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The Jour na l of

History San Diego

Volume 51 Winter/Spring 2005 Numbers 1 and 2 • The Journal of San Diego History SD JouranalCover.indd 1 Publication of The Journal of San Diego History has been partially funded by a generous grant from Quest for Truth Foundation of Seattle, Washington, established by the late James G. Scripps; and Peter Janopaul, Anthony Block and their family of companies, working together to preserve San Diego’s history and architectural heritage.

Publication of this issue of The Journal of San Diego History has been supported by a grant from “The Journal of San Diego History Fund” of the San Diego Foundation.

The San Diego Historical Society is able to share the resources of four museums and its extensive collections with the community through the generous support of the following: City of San Diego Commission for Art and Culture; County of San Diego; foundation and government grants; individual and corporate memberships; corporate sponsorship and donation bequests; sales from museum stores and reproduction prints from the Booth Historical Photograph Archives; admissions; and proceeds from fund-raising events.

Articles appearing in The Journal of San Diego History are abstracted and indexed in Historical Abstracts and America: History and Life.

The paper in the publication meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

Front cover: Detail from ©SDHS 1998:40 Anne Bricknell/F. E. Patterson Photograph Collection.

Back cover: Fallen statue of Swiss Scientist Louis Agassiz, Stanford University, April 1906. Courtesy of the California Historical Society, FN-32903. Agassiz visited San Diego in 1873, praising its perfect latitude. The Journal of San Diego History Volume 51 winter/spring 2005 numbers 1 & 2

Iris H. W. Engstrand Molly McClain Editors

COLIN FISHER DAWN M. RIGGS Review Editors

University of San Diego

Published since 1955 by the SAN DIEGO HISTORICAL SOCIETY 1649 El Prado, Balboa Park, San Diego, California 92101 ISSN 0022-4383 The Journal of San Diego History

Volume 51 winter/spring 2005 numbers 1 & 2

Editorial Consultants Published quarterly by the San Diego Historical Society at 1649 El Prado, MATTHEW BOKOVOY Balboa Park, San Diego, California University of Oklahoma 92101. DONALD C. CUTTER A $50.00 annual membership in the Albuquerque, New Mexico San Diego Historical Society includes WILLIAM DEVERELL subscription to The Journal of San Diego University of Southern California; Director, History and the SDHS Times. Back issues Huntington-USC Institute of California and and microfilm copies are available. the West Articles and book reviews for VICTOR GERACI publication consideration, as well as University of California, Berkeley editorial correspondence, should be addressed to the Editors, The Journal PHOEBE KROPP of San Diego History, Department of University of Pennsylvania History, University of San Diego, 5998 ROGER W. LOTCHIN Alcalá Park, San Diego, CA 92110 University of North Carolina at Chapel Hill All article submittals should be typed NEIL MORGAN and double-spaced, and follow the Journalist Chicago Manual of Style. Authors should submit four copies of their manuscript, DOYCE B. NUNIS, JR plus an electronic copy, in MS Word or University of Southern California in rich text format (RTF). JOHN PUTMAN The San Diego Historical Society San Diego State University assumes no responsibility for the ANDREW ROLLE statements or opinions of the authors or The Huntington Library reviewers. RAMON EDUARDO RUIZ ©2006 by the San Diego Historical University of California, San Diego Society ISSN 0022-4383 ABE SHRAGGE Periodicals postage paid at San Diego, CA University of California, San Diego Publication No. 331-870 RAYMOND STARR (619) 232-6203 San Diego State University www.sandiegohistory.org DAVID J. WEBER Southern Methodist University

 CONTENTS

Volume 51 winter/spring 2005 numbers 1 & 2

ARTICLES

Two Days in San Francisco – 1906 Laurence M. Klauber 1

San Diego’s Bygone Burlesque: The Famous Hollywood Theatre Jaye Furlonger 21

A Gothic Architect in San Diego: Philip H. Frohman and the New St. Paul’s Church, 1920 – 1966 William A. Koelsch 42

BOOK REVIEWS 61

INDEX Volume 49, nos. 3 & 4, and Volume 50 76

ii

One Hundred Years Ago Two Days in San Francisco – 19061

Laurence M. Klauber

Preface by Molly McClain

Laurence Klauber, a twenty-two year old engineering student at Stanford University, awoke on the morning of April 18, 1906 to the roar of falling masonry and clouds of dust, plaster, and debris. The 1906 San Francisco Earthquake struck at 5:13 a.m. and measured 7.8 on the Richter scale. It toppled structures on the Stanford campus, twisted streets, destroyed homes and buildings, and killed thousands of people living in San Francisco and San Mateo counties. Soon afterwards, firestorms raged for three days in San Francisco, scorching 508 city blocks.2 Klauber described his experience of the earthquake and fire in a letter to his sister, Alice, written on May 1, 1906.3 She and other family members living in San Diego were impatient to know what had happened to him. Klauber explained that he had spent the evening of April 17, 1906, at the Grand Opera House in San Francisco, listening to the renowned tenor Enrico Caruso sing “Carmen.” He and his classmate Douglas Ferry caught the last train back to Palo Alto.4 The next morning, Klauber had returned to San Francisco to find his sister and brother-in- law, Elvira (Ella) and Gustav Wormser, and their three children.5 He watched from Lafayette Square as fires burned north of Market Street near the waterfront and in the poor South of Market neighborhoods. On Van Ness Avenue, wealthy San Franciscans slept on the sidewalk, “rolled up in furs and opera cloaks.” The following morning, Klauber joined crowds of refugees fleeing the city for the east bay. He left his nieces and nephew with family friends in Oakland and went on to Berkeley to send telegrams. He then returned to the city, hauling a suitcase containing bread, cheese and bologna. He found his brother-in-law burying valuables in the backyard and preparing to leave. He saw firefighters dynamiting Chinatown and the Barbary Coast in an effort to keep the fire from spreading. He also watched as people in the warehouse district pulled charred tins of food from the ruins.

Panoramic photograph showing the aftermath of the 1906 earthquake and fire. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson Photograph Collection

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Klauber sent his sister a description of his first two days in San Francisco, ending his letter with the phrase, “to be continued – maybe.” In fact, it would be many years before he returned to his narrative. In 1958, he pulled together notes, memories and research materials in order to produce the following memoir of his experiences at the time of the earthquake and fire.6 Laurence Monroe Klauber (1883-1968) was the son of Abraham and Theresa Klauber both of whom had emigrated to the United States from Bohemia, in Austria-Hungary, in the mid-nineteenth century. Abraham (1831-1911) traveled to California by way of Nicaragua, opening a retail clothing business in Sacramento before moving to San Diego in 1869. He and his partner Samuel Steiner ran a wholesale and retail store downtown, selling groceries, boots and shoes, dry goods, liquor, clothing, and mining tools. In 1897, he formed the Klauber Wangenheim Company. He and his wife raised nine children at their home on C Street.7 Their youngest son, Laurence, was born in San Diego on December 21, 1883. He attended Sherman Elementary School and was graduated from San Diego’s Russ High School in 1903. He worked for Klauber Wangenheim in Los Angeles before attending Stanford University. He graduated in 1908 with a degree in electrical engineering. After a short stint with Westinghouse Company in Pennsylvania, he returned to San Diego in 1911 to work for San Diego Consolidated Gas & Electric Company. He married his high-school classmate, Grace Gould (1883-1988), that same year. They had two children, Alice and Philip.8 Klauber worked at San Diego Consolidated Gas & Electric for forty-three years, moving steadily upward in the company. He became engineer in charge of the Record Department in 1912, general superintendent in 1920, vice president in

The Klauber family, ca. 1902, taken at their house on 30th and E Streets. Upper row: Victor Hugo Klauber, Elvira (Ella) Klauber Wormser, Melville Klauber, Laura Klauber, Edgar Klauber. Middle row: Theresa Klauber, Abraham Klauber, Alice Klauber. Lower row: Laurence Klauber (seated at left), Leda Klauber and Stella Klauber. Courtesy of Philip Klauber.

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Russ High School Class of 1903. Upper row: William Fay, Harry R. Comly, Laurence M. Klauber, Haldane Doig, John M. Ward. Middle row: unidentified, Adele Parker Hollingsworth and Edna Nichols. Lower row: Isabel Brooks, unidentified, Grace Gould Klauber and Lenore Price Drucker. Courtesy of Philip Klauber. charge of operations in 1932, vice president and general manager in 1941, president in 1946, and chairman of the board and chief executive from April 1949 until retirement in January 1954. Klauber also achieved international prominence in herpetology. In 1922, his interest in the study of reptiles led him to become San Diego Zoological Society’s consulting curator of reptiles. He collected and identified 53 new species and subspecies of reptiles and amphibians and published over 85 scientific papers. His definitive two-volume work on rattlesnakes, published by the University of California Press in 1956, was republished in 1972, 1982 and 1997.9 In 1940, he received an honorary LL.D. from UCLA in recognition of his outstanding scientific work. He served on the Board of Trustees of the San Diego Society of Natural History and as President of the Zoological Society (1949-51). He donated both his herpetological library and 36,000 reptile and amphibian specimens to the San Diego Natural History Museum. The library consisted of 1,462 books, 19,000 pamphlets, 20 drawers of hand-written catalogue cards, 198 loose-leaf binders of scientific notes and other materials. Klauber belonged to numerous organizations, including the American Institute of Electrical Engineering, the San Diego Electric Club, and the major professional engineering societies. Over the course of his lifetime, he served as president of four scientific societies, two trade associations, the San Diego Rotary Club, and the San Diego Public Library Commission. He held the last position from 1940 until his death in 1968.

 The Journal of San Diego History

A Renaissance man, Klauber loved books, theatre, music, and opera. He also held seven U.S. patents for his electrical inventions. He had “a finely-honed sense of humor,” according to his son Philip, and was particularly quick with double entendres and impromptu repartees. He was fascinated by poker, dealing himself 30,000 hands in order to calculate the mathematical probability of holding any winning hand.10 San Diego repositories hold a number of items related to the 1906 San Francisco Earthquake. The San Diego Historical Society has two albums containing photographs of San Francisco in 1906. The James S. Copley Library in La Jolla holds six letters written by Willett Smith to Freeport, New York. The University of California, San Diego, (UCSD) and San Diego State University have copies of the Report of the State Earthquake Investigation Commission (1908-10). UCSD’s Mandeville Special Collections Library also contains a number of contemporary accounts of the San Francisco earthquake and fire. In addition, San Diego Public Library’s California Room holds a portfolio collection of Bay Area newspapers covering the earthquake as well as a wide variety of related materials. Klauber’s account of the 1906 San Francisco earthquake and fire remains one of the only known letters written by a native San Diegan. The Journal of San Diego History is grateful to the Klauber family for permission to publish this first-hand account. Endnotes beginning with note 11 were added by Laurence Klauber. Material in brackets were supplied by the editor.

Introduction by Laurence M. Klauber, 1958

This letter, written May 1, 1906, assumes a general acquaintance with family and other situations, without a knowledge of which some of the statements will be quite obscure. These matters will have been forgotten a couple of posterities from now, and hence their recording seems advisable in this introduction and the several footnotes, which were supplied in 1939 and 1958, as well as a supplement, most of which was written a couple of years after the earthquake. No words in the letter itself have been changed, except one or two that have a different connotation today. At the time of the earthquake I was rooming in the little town of College Terrace in what is now the Mayfield district of Palo Alto, the professors having deemed it advisable that I should not divert from their studies those who really wanted to work; a sort of nocturnal retirement, as it were, for the campus was only out-of-bounds at night. However, on that all-important night of April 17-18, having returned very late from the opera in San Francisco, I was in Laurence M. Klauber in 1903, the year he graduated from Russ High School. Courtesy of Philip Klauber.

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Encina Hall contrary to these personal rules and regulations. My sister, Ella, Mrs. Gustav Wormser, 20 years older than I, was living with her family, consisting of her husband and three children, Elsie, Paul, and Dorothy, in a three-story wooden house of the typical San Franciscan style of that day at 2014 Webster Street [Pacific Heights]. It was to determine the fate of this sister and her family that I went to San Francisco on the morning of the earthquake.

Laurence M. Klauber to Alice Klauber, May 1, 1906

Dear Alice:11

Since events occurred, this is the first time that I have had both the time and inclination to attempt to let you know about it. Ollie12 and the kids can give you eye-witness stories that would make any letter look like a cotton sign at the [Mark] Hopkins; also, the S[an] F[rancisco] papers (which I presume you see), have some remarkably lucid articles; but your letters indicate such a ferocious hankering after knowledge that in order to satisfy this popular clamor I will here set things down as they seemed to one which was there. I scribe things as I remember them rather than as they occurred.13 Realizing from the first instant that happenings of note and events of historic interest were going forth, I attempted on the second day to start a diary, but an earthquake, fire, or like incident cut it short. Much as I desired, I was unable to hang around and be merely an eye witness. So I will trust to luck and a memory (slightly damaged by dynamite and fire) and tell you some incidents of what I have seen just as I recall having saw it.14 On Tuesday aft[er] (April 17th) Doug Ferry15 and I went to the city to see Carmen.16 While this has nothing to do with this tale of woe let me stop to remark that Caruso was the goods as [Don] José and [Olive] Fremstad was certainly among those present as the cigarette fiend. The toot assembly [orchestra] was also good. As I recall that jammed Opera House I seem to be glad that nothing happened then. The opera lasted long – the string of carriages blocked the cars and it was only by running all the way to the depot that Doug and I succeeded in catching the theatre train.17 We reached the University at about 1 a.m. and it being so late I decided not to go to the Terrace18; so I retired with Doug in his room, 186 Encina west end, fourth floor. We hit the couch about 2 a.m.19 In the city here the general tendency Elsie Wormser (Mrs. Milton) Epstein. Courtesy of Philip has been to forget the shake owing Klauber.

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to the greater calamity of the fire. But if you go to Stanford (where there was no fire) you will realize that after all there was quite a rattle. It came off promptly at 5:13 a.m., as you may know, when things were already light.20 As you have heard all about it from them which was there, I will not spend much time on it. The most noticeable part was the noise of the falling buildings. They roared in an astonishing fashion. I remember dimly seeing the new library and the church spire go. They didn’t fall exactly, they just settled as if they had been made of sand. Then everything was hidden by clouds of dust, plaster, and debris.21 Paul Wormser December 1913. Courtesy I awoke to find myself standing in the middle of a of Philip Klauber. room filled with sound and falling plaster. The shake was strong enough to throw a person about. However, you couldn’t fall, because when you started to, you were jerked in another direction. I felt sort of bruised like a cat shaken by [our terrier] Jack D.22 Doug meanwhile was busying himself in urging me not to jump, although why I don’t know. I certainly showed no such intention. After the plaster quit falling Doug and I got the door open and went into the hall. I remember deliberating on which stairs to take and decided on the main staircase as it was more open. But when we got into the lobby we found the doors partially blocked by a big pile of wreckage brought down from all the upper stories by one of the big chimneys. There was a crowd trying to open the door but it was jammed so I started for the back. The plaster dust had cleared somewhat and on the top of the pile of wreckage I saw a fellow held by some beams across his legs. Two other men got him out and we all went out the back door. The place was crowded by the skinny student body in an assorted array of pajamas, nighties, and less. A number were hurt by falling plaster and glass, and some from jumping out of windows. We got blankets and fixed these people up. As no further shocks occurred we went back into the hall and hurriedly dressed. A big gang under Prof[essor] Green23 went to work digging in the wreckage in the front. I think 7 men were buried in it. One was killed – [Junius] Hanna, ’08, my partner in foundry. None of the others were seriously hurt.24 At the time, of course, I didn’t know that there were any students in the wreckage. I got my wheel and started for Palo Alto via the Quad. The University was a sight. You can get a fair idea of the damage from the set of DPAs [Daily Palo Altos] I sent Hugo.25 Any way I won’t stop on the part now. There was quite a crowd in front of the Quad, and I learned that no one had been hurt on the Row or at Roble. Dorothy Wormser August 1913. Courtesy of Philip Klauber. At Palo Alto I found everything of brick or

 Two Days In San Francisco—1906

stone pretty well down. There was no communication in any direction. I left a bunch of telegrams to be sent and returned to the University. They were still at work clearing the [Encina] lobby. I waited until Hanna was taken out and then returned to Palo Alto. Of all the larger structures luckily Encina stood the shock best. Had it not been for the huge ornamental chimneys there would have been no loss of life. The walls of the wings are badly cracked in places but the central part is still in good shape. (The stone work; of course the plastering is all down.) You can get a very good idea of the damage and also Stanford’s plans for the future from the papers I sent Hugo. They say that Jordan26 showed up remarkably well throughout the whole affair. He stopped and talked with every student he met, giving personal advice and encouragement. Wherever he encountered a group he made a speech. Some of these you will find in the DPA. They are pretty good. Let me digress a moment here and tell you a good story. One of the first reports to reach the East was that “The buildings of the State University, valued at $25,000,000, were entirely destroyed.” (The entire value of the Berkeley buildings was 80¢ and they were untouched.) Clarence Mackey immediately telegraphed “$100,000 to start a fund to rebuild the University.” Of course as the report had stated that it was the State University which was damaged, he telegraphed the money to Wheeler. Wheeler replied thanking him for his generosity and stated that although the University was not damaged the money would come in very handy. 27 When I got back to Palo Alto, I found that a train had been thru from the south. They had reported everything bad, everything at San Jose and Santa Clara down and burning – no water. There was still no communication with the north but we could see the smoke of a big fire28; so when another train came thru I got aboard and went north. We made good time (it seemed slow to me) to San Mateo. Most everything of brick or stone was down along the way and there were small hopes for Frisco. We proceeded slowly beyond San Mateo and stopped at San Bruno. The ground was marshy here The Call Building at Third and Market Streets. Built in 1898, it was the and the embankments had slid tallest building in San Francisco with 12 stories. It was gutted by fire on April 18, 1906. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson 77 different directions. Photograph Collection. I started walking with a bunch of several hundred – there were crowds strung along the track as far as you could see. I think it was at the cemeteries that the first automobile passed us. He was going south at a furious rate and we held him up for news. He reported every building of any size in the city down and burning. No water except below

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Prager’s Dry Goods at Jones and Market Streets. ©SDHS PA #212, Clarence James Morrison Family Photo Album. Montgomery Street. Everything below this, he said, had slid into the bay.29 From now on the automobiles went by with increasing frequency and they all reported about the same thing. Some even claimed to have seen the Call building and the St. Francis lying in the street. From here on we hit up quite a pace. It was not until we reached Colma that we hit the vanguard of the exodus – a stream of people afoot and in rigs which filled every road – the distinguishing feature of the whole affair. At Colma two of us bought a bottle of soda and spent 10¢ of our precious coin. I had $2.10 and my partner30 had $1.30 with which to get to Alameda. Here I found a tallyho going toward the city with 20 passengers at $1.00 a head. I climbed aboard. We got in sight of the city at about 10, and found things to be exaggerated. We could see that most of the big buildings were standing although they were partly hidden by the smoke. I also saw the dome of the temple31 and felt better. Our driver stopped way out on 26th Street and refused to go farther. I started to walk in along Valencia. At this time I counted 5 large fires. There were 3 in the Mission, a very large one in the wholesale district and one at about 8th and Market. The streets were jammed with people carrying bedding, bird cages, and trunks – also dragging anything on wheels. Throughout the Mission there were evidences of the earthquake’s work – brick buildings down and even some wooden slopped over into the street. All the streets were full of bricks from chimneys.32 At about 15th and Valencia I passed a big wooden hotel on fire. There were no fire lines and in fact nobody seemed to be paying any attention to the fire at all. They passed it by with that peculiar listless and somewhat bored expression which in the later days proved to be so characteristic. That interest which is generally present in a crowd watching a fire seemed to be absent; even at this early date they were already tired. I went down along Mission to 5th and here I was blocked by a big fire which

 Two Days In San Francisco—1906 seemed to join with that in the wholesale district. I crossed over to Market and noted among other things that the Call, Chronicle, Examiner, and Emporium buildings were burning. So you see it was already quite a fire. At this time there was almost no wind. I went out Market Street to 8th and here there was another big fire covering several blocks. I went around this and up Van Ness to Calif. From this side the synagogue appeared all right but when I got around on Webster I found about half the house missing and the door swinging open as if every one had left.33 I went in and found every one O.K. as you know. Gus34 was down town watching the store burn. The spare room, dining room, and E[lsie] and D[orothy]’s rooms were the Gustav Wormser was a partner in the only ones smashed. Today, while digging around in wholesale grocery firm of Sussman, the kids’ room to find some hats which are not there, Wormser and Company, later S & W Fine Foods. His warehouse was on Spear St., San I uncovered 2 of the chimney stones; they measure Francisco. Courtesy of Philip Klauber. roughly 5’ x 3’ x 2’, so you can see what a narrow escape they had. The room was certainly a sight, as they will tell you. I got something to eat and then took the kids to Lafayette Square to watch the fire. After a cold supper I took the kids to Ackermans35 for the night. On the way we stopped at Alta Plaza and watched the fire. It was quite a sight. The town was extremely well lighted by it, as it was during the 3 succeeding nights, although less so on the 4th night36 when it was burning itself out at North Beach. At Ackermans things were crowded and grouchy. The Arnsteins37 were there or rather arrived when we did. Also Fiesco and Gussy.38 When I got back I found Gus and Ella trying to sleep on couches downstairs in the parlor. I took a blanket and went to Lafayette Square where I could watch the fire. It was burning in a semicircle, from about California and Sansome to Golden Gate and Van Ness, and on the far side of Market pretty much all over the Mission. The park was crowded with people and their belongings – most of them rolled up in blankets and asleep. At 2 a.m. Ella came up with Marie, the upstairs lady.39 It was pretty cold so we went for a walk. We went down Van Ness to Golden Gate. Here the fire had been stopped (it was started again next morning by a woman lighting a fire in a house) and this district appeared safe. All along on the far side it was burning with the help of a light N-W wind. Elvira (Ella) Klauber Wormser married Gustav Wormser in 1888. They lived in a Walking back on Van Ness we noticed that the three-story Victorian-style house at 2014 Flood Building was on fire and burning nicely. This Webster St. in Pacific Heights. Courtesy of Philip Klauber. was about 2:30 a.m. All Van Ness from Golden

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Refugees fled west to the Western Addition and Golden Gate Park, east by ferry to Oakland, or south to San Mateo. ©SDHS 1998:40 Anne Bricknell/F. E. Patterson Photograph Collection. Gate up was crowded with persons and their goods. They were lying around on the sidewalks and in the front gardens of all the Van Ness residences; and it was necessary to walk in the street in order to avoid stepping on Frisco’s 400 as it lay asleep on the sidewalk rolled up in furs and opera cloaks.40 In the morning the people started on their journey toward the hills accompanied by the usual lawn-mowers, bird cages, and sewing machines. At about 8 [a.m.] as the kids41 will tell you we started for Berkeley. Went down Franklin to Broadway and thence to East St. North (water front). At this time there was a good fire burning from about Sacramento and Dupont to the City Hall in a semicircle taking in the better part of the retail district. There were also fires in the warehouse district and in the Mission. Down Broadway we made fast time in spite of the huge mob of refugees and their worldly goods also making for the ferry. This jam consisted mostly in Chinese, Japanese, and Italians of every type. At East Street42 we caught up with the Arnsteins under convoy of Mr. Whats his name (Elsie can tell you)43 and from here on everything was plain tho’ somewhat crowded sailing.44 Leaving the kids in charge of the old gent at his house I went on to Berkeley and radiated a bunch of telegrams. Then went to the Phi Delta Theta House to let Vic45 know that his sister was O.K. Found that Vic[tor Morgan] was in the city on guard duty. I then got a big suitcase loaded with 14 loaves of bread, $1.00 [worth of] cheese, and the same of sausage, and lit out toward the city so I went to the Berkeley City Hall to get a permit.46 Failing in this I went to Oakland where launches were taking people in on their own responsibility. After waiting for about an hour I succeeded in finding one which took passengers, at $2.00, on the chance of their being able to land. I got aboard this after some roughhouse and we went across. We sneaked along the water front from Channel St. up and finally landed on a float at the foot of Howard St. Here we got ashore and mingled with the crowd.47

10 Two Days In San Francisco—1906

It was aboard this boat that I got the first trustworthy news from the outside. It had been reported that L[os] A[ngeles] and S[an] D[iego] were badly hit. Also Chicago and New Orleans. It was generally admitted about town that Salt Lake City, being in the center, must have gotten it worst. New York, it was said, was almost untouched. Everything on the coast was supposed to be in about the same state as S.F. A huge tidal wave was reported as one of the incidents at SD.48 On the launch was a man from LA and from him I got a pretty definite idea of the extent of the shake. This was quite a relief. The water front was even more crowded than early in the day. Supplies were being brought off the river steamers and loaded on to trucks well guarded by soldiers. There was a depot for distributing milk to women and children; also a number of sprinkling wagons with drinking water. There was a push cart in front of the ferry building loaded with oranges and candy and there were five soldiers on guard. I had a good view of the fire from the top of Russian Hill. They were dynamiting extensively in Chinatown and the Barbary Coast but still the fire was gaining rapidly. Three engines were at work pumping water from the sewers;49 there was also a relay of engines bringing a single steam from the bay. Of course all this had little effect on the fire. As the dynamiting continued the soldiers gradually drove the people further and further up the hills and Russian Hill was jammed. A few people in the warehouse district were getting hot canned stuff from the ruins. On Russian Hill as I went thru, the soldiers broke in all the little grocery stores and distributed the food. They did likewise of course all over town. There were 8 engines stalled in a semicircle around the ferry building. They were useless and could not be hauled away as the entire west side of East Street was burnt and blocked traffic. These engines came in handy on the fourth day50 of the fire when, having burned over the hills to North Beach, it started back along the water front taking in wharves and warehouses. It was stopped I think at the foot of Lombard Street thus leaving most of the piers and the ferry building intact, although everything on the other side of the street, including the warehouses of the Belt Line, are gone. When I got home at 2014 (about 6 p.m.) I found Gus busy burying valuables in the yard. Earlier in the day he had succeeded in getting a wagon for $40.00 to haul the piano, some books, and canned goods to the Ackermans and 5th Avenue.51 Ella was at 5th Avenue. I worked awhile with Gus and together we buried the children’s books, and the good dishes and glasses. Ella had cut the pictures out of their frames and taken them with her. We went to Engine House 15 and registered for some kind of police committee.52 There was not much doing but talk so I went back, got my suitcase of grub and lit out for Ackermans. Found everything very grouchy here. I slept a few moments on the porch, unloaded half the food and lit out for 5th Avenue. The fire was now burning extensively in the Mission, in Hayes Valley, and the retail district. Also Chinatown and further north. Even as far out as Presidio Avenue it was brighter than full moon, and of course red. Was stopped a number of times on the way out by soldiers and once by a U[niversity of] C[alifornia] cadet whom I jollied about the field day.53 At 5th and Lake I was stopped by a citizen guard and he wouldn’t let me go up 5th, so I took him along. I knocked at the door and Ella came and explained

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that it was all O.K. We got some Persian rugs of Lucy’s and slept on the floor; the house being about half open with one room unencumbered with debris. Up to this time no fires were allowed in the streets and of course no lights in the houses. We hit the floor about 12 P.M. and here endeth the second day (to be continued – maybe).

