1947test

"[p. 351] Among [Rupert Hughes'] discoveries was Jim Tully [1891-1947], the hobo who turned author. Jim was fortunate in having the guidance also of Upton Sinclair [1878-1968], who taught him how to write in short, stinging sentences. He lives in San Fernando Valley.

" . . .

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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., 1947

In 1947, heavy pressure by many of the sports enthusiasts of the community was put upon the Board of Education to build a suitable stadium on the new junior college site. The proponents of the plan declared that neither the high school nor the junior college had suitable facilities for interschool sports activities. The Board acceded to the demands and authorized the construction of a stadium with team dressing rooms under the structure, and a seating capacity of 5000 spectators. The total cost of this project, including landscaping and lighting, ran in excess of $200,000. [75. Board Minutes, Jan. 14, 1946.]

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George Dantzig* Linear programming and extensions, 1963

"One of the first applications of the simplex algorithm was to the determination of an adequate diet that was of least cost. In the fall of 1947, Jack Laderman of the Mathematical Tables Project of the National Bureau of Standards undertook, as a test of the newly proposed simplex method, the first large-scale computation in this field. It was a system with nine equations in seventy-seven unknowns. Using hand-operated desk calculators, approximately 120 man-days were required to obtain a solution ... The particular problem solved was one which had been studied earlier by George Stigler (who later became a Nobel Laureate) who proposed a solution based on the substitution of certain foods by others which gave more nutrition per dollar. He then examined a "handful" of the possible 510 ways to combine the selected foods. He did not claim the solution to be the cheapest but gave his reasons for believing that the cost per annum could not be reduced by more than a few dollars. Indeed, it turned out that Stigler's solution (expressed in 1945 dollars) was only 24 cents higher than the true minimum per year $39.69."

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Jim Heimann Sins of the City: The Real Los Angeles Noir, Chronicle Books: San Francisco, CA, 1999, 159pp., 1947, 1940

[pp. 114, 115] ["Bugsy Siegel, c. 1940; "Bugsy sprawled on the couch of Virginia Hill's rented Beverly Manse, June 20, 1947. Returning from a trout dinner in Ocean Park, Siegel and his bodyguard retired to the couch to catch the early editions of the newspapers . . . Speculators figured too much money was mishandled in the construction of the Vegas Flamingo and East Coast bosses wanted him eliminated."]

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Paul J. Karlstrom and Susan Ehrlich Turning the Tide: Early Los Angeles Modernists 1920-1956, Barry M. Heisler Introduction Santa Barbara Museum of Art 1990

Jules Engel, 1990, 1947

"Born in Budapest, Hungary, raised in Illinois, moved to Los Angeles in 1937 to work as an animator for Disney. During World War II he enlisted in the Motion Picture Unit of the Air Force. Afterwards, in 1947, he formed United Productions of America (UPA), where he helped to created Gerald McBoing-Boing, Madelaine, and Mr. Magoo.

"His painting are described as abstractly noir rather than the poised cubism of Neutra, Schindler, Soriano and Ain, more deconstructive or Gehry-like.

"Since 1969, Engel has served as founding chair of the Department of Animation and Experimental Film at the California Institute of the Arts in Valencia . . . "

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Kay Kyser and his Orchestra Fun with the Ol' Professor '44-'47, Sony (A-70229), Col-cd-7575 2003, 1947, 1940s

When Veronica Plays the Harmonica, (On the Pier in Santa Monica) Tommy Mack, Jimmy Mulcay, Mildred Mulcay, vocal by Gloria Wood, 1947

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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, 1947, 1943, 1942, 1941, 1940, 1933, 1921, 1913, 1912,

Santa Monica Pier-Arcadia Terrace

"2. The Carousel or Merry-Go-Round. This uniquely recognizable building, built in 1916 as the Hippodrome, houses not only the recently renovated Merry-Go-Round but also a large collection of color photographs documenting the restoration process. The Merry-Go-Round, created in 1922 by the Philadelphia Toboggan Company, includes forty-four hand-carved horses. Initally installed in Cumberland Park, it was brought to Santa Monica in 1947 to replace the horses of the original 1916 Merry-Go-Round."

