1970 (1969) (1971) (1960-1970) (1970-1980) Table of Contents
2451 Beverley (Beverly) Avenue, 1970 See Image and Text
Edgar Kaufmann, Jr. (ed.) The Rise of an American Architecture, Essays by Henry-Russell Hitchcock, Albert Fein, Winston Weisman, Vincent Scully, Praeger Publishers: NY, 1970, 1950s, 1920s, 1910s See Text
James W. Lunsford
The Ocean and the Sunset, The Hills and the Clouds: Looking at
Santa Monica, illustrated by Alice N. Lunsford,
1983, 1970, 1828 See
Text
Documents
Beverley Avenue, Ocean Park,
2451 Beverley Avenue , 1970, Two Photos, Greta Couper, 1970
2451 Beverly Blvd. Backyard, 1970, Photo, Greta Couper, 1970 (2010)
Greta Couper, Email, 2010, 1970
Robert Gottlieb and Irene Wolt* Thinking Big: The Story of the Los Angeles Times, Its Publishers and Their Influence on Southern California, G.P. Putnam's Sons: NY, 1977. 603 pp., 1970
6. "A Threat to Public Safety"
"Problems with the police were not limited to the black community. As the Vietnam war escalated, university protests mounted, and Times reporters were frequently dispatched to cover campus demonstrations. After the Cambodian invasion and the Kent State shootings in May 1970, massive, spontaneous demonstrations broke out at UCLA and scores of other schools throughout the country. After a state of emergency was called, hundreds of police entered UCLA and made sweeps up and down the campus. One of the Times reporters, Stan Williford, witnessed an incident in which a student walking across the quad with books in his hands was caught in a sweep and beaten savagely by two police, who took the student behind some bushes. . . .
" . . . . [Noel] Greenwood [Times rewriteman] received a list of civilian and police causualties from the UCLA Medical Center, compiled other eyewitness accounts of beatings and arrests, and . . . UCLA Chancellor Young's statement, " very serious instances of excessive overreaction and overuse of force on the part of individual policemen." He produced follow-up stories that indicated that police used unnecessary force and arrested persons indiscriminately" . . ." p. 395
{Peter Ladefoged and Talmy Givon*: KR}
Edgar Kaufmann, Jr. (ed.) The Rise of an American Architecture, Essays by Henry-Russell Hitchcock, Albert Fein, Winston Weisman, Vincent Scully, Praeger Publishers: NY, 1970, 1950s, 1920s, 1910s
"Vincent Scully writes in his essay on the American house, on pages 203 and 204 " . . . Greene & Greene created the last vernacular of the old, nineteenth-century kind. The California bungalows that the publications of Gustav Stickley briefly popularized from their design. By the time of World War I, their vogue had passed. Greene & Greene themselves, like the architects of the Prairie School, hardly functioned thereafter, though they lived long enough to witness the revival of their influence after World War II. The same was, unfortunately, not true of Irving Gill, the Greene's contemporary. Gill simplified Spanish-Colonial precedent into cast concrete and produced a marvelously lucid and severely rational architecture that was not unconnected with contemporary puritanical polemics in Europe and was thus a double precursor of the International Syle of the 1920's. Gill's unselfish social conscience, rare among American architects of any period, should also be mentioned, as should his Lewis Courts in Sierra Madre, a highly successful housing project what was prompted by it."
James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1970, 1828
"9. Historical Rancho Marker. Just to the right of the lobby doors [of Santa Monica City Hall] is a bronze plaque noting that the original townsite of Santa Monica was part of the 30,000-acre Rancho San Vicente y Santa Monica granted to Don Francisco Sepulveda in 1928{1828?}. This marker was erected in June 1970 by the Beverly Hills Parlor of the Native Daughters of the Golden West."
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 Historical 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."