Afterward

I have always regretted not having continued this letter on a subsequent day, but I presume that there was so much of interest San Franciscans from every social class and neighborhood stood in line to see, and so many things to be for daily rations doled out by the military. ©SDHS #1998:40 Anne done that I never got around to Bricknell/F. E. Patterson Photograph Collection. it. Also, it is to be remembered that for many days, if not weeks, we had no artificial light at night. After an early evening walk we usually turned in and called it a day. To continue the story, as well as memory permits, on the following morning, which was Friday the 20th, my sister Ella and I walked from 55 Fifth Avenue back to the house at 2014 Webster Street, to see whether it was still standing, and how the fire was progressing. We had a toy coaster-wagon loaded with canned goods and other food. I was very tired from the previous day’s exploits, and we stopped quite frequently. We started out at seven o’clock in the morning and must have arrived about ten. My sister stood the trip better than I did. We were much pleased to find the house standing, and the fire still at quite a distance. As far as I know, we spent that night in Lafayette Square. It was early that evening that the fire was finally stopped rather unexpectedly, as it had crossed Van Ness Avenue between Clay and Sutter; it was first thought that this crossing would be fatal to the area immediately to the west, since the wide avenue had been the best hope of stopping the fire. One of the last houses to burn, maybe the next to the last, was our old home at 1324 Sutter Street, the next house to the Franklin Street corner, where our family lived from 1884 to 1892, before we returned to San Diego. The fact that the fire was out was announced to the crowds in the streets and parks by buglers on horseback, but what time of night that was I have no remembrance. Altogether, I stayed in San Francisco six weeks after the fire before returning to San Diego. I went almost everywhere I desired by the use of a pass reading as follows:

“San Francisco, Cal., April 21st, ‘06 “The bearer of this, Mr. L. Klauber, is a member of

12 Two Days In San Francisco—1906

The Medical Staff, German Hospital on Relief Work. Please let him pass the fire lines, also ferry service Out and back to city. Respectfully yours, (Signed) H. Epstein, Pres. (Signed) B. Blanert, Chairman, Hospital Committee” I didn’t have too much difficulty in wangling this pass as H. Epstein was my uncle. We spent our time in various ways. First, of course, there was the necessity of building an oven, or sort of open stove, out in the street. This had to be protected with a moveable windbreak, that could be set against the prevailing wind. Firewood was not difficult to secure from the buildings that had been partly damaged by falling chimneys. Also, each house had to be supplied with an old fashioned outdoor toilet; I constructed one in the back yard. I think we got such water as we had from sprinkling carts that were parked at different corners. The bread lines were rather long, and sometimes we stood in line for as much as an hour. This was done infrequently, however, because grocery stores were soon able to obtain canned goods that could be purchased in the usual way. I think altogether we got very little food from the public distribution, maybe only for a week or so. The food was of queer brands of which we had never heard – shipped in from the East I suppose. As soon as the fire was out and we were fairly well settled down, we dug up the dishes, books, etc., that had been buried in the back yard. The dishes were undamaged, but the books had been injured by dampness. Some of the paintings had been cut out of the frames along the inside edge of the stretchers, which was too bad, but they were subsequently repaired by experts. As my sister [Alice] was an artist, some of the pictures were good, several by famous SF painters of the day. A considerable part of my time immediately following the fire was spent in walking around the edge of the burned district and mapping it accurately. This was an interesting activity, since the maps of the fire which appeared in the newspapers at that time were extremely sketchy and conflicting. This disturbed my sense of order. I think it took about six days to walk around the boundary and make a map accurate to within the nearest quarter block. The detailed maps which I made are no longer available, but the results were copied on a summary sheet that reads as follows:

Boundary of the Fire

Begin at pt ½ way bet foot of Mason and foot of Taylor proceed as follows. S to Beach, W to Taylor, S to Bay, W to Jones, S to Francisco, W 1/3 blk, S to Chestnut, W ½ blk, S ½ blk, W to Leavenworth, N to Chestnut, W ½ blk, W to Hyde, S to Greenwich, W to Polk, S to Filbert, W to Van Ness, S to Clay, W to Franklin, S to Sutter, E to Van Ness, S to Golden Gate, W to Gough, S to Locust Avenue, W ½ blk, S to McAllister, W to Octavia, S to Ash Avenue, W ¾ blk, S to Fulton, E to Octavia, S to Fell, E ¼ blk, S to Hickory Avenue, E ¼ blk, S to Oak, W ¼ Blk, S to Lily Avenue, E ¼ blk, S to Page, E to Gough S to Market, SW to Guerrero, S to within 50 ft of 13th, E 50 ft, S to 13th, W to Guerrero, S to Clinton, W to market, SW to Dolores, S to 20th, E to Valencia, S ½ blk, E to Lexington, N to 20th, E to

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Mission, N ¼ blk, E ½ blk, N ¼ blk, E to Capp, N to within 75 ft of 18th, E 1/3 blk, N to 18th, E to Howard, N to 15th, E to Shotwell, E ½ blk, N ¼ blk, E to Folsom, N to within 50 ft of 14th, E 50 ft, N to 14th, E to Harrison; along Harrison to 11th, SE to within 75 ft of Bryant, NE to Juniper, SE to Bryant, NE to 9th and 100 ft beyond. SE ½ blk, NE to 8th, SE to pt midway bet Brannan and Townsend, NE ½ blk, SE to Townsend, NE to 2nd, NW 1/3 blk, NE 75 ft, NW 75 ft, SW to 2nd, NW to within 50 ft of corner. NE ½ blk, NW to Brannan, NE to 1st, NW to Federal. N along base of Rincon Hill to Fremont at pt midway bet Bryant and Harrison, NE to Beale, NW to Harrison, NE to Main, NW to Folsom, SW ¾ blk, NW ½ blk, NE to Main, NW to Howard, NE to Steuart, NW to Mission and 50 ft beyond, NE to East, NW to Pacific, W to Drumm, N to East, NW to Filbert, W to Battery, S ½ blk, W to S ½ blk, W to Sansome, S to Union, SW along base of Telegraph Hill to pt on Green midway bet Sansome and Montgomery, W to Montgomery, N to Union, W ¼ blk, N to Filbert, W to Kearney, N 1-1/2 blks, W 1/3 blk, N to Lombard, E to pt midway bet Kearney and Montgomery, NW to Kearney and Chestnut, E to Sansome, N to East, NW to foot of Francisco, E to the Bay.

The Russian Hill district saved:

Begin at cor. of Broadway and Taylor, W ½ blk, N to Vallejo, W to Jones, N ¾ blk, W ½ blk, S ¼ blk, W to Leavenworth, N to Green, E ½ blk, N ½ blk, E to Jones and 75 ft beyond, S to Green, E 50 ft, N ½ blk, E to Taylor, S to Vallejo, E ¼ blk, S ¼ blk, W ¼ blk, S to starting pt. In connection with this tour around the edge, I crossed the burned zone many times and saw the gradual clearing of the wreckage from the streets to permit

Homeless San Franciscans were asked to do their cooking in the street due to the danger of fire. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson Photograph Collection.

14 Two Days In San Francisco—1906 traffic. I have often wondered whether I was the first to follow and record the fire boundary in such detail. Some of the scenes which I failed to mention in my letter that still stand out are these: The after shocks of course were quite frequent, some of them fairly good shakes and very frightening to the high-strung populace. I remember being in a grocery store at about California and Lyon streets, when there was the usual little tremble, and the woman standing next to me fell over in a dead faint. In a drug store on Fillmore Street on the first night after the earthquake, there was a woman attempting to buy a certain kind of tooth brush (a prophylactic, medium, or something as particular). It was dark, and the druggist was allowed only one candle and he couldn’t find his stock. He had plenty of tooth brushes available, but not the kind upon which the woman insisted. Suddenly he became furious and pushed her out of the store, stating that everyone else wanted either whiskey or morphine, or something important, and he had no time for tooth brushes. He was complimented by a policeman who was getting supplies for a temporary hospital. I remember standing at the corner of First Avenue and California Street, when a woman in a nearby house started a series of the most unearthly shrieks. A soldier, with fixed bayonet, rushed into the building, but what the row was about I never heard. This kind of excitement was frequent, and strange to relate, wasn’t followed up. Our relations with the constabulary were usually quite pleasant. The soldiers were parked about one to the block in our area, principally to look out for lights. We often stopped to chat with them and ask for news. I believe that some time later candles were allowed until about nine o’clock, and I was called down once for reading some detective story overtime. Another scene – I think it was the second morning, when the children and I were walking to the ferry. We came upon a truck piled high with household effects near Franklin and California. Several of my relatives were gathered about, but I only remember the girl who married one of my cousins several years later. She was sitting on top of the pile and making a considerable squawk. I think the trouble was they had a truck all right, but no horse. I have some remembrance of the opening of the S. and W. safe, which was quite an affair, as the sales slips of several days’ business had been left Laurence M. Klauber worked at San Diego Gas & Electric for inside; I think they had rescued most forty-three years. He served on the Board of Trustees of the of the important account books before San Diego Society of Natural History and as the consulting curator of reptiles at the San Diego Zoo. Courtesy of Philip the fire reached the building. Old man Klauber.

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Sussman was in a fearful state; and as the mechanics worked on the safe he kept turning to me as an expert, and repeatedly asked me whether I thought they would be burned, or if burned whether they would be legible. I wasn’t an expert and couldn’t help him. The door finally swung open. The papers either burned then (from the effect of the oxygen on the partially charred material within) or they had already burned – I can’t remember which. There was a great to-do; but I think the slips, with the exception of a few on top, were finally deciphered in their charred state.

Epilogue, April 18, 1958

What does one remember of actual sights and sounds more than fifty years after an experience such as that described? Very little in my case, and these memories without continuity or relevance to importance. Vignettes: The yellow uniforms of Caruso and his fellow Spanish guards; the violent shaking of the earthquake itself, as felt on the fourth floor of a masonry building; the dogs, cats, canaries, and more exotic pets carried in boxes, cages, or held on leash – every refugee seemed to have one; the household goods along the fire boundary, dragged to safety and then abandoned; living with the sun because of the lack of artificial light. Broader memories: The queer feeling of pride at being a witness to the greatest destruction by fire of man’s handiwork that had ever been seen by man (Chicago? hm!); the rarity of evidences of acute grief or despair, but the prevalence of an all- pervading weariness for all means of transportation except one’s two feet were lost, and everything to be moved must be dragged or carried on the back; the feeling that one should be doing something, without knowing what or to what end; the relief at sight of the military, not because of any fear of one’s fellows, but because the soldiers constituted tangible evidence of guidance and control; the exchange of information in the bread lines – people had to know what was going on and readily accepted as truth whatever a neighbor said, even though he was known to have no more factual basis than his merest guess. Some of these experiences were not forgotten when I headed San Diego’s Civil Defense Committee during the last war. Fortunately, of course, our plans and programs never had to be put into operation under stress. Later developments have raised questions in the mind as to the psychology and control of future refugees fleeing from danger. In San Francisco in 1906, it was only necessary to get into the open, away from any buildings, to be safe from any threat from earthquake or fire. Both of these are easily recognized, for they affect the senses. How will it be if the threat is fallout, whose danger alerts no human sense; when neither sight, sound, taste, odor, nor touch, can tell the frightened people whether the danger is present, or how serious it may be? Then will rumor really become supreme and supremely dangerous, since it will lead almost instantly to panic and the paralyzing of all automotive traffic, whether of succor or escape.

16 Two Days In San Francisco—1906

NOTES

1. Special thanks to Philip M. Klauber, Laurence Klauber Wormser; Margaret Kimball, University Archivist, Stanford University; and Patricia E. White, Department of Special Collections, Stanford. 2. According to two recent studies, the 1906 San Francisco Earthquake had a magnitude of between 7.7 and 7.9. The previous estimate of 8.3 was based on older data. See U.S. Geological Survey, Earthquake Hazards Program, http://quake.wr.usgs.gov/info/1906/magnitude.html (accessed 1/14/06). For more information on the earthquake and fire, see William Bronson, The Earth Shook, The Sky Burned (Garden City, NY: Doubleday, 1959; San Francisco, Chronicle Books, 1986); Philip L. Fradkin, The Great Earthquake and Firestorms of 1906: How San Francisco Nearly Destroyed Itself (Berkeley: University of California Press, 2005); Gladys Hansen and Emmet Condon, Denial of Disaster (San Francisco: Cameron and Co., 1989); Charles D. James and Susan Fatemi, Aftershocks: Photographs of the 1906 San Francisco and 1923 Tokyo Earthquakes (Berkeley: University of California Press, 2002); Dan Kurzman, Disaster!: The Great San Francisco Earthquake and Fire of 1906 (New York: William Morrow, 2001); Charles Morris, ed., The San Francisco Calamity by Earthquake and Fire, introduction by Roger W. Lotchin (Philadelphia: J. C. Winston Co., 1906; Urbana: University of Illinois Press, 2002); Erica Y. Z. Pan, The Impact of the 1906 Earthquake on San Francisco’s Chinatown (New York: P. Lang, 1995); Eric Saul and Don DeNevi, The Great San Francisco Earthquake and Fire, 1906 (Millbrae, CA: Celestial Arts, 1981); Gordon Thomas and Max M. Witts, The San Francisco Earthquake (New York: Stein and Day, [1971]); Dennis Smith, San Francisco is Burning: The Untold Story of the 1906 Earthquake and Fires (New York: Viking, 2005); Simon Winchester, A Crack in the Edge of the World: America and the Great California Earthquake of 1906 (New York: Harper Collins, 2005); “The 1906 San Francisco Earthquake and Fire,” Bancroft Library, http://bancroft.berkeley.edu/collections/earthquakeandfire/splash.html (accessed 1/12/06). The 1906 Centennial Alliance provides information about activities and events being held to commemorate the anniversary of the earthquake and fire. See http://1906centennial.org/ (accessed 1/12/06). 3. Alice E. Klauber (1871-1951) was the daughter of Abraham and Theresa Klauber. She was an accomplished artist who co-founded the San Diego Fine Arts Society (1926) and served as honorary curator of oriental art at the Fine Arts Gallery. She was instrumental in bringing many American artists to the Panama California Exposition in 1915. She also donated many valuable art works to the Fine Arts Gallery (later the San Diego Museum of Art). “Artists’ Biographies,” The Journal of San Diego History (JSDH) 47, no. 3 (2001), 236; “Alice Ellen Klauber,” San Diego Biographies, San Diego Historical Society, http://sandiegohistory.org/bio/klauber/aliceklauber.htm (accessed 1/12/06); Bruce Kamerling, “Painting Ladies: Some Early San Diego Women Artists,” JSDH 32, no. 3 (1986): 147-191. 4. Laurence Klauber’s son Philip recalled that his father “barely caught the last train to Palo Alto, by running. If he’d missed the train there’d be no speech here today, for the bed at his sister’s house, where he stayed when visiting the City, was completely destroyed by a falling stone in the earthquake the next morning.” Philip Klauber, “Reminiscences on L.M.K.” “Laurence Klauber,” San Diego Historical Society (SDHS) Biographical Files. 5. Elvira (Ella) Klauber (1863-1932) was the eldest daughter of Abraham and Theresa Klauber. She married Gustav Wormser (1857-1921), producing three children: Elsie Wormser (1891-1947), Dorothy Wormser (1894-1988) and Paul Wormser (1892-1953). Paul Wormser’s grandchildren are Carolyn E. Wormser (b. 1962), Paul W. Wormser (b. 1966) and Stephen L. Wormser (b. 1968). 6. Laurence M. Klauber’s Two Days in San Francisco – 1906 (1958) was privately printed for friends and family. Copies can be found in the Bancroft Library and the San Diego Historical Society Research Archives. Klauber, interviewed in 1960, said that “I was at Stanford University at the time of the earthquake of April 18th, 1906. The university buildings were severely damaged and a student in my dormitory was killed. As I had a sister living in San Francisco I went up to the city that morning, by riding the train for a short distance and thereafter partly on a wagon and partly afoot. I stayed up there for six weeks after the earthquake and often stood in a bread line. It was a most interesting experience. Which I have recounted in a little booklet of which a copy is on file with the Historical Society.” Laurence M. Klauber, interviewed by Edgar F. Hastings, May 12, 1960, “Laurence Klauber,” SDHS Biographical Files. 7. Richard Muller, “Pioneer Spirit: The Klauber Wangenheim Company,” JSDH 29, no. 1 (1983). 8. Alice Gould Klauber (b. 1913) married David Miller (1914-1993) in 1940. They had three children: Grace Louise Miller Valencia (b. 1942), Laurence Miller (b. 1944), and David Miller, Jr. (b. 1952). Philip

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Monroe Klauber (b. 1915) married Detty June Stevenson Conyers (1918-1992). They had four children: Jeffrey Conyers, Timothy Klauber (b. 1949), Janet Klauber Oliver (b. 1950), and Laurie Katherine Klauber Wasserman (b. 1958). 9. Laurence Monroe Klauber, Rattlesnakes, Their Habits, Life Histories, and Influence on Mankind (Berkeley: University of California Press, 1956). 10. Iris Engstrand and Anne Bullard, Inspired by Nature: The San Diego Natural History Museum After 125 Years (San Diego: San Diego Natural History Museum, 1999), 80-81; Iris Engstrand and Kathleen Crawford, Reflections: A History of the San Diego Gas and Electric Company, 1881-1991 (San Diego: San Diego Historical Society, 1991), 137; “Laurence Klauber,” SDHS Biographical Files; San Diego Biographies, “Laurence K. Klauber [sic] (1883-1968),” San Diego Historical Society, http://www. sandiegohistory.org/bio/klauber/klauber.htm (accessed 1/1/06); “Laurence M. Klauber,” San Diego Natural History Museum, http://www.sdnhm.org/history/klauber/index.html (accessed 1/12/06). 11. My sister Alice. 12. Olga Epstein, a cousin, who subsequently went to our home in San Diego with the Wormser children mentioned in the introduction. “Cotton sign” is obscure; probably a comparison is to be inferred between any painting at the Hopkins Art Institute and a muslin advertising banner. 13. Probably the sophomoric style may be justified by the fact that the writer was at the time a sophomore at Stanford. While actually 22 years old, his mental age was 14. In the intervening years this has advanced by two years. 14. The grammar indicates typical college humor of that day. 15. [Douglas Ferry, class of 1909, received his AB in Civil Engineering]. 16. In starting my story with the grand opera of the night before, I had no idea that I was setting an important precedent. Most of the stories of the earthquake and fire which subsequently became famous, including that of Will Irwin, start with the same performance. I was in the gallery of the old Grand Opera House on Mission Street at this gala performance. The principals besides [Olive] Fremstad and [Enrico] Caruso were Bessie Abbot and [Mercel] Journet. I presume the alumni of that pre-earthquake opera performance are no longer numerous. I also had tickets for a subsequent opera, Tannhäuser, which, however, was never given. The next opera I attended was The Huguenots, Mar. 31, 1907, out at the Chutes. It was a good deal like putting on an opera in a barn. But the cast made it worthwhile – [Alice] Nielsen, [Lillian] Nordica, [Andres] de Segurola, [Florencio] Constantino et. al. Douglas Ferry, of San Diego, was a classmate at Stanford. 17. Actually, we caught the train as it was passing 4th and Townsend. Had I missed it I undoubtedly would have gone to my sister’s for the night, and would have occupied my customary bed on the third floor, through which bed one of the stones from a chimney crashed next morning, as mentioned later. The difficulty in catching the train was caused by a fire on Third Street and hoses stretched across the trolley-car tracks at about Third and Howard. 18. Meaning College Terrace, where I roomed. 19. From the standpoint of observation a very fortunate location in the northwestern corner of the building, thus giving an unobstructed view both to the north toward the new library and gymnasium, and west toward the quad and chapel. [Encina Hall was converted to administrative use in the 1950s. It now houses several academic programs]. 20. The earthquake was more severe at Stanford, and at other points in the Santa Clara Valley, for two reasons: first, they were nearer to the line of the San Andreas Fault; second, being on alluvial soil, the buildings suffered more than those on rock formations, as was the case with most of San Francisco. 21. These clouds of dust are quite characteristic of serious earthquakes. The buildings referred to were the new library and gymnasium, which were not yet occupied. The first was a large building with a central dome of structural steel, which in its vibrations knocked down the two three-story wings. Beyond this was the gymnasium, also new and unoccupied, which settled into a mass of ruins. Toward the west, the quad was badly shaken but the buildings did not fall. The church spire, however, was badly wrecked, and this I saw. A large chimney in the engineering group fell, but I do not recall having seen this. The library and gymnasium buildings were too completely wrecked to be restored. 22. Referring to a bull terrier by the name of Jack Dempsey that we once owned. This, of course, was named for the original Jack Dempsey, a middleweight of the early ‘90s, not the later heavyweight

18 Two Days In San Francisco—1906

champion of the same name. 23. [Rufus Lot Green, Professor of Mathematics]. 24. I think Hanna was in the room either immediately to the east of us, or in that tier of rooms, but one or two stories below. The blankets mentioned were obtained from dormitory rooms on the ground floor. [Junius Robert Hanna, from Pennsylvania, was studying electrical engineering; he was the only student to die on campus during the earthquake.] 25. The Daily Palo Alto, the college newspaper of that day. Hugo, my brother, Stanford ’98. The “Row” refers to the fraternity and sorority houses. Roble was the women’s dormitory. 26. David Starr Jordan, President of the University [David Starr Jordan (1851-1931) was an American eugenicist and a leading ichthyologist, educator and peace activist. He was president of Indiana University (1885-91) and Stanford University (1891-1913).] 27. Benjamin Ide Wheeler, President of the University of California. I do not know whether this story has stood the test of time; remember this was written within 12 days of the disaster when much wilder yarns were a dime a dozen. [Benjamin Ide Wheeler (1854-1927) was a professor of Greek and comparative philology at Cornell University before serving as president of the University of California (1899-1919). The University of California, Berkeley, did not suffer major damage as a result of the earthquake. However, refugee camps were established on campus and University cadets were dispatched to maintain order in San Francisco. “Centennial of 1906,” University of California, Berkeley, http://seismo.berkeley.edu/seismo/1906/ (accessed 1/12/06)]. 28. Was anyone so completely mottled as to believe this might be issuing from a brand-new volcano? Answer: Yes. 29. This was more or less typical of the kind of rumors that one heard. No rolling stone ever gathered moss as fast as rumors increased in size and intensity as they traveled through these crowds. I presume “furious rate” may have meant 30 m.p.h. 30. His name was E. J. Boyce. I remember him particularly as I had accidentally injured his eye in a boxing match in the gym some weeks before. 31. Meaning a synagogue next to my sister’s house. This was Temple Sherith Israel, a domed edifice of green limestone, recently erected. The wooden house was close to the north wall of the larger building, which towered over it. By “tallyho” was meant a horse-drawn, passenger vehicle of that day. The occupants back of the driver usually sat in longitudinal seats facing each other. 32. This was a good opportunity to see the extent of the damage by earthquake before the damage intermingled with that of the subsequent fire. It was considerable in the lower areas, particularly on alluvial or filled ground. 33. A typical example of youthful understatement. I had a terrible shock as I came around the California Street corner and saw that the southern wall of my sister’s house had been torn out, from roof to cellar, by several stones which fell from a chimney or coping on the north wall of the higher synagogue. 34. Gustav Wormser, my brother-in-law. He was a partner in the wholesale grocery firm of Sussman, Wormser and Co., later S. & W. Fine Foods. Their warehouse was on Spear St. [Gustav Wormser (1851- 1921) married Ella Klauber in 1888.] 35. Sigmund Ackerman, a cousin, who lived farther out in the Pacific Heights district. I believe he was the manager of the Grand Opera House. 36. My chronology was evidently mixed, as the fire burned itself out on the third night; or there may have been a few stray fires along the waterfront still burning on the fourth night. 37. [Ludwig Arnstein (1852-1930), Mercedes (Mercy) Mandelbaum Arnstein (1857-1931) and their son, Laurence Arnstein (1880-1979)]. 38. More cousins of divers grades. 39. The cook or maid. 40. Everyone else walking on Van Ness that night seems to have tripped over Caruso asleep in his pajamas on the sidewalk. I didn’t. 41. Meaning the three Wormser children, Elsie, Paul, and Dorothy. Actually, it was nearer 9 than 8.