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The Quarterly
Historical Society of Southern California
June 1947 Vol. XXIX, No. 2

Marco R. Newmark La Fiesta de Los Angeles of 1894 The Quarterly, XXIX, 2, 1947, pp. 101-111.

[p. 100, Max Meyberg]

In the early months of 1893, when Los Angeles was well on its way out of the difficulties into which the collapse of the great Land Boom in 1888 had plunged her, the country underwent a major panic. The city suffered its full share of this new affliction, and the merchants found themselves in serious trouble.

With the hope of improving conditions by means of a cooperative effort, the business men of the city established the Merchant's Association. At one of the meetings, during a discussion of ways and means for bettering the local situation, Max Meyberg suggested the holding of a carnival somewhat in the spirit of the annual celebratioon of the Mardi Gras in New Orleans. He expressed the opinion that such an undertaking would attract to Los Angeles many of the visitors to the Midwinter Fair then being conducted in San Francisco; and it was also suggested that the city had hitherto relied entirely on climate as the principal attraction for rich Easterners sojourning here during the Spring, and that something should be done to add to the pleasure of their stay.

After due consideration, the suggestion was adopted, and Dr. Harry E. Brook, who had witnessed the picturesque fiestas of Arizona, New Mexico and other parts of the Southwest, proposed that the event be named, "La Fiesta de Los Angeles."

This proposal having been accepted , Max Meyberg was appointed Director-General, with Frederick A. Wood and Adolph Petschy, as [p. 102] Assistant Directors. To work under these gentlemen, the following were appointed as an Executive Committee:

H.B. Belt
Major George W. Bonebrake
Walter B. Cline
Don Antonio F. Coronel
J. Henry Dockweiler
Williamson Dunn
Theodore Eisen
Ex-Mayor Henry T. Hazard
Hans Jevne
Gen. Edward P. Johnson
John Kahn
Joseph O. Koepfli
Herman C. Lichtenberger
Maurice H. Newmakk
Issac B. Newton
John W.A. Off
Richard W. Pridham
Mayor Thomas E. Rowan
Col. William G. Schreiber
Charles F. Sloan
Col. E.B. Spellman
Henry Steere
Freeman G. Teed
Francis J. Thomas
Frank Thomas
Frank Van Fleck
Lous F. Vetter
Chares S. Walton
Prof. Adolph Wilhartiz
Dr. W. Le Moyne Willis

The chairmen of the special committees were: Parades, Van Fleck; Finance, Jevne; Music, Wilhartiz; Secret Societies, Wills; Social, Thomas; Illuminating, Cline; Municipal, Dockweiler; Southern California, Newmark.

The Executive Committee, which established the Board of Trade room as headquarters, entered with typical Los Angeles vigor and enthusiasm upon the task of providing for the financing and for the various features of the coming carnival.

Careful and detailed consideration was given to the plans, which included four parades and the culminating social feature, a grand ball. Very serious attention was paid to the regulations for the floats which were to make up the parades. It was determined that they could be built in any manner and of any material but that the height of any portion must not be more than sixteen feet from the ground and the length not to exceed twenty-five feet. Floats entered by husiness firms were likewise to be limited as to size and although names and addresses could be included, the lettering was to be restricted to rather modest dimensions.

The Chinese had offered to participate and, in spite of some opposition, the Southern California Committee was instructed to notify them that their offer was accepted. This was a wise decision, for in the sequel their contribution proved to be one of the most unique and attractive of all the entries.

