revivify her lover, Tammuz.

Second Phase-Three dances of Generation.

(a) Love

(b) Hunting and the Arts of Music and Dance

Third Phase-The Love-Death of Tammuz and the Return of Ishtar.

The story of Ishtar of the Seven Gates is founded upon the poem of Ancient Babylania translated by Prof. Jastrow in his "Babylonian and Assyrian Civilizations," and deals with the descent of Ishtar into the underworld of Oralu, through the Seven Gates, in search of her lover Tammuz who personifies the manifestation of the spring and summer. At each of the Gates Ishtar is stopped by the Warder of the Gates and is stripped of her jewels at the command of the Queen of the lower world. she finally arrives in the "Place of No Return," and revivifies her lover, Tammuz, and takes him up to the sunshine and brightness of the earth. then for the edification of her worshippers, she performs the three Dances of Generation. At the end of the summer after the fullness of the Manifestation of Nature, Tammuz is drawn to her in a love dance but the power of her love destroys him. He dies, and the maidens of the Queen of the Lower World again claim him for their own. Ishtar recovers her jewels and ascends the Seven Gates to her shrine. The light of the temple are lowered and ritual is over. While closely keeping to the music visualization principle, Mr. Shawn has super- [sic . . .]

Ishtar . . . Ruth St. Denis; Tammuz . . . Ted Shawn; Ereshkigal . . . Doris Humphrey; Gilgamesh . . . Charles Weidman; Celebrants of the Ritual . . . The Ensemble . . . The Denishawn Dancers.

Ruth St. Denis and Mr. Ted Shawn use the Steinway Piano exclusively. All costumes designedd by Ruth St. Denis, Ted Shawn and Pearl Wheeler, and executed under the direction of Miss Wheeler at Denishawn, 327 West 28th St., New York.

{The Minstrelsy of Olden Time has returned to the Trio de Chanson: Carrie Donaldson Kraft, Dramatic Soprano; Esther Auten Pine, violin; Catherine Jackson, Harp. These artists are available in ensembles or individually. Miss Jackson, 560-631; Miss Pine, Eliot 2782; Mrs. Kraft, 515-83}

{Mount Lowe World-Famous Mountain Scenic Trolley Trip from the Heart of Los Angeles through beautiful Pasadena and Altadena to Mt. Lowe Tavern and cottages-The year round resort-5 trains daily 8, 9, 10 am, 1:30. 4 pm Round Trip Fare from Los Angeles $2.50 For Literature and Information Apply at Information Bureaus, or Address Pacific Electric Railway, Los Angeles}

{A Brilliant Debut. Now for the first time the marvelous Ampico is combined with the world's supreme piano, the Mason & Hamlin. You are invited to Hear the Mason & Hamlin with the Ampico on Tuesday evening, December 9, the newly introduced Mason & Hamlin with the Ampico gave to thousands of enraptured listeners a totally new revelation of the grandeur of this combination and of the artistry of the masters whose performance it re-enacts. You are cordially invited to hear this wonderful instrument. Wiley B. Allen Co. 416-418 So. Broadway Exclusive Representatives of the Mason & Hamlin}

(Back to Sources)

Santa Monica Planning Division Santa Monica Landmarks Tour, 2003.

33. Santa Monica Pier
Foot of Colorado Avenue
Architect: Charles Looff {?}
Designation: 17 August 1976

"The Pier is California's oldest pleasure pier and has the only amusement park on a pier on the west coast. . . . Looff sold the Pleasure Pier in 1924 to a corporation which lengthened it that year and built the famed La Monica Ballroom, which soon became home of some of the earliest national radio and television broadcasts. Although the ballroom was demolished in 1963, in its heyday the massive structure could accomodate as many as 10,000 people.

"In 1953, the City took over the Pleasure Pier and leased it to a private operator. Since the 1970s, the Piers have been known collectively as the Santa Monica Pier. The entire Pier was named a County Historical Landmark in 1975. After the 1983 storms that destroyed the west end of the Santa Monica Pier, the structure of the Pier was strengthened."

(Back to Sources)

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

8 Santa Monica Municipal Pier
West end of Colorado Boulevard
Built: 1909, 1917, 1924
Designated 17 August 1976

"The Santa Monica Pier was originally two separately owned, adjacent piers: the Municipal Pier built in 1909, and the Pleasure Pier, built in 1916 by Charles I.D. Loof and privately owned. While the Municipal Pier was for strolling and fishing, Loof constructed amusement and food establishments on the Pleasure Pier, including the exotic Hippodrome building to house the Pier's carousel. Loof sold the Pleasure Pier in 1924 to a corporation which lengthened it that year and built the famed La Monica Ballroom. Although the ballroom was demolished in 1963, in its hey (sic) day the massive structure could accommodate as many as 10,000 people. The City has owned both Piers since the 1950's and, in 1970, assumed direct management. Since the 1970's the Piers have been known collectively as the Santa Monica Pier.

"The Hippodrome has housed three carousels over the years. The first carousel, installed by Loof, remained until 1939, when it was replaced by a carousel that had previously been located at the old Pacific Ocean Park Pier. The current carousel was built by the Philadelphia Toboggan Company in 1922 and was moved from Nashville, Tennessee to the Santa Monica Pier in 1947. The Hippodrome building was designated a National Historica Landmark in 1988. In addition, the entire Pier was named a County Historical Landmark in 1975.

"Other buildings of interest on the Pier include the Billiard Building, constructed on the the Pier in 1923, and the building know today as Sinbad's, originally constructed next to the Billiard Building in the early 1920s. The building remained there until 1929, when it was moved to its present location, adjacent to the site of the La Monica Ballroom. It served as the home of the La Monica Dancing Company and Hoyt's Chesapeake Cafe until the use changed in 1955 to "Sinbad's" restaurant."

(Back to Sources)

Allan Seeger (1888-1916)

"I have a Rendezvous with Death"

I have a rendezvous with Death
At some disputed barricade,
When Spring comes back with rustling shade
And apple-blossoms fill the air-
I have a rendezvous with Death
When Spring brings back blue days and fair.

It may be he shall take my hand
And lead me into his dark land
And close my eyes and quench my breath-
It may be I shall pass him still.
I have a rendezvous with Death
On some scarred slope of battered hill,
When Spring comes round again this year
And first meadow-flowers appear.

God knows 't' were to be deep
Pillowed in silk and scented down,
Where love throbs out in blissful sleep,
Pulse nigh to pulse, and breath to breath,
Where hushed awakenings are dear . . .
But I've a rendezvous with Death
At midnight in some flaming town,
When Spring trips north again this year,
And I to my pledged word am true,
I shall not fail that rendezvous.
-1916

(Back to Sources)

Betty Lou Young and Randy Young Santa Monica Canyon: A Walk Through History Casa Vieja Press: Pacific Palisades, CA, 1997, 182pp., 1924

"By 1924 . . . proposal to unite the [Canyon School] area with Los Angeles passed . . ."

(Back to Sources)