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Of course we walked. 42. East Street, now part of the Embarcadero. 43. The name was Sieleman. 44. The letter is not clear as to what we did. We crossed the Bay in a ferry to Oakland, where the children were left in charge of the Sieleman family. He was, I believe, an employee of Sussman, Wormser & Company. 45. Victor Morgan of San Diego. His sister Jeanette was at Stanford. 46. Swiss cheese. I don’t know how many pounds of Swiss cheese or of bologna $1.00 bought then, but they were mighty heavy before I reached my destination. I had evidently picked up a rumor to the effect that a permit to return to San Francisco was necessary, which caused the fruitless visit to the Berkeley City Hall. 47. We all acted like criminals, and it is entirely possible that some of us were. 48. As insane as these rumors may sound now, they were quite usual, and were believed by most people at that time, for not a single bit of authentic news was then available to any ordinary person. 49. These old-fashioned steam fire engines always had a great attraction for me. I sat on the curb and watched one for a while. I was worn out from packing that cheese and sausage up the steep hills. Every so often the engine would lose its suction from lack of water in the sewer manhole. Then the engine would race and the firemen would curse. 50. Probably this should read “third.” 51. Just before the fire my brother-in-law had purchased a residence at 55 th5 Avenue, which was now in process of being rebuilt. As nearly as I remember, the roof was partly retained, but most of the walls were skeletons. We buried in the yard at 2014 Webster Street, much of the silverware, crockery, and books. All of this was dug up later safely enough. Why we did not have sufficient presence of mind to cover the books with sheets, I have never been able to determine. They were considerably injured by the damp soil. 52. I can remember that my brother-in-law was fiercely impatient with this committee, which was much more busily engaged in getting organized with proper constitution, by-laws, and officers, than it was in doing anything. 53. Hap Myers, afterwards a great baseball player. The “field day” refers to a past or imminent track- and-field contest.

“...What a whirl I have been in since I left S.D. ... will have to tell you all when I get home.” Postcard from “Biddy” to Mrs. J.M. Bricknell, 3rd and Date Streets, San Diego, CA, June 8, 1906. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson Photograph Collection.

20 San Diego’s Bygone Burlesque: The Famous Hollywood Theatre1 Winner of the Joseph L. Howard Memorial Award

by Jaye Furlonger

Burlesque, one of America’s most significant contributions to popular entertainment in the pre-radio and television era, played an important role in San Diego’s social and cultural history. The legendary Hollywood Theatre put the city on the map as one of the best places in the entire country to find “big time” burlesque, often referred to as the “poor man’s musical comedy.”2 During the 1940s and 1950s, it became a major stopping point on the West Coast circuit for such big-name striptease artists as Tempest Storm, Betty Rowland, and Lili St. Cyr.3 The 1960s, however, brought an end to its “golden era,” and by 1970 the Hollywood was the last great burlesque palace to close on the West Coast. The construction of Horton Plaza in the 1980s eliminated any visible trace of the colorful, bygone world that existed at 314-316 F Street. People now park their cars where the Hollywood once stood and look to shopping and movies for entertainment, not musical comedy. The glamorous headlining striptease artists seductively advertised on the marquee and the droves of young sailors who crowded the sidewalk lining up to see pretty girls and comics have faded into the past.

Early burlesque takes root in San Diego: 1880s – 1920s

The first American burlesque shows developed in eastern metropolitan centers during the late nineteenth century. The shows played on people’s desires to laugh and lust, the key factors that helped spread its popularity to the far reaches of the country, despite its perceived threat to the social and moral order. Beginning around the 1860s, burlesque developed a predictable format based around a full- company of dancers, singers, actors, and comedians. Notorious for suggestive humor and scantily-clad showgirls, it was targeted foremost at working class men. In notably smaller numbers, people from all walks of life (including some women) also enjoyed the titillation of witnessing something then widely considered to be socially taboo. San Diego, while remote, was a primary port of entry on the Pacific Coast for a large number of single men seeking to improve their prospects in the West. A place exclusively dedicated to presenting stock burlesque, however, did not emerge to capitalize on this sizeable male market until the early 1920s. Until then, performers with burlesque influences arrived in town solo or with road shows for short

Jaye Furlonger is a 2005 graduate of the University of San Diego’s masters program in Public History. As a trained museum professional, Ms. Furlonger has been a dedicated volunteer for more than two years in the ongoing effort to preserve the Exotic World Burlesque Museum & Striptease Hall of Fame.

21 The Journal of San Diego History

engagements at various vaudeville and variety halls on the touring circuit. Many performed near to or within the bounds of the notorious vice district below Market Street known as “The Stingaree.”4 In the late nineteenth century, San Diego had at least two major social gathering halls: Horton Hall (1869), located not far north of the Stingaree on the south-east corner of 6th and F Streets, and Leach’s Opera House (1884) on D Street, now Broadway, between First and Second Avenues. Both were used for civic events but also hosted traveling road shows and other theatrical fare. In addition, there were about a dozen smaller establishments, including saloons, hotels, and other meeting halls, where live entertainment could regularly be found. In 1887, Horton and Leach’s were joined by a third major venue, Louis’ Opera House.5 Early risqué female entertainers – variety performers, bold comediennes, dance hall girls, and the like – had gained a presence alongside the gambling, drinking, and prostitution that characterized downtown. However, an authentic burlesque road show with a full company of bawdy theatrical women, Lydia Thompson’s Grand English Burlesque Company,6 did not arrive until 1889 when, for a two night engagement at the popular Louis,’ the world-renowned troupe presented satirical versions of two different plays, Penelope and Columbus.7 The worlds of theatre and prostitution shared deep historical ties; this association continued to taint the reputations of female actors during Thompson’s era. In the minds of some early local residents, the close geographic proximity of the city’s first theatres to the rowdy Stingaree may have reinforced this type of commonly held negative stereotype about show people. Suspicion directed towards entertainers – especially women who did not conform to the day’s standards of behavior and dress – and at the leisure activities of the lower classes in general were basic sentiments held by those who considered themselves to be morally upright citizens at that time. Such a perspective is alluded to in the local news section of the San Diego Union, October 27, 1886, where it briefly notes: “A variety show came to the city yesterday. It also left yesterday. These shows should find out before they come here that we have an ordinance prohibiting dance halls and the like.”8 Journalists continued to keep public attention focused on performers who crossed the line of decency. Worthy of such a distinction in 1897 was a mysterious “oriental danseuse” identified as Omene who shocked audiences with a “muscle dance” during a vaudeville show at the “Fifth-Street Theater,” probably another name for Louis’ Opera House. The act provoked an outraged commentary in the next day’s San Diego Union, where it was unfavorably compared to a toned- down version of the “cootch” dance, or hootchy-kootchy – a scandalous attraction found primarily on the carnival midway. In a follow up news item the next day, the same writer, apparently still flustered, claimed that the majority of Omene’s audience had been made up of men and boys, and that a good portion of those in attendance were horrified by her suggestive body movements. He also predicted that the theatre would soon go out of business with more programming of that nature.9 However, and surely to the dismay of many like-minded individuals, the popularity of the cootch was actually on the rise. Taken-up by a virtual army of brazen turn-of-the-century women like Omene, the first commercial exotic dance was becoming a staple in road shows, dime museums, “small time” vaudeville, and early burlesque houses across the country.10

22 San Diego’s Bygone Burlesque

San Diego’s fourth theater, the Fisher Opera House, opened in 1892 on Fourth between B and C. The Fisher was built by the producers Fisher, Dunne, and Ryley, and funded with profits from Floradora, the most successful musical comedy of its day. It was the first theatre on the West Coast to be equipped with electric lights. For a short time, it was considered to be the West’s finest and most beautiful opera house, but its initial prestige was destined to fade in the wake of newer competition.11 In 1902, the Fisher was acquired by Katherine Tingley, founder of the Theosophical Society, who changed its name to the Isis. The Isis was only used by the Theosophists for meetings on weekends, so for most of the week it hosted traveling road shows. In the 1920s, it became the Colonial Theatre and was turned into a “tab show” house.12 A boom in theatre construction took place in San Diego from the 1890s to the 1920s. Everything from musical concerts to serious theater, road shows, films, family-friendly vaudeville, and occasionally burlesque, could be found within the bustling core. The Lyceum, a medium-sized theatre for this period, was built in 1913 at 314-316 F Street by the Fontinelle family, who intended to produce serious dramas. During the next several years, however, musical comedies dominated the program. The name and management of the theatre rotated frequently until becoming the Liberty Theatre.13 After World War I, the Liberty featured “musicale” (or “Mexican vaudeville”) and random events such as boxing. Shortly after, ca. 1921-1924, it became the first and only theatre in San Diego to present an all-burlesque format with its own stock company.14 Historical photographs depict small but typical theatrical burlesque troupes. Easy to identify are comics

Showgirls at the Creole Palace, ca. 1930. During segregation, the cabaret performers in the Creole Cuties Chorus were the dark- skinned counterparts of the chorus girls at the Liberty. ©SDHS Sensor 7:143, Guy Sensor Collection.

23 The Journal of San Diego History

in ill-fitting suits and putty noses, and chorus girls posed in skimpy, matching costumes. The women display a generous amount of flesh in sheer quantity of naked legs, arms, shoulders, and backs; indeed, more skin than would have been typically revealed by the day’s swimming attire. Only two blocks south of the Liberty, on the north side of Market between Second and Third Streets, the Hotel Douglas opened in 1924 with its Creole Palace nightclub, a racy, high-energy African American cabaret.15 Known as the “Cotton Club of the West,” the Creole brought in big name stars like Bessie Smith, Billie Holiday and Count Basie, and boasted a variety show with an all dark-skinned company of singers, dancers, musicians, comedians and, quite possibly, striptease artists. In addition to burlesque’s requisite slapstick buffoons and provocative female house singer-comediennes, photographs from the 1930s depict showgirls at the Creole dressed in the same style of exotic costumes worn in virtually all burlesque theatres at the time. However, despite the Creole troupe’s similarity in terms of attire and composition to the companies shown at the Liberty and the Colonial, their brand of musical-comedy could not be officially considered burlesque. This distinction was due both to the physical, non-theatre, cabaret nightclub setting of the Creole, and to the strict racial segregation of the national burlesque industry. Nonetheless, burlesque’s comic and other aesthetic influences could be witnessed plainly in these productions. The Liberty’s most prominent competitor during its early years as a burlesque house, the Colonial, was demolished in 1928. The Creole Palace, on the other hand, was able to tap into a broad non-segregated audience, which helped it to survive the economic downturn of the 1930s and beyond into the post-World War II era. Distinctly different, the Creole managed to peacefully co-exist with the Liberty (and then later as it was known as the Hollywood) from the 1920s into the 1950s. In fact, it was even a popular spot for performers from the Hollywood to unwind after finishing their last show of the night.16 Like the famous burlesque theatre, the “Old Creole” served up some of the best live entertainment in Southern California. Its prosperity came to an end, however, as the civil rights movement opened up previously whites-only establishments across the country and lured African American entertainers and audiences away from their beloved, but restrictive, old haunts. Still, the Hollywood lived on.

Bob Johnston & The Hollywood Burlesque Theatre

The history of the Hollywood Theatre is tied to the remarkable man who ran the landmark theatre for almost fifty years. Robert “Bob” Johnston, a local legend, was born in Belfast, Ireland in 1897. His family moved to England two years after his birth but did not escape poverty. George, the family’s patriarch, soon left to explore the family’s prospects in Canada while Johnston, still a young child, went to work as a brushboy at a barber shop to help support his mother and four siblings. When it came time to finally follow George, who had at last settled in Calgary, Robert went separately from the rest and worked his way over on a ship transporting livestock. He was fourteen years old when the family reunited in 1911.17 In England, the Johnston children had formed a singing group and entered amateur vaudeville competitions as “The Johnston Kids.” After arriving in

24 San Diego’s Bygone Burlesque

Calgary, Robert worked as a newspaper boy selling papers on the street. He soon turned his job into a solo vaudeville act, winning weekly talent contests as “Scottie Johnston, The Newsboy Tenor.”18 A violin virtuoso visiting Calgary’s Pantages Theatre with a road show, Madame Musette, hired him to sing a popular song of the day from the balcony while she played on the stage below. He accepted her offer to join the tour, traveling from Spokane to San Francisco before heading back again to Calgary. Johnston joined the Canadian Army in 1918 as the First World War was drawing to a close. Both before and after his service, he worked for the Canadian Pacific Railroad as a machinist apprentice, long enough to earn a travel pass. In 1920, on a whim, he took his free pass to California. He intended to stay only a few months but found a job at a “nickel bar” in Los Angeles.19 The direction of his life began taking shape. The Follies Theatre, across the street from the bar, hosted a regular variety show with an amateur contest. Johnston quickly made a name for himself in the competition and was hired by the Follies to sing with a quartet and to work as a “candy butcher” on the side, selling candy, peanuts, and chances to win prizes from the aisles between acts. The theatre’s management, impressed by his aptitude as a salesman, sent him to San Diego to manage the company’s concession businesses at a small handful of theatres there, including the Colonial and the Liberty. Making about thirty or forty dollars per week at his newfound profession, Johnston, who was still in his early twenties, was finally living well. In addition to holding down his concessions job, he resumed his singing career at the Colonial. At the time, around 1921, the Liberty Theatre was presenting Mexican musicale under the proprietorship of Alex McPherson. He and McPherson became friends, bonding over their mutual enthusiasm for horse-racing and show business. McPherson brought Johnston into the Liberty as his partner for only a couple hundred dollars.20 In the early 1920s, the McPherson-Johnston partnership oversaw a busy house catering to American soldiers returning from service overseas. Seeing a ripe opportunity, Johnston replaced the Spanish-language musicale with a vaudeville- influenced burlesque show. The burlesque format, which included comics, “blue” humor, and attractive dancing girls, was particularly suited to an audience composed primarily of young, unmarried men.21 In the beginning, the Liberty’s chorus line was small, with fewer than ten dancers making about ten dollars per week each. Admission for the five-hundred seat theatre was affordable, assuring a steady stream of customers coming in on shore leave. Later in his life, Johnston recalled his exciting and prosperous start as a young burlesque entrepreneur:

When we took it over, the Scotchman (McPherson) and I, he was just running a stage show only and we were running so many shows a day because of the fleet coming in we were packing them in. And I couldn’t have the girls working steady all day, so I had to give them a rest, so I put in movies. One show would go on at 2:00 and get over at 3:00 or 3:20 and the next one would go on at 4:00, you see. On the days when we had a forty-five minute intermission, you couldn’t keep them waiting for forty-five minutes, so I put in movies…22

25 The Journal of San Diego History

Johnston assumed full control of the Liberty after the death of McPherson in 1925. By this time, theatres across the country were guaranteeing profits by cutting back on live performances and shifting entirely over to motion pictures. In less than a decade, the Great Depression would kill many theatres still trying to support actors’ salaries.23 Johnston, who had been accustomed to poverty most of his life, managed to keep the Liberty (and himself) alive throughout most of the Depression on a “shoe-string” budget. He later described what this period was like: I struggled with the theatre. I didn’t make no money. Whatever I could make, if I could make myself five or ten dollars a week you were satisfied. You were living in a hotel and you were only paying two dollars a week room rent, so you didn’t have too much to worry about. Rent was cheap, food was cheap, clothing was cheap, and then about 1939 things picked up here…24

In 1929, just prior to the onset of the Depression, Johnston married Frances “Fanny” Myers, a lively chorus girl and musician from San Francisco who had stopped at the Liberty for a limited two-week engagement en route to perform in Panama. After a brief courtship with the man she initially claimed to dislike, Frances cancelled her trip and became the choreographer of the Liberty’s chorus line.25 Together, Bob and Frances reigned over San Diego’s small but important burlesque scene. Bob Johnston stayed dedicated to preserving the live format at the Liberty despite financial worries and occasional The Johnston Family, 1940s. Author’s collection. trouble with the City over claims of indecency, a common inconvenience of the burlesque industry. He was a businessman with a warm personal side who was always willing to help anybody who was down on their luck. Johnston’s generosity was his legendary weakness.26 It was not uncommon for him to put his friends, unemployed celebrities and sports figures, into the show so they could make a little cash. A fervent fan of boxing, he gave former heavyweight champion of the world Jack Johnson one hundred and fifty dollars to appear for two weeks in 1929. The once famous pugilist earned his keep by sparring with a clown and taking questions about his career from the house. Leta Gray and Mildred Harris, two ex-wives of Charlie Chaplin, and the Hilton Sisters, conjoined twins who sang and played the violin, also did short stints at the theatre when in need of the work. As vaudeville neared its demise, the Liberty became a sometimes refuge for displaced variety acts such as hypnotists, jugglers, contortionists, and a range of others. In the spirit of the “big time,”

26 San Diego’s Bygone Burlesque audiences received a program packed with plenty of action. The 1935-1936 California Pacific Exposition in Balboa Park nearly put an end to the Liberty. The Exposition offered a formidable assortment of exhibits meant to excite, fascinate, and sometimes shock visitors. Sexuality and the female form were flaunted at Zoro Gardens (a semi-nude, nudist colony), as well as along the ballyhoo (where performers were placed on small stages in front of tent shows to advertise the acts that could be found within), at the Moulin Rouge cabaret, and in other girl shows and spectacles. One such grand spectacle, Sensations, employed opulent lighting and stage mechanics to create a Ziegfeld-inspired tableau of beautiful women appearing to ascend and descend on jets of water with others swimming around them. During the first season of the Expo, there was also Midget City, a scale village of 100 “little people,” and the Ripley’s Believe-It-Or-Not pavilion, with its display of freaks and oddities.27 The engagement of Sally Rand, America’s famous nude fan dancer, was one of the most celebrated events of the 1936 season. Rand was a darling of the Great Depression whose graceful fan and bubble dances, according to biographer Holly Knox, “gave a whole generation something to think about other than unemployment and breadlines.”28 She was alleged to have saved the 1933 Chicago World’s Fair from financial ruin by causing a flurry of publicity by showing up uninvited to one of its opening banquets on the back of a white horse, “dressed” as Lady Godiva in a long, flowing wig.29 In San Diego, the dancer was booked for a

The Liberty Theatre Company, ca. 1930. ©SDHS Sensor 7:151, Guy Sensor Collection.

27 The Journal of San Diego History

The Hollywood Theatre, April 10, 1943. Sailors and servicemen went to the Hollywood to see “big girl revues” and professional comics like “Say No More Joe” during WWII. ©SDHS #84:14825, Barbara Jean Burlesque Theatre Collection. week of multiple daily performances. Her act, for which a glass stage was erected over the south reflecting pool in the Plaza del Pacifico, was entitled “Leda and the Swan.”30 After a continuous run of over a decade, the Liberty was forced to shut down for a year and a half. Its musical-comedy revues seem dated and modest in comparison to the bounty of excitement and titillation available in Balboa Park. Johnston and Frances returned to their roles as performers, traveling to Los Angeles and San Francisco for singing and dancing engagements. For a time, they both ended up working at the Expo’s Gold Gulch, Frances as a dancing girl and Bob as a barker. They also used some of their down time to redecorate the theatre. When the Exposition ended, the Liberty reopened as the Hollywood Theatre. In order to save money, Johnston acted as the house singer while Frances choreographed and danced in the chorus line. The Hollywood Theatre flourished as a result of the influx of servicemen into San Diego just prior to and during World War II. In the early 1940s, the U.S. Navy mustered soldiers at the El Teatro Balboa building, today’s Balboa Theatre, at Fourth and E Streets.31 The Balboa was only a short block away from the Hollywood on F between Fourth and Fifth. Suddenly, there were thousands of young men virtually camped out on the Hollywood’s doorstep. Downtown became packed with men in uniform, and the Hollywood was their place to relax and enjoy the seductive peelers and spicy comedy of a real live burlesque show. In 1952, in an article on the Hollywood in San Diego Magazine, its author Joe Kneffler speculated that roughly 80 per cent of all servicemen who had passed through the area had visited the Hollywood at least once.32

28 San Diego’s Bygone Burlesque

Johnston, who was at the center of the action, recalled the 1940s and ‘50s with enthusiasm: “the theatre was nothing but packed all the time. It was always packed. In fact, we did six shows on a Saturday and five shows on a Sunday. It was packed with sailors. That was all there was – sailors.”33 It was his good fortune to run the only “Big Girl Revue”34 in town. The number of company members soared. The show featured a chorus line of thirty women plus a whole cast of singers, male dancers, striptease artists, comedians, and musicians. The entire musical revue changed every two weeks, and generally so did the big-name, visiting striptease headliner. There were multiple, daily hour to an hour-and-a-half long performances. For the day to day operations, there was additional support staff: ticket sellers, costume mistresses, stage hands, and bouncers. The Hollywood was a world, and a busy industry, unto itself. Sold-out houses during war-time and the immediate post-war years afforded Johnston luxury items like a stable of thoroughbred racing horses (The Hollywood Theatre Stables), a box at Del Mar Racetrack, a Cadillac Fleetwood, and a house on Fort Stockton Drive in the prestigious uptown neighborhood of Mission Hills. Money from the theatre also allowed him to acquire the Palace Buffet, a bar in the ground floor of the Horton Hotel at 328 F Street, next door to the Hollywood. Under his proprietorship, the Sports Palace became one of San Diego’s unique watering holes, notable for photographs of famous athletes, celebrities, and high- class strippers covering almost every inch of wall space. It was also known for its colorful regulars. Johnston had friends from all walks of life, including politicians, ex-boxers, and movie actors, not to mention, downtown’s resident characters. The Hollywood had just reached its commercial peak in 1945 when Bob and Frances’ only child, Dee Ann, was born. They were not young parents. Johnston

The Hollywood Theatre Company in the 1940s. Stars of the “golden years” included: Jane Greg (seated, centre), Bozo Lord (reclining at right), Zena Ray (aka Katherine Flores, seated directly above Lord’s head), and Charlotte Henry (former child film star, standing above Lord’s feet). Courtesy of the Johnston Family.

29 The Journal of San Diego History

was forty-eight and Frances thirty-six but, for the first time in their lives, they could consider themselves wealthy. Having survived the long, hard struggle of the Depression, and with the peak of the frenzied war years behind them, the new family enjoyed the recent material wealth and social status brought to them by the theatre. Bob and Frances bestowed Dee Ann with an upper-middle class lifestyle and treated her like a young protégé. Her early training for a career in show business began with a regimen of acting and dancing lessons. She dressed like a young starlet and had professional portraits taken regularly. Every day, Bob and Frances helped stretch her limbs to achieve and maintain the flexibility that she would need later to do high kicks and the splits.35 Growing up at the Hollywood during the latter part of its golden years, Dee Ann was primed to go into the family business. By the time she was a teenager in high school at Point Loma, she was helping her mother choreograph the chorus line. She began dancing with the company in the early 1960s, in the line and in specialty numbers, while pursuing other outlets for her talent.36 Until the Hollywood reached its inevitable demise, the theatre derived much of its unique personality from the close-knit and talented Johnston family.