After many meetings of the Executive Committee, the plans were finally completed; Richard W. Pridham was awarded the contract for the official souvenir program and all was ready for the great event [p. 103] At one of the meetings a member suggested that "everybody should take hold and help along the good work of giving Los Angeles such a blow-out as has never been seen on this side of the mountains. " Thereupon, Professor Wilhartitz observed that something should be done to get the ladies talking about the carnival and slyly submitted with a typical touch of Gay Nineties humor, that it might be a good idea to make them think that it was a secret.

Whether this ruse was adopted we do not know, but we do know that before the opening day arrived, the entire population had caught the spirit. All the people, young and old, high-placed and humble, rich and poor and of every racial origin, felt that it was not just a Fiesta but that it was their Fiesta.

In preparation for the festivities, buildings, show windows and telegraph and telephone poles were resplendent with the official colors, which had been proposed by J.T. Sherwood, They symbolized the three principal products of Southern California-orange, green and red, for the orange, the olive, and for wine.

Two days before the official opening of the Fiesta, "a municipal revolution was effected." The officials of the Fiesta, arrayed in grotesque costumes, met at the Concordia Club on Main Street, whence headed by a dignified citizen mounted on a burro and followed by a motley crowd, they set out on a march to the City Hall. On the way, they stopped in front of the Chamber of Commerce, "where, so it was reported, they made things so interesting that the members almost forgot about voting for the harbor" (the fight for San Pedro Harbor was raging at the time.)

Having arrived at their destination, where a large and noisily demonstrating throng had assembled, they took their seats on a gaily decorated platform, erected in front of the entrance and entered upon the serious business of the day. James S. Slauson, fantastically garbed, forthrightedly opened the meeting with these stirring words, remindful perhaps of the fiery orations of the French Revolution.:

"Behold the beautiful citizens assembled to avenge their wrongs (loud tooting of horns).

"When a government, by its tyranny (more horns) becomes unbearable, there is nothing to destroy it but revolution. We propose to destroy the tyranny of this government (still more horns). We propose to arrest this municipal government and bring it to trial."

A herald, in ballet skirts, then announced that Mayor Thomas E. Rowan and the City Council would be brought in. These officials having been unceremoniously produced, J.H. Dockweiler stated that inasmuch as the Queen of the Fiesta was but three days journey from the city, the present government should be overthrown and a new one established on her arrival.

[p. 104 Fiesta Float]

[p. 105] The amateur wits of the city next had their fling. They introduced a number of resolutions referring satirically to various questions then under consideration. For instance, one of them declared that as everybody wanted a crosswalk, the same shall be build as soon as the rains began, and another proposed that the harbor shall be established on Mount Lowe.

At the conclusion of this bizarre and somewhat boisterous meeting, the Mayor and Council were expelled from office and the Fiesta officials installed in their places.

All preparations having been made and the preliminaries having been accomplished in due form, the long and eagerly not to say excitedly awaited tenth of April, the day set for the official opening of La Fiesta de Los Angeles arrived. It was ushered in vociferously with the ringing of bells, the blowing of whistles, the blaring of trumpets, the beating of drums, the discharge of musketry and the firing of cannon. After this resounding din, the people gathered in mass around the grandstand in Central Park (Pershing square, now) where the Mayor gracefully abdicated. Then the Queen, wearing a mask (for her identity was still supposed to be a secret) and surrounded by her Ladies in Waiting, after a greeting song composed by Professor Wilhartitz to the tune of America, was enthroned wtih stately ceremonial.

A gallant speech by His Honor and a gracious response by Her Majesty concluded this courtly ritual. It may be observed now, without breach of confidence, that the lady who had been selected to reign during the Fiesta was the charming Mrs. Ozro W. Childs, Jr., one of the fairest belles in all Los Angeles.

In the afternoon of this Historical Day, as it had been designated, occurred the parade. It assembled at Ninth and Hill Streets, proceeded north to the park, where it was reviewed by the Queen; thence to Third, east to Spring, north to the Plaza, around the Plaza and to Sixth and Main, where it was disbanded.

Some of the floats quite elaborately represented landmarks in California history-the landing of Cabrillo (Old Spanish Life) one hundred Yuma Indians in native dress, gathered by Harrison Fuller, dancing wild dances underway; an irrigation scene; a scene depicting a group of emigrating forty-niners; floats portraying the Boom and the Boomers, the busted Boom, and many others. The floats and other features were designed with detailed attention to realistic settings. For the emigrant float, fourteen burros, for the feeding and corraling of which Fuller had been awarded the contract, were packed with bedsteads, mattresses, stoves, boxes and other emigrant train equipment "in such a manner as to delight old-timers and amuse the tenderfeet and well-nigh obscure the little animals." [p. 106]

On the boom float, a frame enclosed a canvas on which were painted lots which were being offered by a loud-voiced professional auctioneer, a score of excited men, capering about him and a brass band playing old boom tunes. This reminder of the erstwhile real estate fiasco was followed by a carriage in which "rode four of the genuine old boomers whom everybody knows."

The busted Boom float was more simple but equally vivid. It represented the interior of a real estate office divided into a number of desk stalls, all of which were deserted except for one man with a crushed hat pulled down over his eyes and "looking dejected" a portrayal which, notwithstanding that it conjured up some not too agreeable memories, nevertheless caused much merriment and laughter, thus illustrating the genius of Americans for extracting humor even from their troubles.

Following the historic features, there were floats entered by the City of Los Angeles, other towns of Southern California, the Chamber of Commerce, the secret societies and business firms of the city. Prominent among these was a large bottle of bourbon whiskey advertising the wares and location of Robert Kern, well-known purveyor at retail of alcoholic beverages. During the preliminary meetings of the Executive Committee, a question had been raised concerning the propriety of permitting his participation; but when it was pointed out that he had made a substantial contribution toward the expenses and shown a very patriotic spirit indeed, the Committee disregarded this righteous qualm and rendered a decision in his favor.

Best remembered, perhaps, by those still living, who witnessed this parade of fifty-three years ago, was the Chinese float. As one reporter enthusiastically observed, "It seemed as if all the genius of the Orient had been brought in to make it beautiful and artistic," and to add a further touch of the exotic, a group of residents of the then large Chinese section ambled along, clad in their native costumes, wearing queues, symbolic of subjections to the Manchu dynasty, burning incense and playing the instruments which had greeted the attentive ears of Marco Polo some six centuries before.

(The Fiesta was repeated several years. Still recalled was the Chinese contribution in 1895. It included the replica of a dragon brought down from San Francisco for the occasion. One hundred feet in length, it was covered with blue and green silk, and it was supported by a shoulder brigade of forty Chinamen hidden by drapes hanging from its side. They trudged along with a peculiar side to side movement, which created the illusion that the beauteous monster was moving, reptile fashion, along the street. Symbolizing the Emperor, the dragon was accompanied by a gaudy bird of paradise which symbolized the Empress.) [p. 107]

[p. 107] Late in the day, this colorful parade in which, Rudyard Kipling nothwithstanding, East and West did meet, disbanded and participants and observers separated and returned to their respective places of abode (we hope), looking forward with high expectancy to the spectacle which had been prepared for the following eveninng-designated as Carnival Night.

For the night parade had been arranged an elaborate scheme of illumination, the details of which, because they betoken the transition from the old to the new methods, are of some interest. Chinese lanterns; red and brown fire burned by men standing on brackets erected on telegraph poles; the arc lights of the city painted with the fiesta colors, and four hundred incandescent lights strung along Spring Street-all these illuminating devices combined to make downtown Los Angeles as the day and to create a glow which could be seen from several miles beyond its limits.

Up and down the streets, through this shining radiance, rolled the floats of the previous day's parade, bedecked with the vari-colored flowers of the Southland and manned by masked participants. They were followed by a long line of carriages, tallyhos, stage coaches, hacks, dog carts, and pony chaises--and so ended the seond day of the Fiesta.