The Show & the Performers

The theatre fostered a long list of Zena Ray and Ginger Kay, 1940s. Zena Ray (aka Katherine Flores) was professionally trained in ballet but made her living regular cast members and employees as a chorus girl. Her friend Ginger Kay was one of four sisters during its run of nearly fifty years. who worked together in the Hollywood’s chorus line. Author’s collection Lili St. Cyr, the striptease superstar of the 1950s, started her career at the Hollywood, where she was mentored by veterans such as Janne “Irish” Cafara (aka Janne Kane). Many cast members worked at the theatre for more than a decade, including Zena Ray (aka Katherine Flores), Barbara Jean Dishong, and Big Bobbi “Texas” Roberts. In an era when most variety entertainers moved from short-term engagement to short-term engagement, members of Hollywood’s company were able to settle in San Diego, raise families, and enjoy some of the material comforts of the middle class. Dancer and choreographer Lee Torry made a significant creative contribution to the Hollywood’s renowned productions during a career that spanned three decades.37 He began dancing as a chorus boy at the Hollywood around 1940 and graduated to choreographer of its full-company, “picture” numbers.38 He also designed and built stage sets in the 1950s. Other multi-talented stalwarts in the

30 San Diego’s Bygone Burlesque show included Torry’s partner Don Saylor, a chorus boy who also made gowns and jewelry for the feature strip artists, and Bob Ross, who doubled as a house singer and a comic. It was not uncommon for people to claim they went to the Hollywood not for the strippers but for classic burlesque sketches and hilarious comics such as “Say No More Joe.”39 As one fan recalled, “…the blackout skits were so funny, so risqué, so loaded with double meanings that the comics needed only look at the audience and get a big, big laugh.”40 Unlike today’s stand-up comedians who perform solo, burlesque funny men used interchanges between actors to tell jokes, and lines were delivered with the rapid fire of a machine gun’s pace. Comedians relied on a canon of recycled and reworked material, skits easily recognizable in their day, such as “In Court,” “Slowly I Turned,” and “Susquehanna Hat Company.”41 The Hollywood’s stage was of an adequate size and many of these scenes were acted out in front of sets while shorter, less elaborate “bits” were done in front of the closed curtain to buy time until the company was ready for the next big production number. Typical comic bits had at least three parts: an opening line, a response, and a punch line. The jokes and sketches captured in the filmThe Famous Hollywood Burlesque (1948) range from one-liners to more complex, mad-cap scenarios involving up to six men and women on stage at one time. References to local events and places such as La Jolla Beach added interest to the repertoire. Ken Cilch, a regular patron of the theatre in the 1960s, reported that if he had friends visiting from out of town, he’d warn Johnston in advance so that they’d be treated with a big surprise, an on-stage mention by one of the comics.42 Although burlesque was bound by tradition in many respects, spontaneity remained part of the overall experience, especially when it came to the comedy. While the Hollywood had an impressive stable of professional male jokesters, women were inarguably the main commercial draw. With more roles available to them, they passed through the Hollywood’s company in far greater numbers than the men.43 Sadly, since employee records were thrown away long ago, it is impossible to know how many women in total worked there over the years in the chorus line, as specialty dancers, striptease features, singers, and secondary comedians (referred to in the industry as “talking,” “straight,” or “extra” women). If a young woman had the basic ability to walk in time to music, she could almost always find work at the Hollywood. Janne Cafara, or “Irish” as most people called her, was a veteran burlesque performer and “strip woman.” Her striking good looks and emerging talent earned her a coveted role as the young starlet “ingénue.” Cafara was working a stint at the Burbank Theatre in Los Angeles when her son was killed by a drunk driver. Distraught, she accepted an invitation to perform at the Hollywood from Frances Johnston, who promised her that a small “no-hassle” part in the show (strictly as a feature) and some quiet time in sleepy San Diego would help her get over the tragedy. The Hollywood proved to be an effective remedy for near-paralyzing grief. Slowly, Cafara returned to her former self, teaming-up for comedy bits with her old friend and Hollywood “top banana” Claude Mathis, and mentoring younger performers like Lili St. Cyr and others.44 The theatre had come to her emotional rescue, and she grew a strong attachment to it and to San Diego (which she kept as a permanent base for the rest of her life). In 1952, after being a regular

31 The Journal of San Diego History

Hollywood Theatre Stageshow, 1951. From left to right: Bubbles, Margie, Renu, Delia, Larry Kane (house singer), Little Jerry, Kansas City Kitty (front right), Barbara Jean, Ginger Kay. Kansas City Kitty and Barbara Jean were mother-daughter chorus girls. ©SDHS #81:12753-22, Barbara Jean Burlesque Theatre Collection. in the Hollywood’s company for more than a dozen years, Cafara married the handsome and much younger Larry Kane, one of the theatre’s house singers and “straight men.”45 The two continued to perform there on and off for several more years, in between engagements that took them back and forth across the country. Many years later in 1994, the retired classic striptease artist remarked, “I think I played every state in the United States, the big theatres in all the big cities. When I got to San Diego I just don’t know, I just never wanted to leave here.”46 “Zena Ray,” known today as Katherine Flores, was another traveled performer who found herself in San Diego just prior to the outbreak of World War II. At twenty-four years old, Flores was not as accomplished a performer as Janne Cafara, but (unlike a lot of the Hollywood’s other chorus girls) she had the experience of a professionally trained dancer and a background in show business. During the week, she worked at the Convair aircraft plant as a time-keeper; in the evenings and on the weekends, she sang and danced for servicemen at the theatre and at U.S.O. events. The sailors were generally appreciative and respectful. The Hollywood performers had a great fondness for them. In fact, a number of the women in the chorus were actually married to military men.47 Others, like June La Rue (who became June Brown), would go on to marry them soon. Flores remembers a “very dramatic” moment in the theatre when one of the women’s husbands, just returned from overseas, surprised her in the middle of a production number. It was a moving moment as she broke out of the line to lean over the stage

32 San Diego’s Bygone Burlesque for a big “welcome home” embrace in front of the entire company and audience.48 Flores performed at the Hollywood for fifteen years during its most successful era. Some of her contemporaries included Mary King (the Hollywood’s principal specialty or “character” dancer), Ginger Kay, Kay’s sister June (“La Rue”), Lila and Lola Baker (Mormon twins), Charlotte Henry (a former child actress who played Alice in the first motion picture version of “Alice in Wonderland”), and Claudette Mathis (the daughter of “Say No More Joe”). Big Bobbi “Texas” Roberts was the Hollywood’s favorite in-house strip feature for twenty-four years. Her striking good looks and ability to walk like a born showgirl earned her a spot in the back row in 1946. She eventually moved up to line captain and then co-feature. She also sang and played extra women in comic sketches. When out-of-town headliners were unavailable, Roberts would receive top billing in print advertisements and on the marquee. Once asked about how she felt to be a stripper, she remarked, “we had to wear large pasties and G-strings; I wound up with more clothes on at the end of a strip than I did in the chorus line!”49 Thanks to Johnston, who invented stage names and catch-phrases for manystripteasers, Roberts never lost the association with her distant birth state, Texas, a place known for all things big. She was five feet eleven inches tall, but well over six feet in heels and a headpiece. In burlesque jargon, women of Roberts’ stature were referred to as “tree-toppers.” Billed as “6 Feet 1 of Texas Fun,” “Big Texas Bobbi,” and “The Tall Texan,” she literally stood out from the rest. “There would be thirty-three girls on stage, but the only girl the men would look at was Bobbi,” Johnston recalled after her death in 1981.50 In a letter to the San Diego Reader, an old fan could recall the sense of awe Roberts inspired in youthful admirers: She was something else. Very tall, red hair as I recall, and so far out of our league she might have well been from Mars. She was dating some big land developer, and he would pick her up after the show in a Cadillac roughly the size of an aircraft carrier. We would stand around like goofs and then wander off.51

Barbara Jean, another member of the company, also flourished at the Hollywood. She danced side-by-side with her mother, “Kansas City Kitty,” a well- known, platinum blond bombshell and recording artist of the 1920s and ‘30s who had sung with the Count Basie Orchestra and other bands.52 Mother and daughter started out as “brooms,” the term given to newcomers who strutted in the big production numbers before they were actually allowed to lift their feet off the floor and dance.53 They had to borrow money to buy their dance shoes, platforms with ankle straps, but chorus girl costumes were reused over and over again for different productions and almost every size was already available in stock backstage. There was also a wardrobe mistress to sew new costumes and make repairs and alterations.54 Barbara Jean described herself as a “pet” of the Johnstons. Her energy and talent helped foster her thirteen-year-long career at the Hollywood. Within two weeks of joining, she advanced to the front line and became a partner in a mixed-couples dance “team.” Lee Torry, Don Saylor, and Jimmy Merrill were the show’s three main male dancers at the time. Barbara Jean would partner with them countless times over the years. Her advanced education in the chorus

33 The Journal of San Diego History

line came from a woman named “Bubbles,” a vivacious dancer “from the old school” who had been there since the 1930s, and from Mary King, a sophisticated, professionally trained dancer there since the early 1940s. With King on one side and Bubbles on the other, Barbara Jean claimed that she had to “dance (her) can off” to keep up with them and avoid looking ridiculous.55 Barbara Jean’s initial salary as a chorus girl in 1950 was twenty-six dollars per week. By the time she left more than a decade later, she was clearing one hundred dollars. By her accounts, it was a pretty decent living. She quit for two main reasons: her age, and the realization that the burlesque world and the Hollywood had changed significantly since she had begun dancing there in 1950. She described her sudden moment of clarity:

There were girls there I don’t know why anyone would turn around and watch. They couldn’t dance, they were full of dope, stringy hair, no shoes, a brown bathing suit. I came on very glamorous; I wore a fur thing; I was the headliner. And there, there was nothing. You see, I was older. I looked in the mirror then because I was a grandmother then, and I always said that the day I felt like I was too old to be in it I was getting out. I looked in the mirror and thought, “What am I doing here?!” When I got off that stage I went right in and told the boss I quit. He couldn’t believe this. I said, “It’s time.” And I never went back again.56

By the 1960s, only a few of the Hollywood’s “old timers” remained, including Eddie Ware, Lee Torry, and “Texas” Bobbi. Many dedicated, long-term performers had begun to notice a diminishing in both the quality of the show and in attendance numbers by the early 1950s. Sensing change, entertainers gradually left to pursue a range of other opportunities. Some, like Katherine Flores and Mary King, went on to teach private dance lessons, while other chorus girls like June La Rue became wives and mothers. Some of the company’s more seasoned professionals, like Janne Cafara and Claude Mathis, spent large portions of the year on the road, performing in nightclubs and burlesque theatres as far away as the eastern U.S., Hawaii, Mexico, and Canada. The Hollywood’s sold-out “golden years” were marked by big song and dance productions, a large company, and elaborate stage sets, costumes, and choreography. At one time, the high–class productions of the Hollywood rivaled those at any of the well-known burlesque palace on the West Coast, including The Follies and Burbank theatres in Los Angeles and the El Rey in Oakland. The Hollywood’s performers, particularly those who dedicated a large part of their lives to the theatre, deserve due credit for their role in its commercial successes and fame. In fact, some of its most celebrated, long-standing and tenacious members may have been responsible in part for the theatre’s trend-defying longevity. Helping Johnston to keep classic American striptease and baggy pants humor alive in San Diego well into the national twilight of burlesque, faithful employees such as Bobbi Roberts and Eddie Ware stuck by the Hollywood into its final dying years.

34 San Diego’s Bygone Burlesque

The End of an Era: Decline in the 1960s & the Post-Hollywood Years

By the mid-1950s, what was left of the once great national burlesque industry was crumbling. The top entertainers, when given the chance, took their well-honed craft and retreated from dark, old theatres into dazzling, new nightclubs. The lucky ones were able to branch out into radio, film, and television. The Hollywood Theatre survived longer than most due to the fact that San Diego housed one of the largest concentrations of sailors in the country. When downtown’s exuberant period of military-based prosperity finally ended in the 1960s, so did the Hollywood’s. In order to save money on salaries, the band, which had always been made-up of union musicians, was replaced by recorded music. The impressive stage scenery, which used to rotate several times over the course of a single show, was no longer changed. As ticket sales plummeted, less and less money went back into producing the Hollywood’s shows or maintaining the building.57 In the 1960s, the Hollywood faced another new threat: a cultural shift in attitudes about women and sex. The increasing explicitness of violence, language, sexuality and nudity in films had an allure for young people that could not be matched by the Hollywood’s “cheeky” and outmoded stage show. Movie houses like the nearby Savoy had been competing for its predominantly male audience since the early 1950s with screenings of low-budget, “cheesecake” films starring strippers and pin-up models.58 Signaling the looming end days for classic, live burlesque striptease, these relatively innocent clips spawned the first generation of XXX-rated movie houses in the 1960s. Many of history’s once-treasured, old burlesque and motion picture palaces, the ones that weren’t fated to be bulldozed into parking lots, were converted into porno theatres.

The Hollywood Theatre Company, early 1960s. Dee Ann Johnston, who began singing and dancing in the show in the early 1960s, curtsies on the catwalk while her father acts as Master of Ceremonies. Courtesy of the Johnston Family.

35 The Journal of San Diego History

The appetites of the 1960s, informed by women’s liberation, war, hippies, drugs, pornography and more, rendered classic burlesque obsolete. Depending on one’s perspective, stripping was either oppressive of women, or just too tame.59 Traditional burlesque strove to be naughty but its use of sexual innuendo could not compare with the real thing. Unlike those who produced films, Johnston was forced to abide by comparatively more rigid and antiquated local decency laws that only applied to live theatre. Among other things, the theatre was bound to its own strict policy of no “four-letter” words and to the City’s obscenity laws against full nudity. A brief attempt to spice up the show with topless go-go dancing was quickly cut short by vice enforcers. Regardless of the obstacles, Johnston’s stubborn business sense kept burlesque chugging along locally well beyond its years as a popular and financially viable form of mass entertainment. The decision to close the Hollywood in 1970 was difficult but inevitable. In a 1969 San Diego Union newspaper article entitled, “Burlesque House Stripped of its Glory,” Johnston claimed never to think about retiring from the theatre, but he openly lamented burlesque as a slowly dying art. Business was terrible, Frances was at home most of the time suffering from the arthritis she’d developed as a dancer, and Johnston was now in his seventies (though he still also ran the Palace Bar next door). Sadly, but not surprisingly, the Hollywood folded in less than three months, after its 11:00 p.m. show on February 9, 1970. The official word was that Johnston wanted to devote as much time as possible to his first and only grandchild, Robert Johnston, Jr. Other reasons surely included his advancing age, the death of burlesque, and pressure from the City of San Diego and developers who aimed to turn San Diego’s “tenderloin district” into valuable commercial real estate.60 Johnston did not slow down after the Hollywood closed. He kept the Palace Bar and continued holding court there with his cronies. When the City finally forced him out, he bid goodbye to his much-loved bar on F Street and took over a widely- reputed “dive,” the Four Aces, at 1111 Broadway (now also gone). He renamed it the Palace Bar and ran it until the mid-1980s. The Horton Hotel (1888), which had housed the original Palace Buffet at ground level, was torn down in 1981.61 Johnston passed away at age ninety-three in 1991. He and Frances had been married for over sixty years and still lived in the house on Fort Stockton Drive which they had purchased during the highpoint of the Hollywood’s success. During his lifetime, he had risen from the ranks of a poor, small-time showman to a wealthy and celebrated member of the local community. The charismatic young man who had come to California in 1921 on vacation from Canada became one of the best known and most celebrated burlesque theatre operators on the West Coast. The Hollywood had allowed the Johnstons to live as upper-middle class San Diegans, to treat themselves to previously unaffordable luxuries, and to lead an active social life. In addition to running his businesses, owning racehorses, and promoting boxing matches, Johnston was a Mason, an Al Bahr Shriner, a member of the San Diego Rowing Club, and a generous contributor to many charitable causes, including his favorite, the Salvation Army. In his eighties, he continued to stay active and sang for “old timers” at convalescent homes. He always remained loyal to his birth roots and was honored by the Irish Congress of Southern California’s “Irishman of the Year” title in 1989. At the age of ninety-one, he proudly rode in the San Diego St. Patrick’s Day Parade.62

36 San Diego’s Bygone Burlesque

A truly great man, Johnston mixed company with people from all walks of life, from California Governor Goodwin Knight, to comedy great Lou Costello, famous actors, sports celebrities, and San Diego’s most downtrodden residents below Broadway. For a large part of the twentieth century, Johnston was the unofficial “mayor” of F Street and “king” of downtown. Photographs of him can still be found hanging at the Horton Grand Hotel, in the Blarney Stone Pub on Fifth Avenue (his main haunt later in life), and alongside other notables from San Diego’s history at the Gaslamp Bookstore & Museum. The Hollywood Theatre was at the center of downtown San Diego. It played a notable role in the city’s social and cultural life from the early 1920s until it closed in 1970. Hollywood Theater. Courtesy of the Johnston Family. Johnston was the theatre’s dearly loved and long-reigning patriarch. While a few other local entertainment establishments featured burlesque-influenced variety acts and productions on occasion, the Hollywood was recognized for decades as the city’s only place exclusively dedicated to presenting classic American burlesque.

NOTES

1. Special thanks to Dee Ann Johnston and Robert Johnston Jr. for sharing their family story and photos. Thanks also to Robert Wright, volunteer at the San Diego Historical Society, who conducted the oral history interviews with Bob Johnston and others so many years ago. 2. The Famous Hollywood Burlesque, VHS, directed by Duke Goldstone (Continental Pictures, Inc., 1948; Something Weird Video, 1996). Alternately titled Hollywood Burlesque, the film showcases an entire Hollywood Theatre production with an introductory dedication that reads: “This picture is dedicated to the thousands of people all over the world, who have not had the opportunity of seeing big time burlesque as it is presented on the stage of the famous Hollywood Theatre.” 3. The most famous of all strippers in the 1950s, Lili St. Cyr, actually learned her trade at the Hollywood in the late 1940s under the tutelage of Frances Johnston and Janne Cafarra. For a small number of photographs from her early years performing at the Hollywood, ca. 1947, and early 8 x 10 inch photographs autographed to her “strip teacher,” Cafara, see: San Diego Historical Society (SDHS), Booth Historical Photograph Archives, The Barbara Jean Burlesque Theatre Collection, C021. 4. Ken Cilch, Sr., interviewed by author, May 20, 2005. Long after its official dissolution, memories of the Stingaree continued to mark downtown as an area not to be visited by decent people. For decades to come, mothers would continue to warn their sons to stay away from the area below Broadway and its “dirty burlesque theatre.” 5. “Theatre History in the Nineteenth Century,” SDHS, http://sandiegohistory.org/collections/ theaters/theaters.htm (accessed January 14, 2006). Louis’ Opera House was located on the east side of Fifth between B and C Streets and was later renamed the Grand. 6. Bernard Sobel, Burleycue (New York: Farrar and Rhinehart, 1931), 8. Thompson and her company (also known as the English Blondes, the British Blonds, and by similar variations in title over the years) are frequently credited by historians for inspiring the emergence of the classic American burlesque show. These women cross-dressed, exposed their shapely legs with tights, and did bawdy

37 The Journal of San Diego History

impersonations of the upper-classes and ethnic stereotypes. Thompson’s irreverent treatment of Ixion, or Man at the Wheel by F. C. Burnand was described by Sobel as “a framework for elaborate costumes, song, dances, local allusions, sarcastic comment, imitations of swell dandies and German benders.” 7. San Diego Union, January 15, 1889, 3. Unfortunately, the world-famous Lydia Thompson, who was actually known throughout Europe for her serious acting abilities, remained in Los Angeles and did not appear with the company at Louis’ the first night due to a “severe attack of nervous prostration, brought on by overwork.” No follow up was given as to whether the great burlesque “legend” was able to rejoin the show the next night. 8. San Diego Union, October 27, 1886, 3:1. 9. San Diego Union, June 29, June 30, 1897, 5. 10. The cootch was a prototype of today’s Middle Eastern belly dance. A dancer named Little Egypt premiered the “muscle dance” on the midway at the Chicago World’s Fair in 1893. As the first “exotic dance,” it was eventually succeeded by the even more suggestively sexual shimmy, and then the striptease. See Rachel Shteir, Striptease: The Untold History of the Girlie Show (New York: Oxford University Press, 2004) for an in–depth history of the rise of the girl show attraction. 11. Jim McVicar, “Palaces of the Past: What Ghosts Lurk Backstage?” San Diego Union, November 9, 1969, G-2. A bulletin for a show at the Fisher Opera House starring the “charming, little comedienne, singer, and dancer” Katie Putnam appeared in the San Diego Union on June 29, 1897 (the same issue that contained the initial report on Omene and a posting for her performance at Louis’). During the latter half of the nineteenth century, Putnam was a well-traveled “soubrette” who led her famed troupe to rural opera houses, honkytonks, vaudeville and other variety theatres across the United States and Canada. She mixed company with and exhibited the same spirit as famed burlesque pioneer Pauline Markham, who left the British Blondes to travel with her own company. 12. Ralph W. Hastings, “The Play Was The Thing In Old San Diego Theaters,” San Diego Union, June 25, 1967, G-1. The tab show shares a close relationship with burlesque, and both were largely the domain of the working class. Derived from the word “tabloid,” tab shows were parodies of popular musical comedies, cut down to a length of about an hour. In early burlesque shows as well, the middle act always featured a parody (or “travesty”) of a well-known story. By the twenties, the term “tab show” was sometimes used as a euphemism for burlesque in order to avoid the word’s negative, low- brow connotations. 13. “Theatre History in the Nineteenth Century,” SDHS, http://sandiegohistory.org/collections/ theaters/theaters.htm (accessed January 14, 2006). In various years up to 1924, the theater was known as the Lyceum (1913 & 1919), the Gaeity (1914 & 1915), Little (1914), and Ballein’s (1915). The name “Liberty” was meant to evoke the patriotism of World War I–era musicals. See also the many articles by Welton Jones on the history of theatre in San Diego in the San Diego Union Tribune. He wrote several on the Hollywood and his friend Bob Johnston including “Stripping Away the Veil of History,” San Diego Union Tribune, October 16, 1994, E-2. 14. Jim McVicar, “Burlesque House Stripped Of Its Glory,” San Diego Union, November 9, 1969, G-2. There are many discrepancies between various sources over the precise year, between 1921 and 1924, that the Liberty officially became a burlesque house. This situation also pertains to when its name was changed to The Hollywood, whether it was before or after it closed temporarily in 1935-36. Since City Directory listings, printed advertisements, newspaper and oral accounts contradict one another over these non-crucial dates, only approximate ranges will be provided in the text in these instances. 15. Micheal Austin, “Harlem of the West: The Douglas Hotel and Creole Palace Nite Club,” (master’s thesis, University of San Diego, 1994). 16. Katherine Flores (aka “Zena Ray”), interviewed by author, July-August 2005. 17. Joan M. Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” SDHS Manuscript Collection, 3-5. This very helpful article provides many more details on the lives of Robert and Frances Johnston based on numerous personal interviews as well as historical research. 18. Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” 5, 20. As a teen in Calgary, because Johnston’s accent was not British, people mistook him for Scottish. The nickname stuck, even though he was actually Irish. 19. A “nickel bar” was a place that sold near-beer and sandwiches for 5 cents during Prohibition.

38 San Diego’s Bygone Burlesque

20. Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” 8. 21. There are two main distinctions between vaudeville and burlesque: 1) vaudeville was meant to be “clean” so that women and children could enjoy attending the theatre, whereas burlesque was rather coarse and targeted primarily at adult males; 2) vaudeville featured individual, consecutively running variety acts, while burlesque had a unified company that carried the show throughout most of the program. Johnston, who was a vaudeville performer since childhood, inflected a tinge of vaudeville into the Hollywood’s “big time” burlesque stage shows with the semi-regular inclusion of variety acts. 22. Bob Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 8. Orchestra seats cost twenty-five cents while the balcony went for 10 cents each. Johnston also exported floorshows to Tijuana, Mexico during his early years at the Liberty. The critical flaw in his operation was that his girls had to be back in the country by six o’clock in the evening or risk getting in trouble at the border. Not surprisingly, the enterprise did not last very long. 23. Jim McVicar, “Palaces of the Past: What Ghosts Lurk Backstage?” San Diego Union, November 9, 1969, G-2. McVicar stated that when the Depression came, vaudeville practically disappeared in San Diego. 24. Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 6. 25. Dee Ann Johnston and Robert Johnston, Jr., interviewed by author, March 21 and April 4, 2005. Frances Johnston was born in Omaha, Nebraska in 1905 to a Russian immigrant family of former circus performers. They moved to Los Angeles when she was a young child. She began her show business career at age 14, touring in a hundred-piece saxophone orchestra with famous female impersonator, vaudevillian, and silent film star, Julian Eltinge. 26. Cilch, Sr., interviewed by author, May 20, 2005; Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005.; Flores, interviewed by the author, January 15, 2006. Occasionally, Johnston’s goodwill paid him back, as it did in the 1940s when he took in “Shanty,” a mysterious man in his fifties or sixties with a cowboy hat and dusty overalls. Shanty proved to be an excellent set designer and builder. He stayed gainfully employed at the theatre for “years and years,” creating some of its most artistic stage scenery during the 1940s “golden years.” Unfortunately, not much is known about him, including his real name, although he is remembered by Katherine Flores as “the love of (her) life,” for the innocent and unrequited crush that she and the other young women in the chorus all shared. 27. Richard W. Amero, “San Diego Invites the World to Balboa Park a Second Time,” The Journal of San Diego History 31, no. 4 (1985): 261-280. 28. Holly Knox, Sally Rand: From Films to Fans (Bend, OR: Maverick Publications, 1988), 24. 29. Dixie Evans, The Exotic World Burlesque Museum, Helendale, CA (closed). This story is a regular part of the guided tour of the Exotic World Museum given by Dixie Evans (the “Marilyn Monroe of Burlesque”), the museum’s curator and founder. 30. “Sally Rand Due by Plane at 10 A.M.,” San Diego Union, April 9, 1936, 1-2. Rand’s appearance at the Exposition endeared her to the hearts of local San Diegans. She was enthusiastically welcomed back to the city on at least two other occasions, performing at the Orpheum Theatre (located at Fifth and B) both in 1942 and 1945. In a later article (“Sally Rand Packs Orpheum,” San Diego Union, August 5, 1942, 2), the Union referred to Rand’s traveling show as “a vaudeville program of real merit” with soft-toe dancers, acrobats, singers, ten different scenes, and a line of thirty girls. The vaudeville tag meant that the show was considered appropriate for women and children even though Rand, probably wearing a body stocking, had the appearance of being completely naked behind her ostrich fans and bubble. 31. Derek Danziger, “The Balboa Theatre – Downtown’s Hidden Treasure,” Gaslamp Quarter Connection (February-March 2005), 5. 32. Joe Kneffler, “San Diego Burlesque,” San Diego Magazine (June-July 1952). 33. Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 6. 34. SDHS, Booth Historical Photograph Archives, Barbara Jean Theatre Collection, #84:14825. In 1943, a crowd of officers and sailors gather beneath the Hollywood’s marquee, which reads “BIG GIRL REVUE” at the top. 35. Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005.