The twelfth was Children's Day. In the morning, the Fiesta Committee formed a procession to pay a visit to the Chinese Board of Trade. Here, Chan Kin King made them a speech after which refreshments were served and to conclude the ceremonies, large strings of firecrackers were set off on the street below-an old Chinese custom. The afternoon was given over to the parade. The children had been carefully drilled under the direction of Superintendent of Schools, Leroy Brown, assisted by all the teachers, who entered enthusiastically into the spirit of the event.

The pupils of the grammar schools; students from the High School; the Normal School; Los Angeles Business College' Throop Institute, now California Institute of Technology, and cadets from Santa Monica and Downey took part in the parade, which was headed by Chief of Police John Glass, accompanied by a mounted police guard and followed by the Director-General, a group of city officials. The boys and girls marched separately in company formation, each company being composed of fifty youngsters and officered by a captain, two lieutenants and a sergeant. To the thousands who lined the streets and especially to the six hundred children for whom seats had been provided in the Central Park grandstand, Children's Day proved to be one of the most appealing events of the week and is still fondly remembered by some of us who, then in our teens, took part in the parade or witnessed it. [p. 108]

[p. 108] Friday was designated as Military-Floral Day. The Army and Navy and the police and fire departments, in full array, were represented in the parade. Included also were many floats, large carnival cars and chariots decorated with plants, fruits and flowers as well as private carriages from the light two wheeler to the heavy family coach and a section of bicycles which had been gaily decorated by the riders or their friends. To judge by the accounts in the press, the most spectacular feature of the day was "a slendid float of ancient Rome. In toga costume, on a canopied throne, sat a Caesar; beside him sat two lictors; and in an arena below him, gladiators wrestled and held fierce combats with broad Roman swords."

The Fiesta was brought to a climactic close that night midst "pomp and circumstance" with the grand ball at Hazard's Pavilion (which was replaced about 1918 by the present Philharmonic Auditorium.) During the first part of the evening, maskers milled about in lively but decorous revelry until at eight o'clock, the National Guard in full military dress, after the execution of a series of graceful maneuvers, directed them to seats placed for them under the galleries provided for spectators, whose admission charge was assigned to the municipally conducted Associated Charities. The Floor Committee then met the patronesses at the left entrance and escorted them to the throne, where they were received by the Social Committee, Francis Thomas, John W.A. Off and Louis F. Vetter.

Many of the patronesses bore names still well-known and some of them yet abide with us to recall that glittering night in the long ago. The list, which we subjoin, is otherwise historically interesting, constituting, as it does, a roster of the society matrons of the day:

Mesdames

Frank K. Ainsworth
James J. Ayers
Robert S. Baker
Mary H. Banning
Mary A. Briggs
Samuel B. Caswell
Emeline Childs
Mrs. O.W. Childs
Walter B. Cline
Jeremiah F. Conroy
Antonio F. Coronel
Charles L. Ducommun
Charles J. Ellis
Henry J. Fleishman
Charles W.R. Ford
Charles Forman
Herman W. Frank
Frederick K. Griffith
Abraham Haas
Henry T. Hazard
Herman W. Hellman
John A. Henderson
Frank S. Hicks
Godfrey Holtershoff, Jr.
Robert H. Howell
Feliz C. Howes
Henry W. Hughes
Summer P. Hunt
Winifred R. Hunt
Hans Jevne
Edward P. Johnson
John Kahn
Ernest T. Klokke
Jacob Kuhrts
Henry T. Lee
Thomas A. Lewis
Max Meyberg
Granville McGowan
Hugh L. McNeil
Maurice H. Newmark
Jacob Newton
John W.A. Off
Henry L. Osborne
Harrison G. Otis
John A. Plater
William Pridham
Leonard J. Rose
Thomas A. Rowan
Mark L. Severance
Charles Silent
Otheman A. Stevens
Thomas D. Stimson
Francis J. Thomas
Hugh J. Vail
Isaac N. Van Nuys
Countess Jaro Von Schmidt
Robert J. Widney
John A. Wills
Charles Modini Wood
William H. Workman

[p. 109 The Queen's Throne At the Masked Ball]

[p. 110] After an introduction of distinguished guests to this galaxy of fair ladies, a herald announced by the resounding blast of a bugle that the Queen of the Fiesta who was escorted by the Prince Consort, Major W.A, Elderkin, U.S.A., clad in Spanish costume, and attended by her courtly retinue, was approaching.