39 The Journal of San Diego History

36. Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005. Dee Ann appeared in a small handful of movies including “Gypsy,” starring Natalie Wood as burlesque legend Gypsy Rose Lee, and went on to be an active leader in professional musical theatre in San Diego. 37. In Duke Goldstone’s motion picture, Torry is credited as “Legrand Torry,” but he was known by most as “Lee.” In various sources, in addition to “Torry,” the spelling of his last name is also given as “Torey” and “Torrey.” Neil Morgan, San Diego Evening Tribune Area News, photocopy, n.d. (ca. 1970). A short news item announcing the Hollywood’s plans to close within the week lists Torrey, after thirty years, as one of its remaining employees. 38. Big “picture” extravaganza numbers opened and closed burlesque shows. They incorporated the entire company, standing (and sometimes singing) on risers in a semi-circle configuration, while the house singer sang the theme song and chorus line and various individuals did brief dance solos at the front of the stage. See The Famous Hollywood Burlesque (1948) for a typical production that provides excellent examples of the show’s various traditional burlesque elements, including picture numbers. 39. Johnston’s favorite part of the show was not the dancing or the stripping. He was partial to his beloved slapstick “baggy pants” comedians: Claude “Say No More Joe” Mathis, Slats Taylor, Eddie Ware, Eddie Lyle, and Bozo Lord. Lord worked for Johnston at the Liberty as early as the 1920s. Easily identified in historic photographs by his trademark funny round eye-glasses and short necktie, Lord was an honored senior member of the cast far into the 1950s. Eddie Ware, who was the last of the great comics to depart from the show in the late 1960s, had been there for almost a quarter century. “Say No More Joe,” otherwise known as Claude Mathis, was a “top banana” (headlining comedian) at the theatre during its heydays and later years. Mathis had all the characteristics of a classic burlesque comedian: quick jokes, strange whistles, baggy pants, and an upturned hat brim. “Say No More Joe” was apparently even known among local high school boys, according to fan Gus Stevens, who wrote, “In those days, a fellow could get a big laugh at any football game by calling out from the stands, “Say No More!” All of us girl-less swingers knew what he meant.” Stevens was also a classmate of Claudette, Mathis’ teenage daughter, who at the time was considered a “celebrity” by her peers because she would occasionally perform bit parts with her father at the Hollywood. Gus Stevens, “New Entertainment Sounds Like the Old,” May 16, 1975, SDHS Subject Files, Theatres. 40. The San Diego Reader, March 7, 1996, letter by Laurence Gross, 39. In burlesque jargon, a “black- out” is when the lights go out immediately following the comic’s punch line. This allows the actors to exit the stage for the next act (usually a strip). 41. In The Famous Hollywood Burlesque. Eddie Ware, in his exchanges with straight man Wenn Hitt and clownish Bob Ross, speaks so quickly it is difficult for the modern listener to even keep up, The San Diego Reader, March 7, 1996, letter by Laurence Gross, 39. 42. The Famous Hollywood Burlesque; Cilch, Sr., interviewed by author, May 20, 2005. 43. Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005. The female portion of the company was frequently referred to in advertising as the “Hollywood Follies” or “Glamourettes,” a name concocted by Frances Johnston, who also came up with the handle for the Hollywood’s bowling team: “The Bobettes.” 44. Janne Kane (aka Jan “Irish” Cafara), interviewed by Robert G. Wright, SDHS Oral History Program, October 31, 1994, transcript, 10-12. 45. “Straight men,” sophisticated and dapperly-dressed comedians, were the comic foils to their counterparts, the clownish baggy pants comedians. 46. Kane, interviewed by Robert G. Wright, SDHS Oral History Program, October 31, 1994, transcript, 21. 47. Kneffler, “San Diego Burlesque.” Kneffler speculated in 1952 that more than half of the Hollywood chorus line at that time were married to servicemen. 48. Flores, interviewed by author, July-August 2005. 49. Arthur Golden, “Death of Burlesque Queen Rings Curtain Down On An Era,” San Diego Union, February 3, 1981, B-1, 5. 50. Golden, “Death of Burlesque Queen Rings Curtain Down On An Era,” B-1. Johnston further revealed that Roberts was one of his favorite performers at the Hollywood. 51. The San Diego Reader, March 7, 1996, letter by Laurence Gross, 39; Golden, “Death of Burlesque Queen Rings Curtain Down On An Era,” B-1. After the theatre closed, Roberts continued to entertain

40 San Diego’s Bygone Burlesque

into her late forties. She was still stripping at the Hollywood at its final show in 1970. During the Hollywood’s brief resurrection as the Off Broadway, a “legit” professional repertory theatre, she returned there to play a role in the musical Gypsy. She also performed for the USO; even though she now kept her clothes on during her act, the audience still loved her demure performance. Roberts passed away relatively young, around fifty, having suffered for several years from a genetically inherited kidney disease. News of her death struck a sad note with many local people; it was a reminder that San Diego’s golden era of burlesque was definitely over. See also Beth Mohr, “Recipients Tell Value Of Donor Program,” San Diego Union (undated photocopy). Over the course of her illness, Roberts received two kidney transplants and was so grateful that she became one of the first volunteers to sign the newly implemented organ donation card on the back of the California driver’s license. 52. Kansas City Kitty went by the name “June” offstage. Her legal married name at the time was Vivian Poston. 53. Barbara Jean started at the Hollywood in 1950 when she was nineteen years old, and left about 1963. Barbara Jean Dishong (aka Barbara Jean), interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981, transcript, 16. Barbara Jean was one of the rare cases in burlesque of a woman using her real name to perform under. Oft married, she is best known simply as “Barbara Jean.” See photographs from her personal collection in the Barbara Jean Burlesque Theatre Collection, SDHS, Booth Historical Photograph Archives. 54. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981, transcript, 29; Flores, interviewed by author, January 15, 2006. A chorus girl in the 1930s and early 1940s, Ruby Miller was the costume mistress at the Hollywood for years after. Even more intriguing, she was a songwriter who composed some of the Hollywood’s trademark songs, including one of Johnston’s favorites, “You Are Not Free.” 55. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981, transcript, 5-7, 23. 56. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981, transcript, 12-13, 26. 57. McVicar, “Burlesque House Stripped of Its Glory.” 58. San Diego Union, February 1, 1958, A-7. 59. The author has found no evidence to suggest that the Hollywood oppressed its female company members. In fact, many performers’ recollections seem to suggest that the Hollywood liberated them from financial dependency, conventional roles as wives and mothers, and the ordinariness of everyday life. 60. “The Hollywood Theatre Takes Off Into History,” San Diego Union, February 9, 1970, 8:6; Welton Jones, “Lyceum Needs A Friend,” San Diego Union, December 10, 1978, E-1. For years in advance of building Horton Plaza shopping center, city officials were warning property owners that most of the old buildings would be condemned and torn down for future “urban renewal” projects. As a result, many owners stopped caring, ceased making improvements, and watched their property values plummet as the mall failed to materialize and the physical condition of the area, never very respectable, deteriorated rapidly. 61. Architect Wayne Donaldson savaged parts from both the Horton and the Kahle Saddlery hotels to form the new Horton Grand Hotel, completed in 1986. In honor of Johnston, the Horton Grand Hotel still calls its lounge The Palace Bar and displays several pictures from Johnston’s days as a racehorse enthusiast and unofficial mayor of F Street. The new décor, however, is Victorian formal and does not reflect in the least the distinctive, nostalgic dive-bar quality of the former sports bar. 62. Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 23. Johnston’s mother’s side of the family had been devoted members of the Salvation Army back in Ireland, but all perished on the ship The Empress of Ireland, which sunk (shortly after the Titanic) in 1914 en route to Canada. There were a large number of Salvation Army members on board, on their way to attend an official gathering; Leigh Fenly, “Dim The Lights, The Show is About To Begin,” San Diego Union, February 19, 1978, B-6; Johnston and Johnston Jr., interviewed by author, July 15, 2005.

41 A Gothic Architect in San Diego: Philip H. Frohman and the New St. Paul’s Church, 1920 – 1966 William A. Koelsch

St. Paul’s Episcopal Cathedral complex in San Diego was designed by Philip Hubert Frohman (1887-1972), one of America’s significant twentieth century Gothic architects. Frohman was an authority on Gothic and Romanesque architecture, stained glass, acoustics, and the design and voicing of organs. His more than fifty commissions include: Trinity Church and Parish House in Santa Barbara; St. Mark’s, Altadena; Trinity Church, Orange; St. Stephen’s and St. Thomas’s, both in Hollywood; the Church of the Holy Faith, Inglewood; and the (unbuilt) first Roman Catholic Cathedral of Our Lady of the Angels, Los Angeles. His best-known structure, however, is the fourteenth-century English Gothic style Cathedral Church of St. Peter and St. Paul in Washington, DC, also known as the “National Cathedral,” for which he began consulting in 1919 and where he was the Cathedral Architect from 1921 to 1971.1 The parish congregation for whom he designed a new campus on Bankers Hill in the 1920s has also not been unimportant in the history of San Diego. The first Protestant congregation to be assembled in New Town (1868), built a new church building at Eighth and C Streets in 1887. The parish fostered a number of other congregations around the city and county, started the city’s earliest public hospital, opened a shelter and provided employment Philip Hubert Frohman. Courtesy of Washington for transients during the Panic of 1893, National Cathedral Archives. and cooperated with Fr. Antonio Ubach in working for the welfare of local Indians. Some of San Diego’s leading citizens were members of the parish.2 In 1908 the parish commissioned a new rectory, designed by William S.

William A. Koelsch (Ph.D., The University of Chicago) is Emeritus Professor at Clark University, where he also founded the University Archives and directed it for ten years. His publications have been focused on the history of scholarship and scholarly institutions in the U.S. and Great Britain, including Clark University, 1887-1987: A Narrative History (1987). Now a San Diego resident, he established the archives at St. Paul’s Cathedral and served as Cathedral Archivist there from 2001 to September 2005. Special thanks to Diane Ney, Archivist, Washington National Cathedral, and John Will, Archivist, St. Paul’s Cathedral.

42 A Gothic Architect in San Diego

Old St. Paul’s Church, 8th and C Streets, 1887. Courtesy of St. Paul’s Cathedral Archives.

Hebbard, at Fourth and Nutmeg Streets on Bankers Hill, and converted the old rectory into a parish house. As early as 1910, as the central business district began to encroach on its site, the Vestry began debating the question of whether the church should remain where it was or move to a new location. Absent consensus either as to financial feasibility or location, they opted to remain downtown and to enlarge the seating capacity of the building temporarily. But the old rectory was increasingly inadequate as a parish house, and the soaring costs of downtown property following World War I prevented the Vestry from buying the adjacent lot for further expansion.3

Phase 1: Designing and Building a Parish House

After surveying a number of locations on Bankers Hill, in September 1919, on motion of Vestryman Charles G. Haines, the Vestry unanimously agreed to purchase five lots on Block 306, Horton’s Addition, opposite Balboa Park at Nutmeg Street, three of them (Lots D, E and F) fronting on Fifth and two (Lots G and H) on Sixth, for $25,500. They also voted to engage an architect to design a harmonious group of buildings for the new site. In April 1923 the Vestry authorized the Rector to approach Philip Frohman with a formal request “for ideas and suggestions with respect to a Church and Parish House on the New Church Site.”4 St. Paul’s Rector, Rev. Charles L. Barnes, undoubtedly had seen Frohman’s earlier work; he certainly had heard about it from other clergy in the Episcopal Diocese of Los Angeles, among whom Frohman had many friends. In the spring of 1920 Frohman visited Barnes in San Diego. By that time, Barnes must have already made informal overtures, since, accompanied by the Rector, Frohman examined

43 The Journal of San Diego History

and photographed the new site. It is clear from the record that, at least as early as 1911, the Rector and Vestry had envisioned the eventual division of the Los Angeles diocese, with San Diego becoming the see city and the future St. Paul’s Church its cathedral.5 That challenge energized both the Vestry and Frohman, though St. Paul’s was not to attain cathedral status until 1985. Initially the Vestry wanted Frohman to design both a general scheme and a three-level, reinforced concrete Parish House with granite facing. The basement was to contain a kitchen and dining room, and the main floor would be a hall seating around 500 people, with a stage for lectures and “entertainments.” The Elevation Drawing, Proposed St. Paul’s Church and Tower, 1948. Courtesy of St. Paul’s Cathedral Archives. Vestry originally wanted Frohman to design a future third level for offices, classrooms and Guild rooms, and estimated the construction costs for the first phase as $25,000 to $30,000. Frohman cautioned that such a structure could probably not be done for that amount; he was currently designing a similar parish house for an eastern church, estimated to cost $80,000. He advised placing the offices and meeting rooms in a wing, perhaps to be built later, eliminating expensive supports for a third story and a roof that would eventually need to be replaced. The Vestry took the point.6 This was, however, to be only the first in a long series of negotiated (and increasingly expensive) changes. Frohman’s first sketches for the complex, done on vacation in Michigan, were lost when a zealous chambermaid on a Great Lakes cruise ship threw them out with the newspapers. Frohman met with the Rector and Vestry in March 1924 and, showing them his preliminary sketches, convinced his clients of the wisdom of designing the Parish House and the proposed church simultaneously, possibly in part because he offered to do the whole complex for a lower commission. Frohman’s initial plot plan, dated February 1924, however, shows a very cramped campus.7 Frohman thought a church with the impressiveness of a cathedral could be designed even on the limited space available, pointing out that the new structure, when completed, would be slightly larger than Oxford Cathedral. For Frohman, the planned cathedral in San Diego presented “a problem which is more interesting and inspiring than that of the planning of any parish church.” In the summer of 1924, however, Frohman moved his office from Boston to the grounds of the Washington Cathedral, which created some delays in preparing working drawings. Robb and Little took primary responsibility for the firm’s commissions in the Northeast, and Frohman for those in the Washington area and California. Frohman thus retained overall charge of the St. Paul’s project.8

44 A Gothic Architect in San Diego

In April 1925 the Vestry was considering purchasing the next lot north on Fifth Avenue (Lot C), with its additional fifty-foot frontage, and asked Frohman to sketch out what possibilities such a purchase would have for the complex. Frohman replied that by widening the church twenty feet, he could raise its seating capacity from the originally planned 600 people to 800. Adding a south aisle to the parish house to match that on the north could increase seating in the auditorium from 550 to 600 and providing more space for Sunday School rooms. The purchase would also permit lengthening the office and Guild room wing, or “ell,” and enlarge what Frohman termed the “cloister garth.” In May the Vestry purchased Lot C for $7,000. After rejecting some unrealistic changes submitted by the Vestry, Frohman sent them a revised site plan in July 1926, showing the parish house re-centered on the new lot (its present site) and an enlarged church and “garth” (the present Queen’s Patio).9 At a special meeting on 15 November 1926 the Vestry examined and accepted the preliminary plans and authorized the Rector to request “complete plans and specifications and working drawings for the [now enlarged] Parish House, including the Ell.” Frohman replied that, because the exterior of the Parish House should be subordinated to that of the church, he would first need to determine certain details of the church entrance and cloister, but hoped to begin working drawings in January. This was the Vestry’s first real exposure to Frohman’s perfectionism, which once led him to make a change of one-eighth of an inch in the molding of Washington Cathedral’s central tower to modify the effect of the shadow. His former Pasadena partner, Harold Martin, was asked to supervise construction in San Diego. Since Frohman did not yet have an adequate staff in Washington, the working drawings were to be done in Boston under the supervision of his associate, Donald Robb. When Robb came to San Diego in January to confer with the Rector, he discovered that the Vestry now wanted to increase the height of the tower above the parish house stage, along with other changes.10 In April Robb who, like Bertram Goodhue, thought the Spanish Renaissance style more suitable for a southern California building, produced preliminary prints of an alternative design, incorporating the stage house tower and other details wanted by the Vestry, but adding a Mission-style belfry on the west front. The Vestry and Frohman accepted the tower, but the Vestry rejected the belfry and Frohman, a stricter Gothicist than Robb, was not pleased. Nor was Frohman pleased with the Vestry’s request to build the Parish House initially without its buttresses: “To stick the buttresses on later as ornamental features would be a violation of one of the fundamental principals [sic] of Gothic architecture.” When the Vestry subsequently asked the architects to come up with a less expensive design, Frohman’s response was to suggest changes that “would effect some saving in cost and which would make the structure more Gothic and less Spanish Renaissance in character.”11 In November 1926 the Vestry hired a campaign director and authorized a capital campaign. That campaign, conducted in January and February 1927, fell short of its $75,000 goal by about $10,000. Furthermore, its completion created a new and restless constituency, the donors. In December, Barnes reported, “We are being somewhat adversely criticized for not having sooner undertaken the work of building.” John L. Bacon, the Senior Warden and head of the San Diego

45 The Journal of San Diego History

Philip H. Frohman examining the work on Washington Cathedral. Courtesy of Washington National Cathedral Archives. construction firm of Bacon and Writer, was given the major construction contract. In September Robb estimated that construction costs for the 312,000 cubic foot Parish House, if built in Boston, would cost $109,000, though he hoped that San Diego’s lower building costs would hold it to “within $100,000.” After Robb sent the completed working drawings in November 1927, however, Bacon estimated that the building would cost $110,000. Understandably, such estimates shook the Vestry. After conferring with Martin in December, they requested yet another redesign that would reduce costs by making the walls thinner, using wood instead of reinforced concrete for internal supports, eliminating the granite facing, and deferring the stained glass windows. Even so, in July 1928 they had to take out a three-year, $30,000 mortgage loan with the Bank of Italy (later the Bank of America). Ground for the new parish house was broken on January 3, 1928 and the building was dedicated the following December. Excluding the cost of the lot, the total bill for the building, after about $15,000 worth of late cuts, came to $80,001.12 Although the firm of Frohman, Robb and Little had been formally dissolved as of January 1, 1928, the three had continued to work on certain continuing projects as “Associated Architects.” Since Frohman no longer held a California license, Martin became the “Associated Architect” for his California commissions.

46 A Gothic Architect in San Diego

Frohman continued, however, to revise the details of Robb’s working drawings for the St. Paul’s Parish House. Frohman’s major interest, however, continued to be the church and the overall design, writing the Rector a long letter from England in August 1928 on stained glass windows.13 Both Frohman and St. Paul’s anticipated early construction of the new church after the loan was paid off in 1931. The joyous dedication service on December 30, 1928 was marred by no presentiment that, ten months later, the stock market would crash, ushering in the Great Depression that Canon Rankin Barnes, the parish historian, later wrote “hit St. Paul’s and its members with violent force.” By August 1930 only a little under $60,000 of the pledged amounts had been collected. In October, the Vestry formally recognized delinquent pledges as a problem, and during the spring of 1931 began drawing up lists of delinquents and sending out statements either to them or to the executors of their estates. They also applied for (and received) an extension of the Bank of Italy loan. Some of the pledges were never collected, and parish income dropped thirty per cent between 1930 and 1935. The construction loan for the Parish House was not formally discharged until December 1934.14 There could of course be no question of completing the complex during the Depression or the subsequent wartime years of labor and building material shortages. In July 1943 the Vestry established a “Jubilee Fund” for future construction, which they hoped would attract donations both from parishioners and from wealthy San Diegans by the time the parish observed its 75th anniversary in 1944. The Fund was tied to the latest War Bond drive, and the Vestry hoped to raise $75,000 by inducing donors to purchase “Series F” war bonds and donate them to the church, gaining a tax deduction as well as demonstrating their patriotism. But this inventive technique raised only $30,000.

Phase 2: Designing and Building the New St. Paul’s Church

In the early postwar period, property values in downtown San Diego again began to rise. In May 1947 the Vestry elected a young and energetic rector, Rev. Harold B. Robinson, then St. Paul’s curate. Following meetings with church leaders and parishioners, the Vestry sold the 8th and C site for $205,710, reserving the right to remain for another year before removing the buildings. And on July 19, 1947 the Clerk of the Vestry wrote Frohman reestablishing contact, asking what he had done so far on preliminary drawings for the church, and requesting an estimate of the cost of building a crypt, in which services could be held pending the construction of the superstructure.15 Frohman offered to send copies of his preliminary drawings for the church, estimated a six to ten month period for making working drawings, and requested that Martin again serve as associated architect and superintendent of construction. Frohman and Martin met with the Vestry and with parish representatives for two days in November, after which the Vestry voted to contract with Frohman to design a crypt as, in Frohman’s words, “a dignified and beautiful place of worship,” and as much of the infrastructure as was necessary to support future construction over it. Frohman’s rough estimate of the cost was $225,000. In early February 1948, however, the Vestry appropriated up to $5,000 to remodel the Parish House auditorium (now the Great Hall) for worship, until the crypt was completed

47 The Journal of San Diego History

and probably afterwards, as a number of parishioners had expressed their dislike for the idea of using the crypt for services.16 During the spring of 1948 the Vestry and architect ran into problems with city regulations adopted since Frohman’s original designs had been approved in the 1920s. In 1931 the San Diego City Council had passed an ordinance requiring that new construction along Sixth Avenue be no closer to the property line than the average setback of existing buildings on the block. For the proposed church, this would mean a setback of 14 ½ feet on Sixth Avenue, making the church too short for the planned cruciform pattern, reducing its seating capacity, and involving drastic changes in the design process. The attorneys on the Vestry drew up a petition for a waiver from the City Planning Commission and collected signatures from property owners on and adjacent to the block. Though the owners of the house on Lots I and J, immediately to the north of the Sixth Avenue church lots, refused to sign unless the Vestry bought their property, the Planning Commission agreed to the variance. Frohman’s original footprint for the church, which had extended to the property line, was thus preserved.17 About the same time, the Vestry learned that the City Planning Commission had instituted a height limit on buildings in or near the approach to the city’s airport. At the corner of Fifth and Nutmeg, that limit was 154 feet, with a probable six foot increase at Sixth and Nutmeg, and a maximum possibility of a ten or twenty foot waiver. Yet Frohman’s plans for a tower had included a spire rising 195 feet above the nave. Accordingly Frohman had to rethink the tower, opting first for a dome modeled on several Spanish cathedrals, but ultimately rejecting it as “too [Spanish] Renaissance in character” and too similar to the dome of the California Building in Balboa Park. Vestryman Haines, since 1928 a Superior Court judge, argued that it was too early to eliminate the spire, since the airport was soon expected to relocate, so Frohman retained the spire while concentrating on alternative designs for the crypt.18 Frohman produced and explained his drawings for the new church and crypt at the May 1948 Vestry meeting. His preferred design for the crypt was an elaborate Norman Gothic structure, which would seat 422 in the nave and 722 in the entire space. He discussed other alternatives as well, including a simple basement and a nave seating 600, with a temporary wooden chancel, choir, and roof. Frohman was asked to draw alternative plans reflecting the discussion to be costed out. Although delayed by the need to let and supervise the contract for the Washington Cathedral’s South Transept, in September Frohman sent the Vestry preliminary drawings and plans for the main floor and clerestory, two schemes for the crypt, and four elevations of the church.19 Although the Vestry had previously authorized the plans, some Vestrymen began questioning “the cost of the monumental edifice Mr. Frohman is designing.” In September the Vestry rejected Frohman’s preferred plan for a Norman crypt and requested him to design a simplified, utilitarian basement that could eventually be turned into office and other work spaces. In a follow-up telephone call the Rector expressed the Vestry’s satisfaction with the church design and explained that the simpler and cheaper the basement, the more quickly they would move on the church. Frohman agreed, saying that he hoped “to make St. Paul’s the most beautiful Parish Church I’ve designed yet.” Late in November he sent working drawings for basement and foundations.20

48 A Gothic Architect in San Diego

In the meantime the Building Fund had been depleted by the unexpected costs of $60,000 for moving and re-siting the old church structure from downtown, both as a center for campus ministry and as the locus of a new congregation, St. Dunstan’s. At the time the Vestry had about $150,000 on hand in the Building Fund, and hoped to raise an additional $100,000 to $150,000. Judge Haines, now chairing the Building Committee, wrote Frohman in March 1949 that the Vestry had voted to proceed with the basement only, and to downplay in the campaign literature any target dates for the main structure. In an address at the April “Loyalty Dinner,” the Judge assured those present that eventually there would be a “fully developed Gothic type” church in a complex “of monumental design” that would “be worthy of the site and of the city.” The result would be equal in design, even if smaller in size, opined the Judge, to anything that had been built or was being built “in the larger cities of the Old World or on this continent.” The ensuing campaign brought gifts and pledges of $110,000, which after campaign costs added $100,000 to the Building Fund.21 By late August 1949, however, the Vestry was in a quandary. The latest city variance was to run out November 1, and a proposed new parking ordinance, requiring one parking space for every ten church seats, was under consideration by City Council. The initial contractors’ bids for the simplified crypt/basement had run higher than predicted, and money on hand would at best pay only for the foundations, a skeleton basement, and a temporary roof. At a meeting with Martin, the Vestry debated eliminating the basement entirely, and even whether they should sever the contract with Frohman and hire a local architect who might do a cheaper building. In the end, the Vestry invited Frohman to return to San Diego in October to rethink the project with them and, ultimately, to eliminate the full basement and erect a permanent nave and temporary chancel with seating capacity for 600 people, at a maximum cost of $250,000. They continued to insist, however, that the ultimate seating capacity of the completed structure be “not less that 1000.”22 At this point Frohman was understandably taken aback. He had originally designed a stone church, intended for ultimate use as a cathedral that, in the 1920s, would have cost approximately $600,000. In November 1947 he had advised the Vestry that, at current costs, the church as designed would cost between $1,200,000 and $1,250,000. The Vestry had given its consent to his preliminary plans. As Frohman recalled, “it was not desired that we should reduce the beauty nor the monumental character of the church for the purpose of saving present expense.” Now he found that newer members of the Vestry were using his perfectionism, his association with the National Cathedral, and his initial cost estimates to label him as a grandiose, high-priced architect. Furthermore, he was now being asked for yet another redesign, this time in poured concrete with cast stone trim, with none of the High Gothic features of the original. In an impassioned letter to the Rector, Frohman defended his reputation for being able to design buildings to meet parish budget constraints, reminding him that the Vestry had accepted all of his previous cost estimates and had asked him to proceed on that basis. “As originally presented to me,” he wrote, “St. Paul’s was a problem in architectural design but not in architectural economics.” He then valiantly set to work rethinking the design and coming up with yet another set of plans. These, he wrote Judge Haines, would resemble an earlier style of

49 The Journal of San Diego History

church architecture, “based on a transition between a combination of Norman and Spanish Romanesque and early Gothic.” In a subsequent discussion with the Building Committee, Frohman agreed to bring the costs down by eliminating the central tower, and promised new designs along those lines.23 During the early months of 1950 a discouraged Frohman was working out in his mind a simpler design for a church of reinforced concrete that would not be “ugly and depressing.” Meanwhile, the Rector and Vestry were feeling pressured by their primary constituency, the congregation. The Building Fund amounted to only $248,000, and $72,000 of that was still in the form of unpaid pledges, which were coming in more slowly than expected from parishioners vocally dissatisfied with the delays. The Vestry’s plan to avoid borrowing by postponing the start of construction was in tatters, and the outbreak of the Korean War in late June boded ill for construction costs, materials, and labor. Accordingly, the Vestry began pressuring Frohman to give St. Paul’s priority status and to proceed with designs for what was essentially a new and quite different building. By rising early and working late, the architect provided what he called “semi-working drawings” in early June. In April 1950 the Vestry had reluctantly concluded that it was necessary to borrow against future pledge payments, reasoning that an early start would accelerate pledges as well as solve its local and internal political issues. The proposed new parking ordinance was still a threat. In mid-August the Vestry asked the architect to proceed with detailed drawings and specifications for the nave, now reduced in height and to be built temporarily only to the clerestory level, and a temporary chancel, at a maximum cost of $230,000. In September Edward Guy Holliday (1891-1961), a local architect who was also a parishioner, was made construction supervisor.24 Tensions between the client and the architect continued through the remainder of the year. Frohman, for whom neither time nor cost weighed heavily against the goal of getting something exactly right, continued to tinker with the final designs and the specifics of construction plans, attempting to preserve the monumental quality of the original design while adapting to the Vestry’s constantly shifting requests. The Vestry now demanded plans for a complete nave, with clerestory and permanent roof, but still for under its $230,000 cost limit. However, construction wages were rising as a result of the Korean War and it looked as though a shortage of building materials was imminent. The Vestry was therefore enormously frustrated by Frohman’s inability to send blueprints and specifications to San Diego so that they could let contracts and begin what Judge Haines called “work actually in progress on the ground.” The Vestry’s experience serves as a “case in point” for architectural historian and Frohman scholar Christopher Row’s assertion that “one of the primary causes of his patrons’ angst was the amount of time Frohman took to execute working drawings.” Plans and specifications gradually arrived during November, well behind the promised schedule. The Vestry then solicited bids, awarding the contract to the Nielsen Construction Company for $207,225, an action ratified at a special meeting of the congregation on December 5, 1950. The next day, the City Planning Commission postponed action on the long-proposed parking ordinance for another two months, saving the parish from having to create an on-site parking lot equal to the floor area of the church itself. By mid-December the contractor’s steam

50 A Gothic Architect in San Diego

Exterior, St. Paul’s Church and Parish House, 1951. Daniel E. Brock, Photographer. Courtesy of St. Paul’s Cathedral Archives. shovel had begun excavating and, in Judge Haines’ words, “is beginning to make the dirt fly.”25 The Vestry had also narrowly escaped new wartime restrictions on civilian construction. As construction proceeded, the Vestry contracted with Judson Studios of Pasadena to design and produce the stained glass windows. They also began considering designs for pews, lighting fixtures, the altar, and other appointments, while the Building Committee and Frohman continued to squabble about details and schedules. In March the Vestry negotiated a loan for $70,000 at four per cent, and set an April date for laying the cornerstone. Frohman visited San Diego in August 1951 to observe the work under construction. He was both distressed by the “cold grey color of the concrete” and miffed to find a number of departures from his detail drawings. He was especially disturbed by the projecting cast stone window sills, “which would not be approved by any architect who was capable of designing a Gothic church and which look crude on the exterior and ridiculous on the interior.” Before leaving for Washington, he spent time in Pasadena with his partner Martin and visited both Judson Studios and the studio of Howard Atwood, whose firm was designing the furnishings. After discussion and a few suggestions, Frohman pronounced himself satisfied with both.26 The Vestry’s new strategy of beginning construction worked to bring in both old pledges and new gifts. On November 27 the building fund was just $93 short of its goal, with another $150 due in a few days and another $400 pledged for a later date. The first service in the new church was held on Sunday, December 2, 1951. Six days later the building was consecrated, free of debt, by the Bishop of Los Angeles, Francis Bloy.27

51 The Journal of San Diego History

Phase 3: The Additions: Chapel, South Transept, and Arcade

So matters stood for the next couple of years, with the Vestry caught between an architect several of them no longer wanted and a growing congregation needing more program space. By November 1956 the problem of Sunday School crowding had become acute. After Judge Haines committed $4500 toward underwriting the fees, the Rector wrote Frohman asking him to design a permanent crypt east of the temporary chancel to be used initially for Sunday School classrooms. This, however, required Frohman to redesign the east end of the building to conform to the changes previously made to the nave as built. Mindful of Frohman’s repeated inability to get working drawings done on schedules he himself had set, and the implications for letting contracts, the Vestry insisted that Frohman associate himself once again with Edward Holliday, Martin having died in the interim. Holliday, who thus became the new “Associated Architect” with responsibility for the working drawings, was described to Frohman as “devoted to Gothic architecture.” Frohman replied in December accepting the new commission and expressing his pleasure at the restarting of the project, which “increases my hope that I may live to see the superstructure of St. Paul’s Church completed.”28 Frohman met with the Vestry on July 2, 1957 at a special meeting that seems to have been somewhat contentious. The question of whether the parish had a contractual obligation to continue with Frohman was openly raised. Frohman responded with what dignity he could muster that “if his services were no longer desired, he would not wish to continue the work,” and that if the relationship were terminated, he would not require any further payment beyond the fees already due him. The Vestry then authorized Frohman to prepare new designs for the east end, including the crypt, sacristies and a chapel, but made it clear that Holliday was to prepare the working drawings and specifications for contractors. The Vestry then prepared to launch a capital campaign to pay off the mortgage on recently acquired property (Lots K and L) at Sixth and Olive Streets, to refinish the parish house walls, to build a chapel and crypt and at least a portion of a south transept, and to construct an arcade between the church and the parish house, with a patio behind it.29 Frohman sent the blueprints and revised preliminary design drawings for the new extensions in early October 1957 but, ironically, Holliday was now experiencing a prolonged period of ill health, delaying the working drawings for several months. In June 1958 the Vestry established a new building committee under Judge Haines’ chairmanship, and the following January Haines became Senior Warden. These developments brought both experience and speed to the much-delayed project. In February 1959 the Vestry approved Holliday’s working drawings for the chapel and transept. In June an unexpected bequest of $20,000 made it possible to have Frohman design the arcade.30 In May, the Vestry had voted to borrow $130,000 for two years. Excavations for the addition began in July, and the Chapel of the Holy Family, the south transept, and the arcade were completed by early April 1960. The first service in the new chapel was held on April 3, though the bankruptcy of the furnishings contractor delayed the completion of interior fittings, so that the new additions were not consecrated until March 18, 1962. In July 1961 Frohman was in La Jolla during a California vacation and paid a surprise visit to the church. He was taken around to see the new work and, though

52 A Gothic Architect in San Diego

Interior, St. Paul’s Church, 1951. Daniel E. Brock, Photographer. Courtesy of St. Paul’s Cathedral Archives. he expressed reservations about the ribbing and the stained glass window in the new South Transept, he seemed generally satisfied, calling the chapel windows “marvelous.” His guide reported to the Rector that Frohman said he was “anxious to finish building while he and Judge Haines are still alive,” a satisfaction that was to be denied them both.31 From 1960 onward, plans for the completion of the church were once again in abeyance as the Vestry struggled with financial problems, including delinquencies in Expansion Fund pledges. They were also involved in the twin tasks of launching St. Paul’s Manor, a retirement home, and purchasing the Park Chateau Apartments at Fifth and Olive (Lots A and B) to complete the parish’s ownership of the block and to prevent any new owner from building on the site. In January 1962 Rector Robinson resigned in order to become Dean of St. Paul’s Cathedral, Buffalo, New York. By that time the Expansion Fund loan had been fully repaid, but more than $25,000 worth of additional Expansion Fund pledges had to be written off as uncollectible.32

Phase 4: The Problem of Completing the Church

In January 1963 the Vestry elected a new Rector, Rev. Lester L. Jones, Canon Pastor of St. Paul’s Cathedral, Los Angeles. Fr. Jones appointed a new Long Range Planning Committee in April with a dual mandate: to study the possibility of expanding the church building, and to determine when a division of the diocese might be anticipated, a decision that would put the new St. Paul’s church back into play as the probable cathedral for a new diocese of San Diego.33 In pursuit of these

53 The Journal of San Diego History

objectives, Judge Haines wrote Frohman in June, informing him of the creation of the new Long Range Planning Committee and its recommendation for “a new campaign for the completion of the church.” Frohman promised to come to San Diego in September, expressing his belief that his 1957 and 1959 designs could be easily converted into working drawings, and wrote Judge Haines of his hope “that you and I may live to have the satisfaction of seeing St. Paul’s Church completed.” The Committee again had to hire a local architect to work with Frohman on the project, preferably one who was an experienced Gothicist. But, they reported, “a survey of the field does not indicate anyone is available here with such experience,” though they had identified unnamed “able local architects” willing to work under Frohman’s direction. The Committee also wanted to get Bishop Bloy to set a target date for the separation, as it would necessarily affect parish building plans. In this they were to be unsuccessful, as the Bishop would not consent to any division during his Episcopate.34 In September 1963 Judge Haines and the Building Committee met with Frohman and Samuel W. Hamill (1903-1989), the local architect chosen to work with him. In the 1930s Hamill had been co-architect (with Louis Gill, Richard Requa and William Templeton Johnson) of San Diego’s County Administration Building. Judge Haines drafted and the Building Committee recommended a contract with Frohman and Hamill for working drawings of the east end of the church and a fleche (to be designed by Frohman) in lieu of a tower over the crossing, at a total cost of $12,000. The Vestry approved only a preliminary contract with Hamill for $1,000 to produce a plot plan of the entire block, “with particular attention to the plan as proposed by architect Frohman,” to incorporate recent city regulations on set-backs, coverage and off-site parking. The survey turned up problems unanticipated by either the architects or the Vestry, but at the following meeting the Vestry agreed to approve the draft contract with Frohman and Hamill “to provide working drawings for the completion of this church,” and also voted to apply for a new zoning variance regarding parking, setback, and site coverage.35 The final contract was not to take effect until the variance request won City Council approval and the Vestry raised the necessary funds. By the time the two architects met with the Vestry in September, Hamill had done the spadework for restarting the project, including projected compliance with new city regulations. He also assembled previous structural and seismic engineering surveys. He estimated the cost of completing the building would be $550,000. By November, however, there were further delays in the variance application, and the Vestry, once again shocked by cost estimates, began exploring alternate possibilities. In the end, they accepted Hamill’s suggestion that they proceed with Frohman on new design drawings, using the $12,000 on hand, but to defer the working and engineering drawings, to be done later by Hamill’s firm.36 As before, plans to complete the church according to Frohman’s designs foundered owing to the financial condition of the parish. As negotiations involving the city, the church and the architects proceeded through the spring of 1964, even the ever-optimistic Judge Haines admitted that there might not be enough resources to do anything further in the short term. In addition, internal problems beset the Vestry on all sides. One was the expansion of St. Paul’s Manor, the nearby parish-sponsored retirement home. Some members of the congregation were

54 A Gothic Architect in San Diego not fulfilling their annual pledges, and the Vestry faced a significant operating deficit by the end of the year. Distant heirs had used an obscure California law to challenge a large bequest, tying up energy and funds in a suit the church ultimately lost. Conflicts had arisen between the Vestry and the Rector, himself increasingly doubtful of his clerical vocation. Early in May 1965 Rector Jones resigned, and the Vestry began a search for a replacement. 37 By mid-October the new Rector, John A. Sanford, formerly Rector of Trinity Church, Los Angeles, was on board, and on October 28 announced a reactivated Long Range Planning Committee with a dual mandate. It was to examine the long-range uses of parish property (which now included two old houses, one used as an office, and an apartment complex, all needing extensive repairs), and to get the Vestry to the point where it could “continue, if necessary, without the assistance of the principal architect, Mr. Frohman.” At the December 1965 Vestry meeting, the new Committee reported that it had in hand “sufficient preliminary drawings to permit a new architect to carry on without the assistance of Mr. Frohman, if necessary, in the completion of the church building.” It was a realistic appraisal in view of the architect’s age (78) and the Committee’s realization that “financing the completion of the church building would be a long-range project” that would require more than one campaign. Remedying the “dilapidated” state of the Parish House and meeting the need to provide additional program space would, however, take priority. Judge Haines,

Exterior, St. Paul’s Cathedral. Courtesy of St. Paul’s Cathedral Archives.

55 The Journal of San Diego History

now 86 years old, gently protested the decision not to include steps toward the completion of the church in the new capital campaign to begin in 1967. The Vestry reiterated its “great desire to see the Church building completed in accordance with the existing plan,” and assured the Judge that it still had “as its goal completion as soon as reasonably possible.”38 In a sermon launching the new capital fund drive, the Rector stated “we need adequate facilities for every phase of our church program except worship.” Using the services of a local architect, George C. Hatch, the Vestry replaced the old house used as office space with a modern office building that included some Gothic design elements, renovated and expanded the Parish House to provide classrooms and other program space, and remodeled the chancel to install a new Aeolian- Skinner organ. Because the city refused to permit the Irving Gill-designed C. L. Gorham house (1910) at Sixth and Olive to be used for purposes involving public access (including Sunday School classrooms), a decision that subjected the building to property taxes, the structure was torn down and its two lots used for on-site parking.39 Except for some further interior remodeling, Frohman’s church has remained incomplete since 1960. Frohman had one final contribution to make to St. Paul’s. Edward Holliday, the second “Associated Architect,” had died in August 1961. In April 1962 Father Robinson had written Frohman at the request of the family seeking a design for a credence table in Holliday’s memory. Frohman completed a preliminary design in March 1963 and mailed it to Judge Haines in May; Father Jones had accepted it in July. Frohman finished the detail drawings in May 1964 and sent them on to the F. B. Phelps Stone Company the following month. Because Phelps had no one competent to do more than simple cutting and molding, Frohman had the model made and the actual carving done in Indiana limestone by “the best of our stone carvers at the [Washington] Cathedral” before sending the pieces back to Phelps for shipment to San Diego. But through some oversight, the pieces had remained in Phelps’ stone yard in Washington, crated and ready to be shipped, until February 1966, and the parish received it the following month. Hamill designed the memorial inscription and, after approval by Frohman and Mrs. Holliday, the San Diego contractor hired to set the table in its place in the chapel carved the lettering.40 Frohman was struck by a car while walking to the Washington Cathedral on August 7, 1972, and died in hospital of his injuries on October 30, just short of his eighty–fifth birthday. By special dispensation, Frohman, a Roman Catholic, was buried in his beloved cathedral’s Chapel of St. Joseph of Arimathea. No mention of his passing occurs in the St. Paul’s Vestry minutes. Judge Haines, who had been closely involved in the planning and construction of the church complex since 1919, died on September 4, 1974, age 93. In March 1967 the Vestry had negotiated a settlement with Hamill in which he agreed not to bill them “until such time as the Parish should proceed with the completion of the church building.” Presumably anticipating the Vestry would authorize him to produce working drawings once the other projects were completed, Hamill retained custody of Frohman’s design drawings and related material.41

56 A Gothic Architect in San Diego

Frohman’s Legacy

In many ways, Frohman, an architect of the 1920s, had outlived his time. Goodhue, who had designed such notable Gothic structures as the great reredos of St. Thomas’s Church, New York City, and the chapels at West Point and the University of Chicago, had died in 1924, before the modern Gothic movement had begun to wane. By the time construction had begun on the new St. Paul’s Church in 1951, that movement was largely over. As early as the 1930s, critics had begun to condemn the movement as “a pathetic attempt to restore and recreate a dead art.” In 1952, architectural historian Walter Taylor wrote that the Gothic was “an architectural style completely anachronistic and anomalous in the United States” that was only then losing “its parasitical hold on the architecture of American Protestant churches.” Even the Washington Cathedral came under fire as a “colossal anachronism.” Some viewed Gothic architecture as a device to give elites the opportunity “to proclaim to their peers how well educated they were, how polished their manners, how adroit their savoir faire.”42 A few critics, however, admitted that the early twentieth-century Gothic movement in American church architecture was often “based on deep conviction, truth to structure, and exquisite detail,” and “at times produced monuments of superb quality.” John Burchard and Albert Bush-Brown noted in 1961 that Gothic churches “were designed by men who insisted upon excellent detail, workmanlike construction, and colorful decoration executed by skillful artists.” They concluded that the American Gothicists “may not have created much that was new,” but “what they did, they did well.” Their buildings, “gracefully proportioned and solidly constructed, retain an enduring dignity even as many of the more experimental essays of this century begin to look depressingly dated.”43 Their assessment is useful in evaluating both Frohman’s National Cathedral and his St. Paul’s Church, San Diego. British architectural historian Paul Johnson has written “the building of a cathedral is a story without an end.”44 So it is with St. Paul’s. The Cathedral’s renovation of the exteriors of the Frohman and Hatch buildings in 2001 won an “orchids” award in the annual San Diego “Orchids and Onions” appraisal. A new Master Plan Committee began moving toward a large-scale campus development project looking toward completion of the cathedral structure. The additions will be modern, but their outward appearance will conform to the spirit and sensibility of Frohman’s designs. Gothic Revival architecture remains a historically important, if seldom recognized, architectural style in San Diego. Far more attention is paid to Mission Revival, Spanish Renaissance, and modernist Irving Gill structures than to Gothic Revival buildings. Architectural treasures as Our Lady of the Angels in Sherman Heights are little known outside their neighborhoods or constituencies. St. Paul’s Cathedral has been ignored despite the fact that a nationally recognized master craftsman designed it. It is to be hoped that future architectural historians will take on the challenge of chronicling the history of San Diego’s churches, synagogues, mosques and other present and former houses of worship. At the very least, they might provide a comprehensive inventory and guide that will include these structures in the larger context both of San Diego’s built environment and of the social fabric of this diverse city.

57 The Journal of San Diego History

NOTES

1. Trained in Southern California at Throop College of Engineering (now the California Institute of Technology), Frohman practiced in Pasadena in partnership with Harold H. Martin until 1917. Following military service in World War I, he moved to Boston in 1919, becoming the senior partner of the newly formed firm of Frohman, Robb and Little the following year. Most of the present National Cathedral was designed and constructed under his supervision, and in 1990 the West Front and towers were posthumously completed according to his designs. “Philip Hubert Frohman: Designed National Cathedral,” New York Times, October 31, 1972; “Architect Philip Frohman, 84, Dies,” Washington Post, October 31, 1972; Who Was Who in America 5 (1973), 253; “Frohman, Philip Hubert,” Encyclopedia Americana 12 (New York, 1999), 112; Calder Loth and Julius Trousdale Sadler, Jr., The Only Proper Style: Gothic Architecture in America (Boston: New York Graphic Society, 1975), 156-158; “What’s Progressive About a Gothic Cathedral?” Progressive Architecture 53 (December 1972), 68-75; Christopher D. H. Row, “World Without End: Philip Hubert Frohman and the Washington National Cathedral,” Ph.D., Harvard University, 1999, chap. 3, passim; Ty Harrington, The Last Cathedral (Englewood Cliffs, NJ: Prentice Hall, 1979). Among Frohman’s other well-known buildings are the chapel of Trinity College, Hartford, Connecticut, and the Episcopal cathedrals in Baltimore, Maryland, and Orlando, Florida. 2. For the early history of St. Paul’s, see Constance Restarick Withington, ed., My Personal Recollections: The Unfinished Memoirs of Henry Bond Restarick (Honolulu: Paradise of the Pacific Press, 1938), chaps. 11-19; C. Rankin Barnes, “St. Paul’s Church, San Diego, California, 1869-1944,” Historical Magazine of the Episcopal Church 13 (1944): 320-345; and C. R. Barnes, The Parish of St. Paul, San Diego, California: Its First Hundred Years (San Diego, 1969). 3. St. Paul’s Cathedral Archives, Vestry Minutes (hereafter VM) 4 (1907-1921), Record Group (hereafter RG) D, Records of the Clerk; “Vestry Responses re Relocating Church, 1911” and “Vestry Actions, 1911-1924” folders, RG B, Records of the Clergy, Rev. Charles L. Barnes, Office Files. 4. VM 4 (1907-1921), 260-261; VM 5 (1922-1938), 24; C. L. Barnes to P. H. Frohman, April 16, 1923; P. H. Frohman to C. L. Barnes, April 27, 1923, “Parish House, Building of, 1923-1924” folder, Rev. C. L. Barnes, Office Files. 5. Vestry Letter to Congregation, Advent 1911, “Vestry Actions, 1911-1924.” 6. C. L. Barnes to P. H. Frohman, June 7, 1923, August 4, 1923; P. H. Frohman to C. L. Barnes, July 9, 1923, “Parish House, Building of, 1923-1924.” 7. VM 5 (922-1928), 38; P. H. Frohman to C. L. Barnes, July 9, 1923, September 24, 1923; January 1, April 24, 1924, “Parish House, Building of, 1923-1924”; Sketch Plan, St. Paul’s Church and Parish House, dated February 6, 1924, RG X, Architectural Records and Plans, Flat File, Drawer 2, Folder 1. 8. P. H. Frohman to C. L. Barnes, September 24, 1923, December 20, 1924, “Parish House, Building of, 1923-1924.” 9. C. L. Barnes to P. H. Frohman, May 18, 1925, April 23, 1926; P. H. Frohman to C. L. Barnes, May 28, 1925, May 8, 1926, “Parish House, Building of, 1925-1926”; C. L. Barnes, Office Files; Revised Sketch Plan, St. Paul’s Cathedral and Parish House, dated July 10, 1926 (photoprint), RG X, Architectural Records and Plans, Flat File, Drawer 2, Folder 1. 10. Harrington, The Last Cathedral, 12; VM 5 (1922-1938): 95; Charles J. McDowell (Frohman, Robb and Little) to C. L. Barnes, January 5, 1927; P. H. Frohman to C. L. Barnes, February 21, March 14, 1927; C. L. Barnes to P. H. Frohman, March 3, 1927, “Parish House, Building of, Correspondence, 1927” folder, C. L. Barnes Office Files. 11. E. D. Robb to C. L. Barnes, April 21, June 27, July 8, 1927, April 3, 1928; C. L. Barnes to E. D. Robb, July 6, 1927, December 6, 1927; P. H. Frohman to C. L. Barnes, August 29, 1927, March 30, 1928, “Parish House, Building of, Correspondence, 1927” and “Parish House, Building of, Correspondence, 1928” folders, Rev. C. L. Barnes, Office Files. 12. E. D. Robb to C. L. Barnes, September 16, November 29, 1927; E. D. Robb to J. L. Bacon, December 21, 1927; E. D. Robb to A. S. Hill, January 24, 1928, “Parish House, Building of, Correspondence, 1927” and “Parish House, Building of, Correspondence, 1928” folders; VM 5 (1922-1938), 134. 13. P. H. Frohman to C. L. Barnes, March 30, August 4, November 5, December 31, 1928; E. D. Robb to C. L. Barnes, April 3, 1928; A. S. Hill to P. H. Frohman, September 24, November 17, 1928; P. H. Frohman to A. S. Hill, November 5, 1928, “Parish House, Building of, Correspondence, 1928” folder, C.