Her Majesty and her courtiers and court ladies then filed in and took their places on and about the throne. At eleven o'clock, at the sounding of chimes, the dancers passed in review before the queen, who for this ceremony had removed her mask; after which formality, they "tripped the light fantastic until the wee, small hours of the dawn." Thus came to a triumphant conclusion the historic Fiesta de Los Angeles of 1894.

One might think that, after the strenuous excertions and excitements of the four days of almost constant festivity and celebration, the people of the city would have catalogued the carnival among their happy memories and abandoned themselves to a weekend of rest and relaxation. Such, however, was not the case. The flesh may have been weakened, but the spirit was still strong. On Saturday, the populace arranged a spontaneous unofficial program of their own. In the afternoon, there was a parade of florally decorated bicycles and vehicles of every description. Among the latter was an open buggy entered by Hawley, King and Company. This entry created a sensation, for on its wheels were the first pneumatic tires ever seen in Los Angeles.

The impromptu parade was followed by All Fools Night, as it was appropriately named. Indeed, even before the dust had cleared away, crowds of hilarious celebrants were roaming about, tooting horns, throwing confetti and playing impish pranks on all and sundry, regardless of age or sex. All abroad on the steets were supposed to wear masks; in fact, it was agreed by common consent that any man could kiss any lady who ventured to appear without facial disguise; and in one instance, when a reveler approached a lady who had thus offended, with the very evident intention of making use of this osculatory privilege, her husband threateningly raised his cane. The lady, however, convinced him that he was wrong, and the near tragedy was happily averted.

Throughout the night, the capering continued until, in the early hours of Sunday morning, the crowds dispersed and the Fiesta was at an end.

The sequel fully justified the time, the effort and the money that were expended upon it. Several thousand visitors came to Los Angeles and remained for stays of varying duration. They spent a substantial sum of money while they were here; business revived, and a bright [p. 111] optimism supplanted the dark pessimism that had prevailed during the early months of the year.

Indeed, the historians of Los Angeles agree that the Fiesta led to a period of buoyancy and prosperity which constituted a new era in the growth and development of Los Angeles.

Ocean Park float in the parade of La Fiesta de Los Angeles, 1915, USC Special Collections

http://digarc.usc.edu/search/controller/view/chs-m11052.html?x=1226440051233

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Santa Monica Planning Division Santa Monica Landmarks Tour, 2003.

32. Loof Hippodrome, 1916
Foot of Colorado Avenue
Architects: various builders
Designation: 17 August 1976

"The Hippodrome is a California-Byzantine-Moorish-style fantasy that has housed a succession of vintage merry-go-rounds, carousels and Wurlitzer organs over the years. The current carousel was built by the Philadelphia Toboggan Company in 1922. Originally from Nashville, Tennessee, the carousel was moved from the Venice pier to the Santa Monica Pier in 1947. It has 44 hand-carved and hand-painted wooden horses, which were restored in 1990.

"The Hippodrome building was restored during the period from 1981 through 1984, and was listed on the National Register of Historic Places in 1987."

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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."

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Jeffrey Stanton Santa Monica Pier A History from 1875 to 1990, Donahue Publishing: Los Angeles, CA, 1990.

Chapter 5: Santa Monica Pier on the Skids (1941-1974)

" . . . the city's second annual beauty pageant in 1947 was staged almost two weeks before the Independence Day festivities. It began with a mile long parade from the Santa Monica Pier to Ocean Park's Casino Gardens. A crowd of 100,000 watched eighty horseback riders, numerous movie stars in parade vehicles, and two bands march past. Spade Cooley, radio western star, acted as Grand Marshal for the event. A panel of movie celebrities judged Susan Brown as the city's . . ." p. 105

"The Independence Day celebration at the pier was just a shadow of the previous year's festival. The Recreation Department staged its 2nd Annual Muscle Matinee on July 4th. A crowd of several thousand watched Charles B. Grayling, a 24 year old studio technician, win the title Mr. Santa Monica. . . .

"The Labor Day contest for the Miss Muscle Beach title was much more exciting and included a show by Pudgy Stockton's Beachettes and a Thrill Circus featuring outstanding Pacific Coast athletes. A sweating, yelling, whistling, hot dog munching, soda pop drinking mob of sun-burned men, women and their children gathered to 'ooh' and 'ah' at the nearly three dozen shapely contestants. The pageant was supposed to prove that a woman could pour beauty and biceps into the same bathing suit. Mirs. Vivian Crockett, a 22 year old housewife and free lance actress won the title.

"On September 3rd, the State Board of Health quarantined twelve miles of beaches from the Santa Monica Pier south to Hermosa Beach. This left Santa Monica with only 1.7 miles off swimming beach. The problem once again was Los Angeles' antiquated Hyperion Sewage Plant which had run out of chlorine again and was dumping large amounts of untreated sewage into the bay. While Santa Monica and Ocean Park's beaches reopened the following summer, Venice's beaches remained closed until the new Hyperion Sewage Plant began operation in June 1950."

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Kevin Starr Embattled Dreams California in War and Peace 1940-1950, Oxford University Press, 2002, 386 pp., 2002, 1947, 1940s, 1930s

[p. 227] ". . . Al Capone was alleged to have visited Los Angeles in 1927 with an eye to organizing the city. By the mid-1930s, Phil Capone, Al's brother, Bugs Moran, Busgsy Siegel, and others had established themselves in Los Angeles . . . In the late 1930s gangster Willie Bioff penetrated and took over the International Alliance of Theatrical and Stage Employees and shook producers down on a regular basis . . .

[p. 227] "The 1930s also witnessed a fusion of mob and Hollywood interests in the evolution of the gangster movie . . . George Raft . . . an open friendship with Busy Siegel.

" . . .

" . . . There were more than two hundred identifiable gangster or gangster-prison films released in the 1930s, a figure falling by more than half in the 1940s . . . The prison film was even more schematic than the gangster movie, for here there were no distracting themes of social class and urban sociology, as there were in gangster films. In the prison film, society was collapsed back into its basics, prisoners and guards, the powerless and the all-powerful, in a setting that awaited the analysis of French theorist Michel Foucault for its more complete construal . . .

[p. 228] " . . .

"And so too, like the movie they eventually became, were the last days of George Raft's good friend Benjamin (Bugsy) Siegel, then busy with the construction of a gangland institution of another sort, the Flamingo Hotel in Las Vegas. . . .

" . . . At some point during the war, Siegel had taken up with a rather mysterious woman from Chicago named Virgina Hill . . . Siegel's open association with Hill eventually [led] Esta Siegel [mother of Bugsy's children] to sue for divorcc in Reno in December 1945, and in the fall of 1946 Siegel and Hill were secretly married in Mexico.

"By this time, Siegel had discovered the one great venture that would give him . . . glamour and power, legitimacy, respectability: a resort hotel in the Las Vegas desert . . . Every dream, however tawdry and meretricious, that had pulsated through the collective imagination of Los Angeles-Hollywood Bugsy Siegel brought to Las Vegas. [Along with George Raft's $200,000 investment], told his associates-among them Meyer Lansky . . . and Charles (Lucky) Luciano-that the Flamingo, which they bankrolled,. would cost $1 million. Siegel hired Del Webb to build the hotel. [p. 229] Through his good friend United States Senator Pat McCarran, Webb arranged priorites for construction materials still scarce in the post-war period. Siegel interfered constantly with his architects and with Webb, ordering expensive adjustment, and the cost fo the project pushed towarrd $6 million. Part of the money Siegel raised from loans and the sale of hotel stock (no one ever fully accounted for how many shares Siegel issued); much of it came from Siegel's colleagues on the East Coast.