58 A Gothic Architect in San Diego

L. Barnes, Office Files. 14. VM 5 (1922-1938), 168, 170, 177, 181, 182; Release of Mortgage, dated December 7, 1934, “Parish House, 1924-1934” folder, RG D, Legal Papers; Barnes, Parish of St. Paul, 36. 15. Barnes, Parish of St. Paul, 38-40; VM 6 (1938-1951); E. K. Doolittle to P. H. Frohman, July 19, 1947, “Architects Correspondence, 1947” folder, RG B, Harold B. Robinson, Office Files. 16. VM 6 (1938-1951): September 8, November 10, 1947, February 4, 1948; VM 7 (1951-1960): June 25, 1952; P. H. Frohman to E. K. Doolittle, August 12, November 26, 1947, “Architects Correspondence, 1947.” 17. In 1952 the parish bought Lots I and J for $43,500. VM 6 (1938-1951): March 8, April 16, April 26, May 10, June 9, 1948; P. H. Frohman to E. K. Doolittle, February 27, 1948, “Architects Correspondence, January-June 1948” folder, H. B. Robinson Office Files. 18. E. K. Doolittle to P. H. Frohman, March 9, April, 8, April 20, 1948; P. H. Frohman to E. K. Doolittle, March 5, March 22, April 13, April 27, 1948, “Architects Correspondence, January-June 1948.” 19. VM 6 (1938-1951): May 20, 1948; P. H. Frohman to E. K. Doolittle June 16, September 10, 1948, “Architects Correspondence, January-June and July-December 1948” folders, H. B. Robinson, Office Files; Harrington, The Last Cathedral, 14. 20. VM 6 (1938-1951): July 27, September 14, 1948; E. K. Doolittle to P. H. Frohman, September 15, 1948; Transcript of Telephone Conversation, H. B. Robinson to P. H. Frohman, September 18, 1948; H. B. Robinson to P. H. Frohman, December 8, 1948; P. H. Frohman to H. B. Robinson, December 17, 1948, “Architects Correspondence, July-December 1948.” 21. H. B. Robinson to P. H. Frohman, January 31, 1949; P. H. Frohman to H. B. Robinson, February 7, 1949; C. C. Haines to P. H. Frohman, March 3, 1949; C. C. Haines to H. H. Martin, June 3, 1949, “Architects Correspondence, January-June 1949” folder, H. B. Robinson, Office Files; VM 6 (1938-1951): January 22, January 29, February 23, March 23, 1949; “Address of Judge Charles C. Haines, Junior Warden” [April 19, 1949], “Loyalty Dinner, 1949, Address of Judge Haines” folder, H. B. Robinson, Office Files. 22. VM 6 (1938-1951): August 24, October 10, October 12, October 24, 1949; C. C. Haines to P. H. Frohman, August 26, October 11, 1949; P. H. Frohman to C. C. Haines, September 1, October 19, 1949, “Architects Correspondence, July-December, 1949” folder, H. B. Robinson, Office Files; C. C. Haines, ms. report of the Building Committee on meeting with Frohman, dated November 30, 1949, bound with VM for that date. 23. P. H. Frohman to C. C. Haines, October 19, 1949; P. H. Frohman to H. B. Robinson, October 22, 1949, “Architects Correspondence, July-December 1949”; VM 6 (1938-1951). 24. VM 6 (1938-1951): April 26, June 28, July 22, August 15, September 27, 1950; P. H. Frohman to C. C. Haines, January 16, April 25, 1950; C. C. Haines to Frohman, March 7, August 16, 1950; H. B. Robinson to P. H. Frohman, April 19, 1950; P. H. Frohman to H. B. Robinson, April 25, 1950; E. B. Doolittle to P. H. Frohman, April 27, 1950, “Architects Correspondence, January-June” and “July-December, 1950” folders, H. B. Robinson, Office Files. 25. VM 6 (1938-1951); C. C. Haines to P. H. Frohman, August 16, October 5, December 18, 1950; P. H. Frohman to C. C. Haines, August 19, October 24, 1950, January 31, 1951, “Architects Correspondence, July-December, 1950” and “January-June 1951” folders, H. B. Robinson, Office Files; Row, “World Without End: Philip Hubert Frohman and the Washington National Cathedral,” 235. 26. VM 7 (1951-1960): January 15, February 28, April 25, 1951 and passim; C. C. Haines to P. H. Frohman, January 16, 1951; P. H. Frohman to C. C. Haines, April 27, December 4, 1951; P. H. Frohman to H. B. Robinson, December 5, 1951, “Architects Correspondence, January-June, 1951” and “July- December, 1951” folders, H. B. Robinson, Office Files. 27. VM 7 (1951-1960); Barnes, Parish of St. Paul, 41. 28. VM 7 (1951-1960): November 28, 1956; C. G. Haines to Vestry, November 28, 1956 (bound with VM of that date); H. B. Robinson to P. H. Frohman, November 28, 1956; P. H. Frohman to H. B. Robinson, December 5, 1956, “Architects Correspondence, July-December 1956” folder, H. B. Robinson, Office Files. 29. VM 7 (1951-1960): July 2, July 18, September 19, October 12, 1957; H. B. Robinson to P. H. Frohman,

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July 18, 1957; “South Transept and Chapel…Correspondence, 1956-1961” folder, H. B. Robinson, Office Files. 30. VM 7 (1951-1960): July 19, 1958, February 19, 1959; C. C. Haines to P. H. Frohman, January 13, June 22, 1959; C. C. Haines to H. B. Robinson, February 28, 1959; C. C. Haines to E. G. Holliday, June 22, 1959; H. B. Robinson to P. H. Frohman, September 22, 1958, April 20, 1959, “South Transept and Chapel…Correspondence, 1956-1961.” 31. VM 7 (1951-1960): June 2, 1959; C. C. Haines to P. H. Frohman, July 27, 1959, April 11, 1960; Anonymous Notes on Frohman Visit dated July 19, 1961; in “South Transept and Chapel… Correspondence, 1956-1961”; Barnes, Parish of St. Paul, 45-46. 32. St. Paul’s, VM 8 (1961-1965). Dean Robinson subsequently became Bishop Coadjutor, then Bishop, of Western New York. 33. VM 8 (1961-1965): January 10, May 16, 1963. The Diocese of San Diego would in fact not be created until 1974. 34. VM 8 (1961-1965): June 20, 1963, October 28, 1965; C. C. Haines to P. H. Frohman, June 17, 1963; P. H. Frohman to C. C. Haines, June 24, 1963, “Correspondence with Philip Frohman and Samuel Hamill Regarding Completion of Church, 1963-1966” folder, L. L. Jones, Office Files. 35. VM 8 (1961-1966): September 20, October 17, 1963. 36. VM 8 (1961-1965): November 21, 1963; S. W. Hamill to Building Committee, September 16, September 18, 1963; W. A. Richardson, Jr. to C. C. Haines, November 27, 1963, “Correspondence With Philip Frohman and Samuel Hamill Regarding Completion of Church, 1963-1966.” 37. VM 8 (1961-1965). 38. VM 8 (1961-1965): October 28, November 18, December 16, 1965; C. C. Haines to Vestry, January 29, 1967 and W. W. Waddell Jr. to C. C. Haines, February 9, 1967, both bound with VM 8. 39. VM 9 (1961-1972); J. A. Sanford, “NEEDS, PLANS, and PROGRAMS,” sermon preached on Rogation Sunday, 30 April 1967 (mimeographed). 40. VM 8 (1961-1966) April 18, 1963; P. H. Frohman to C. C. Haines, March 28, 1963; C. C. Haines to P. H. Frohman, June 17, 1963; P. H. Frohman to Mrs. I. Holliday, June 25, 1963, March 3, 1966; P. H. Frohman to S. W. Hamill, April 20, 1966; S. W. Hamill to “Mr. Lewis,” Seamon-Lewis Monument Co., May 4, 1966, “Correspondence With Philip Frohman re Credence Table, 1963-1966” folder, RG B, Rev. Lester L. Jones, Office Files. 41. New York Times, October 31, 1972; Washington Post, October 31, 1972; VM 9 (1966-1972): March 16, June 15, November 17, 1967. Absent such notification, the Frohman drawings remained in Hamill’s custody and were eventually given by him to the San Diego Historical Society, which transferred them back to St. Paul’s Cathedral in 2004. 42. Walter A. Taylor, “Church Architecture” in Forms and Functions of Twentieth Century Architecture, ed. Talbot Hamlin, Vol. 3, “Building Types” (New York: Columbia University Press, 1952), 333, 337n; Wayne Andrews, “American Gothic,” American Heritage 22, no. 6 (1971), 97; Loth and Sadler, The Only Proper Style: Gothic Architecture in America, 156; Alan Gowans, Styles and Types of North American Architecture: Social Function and Cultural Expression (New York: Harper Collins, 1992), 221-222. 43. Taylor, “Church Architecture,” 337; John Burchard and Albert Bush-Brown, The Architecture of America: a Social and Cultural History (Boston: Atlantic Monthly Press, 1966), 283-285; Loth and Sadler, The Only Proper Style: Gothic Architecture in America, 148-149. 44. Paul Johnson, Cathedrals of England, Scotland and Wales (New York: Harper & Row, 1990), 199.

60 Book Reviews

Book Reviews

Gateway to Alta California: The Expedition to San Diego, 1769. By Harry Crosby, San Diego: Sunbelt Publications, 2003. x + 229 pages; photographs, maps, glossary, notes, bibliography, index; hardcover $39.95.

Reviewed by Victor A. Walsh, California State Park, San Diego Coast District

Harry Crosby first traveled to the Baja California Peninsula in 1967 as a photographer commissioned to illustrate The Call to California, a book commemorating California’s bicentennial. Following the 1769 overland route blazed by Captain Gaspar de Portolá and Father Junípero Serra introduced him to a region that has changed remarkably little over time in contrast to its neighbor to the North, Alta California. Nearly forty years later, the seeds planted in 1967 blossomed into Gateway to Alta California: The Expedition to San Diego, 1769. Crosby provides a fascinating account of the first Spanish expedition into Alta California–a tale largely ignored by previous historians who focused on episodic seafaring expeditions. He paints a richly textured portrait of the types of soldiers recruited to make the epic journey to San Diego. The core group, largely responsible for the mission’s success in Crosby’s estimation, was the leather-jacket dragoons — los soldados de cuera — from the presidio at Loreto in Baja California. Highly disciplined and united by ties of blood and spiritual kinship, these frontier soldiers were expert horsemen who knew firsthand the grueling challenges of crossing a rugged, arid wasteland to San Diego. They were not the last to make the passage across an open future border. Gateway traces a pattern of migration from Loreto to San Diego that persisted into the nineteenth-century American period. Baja California’s impact on early San Diego’s cultural and social development is a story in need of telling. The book is divided into two parts. Part One, “Prelude to Opening Alta California,” traces the early history of Spanish California, focusing on the Jesuit era in Baja from 1697 to 1767, when the order was expelled from New Spain. Separated from mainland Mexico by water, this remote, fiercely independent frontier province remained beyond the pale of the Spanish government. Removing the ruling Jesuit order without protest or bloodshed and launching a major expedition into Alta California seemed problematical at best. According to Crosby, three men—José de Gálvez, the recently appointed Visitor General, Gaspar de Portolá, a 50-year old career soldier and governor of Baja California, and Fernando de Rivera, the former commander of the presidio at Loreto—figured prominently in achieving these two goals. Gálvez arrived in Baja California in 1768 convinced that Spain must found missions and presidios at San Diego and Monterey in order to fend off colonization attempts by other European powers. He appointed Portolá to lead the main land expedition and Rivera to head the advance party—a major responsibility given the largely uncharted terrain and uncertain reception by native tribes. Three ships were to be built and moored at La Paz to accompany and re-provision the land parties at San Diego. Portolá, in turn, carried out the command to remove the Jesuits with great tact and diplomacy. He allowed them to continue celebrating Mass, contrary to the crown’s official 1767 proclamation, and requested that the missions be given

61 The Journal of San Diego History

receipts for the provisions that they supplied to the expedition. He also forged a bond of mutual respect with Captain Rivera, the second in command. According to Crosby, Rivera was essential to the expedition’s success. A twenty-six year veteran of military service on the peninsula, he was more knowledgeable about the forbidding terrain, meager resources, and abilities of individual soldiers than anyone else. Governor Portolá wisely listened to and placed this veteran officer in charge of organizing all the physical preparations for the overland journeys. Part Two, “Blazing a Trail to San Diego,” follows Rivera’s fifty-one day trek to San Diego as daily observed by two participants: assistant pilot José de Cañizares and Fr. Juan Crespí, the Franciscan missionary. Crosby skillfully uses excerpts from their diaries, while adding parenthetical comments about present-day locations. Crespí’s journal bristles with speculations about building a Franciscan missionary dynasty among “heathen Indians,” while Cañizares’ entries focus on the difficulties of terrain and weather, sending out scouts, finding Indian guides, and safeguarding campsites. This section of the book contains a superb set of detailed topographical color maps of the route followed by Rivera and company from Velicatá to San Diego. Each map represents from three to four days of travel. Along with the maps, the author’s black-and-white and color photographs provide a visual rendition of a largely unchanged terrain traversed over two centuries ago by these intrepid men. The only flaw with this otherwise masterful work is Crosby’s concluding chapter on the Spanish ordeal at San Diego while the main party under Portolá pushed northward in search of the fabled port of Monterey. With most men bedridden with scurvy, the camp on Presidio Hill resembled a hospital. Described as haughty, unruly and covetous by the Spaniards, the native Kumeyaay have a conspicuous presence, but Crosby neglects to explain why relations between the two groups were so strained. The main explanation has to do with the feeble condition of these strangers and the inevitable misunderstandings arising from cultural and linguistic barriers. Villagers had initially brought food to the beleaguered Spaniards, but they misconstrued these offerings to be gifts rather than items of trade, much to the growing resentment of the Kumeyaay. Crosby’s research is impressive and exacting, drawing upon Spanish, Mexican and Californian archival collections. Appendix A contains a wealth of biographical data on forty-nine male members of the 1769 overland expeditions — many identified for the first time. Written in a concise and compelling style,Gateway is a major contribution to the story of early Spanish California and the larger history of the Spanish borderlands

Indians, Missionaries, and Merchants: The Legacy of Colonial Encounters on the California Frontiers. By Kent G. Lightfoot. Berkeley: University of California Press, 2005. Bibliography, illustrations, maps, tables, index, and notes. 355 pp. $45.00 cloth.

Reviewed by Brian Isaac Daniels, Departments of Anthropology and History, University of Pennsylvania.

Berkeley archaeologist Kent G. Lightfoot organizes this comparative history around a question rooted squarely in the present-day concerns of California Indian tribes: why have some native groups received federal recognition while

62 Book Reviews others have not? He seeks the solution to this dilemma by adopting a long-term perspective on the rise and fall of the Spanish/Mexican and Russian colonial frontiers in California. By connecting native historical experience to twentieth century federal Indian policy, Lightfoot shows that the colonial situation not only reshaped native identities, but anthropological assumptions about what constitutes a California Indian tribe. In the process, his book offers a forceful indictment of the treatment of native people at the hands of missionaries, merchants, and anthropologists. The majority of the book is devoted to laying out Lightfoot’s two comparative case studies. By tracing seven forms of the colonial encounter (enculturation, population relocation, labor, social mobility, interethnic unions, population demographics, and historical duration) among the neophytes of the California missions and the laborers of the Ross Russian colony, Lightfoot illuminates how Indian communities constantly remade their identities through interaction with their colonizers. Although Franciscan missionaries instituted a formidable and repressive system designed explicitly to convert and to control Miwok, Ohlone, Esselen, Salinan, Chumash, Gabrielino, Luiseño, and Diegueño bodies and souls, Lightfoot claims that the neophytes actively created viable social entities (heterogeneous in composition but complicated in social organization and practice) within their personal spaces out of sight from the gente de razón. Decimated by disease and publicly repressed, neophytes resisted their oppression through a variety of means, from armed uprising to outright accommodation. The colonial experience of the Coast Miwok, Kashaya Pomo, and Southern Pomo at the hands of the Russian American Company, at first, lacked the same harsh disciplinary control because these merchants were primarily concerned with profit and not conversion. Only after the Russian colony developed an extensive agrarian economy, did Indian-Russian relations begin to deteriorate. Even then, little violent resistance occurred. Without extensive population relocation, native people simply left the colony for villages in the hinterlands. This book’s major conclusion is that the majority of Indian peoples in the California missions and at the Russian colonies continued to reproduce Indian identities, albeit ones that were radically altered. These new identities took three forms. A pan-Indian identity, centered upon a specific mission, emerged among Miwok, Ohlone, Esselen, Salinan, Chumash, and Gabrielino speakers. These groups were at the most linguistically and ethnically heterogeneous missions. By contrast, at Missions San Luis Rey and Mission San Diego, native removal was only partial. Luiseño and Diegueño people returned to their villages after secularization, which permitted the continuation of traditional native polities, leadership positions, and ritual systems. A true tribal organization emerged among the Kashaya Pomo. Russian merchants named one headman as a representative, and this act prompted a reshuffling of political identities and coalescence behind the new leader. Lightfoot’s nuanced theoretical stance throughout this book is twofold. First, like many recent studies within the genre of historical anthropology, the insights of French theorist Pierre Bourdieu inform Lightfoot’s intellectual framework. In this instance, Bourdieu is used to explain how California Indians “practiced” effective resistance against their colonial overseers as seen through a thorough, if at times awkward, comparison of oral histories, archaeological evidence, and

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archival documents. Lightfoot is particularly adept at drawing from relevant archaeological studies, especially in his effort to draw out his evidence for native agency. Only with the analysis of material culture, in his view, can we see the everyday identity-making interactions of California Indian groups. Among neophytes, we find a covert world of sacred ritual and exchange in illicit sacred bird bones and artifact reuse, hidden from the sight of overbearing missionaries. Conversely, we see how Kashaya Pomo continually reaffirmed their Indian identities through the overt transformation of European objects like glass bottles and ceramic containers into native forms like beads, scrapers, and projectile points. Lightfoot links this agency to his second theoretical argument — one adopted from the French Annales School of history. In his view, “native engagements with the mission and mercantile colonial programs became structures (of the longue durée) that both shaped and directed future developments for the coastal peoples of southern and central California” (p. 210). This is why, in Lightfoot’s view, events between the 1769 construction of Mission San Diego and the 1842 departure of the Russian American Company from California shores are relevant to later federal Indian policy, even in the present. In this regard, Indians, Missionaries, and Merchants proves tantalizing. Although it is outside the scope of his project to expose how colonial Indian identities intersected with Indian policy, Lightfoot presents an important study that scholars of California’s colonial legacy cannot ignore. This groundbreaking work will be an important guide for future studies of Indian identity, colonialism, anthropology, and Indian policy in California.

A Yankee Smuggler on the Spanish California Coast: George Washington Eayrs and the Ship MERCURY. By Robert Ryal Miller. Santa Barbara: Santa Barbara Trust for Historic Preservation, 2001. Bibliography, index, and notes. 115 pages. $20.00 cloth.

Reviewed by Mark Allen, Former Editor, MAINS’L HAUL: A Journal of Pacific Maritime History, Maritime Museum of San Diego.

Smugglers, almost as much as tourists, have always loved California’s beaches. In one smugglers’ hideaway at a cove north of the Spanish settlement of Santa Barbara, the small American merchant ship Mercury was surprised in 1813 by another small ship flying the Spanish flag. Unluckily for her captain, Mercury proved slower than her namesake. In the hold, captors discovered contraband sea otter skins (including a barrel stuffed with three hundred otter tails), and in the captain’s cabin found papers proving that the Mercury’s crew had been trading illegally along the coast. Massachusetts-born Captain George Washington Eayrs spent ten profitable years evading the laws that expressed Spain’s mercantilist vision for her colonies by barring Mercury, or any other foreign vessel, from trading there. The captain’s plea to his captors that “everybody’s doing it”—he reported eight other ships in the same trade—fell on deaf ears. As a result of that day’s events, Eayrs expended his remaining forty years of life in a foreign country, fruitlessly hacking at colonial “red tape” with every legal tool at his disposal. En route to his unhappy fate, the captain paid an enforced 1813 visit to San Diego’s presidio, in the chapel of which

64 Book Reviews his daughter and common-law wife were baptized, with the presidio’s paymaster and wife standing as godparents. Historian Robert Ryal Miller reconstructs the misadventures of Captain Eayrs from the minutiae of legal records, so his book is perhaps necessarily a bit of a trudge. Interested readers, however, will be rewarded by scrambling up to a higher vantage point than Miller offers readers, climbing atop the details of his account to take in a more expansive view of the historical landscape. The facts of Eayrs’s case offer a rare vista of large historical phenomena seen in crisp detail. First, the documents offer an intimate look at the day-to-day workings of the Pacific Rim economy—in which California and Asia are now inextricably linked as trading partners—not long after the birth of American involvement in it. The smuggler’s case reveals the surprising reality that frontier California, on the surface apparently an isolated outpost, was already deeply enmeshed in the Pacific Rim economy. The book can also be seen as an object lesson in one of the less pleasant aspects of a “globalizing economy.” The expanding California-Asian trade had a devastating impact on sea otter populations. Otters outlived this period of intense harvesting only because the last survivors found an isolated spot along the Big Sur coast where the ships and hunters could not find them. The captain of the Mercury was a middleman happily moving his cargo (albeit illegally) in order to fill the demands of fine fur to trim the coats of ranking mandarins. At one point, the Mercury’s hold held 2,848 otter skins. Mercury’s capture also revealed a floating world that was truly multinational. The little New England-built ship’s strongbox held $16,813 in Spanish pesos— mined in the Americas but apparently obtained by Eayrs in trade from the Chinese—along with a Philippine-born sailing master and Eayrs’s common- law Polynesian wife, their mixed-race baby daughter, and an eight-year old Northwest Coast Indian boy identified as his slave. Yankees composed the core of Mercury’s crew, but at least two had joined in such exotic corners of the Pacific as Canton and Sitka. And their captor was captain of a Peruvian merchant ship (the unthreateningly-named Flora), who had temporarily turned privateer in disgust at being undercut in his legal trade by the foreigners’ illegal activities. The book also offers a glimpse of Californians as inhabitants of a ragged frontier society so starved for aid from their troubled empire that even their moral leaders became scofflaws. Among the captain’s best customers were Franciscan missionaries who met him clandestinely to barter otter skins, apparently hunted by mission Indians in exchange for such rarities as an umbrella or a spitoon. The needs of most settlers were still more basic. Explaining the $8,800 from the Mercury he confiscated to compensate long-unpaid soldiers, Santa Barbara’s José Argüello pointed out the “grave and general necessity for clothing and other things that they have experienced and do experience increasingly from day to day.” His declaration that “necessity makes legal what is illegal by law” expressed his fellow Californians’ isolation from, and increasing despair with, mainland Mexican colonial society—alienation that in 1846 helped make the American invasion by a small force of frequently tired and inept troops rather more quick and painless than, say, the invasion of Iraq. Captain Eayrs was unlucky enough to find his assets trapped in a tottering imperial bureaucratic structure. The structural integrity of Spain’s mansion of

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red tape, which had stood as a wonder of inefficiency for four centuries, was crumbling in 1813, held upright primarily by its own weight and the inability of most subjects to imagine alternatives. Normally dutiful bureaucrats were apparently beginning to face the futility in their paperwork, and so the captain’s case became protracted beyond all reason. Madrid’s once firm hand on her empire’s bureaucratic reins had been loosened by the distracting disaster of the Napoleonic wars and the impressively inept leadership that followed, and further loosened by the distracting embers of revolutionary movements bursting into brief but hot flames throughout her colonies, as fast as soldiers could be sent to snuff them out. Reading a book composed of legal minutiae can be unpleasantly dull, like being entangled oneself in Spanish red tape. Amidst all the detail, however, I actually found myself wishing that the author had put extra effort into translating certain curiosities: what on earth was in the “one case with English friezes” aboard Mercury? The Elgin Marbles? And to whom did the captain hope to peddle those “48 Chinese masks?” Fewer than two years after the Mercury incident, the last silver-laden galleon left Acapulco for Manila and the lifeblood of Spain’s Pacific empire dried up. The reader who makes use of the footholds of detail Miller provides in this book, and scrambles up to a higher historical vantage point, will be rewarded with an expansive view out across Spain’s Pacific empire at sunset.

Lost Laborers in Colonial California: Native Americans and the Archaeology of Rancho Petaluma. By Stephen W. Silliman. Tucson: University of Arizona, 2004. Bibliography, illustrations, index, map, and notes. 253 pp. $39.95 cloth.