[p. 229] [On 26 December 1946, a storm kept Hollywood from the grand opening of the hotel.] In January of 1947, the hotel was closed to finish construction. [He was summoned to Havana for a meeting with Luciano, Lansky and others. He opened for a seond time on 1 March 1947. The Flamingo continued to lose money. . . . ]

" . . . The 20th of June 1947 was Siegel's last day on earth. . . . At 12:53 that morning Siegel and an associate, Swifty Morgan, boarded Western Airlines flight 23 for Los Angeles. In Siegel's briefcase was $600,000 in cash . . . Flight 23 landed at Mines Field in Los Angeles at 2:30 a.m. Siegel went directly to Virginia Hill's house on Linden Drive in Beverly Hills and went to bed. That morning and afternoon, Benjamin Siegel . . . embarked upon a prototypical day that seemed almost choreographed in its evocation of Siegel's personal version of the good life, Los Angeles style. He spent the morning with his associated Mickey Cohen, a tough guy out of Chicago, and his longtime friend George Raft. In the afternoon, Siegel went to his favorite barbershop in Berverly Hills, where he ordered a shave, a haircut, a manicure, a neck and shoulder massage, and a shoeshine. In the early evening he phoned the Hollywood office of Daily Variety and thanked columnist Florabel Muir for her favorable review of the floor show at the Flamingo. Later that evening he went with his associate Allen Smiley, Virginia's brother Chick, and Chick's girlfriend Jerri Mason out to Ocean Park for a seafood dinner at Jack's at the Beach.

[p. 230] "As if he had not a care in the world, Siegel ate dinner with his back towards the door, as opposed to the usual gangster style of always eating back to the wall, facing the entrance fo a restaurant. Leaving Jack's shortly after nine, Siegel picked up a complementary copy of the next day's Los Angeles Times. Good Night, the front page was stamped. Sleep Well, With the Compliments of Jack's. On the way home he stopped briefly at the Beverly-Wilshire drugstore . . .

"[Shortly after arriving in the Beverly Hills house] Bugsy was shot nine times throught the window with a rifle. The next day , a photograph of Siegel's body in the Los Angeles County Morgue . . . went out over the wires. Just about the same time, Moe Sedway and Morris Rosen walked into the lobby of the Flamingo in Las Vegas and assumed control of the hotel in the name of its Eastern investors. A few days later, Jewish services were held at Groman Mortuary on West Washington Boulevard. Only five people showed up. Virginia Hill not among them. She and Siegel's other friends were very frightened as to who might be next."

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Les Storrs Santa Monica Portrait of a City Yesterday and Today, Santa Monica Bank: Santa Monica, CA, 1974, 67 pp., 1947

" . . . W.W. "Tex" Milliken . . . street superintendent and later Commmissioner of Public Works . . .

" . . .

" . . . Bartlett L. Kennedy . . . city engineer and director of public works; Marcel Gentillon, retired deputy director of public works; Maurice M. King . . . city engineer and dirctor of public works . . . in the early days of the council-manager system . . .

" . . . Earl Reinbold, . . . [Santa Monicas] rookie . . . to [Police] Chief, . . . [retired 1974].

" . . ."

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Betty Lou Young and Randy Young Santa Monica Canyon: A Walk Through History Casa Vieja Press: Pacific Palisades, CA, 1997, 182pp.., 1947

" . . . The canyon Chamber of Commerce was resurrected in 1947 as the Santa Monica Canyon Civic Association (SMCCA) . . . . "

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