Reviewed by Desireé Reneé Martinez, Gabrielino (Tongva), Irvine Fellow in Anthropology, Department of Sociology, Anthropology and Social Work, Whittier College.

When the public imagines California during the late Mexican and early American periods, romantic images of vaqueros and señoritas dancing in the waning afternoon light are usually conjured (one only need attend the Ramona Pageant in Hemet, California to see such romanticism performed live). Although the academic community, in particular historians, have tried to dispel this mythic imagery by providing balanced narratives of the time period, their reconstructions are limited by the biased written historical accounts available to them. The voices of California Indians, describing their everyday lives in their own words, are never incorporated because few such historical documents exist. Stephen Silliman’s book, Lost Laborers in Colonial California, seeks to break this silence by documenting, through the archaeological record, the role California Indians laborers played in the development of Rancho Petaluma, a 270 square kilometer ranch in Sonoma County owned by Mariano Guadalupe Vallejo from 1834-1857. Much has already been written on Vallejo and the prominent role he played in the shaping of the economic and political character of Alta California. Through his research, Silliman reminds us that Vallejo and other Californios could not have wielded as much power as they did without the hundreds of California Indian

66 Book Reviews laborers working their ranch lands. This book does a good job of summarizing previous research, identifying the large gaps in that research, and putting Rancho Petaluma into historical context by describing its unique position at the crossroads of Russian, American, Spanish- Mexican and California Indian nation interaction spheres. Silliman works hard to fight the misconception that the California Indians on the ranch were a homogenous and monolingual group or that they were happy passive workers in the colonial enterprise. Using excavated data, Silliman details the everyday domestic lives of Southern Patwin, Wappo, Coast Miwok, and Southern Pomo Indian workers after their ranch responsibilities were completed. He refutes accounts that portray California Indians at the ranchos as either willing assimilators or forceful resistors. He interprets the continued use and preparation of traditional foods and lithic technologies in the domestic sphere as a conscious, or subconscious, tactic used to resist the colonial power’s control of space and time. Silliman’s description of the California Indians’ role within the ranch system and their everyday activities is commendable and nothing like it has been attempted to date. However, archaeological data alone can provide us with only a tantalizing glimpse of what was an emotional and life-changing experience for California Indians. Silliman states that members of the Federated Indians of Graton Rancheria were advisors to and participants in his project, however he does not detail their involvement nor does he incorporate their interpretation of Rancho Petaluma and their ancestors’ involvement in it. There are many oral stories within contemporary California Indian communities, including my own, which describe how ancestors felt as they interacted with the dominant culture during this time. They saw that the only way to survive physically, emotionally, and spiritually was to disappear into the background while continuing to participate in traditional practices after work. Similar stories can probably be documented from the descendants of those who worked at Rancho Petaluma. The incorporation of these stories alongside the archaeological record would have provided greater depth of the human experience in this otherwise extraordinary well-written and researched book.

Defending Zion: George Q. Cannon and the California Newspaper Wars of 1856-1857. By Roger Robin Ekins. Volume 5. Kingdom in the West: The Mormons and the American Frontier Series. Spokane: The Arthur H. Clark Company, 2002. Notes, bibliography, index, illustrations, and portraits. 464 pp. $42.50 cloth.

Reviewed by Aaron F. Christensen, Ph.D. candidate, Department of History, Oklahoma State University.

This latest addition to a projected twenty-volume series chronicling the history and influence of the Mormon Church on the American frontier examines the pro-active approach the church undertook in shielding itself from printed attacks by opponents throughout the West and, in particular, California. In this book, titled Defending Zion: George Q. Cannon and the California Newspaper Wars of 1856- 1857, editor Roger Ekins argues that shortly after the Saints’ settlement in Utah, the church abandoned the “turn the other cheek” attitude they pursued prior to

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expulsion from Ohio, Missouri, and Illinois. For Ekins, the new stance can be seen in George Q. Cannon’s small church-sponsored, San Francisco-based newspaper, The Western Standard. In this paper, Cannon, “the greatest public defender of the Mormon faith,” ably defended against and even counterattacked the religion’s numerous detractors (p. 27). Although discontinued in 1857 when Cannon and other high-ranking Mormon officials returned to Utah in anticipation of armed conflict with the United States, the small religious weekly effectively fulfilled its grand purposes. By contrasting Cannon’s editorials with those from San Francisco and Sacramento newspapers, Ekins demonstrates the vicious nature of these newspaper wars. As a vigilant defender of his faith, Cannon was compelled to respond to editorials by anti-Mormons, such as John Ridge, a Sacramento newspaperman, whose Daily California American called the Mormons “a foul blot upon humanity which ought at once to be wiped out” (p. 97). In responding to such attacks, Cannon often pointed out the flaws in opponents’ arguments and printed what he perceived to be the truth. Cannon compared his fellow newspaper editors to the Pharisees, whom Jesus freely labeled “hypocrites, murderers, liars, children of the devil, etc.,” and accused them of misrepresenting the truth in their brutal attacks against the Mormons (p. 77). “A thin-skinned non-combatant should keep out of the fray,” he told the editor of The Pacific who thought being termed a “liar” was too harsh, adding that “it is only a miserable contemptible and dastardly spirit that would prompt a man to insult and outrage the feelings of another and then rely upon his professedly peaceful character to protect him from the indignation and punishment he so richly merits” (p. 79). Ekins maintains that Cannon’s strong defense of Mormonism and especially its most controversial doctrine, polygamy, rarely altered the opinions of his opponents. His efforts, however, earned him the respect of his fellow Mormons, eventually meriting him top positions within the church. Beyond recounting the newspaper wars of the mid-1850s, Ekins’s work touches on such subjects as politics, religion, states-rights, the Utah War, western journalism, frontier justice, emigration, Brigham Young’s leadership, and the Mountain Meadows massacre. The primary sources and Ekins’s commentary offer the reader a unique window on mid-nineteenth century conditions on the western frontier. One weakness in this well-written and richly-annotated book is that Ekins makes only passing reference to Cannon’s overt attempts to provoke attacks against his own church. These provocations raise a number of unanswered questions. Why, for example, did Cannon beg the editors of The Golden Era to immortalize themselves by “exposing” Mormon “errors and corruption?” (p. 186). Was it a ploy to sell papers? Was it a chance to advance the church to the forefront of the news in an effort to gain converts? Exploring such questions would cast further light on the nature of the newspaper and its mission. This is a mere quibble in what is otherwise an interesting source on the history of the Church of Jesus Christ of Latter-day Saints in nineteenth-century California.

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Gold Rush Saints: California Mormons and the Great Rush for Riches. By Kenneth N. Owens. Volume 7 Kingdom in the West: The Mormons and the American Frontier Series. Spokane: The Arthur H. Clark Company, 2004. Photographs, maps, index. bibliography. 396 pages. Hardback $39.50.

Reviewed by Iris H. W. Engstrand, Professor of History, University of San Diego.

Gold Rush Saints by Kenneth Owens represents the best in narrative history – first-person accounts from diaries and letters accompanied by documentary analysis. Each excerpt is placed in historical perspective with a biographical note on the author and the circumstances of his or her contribution to the overall picture. This well-researched scholarly work weaves together many fragments of James Marshall’s 1848 gold discovery and the ensuing rush. Mormons who reached California in 1846 and 1847 were among the first non- Hispanic settlers of California working at Sutter’s Mill on January 24, 1848, when Marshall believed he had found gold. Not well known in San Diego is that these men, including Henry Bigler, who left the most carefully detailed record, had arrived in Southern California with the Mormon Battalion to aid the American cause in the US-Mexican War. Assigned to garrison San Diego in the late summer of 1847, Bigler served with Zadock Judd, Samuel Miles, and John Borrowman in Company B, and later marched northward with Captain James Pace when the Battalion was dissolved (p. 81). Other accounts include those of Melissa Coray, one of the five women who reached San Diego as the Battalion’s laundress. She recounts her experiences crossing the Arizona and California deserts (p. 198). Myron Tanner mentions that his brother Seth “began coal mining in San Diego” in 1856 (p. 214). Gold Rush Saints provides insights into a variety of lives during a significant transitional time in California history. Those who experienced the actual travel, hardships and successes that surrounded the discovery of gold provide accounts to the best of their ability. The work of Owens in presenting an accurate and detailed historical record makes this volume a must for all those interested in a fresh look at an oft-told story.

Architectural Details: Spain and the Mediterranean. By S.F. “Jerry” Cook, III, and Tina Skinner. Atglen, PA: Shiffer Publishing, Ltd., 2005. 144 pp. Bibliography, photographs, forward, introduction, index. $39.95 hardcover.

Reviewed by Parker H. Jackson, Historian, San Diego Historical Society Architectural Collection Cataloger and Patron.

In 1926, San Diego architect Richard S. Requa published a collection of photographs he had taken while traveling in Spain and along the Mediterranean Coast. Demand for this portfolio, entitled Architectural Details: Spain and the Mediterranean, was so great that the printer made a second printing of 500 bound copies. Today, the book is rare and can only be found in some libraries and antiquarian bookstores. Jerry Cook and Tina Skinner are to be commended for bringing this collection of Richard S. Requa’s photographs of architectural details

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back into publication. As the authors point out in the introduction, Requa celebrated similarities in climate and terrain between Southern California and Spain and the Mediterranean Coast. Esthetics and pragmatism drove Requa to adapt Mediterranean architecture to San Diego. The result was Requa’s “Southern California Style,” a genre label that became generic in the 1920s and remains so today. The authors were faithful to Requa’s formatting of “Section Headings” and photograph captions. They could have gone one step further and added the section and plate identification found in the original book. Also, I feel that the title of the book should have contained his full name as he himself wrote it: Richard S. Requa, AIA. The authors also omitted five of the photograph pages, although this is not a serious omission. Lastly, the authors misidentify two of Requa’s San Diego homes (4346 Valle Vista, Mission Hills, and 2906 Locust, Loma Portal) as having been built in the “Southern California Style.” Both were built over a decade before his first Mediterranean trip and neither was in his trademark style. Of the hundreds of photographs and unknown number of 16mm reels of film Requa took, the bulk has been lost. The San Diego Historical Society Archives has eighteen 400-foot reels of his films. Their Architectural Collection has only several dozen of his photographs. The Archives also possess a copy of the portfolio in its original leather case with a door embossed, in color, on the center of the cover. Despite some flaws, this reprint is an important resource for understanding Requa’s philosophy of architectural style.

Blessed with Tourists: The Borderlands of Religion and Tourism in San Antonio. By Thomas S. Bremer. Chapel Hill: University of North Carolina Press, 2004. 224 pp. Illus, maps, notes, bibliography, index. $55.00 cloth; $19.95 paper.

Reviewed by Jeff Charles, Associate Professor, History Department, California State University, San Marcos

Although they are perhaps no longer the tourist destination of choice, California’s missions remain central to the state’s mythic past. They continue to attract those seeking a meaningful remnant of California’s history–even though most visitors do not ascribe to the faith which founded them, and furthermore, as tourists, they are generally ignorant of the religious communities that still worship in them. The complex role of California missions in the state’s tourist culture is illuminated by a recent book that actually concerns a different place where historic missions also dominate civic boosterism: San Antonio, Texas. Home, most famously, to the Mission San Antonio, better known as the Alamo, San Antonio is also the location of four other missions that together comprise the San Antonio Missions National Historical Park. To Thomas Bremer, these five sites comprise an ideal place to explore the interaction of tourism and religion. By examining the missions’ past and present, he concludes that there is a natural confluence of religion and tourism. At the core of both, he argues, is a search for a sacred, authentic experience, while both exist at the borders of commerce and modernity. These underlying connections help explain the paradoxical role these historic religious institutions play within an apparently secular tourist culture in San

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Antonio, and, one might assume, in San Diego as well. In a brief introduction, Bremer draws theoretical connections between tourism and religion, focusing on how both hold places sacred. For this opening section, I would have appreciated a deeper conceptual discussion of the different ways tourists and believers might define “the sacred,” but Bremer probably preferred to emphasize readability over elaborate theorizing. The following chapters move briskly through a brief history of San Antonio’s missions, an account of the development of the Alamo as a tourist attraction, a description of the restoration of the other missions, and a consideration of the role of religion in the San Antonio World’s Fair of 1968. He concludes with an interesting discussion of the occasionally conflicted relations between the National Mission Historic Park, the tourists it attracts, and the priests and parishioners who still worship at the historic buildings. For those interested in connections to California history, the most relevant chapter is the one concerning the rebuilding of San Antonio’s missions. This was accomplished primarily through the efforts of Ethel Wilson Harris, a participant in the Mexican Arts and Crafts Movement who played an advocacy role analogous to that of California’s Charles Fletcher Lummis, and Archbishop Robert E. Lucy, a transplanted Californian directly inspired by his home state’s missions. Unfortunately, Bremer does not take the opportunity these influences offer to do some comparative analysis. I think even briefly considering California missions as a model for San Antonio’s development would have strengthened his general conclusions on the relationship between history, religion, tourism, and local commerce. Still, for those California historians willing to make their own comparisons, this book is worth reading.

Hazardous Metropolis: Flooding and Urban Ecology in Los Angeles. By Jared Orsi. Berkeley: University of California Press, 2004. Notes, bibliography, illustrations, index, and maps. $39.95 cloth.

Reviewed by Andrew Kirk, Assistant Professor, Department of History, University of Nevada, Las Vegas.

In Hazardous Metropolis, Jared Orsi gives us a complete and complex picture of flooding and flood control in Los Angeles and in the process highlights a new and compelling model for understanding urban ecology. Of the many natural disasters that plague southern California, floods are often the most devastating partly because they so insidiously capitalize on the damage already caused by other phenomenon like wild fires and earthquakes. Orsi further points out that the floods that have devastated Los Angeles over the past hundred and fifty years seem to be utterly unpredictable due to the convergence of North America’s most variable weather patterns and long standing cultural misconceptions of the southern California climate. While early boosters may have glossed over the extremes of weather that faced residents of the Los Angeles flood plain, dramatic flood events made the need for flood control apparent early on. Orsi does a wonderful job of using these stories to illuminate how the forces of nature threatened the utopian dreams of early settlers

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to the greater Los Angeles region. While you could read this as a well-written and interesting history of flooding and flood control, the book offers much more than a history of technical solutions to natural problems. Orsi argues that flood control was not simply an engineering problem that could be solved with millions of yards of concrete. Flood control was also a product of historical perceptions about nature and shifting political, economic, and social priorities. Moreover, Orsi uses the history of flooding in L.A. to argue that urban environments, long understood as transitions between “order and disorder,” are complex and constantly evolving discrete ecosystems with structures that must be understood on their own terms. This seemingly subtle point is important because it questions the obvious simplifications of regional leaders and planners who downplayed the problems of building a city in a place with significant environmental problems. For more than a century, argues Orsi, developers and city leaders assumed that humanity could lay a grid on nature and have instant order. Furthermore, Orsi questions the opposite theory that the environmental problems of the city actually result from the human reduction of complex ecosystems into unrealistically clean and simple grids and channels. In Orsi’s subtle analysis, neither of these ideas seems to explain the historical problems of flood control in Southern California or the water problems of the American West in general. Los Angeles originally developed and became the place where constructed nature “incorporates all the disorder of the rest of nature” (p. 10). Therefore, Orsi explains that the workings of the urban ecosystem is much more complicated than a never-ending reclamation project or decline toward technocratic simplicity. The book is divided into six chronological chapters that explore the history of floods and flood control in great depth. The first three chapters focus on the early development of the Los Angeles flood plain and the re-engineering of the rivers and harbors that give L.A. its modern shape. Orsi pays close attention to the persistent “hundred year” weather events that hit with alarming regularity and spawned the major flood control efforts between the late 1800s and the 1930s. Orsi accounts for planning, politics, economics, and cultural factors to argue that the failure of extensive and expensive flood control efforts were not simply engineering failures, but the product of an evolving urban ecosystem that created as much chaos as order. The following three chapters explore the evolution of the urban ecosystem: the politics of public policy with regards to an ever-expanding set of environmental problems; changing ideas about purely technocratic solutions for environmental control; and the impact of environmentalism. By the 1960s, residents of the Los Angeles flood plain worked to improve the urban ecosystem and live with the water that moves through the region rather than fight against the tide. Pocket parks, river walks, and bike paths all represented recognition that the water was finally becoming an accepted part of life in L.A. This well-written and thoroughly-researched book is a welcome addition to the history of reclamation and flood control. With certainty,Hazardous Metropolis will prove one of subtlest examinations of water in western life.

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California Rising: The Life and Times of Pat Brown. By Ethan Rarick. Berkeley, CA: University of California Press, 2005. Bibliography, photographs, index, and notes. 1-501 pp. $29.95 cloth. $19.95 paper.

Reviewed by Greg Hall, Assistant Professor of History, Western Illinois University

Over the course of the twentieth century, California emerged as one of the most dynamic states in the nation. Especially after World War II, California was a force to be reckoned with on the national stage. But by the late 1950s, the state also began to experience serious problems that accompanied a rapidly growing economy (the benefits of which were unevenly distributed), an increasing and diversifying population, and changing expectations and perceptions of governmental responsibilities. Elected governor in 1958, Edmund G. “Pat” Brown attempted to manage this lion of a state during one of its most turbulent periods. Ethan Rarick has written an excellent biographical account of Brown’s years as governor, but he also has written an interesting treatment of the man’s personal as well as earlier professional life. As the title of Rarick’s biography suggests – California Rising: The Life and Times of Pat Brown – the story of Brown’s life and political career is presented within the historical context of this vigorous Far West state. The California-born Pat Brown did not start off life with any great advantages but, as Rarick explains, Brown had a determination to create a more stable and prosperous life than what he experienced as a child. Following high school, Brown enrolled in San Francisco Law School and soon began his legal career. His interest in politics, according to Rarick, began just as early as his legal career. In his first race, he ran as a Republican, which is not surprising given the Republican Party’s political domination of the state. Like much of the West at the beginning of the twentieth century, California was a Republican state with only a small Democratic Party presence. However, that was to change. Brown, like many Californians and westerners began to embrace the liberal policies of the Democratic Party as the 1930s dragged on. Brown made the change in party affiliation at the end of the decade and never looked back. After winning his first elected office as San Francisco’s district attorney, Brown would go on to follow in the footsteps of Earl Warren, moving from attorney general to governor. Only Brown rode the changing political tide of the state as it shifted from being predominantly Republican to having a strong and competitive Democratic Party that at times swept Republicans out of office. The most insightful portions of Rarick’s biography are those chapters that specifically deal with Brown’s gubernatorial campaigns and his two terms as governor. As a campaigner, Rarick notes, Brown was a centrist, but as governor, Brown tried to implement his liberal agenda. Brown’s liberalism was reflected in his interest in civil rights, the expansion of California’s higher education system, and the construction of publicly funded water projects to quench the thirst of a growing population, as well as his ambivalence towards the death penalty. He was not always successful, especially regarding civil rights and social justice. Brown championed a fair housing act that was simply too progressive for Californians to support, and his dithering over the death penalty angered both supporters and detractors. But Brown’s support of higher education led to the creation of new colleges and universities throughout the state and his enthusiasm for water

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projects led to systems that benefited cities that lacked sufficient water and rural areas that needed greater access to irrigation. Some of the more interesting passages in Rarick’s biography deal with Brown’s handling of the Free Speech Movement on the University of California, Berkeley, campus and the “Watts’ Riots” in Los Angeles. The governor, though a liberal, was still a man of the “establishment” who seemed incapable of truly understanding institutional changes that were necessary on college and university campuses and the deep-seated economic problems that African Americans and other people of color faced in California. His attempts to bring calm to the situations and reestablish “law and order” seemed to only disillusion white working-class and middle-class voters. These were the men and women who supported Ronald Reagan’s rise to political power as he challenged Brown for the governorship in the 1966 election. Brown’s indecisiveness and liberalism were used successfully against him. In fact, Rarick clearly explains how some of Brown’s best traits – particularly those of being an open-minded, tolerant, transparent leader – failed him at crucial periods in his political career. Rarick’s very well-researched biographical account of Brown’s rise and fall as a mid-twentieth century liberal Democrat is a good addition to the literature on California political history and on the political history of postwar America.

What’s Going On?: California and the Vietnam Era. By Marcia A. Eymann and Charles Wollenberg, Editors. Berkeley: University of California Press, 2004. Illustrations, index, and notes. 209 pp. $21.95 paper.

Reviewed by Ryan Edgington, Ph.D. candidate, Temple University

In this highly accessible companion text to the traveling exhibition of the same title, the editors strive to show that California “was at the vortex of the storm created by the Vietnam War” (p. 4) and stood as “both a microcosm and a magnification of the national experience” (p. 14). Through eleven essays and accompanying photographs they also hope to offer a “new lens” through which to comprehend the diverse events and complicated history of the Vietnam era in California. While some of the material may seem familiar, the selections as a whole offer a glimpse into the multifaceted nature of the war’s influence on California. Marc Jason Gilbert investigates the crucial role the Cold War and Vietnamese conflict played in shaping California’s economic successes. The state’s ties to the Department of Defense often translated to expansion for many sectors of the economy. Gilbert demonstrates that programs such as the Vietnam Laboratory Assistance Program at China Lake produced weapons for military use abroad by working with local civilian companies. California also accommodated twenty military installations, private weapons manufacturers, and the RAND Corporation, all of which contributed to the war and the state’s economic growth. Following patterns of recent scholarship, several essays examine the kaleidoscopic political atmosphere in California during the Vietnam era. R. Jeffery Lustig proposes that California’s inventive spirit made the state a “natural epicenter” for antiwar leaders and their search for new ways to participate in the democratic process (p. 60). Ruth Rosen investigates how sexual harassment in male

74 Book Reviews dominated antiwar organizations compelled women to leave the movement and organize on their own. Jules Tygiel explains that Ronald Reagan’s ascendancy to the governor’s office in 1966 reflected a growing disillusionment with the antiwar and civil rights movements in California. Reagan’s anti-communist rhetoric during the war and his laissez-faire economic philosophy not only motivated homegrown Republicans, but also inspired a national conservative political consciousness that eventually propelled him to the presidency. Some of the best essays in What’s Going On? explore the war’s effect on race relations in California. A civil rights and antiwar activist during the period, Clayborne Carson says that a fissure emerged between white and black activists hindering the development of a larger unified political movement. George Mariscal looks at how California’s Chicano and Chicana population reacted to the war and its influence on “the contradictions that riddled Spanish-speaking communities as they negotiated traditional and emergent political and cultural forces” (p. 113). Andrew Lam analyzes the social and economic impact of the Vietnamese Diaspora that brought 1.5 million refugees to the United States. He reveals that prosperous refugees in California helped to shape a “new Vietnamese” that exchanged traditional land-bound ideals for newly found freedoms. Khuyen Vu Nguyen offers an excellent examination of how Californians, among other Americans, erased South Vietnam and its soldiers from popular memory. The Vietnam War memorial in Westminster, California, offered one of the first attempts to confront that “historical amnesia.” Two essays consider veterans and the aftermath of the war in California. John Burns explores the diverse experiences of Californians who served during the war and shows that as a reentry depot, the state played a crucial role in a soldier’s often-jarring return to American society. Robert Schulzinger describes how disagreements on policy during the war continued to divide the state and the nation long after American soldiers had returned home. Not until the 1980s did the notion of reconciliation become a powerful tool for Californians and other Americans seeking to heal the psychological wounds created by the war. Readers may be disappointed that some of the principal players and events central to the Vietnam era in California are absent from What’s Going On? For example, although the state’s highly visible counterculture stood part and parcel with the antiwar movement as a reaction to policy in Vietnam, the authors give little credence to its significance. Similarly, very little is mentioned regarding the numerous Hollywood films that continued to shape popular understandings of the war after it ended. Yet, these limitations should not take away from the real strength of this book. Rather than just focus on the state’s legacy as a stronghold of radicalism, What’s Going On? offers a thorough discussion of the diverse and complicated events that shaped life in California during the Vietnam era. Historians as well as other readers interested in the war’s impact on the state will find these essays both relevant and engaging.

75 The Journal of San Diego History

Index to Volume 49, nos. 3-4, & Volume 50*

Abbott Institute, 50/3-4: 146 Americano, The, 50/1-2: 11 Abbott, Merket and Company, New York, 49/3-4: Ames, George Walcott, 50/1-2: 3, 14n 135 Ames, John Judson, 50/1-2: 3 Adams, Frank, 49/3-4: 135 Ancona, Vince, 50/3-4: 70 Adams-Herbert, 49/3-4: 216 Anderson, Capt. John F., 49/3-4: 188. Addams, Jane, 50/3-4: 104, 118, 147 Anderson, Margaret, 50/3-4: 118 Addy, Bob, 50/3-4: 93 Angier, Harold, 49/3-4: 208 Adler and Sullivan, 49/3-4: 118 Anguire, O. L., 49/3-4: 230 African Americans, 50/50/1-2: 20, 22, 57; 50/3-4: Anselmo, Rene, 50/1-2: 44 110, 149, 156, 160, 162, 164, 165 Anza, Juan Bautista de, 50/1-2: 55 African Methodist Church, 49/3-4: 216 Apollo Advertisers, 50/1-2: 46 Agua Caliente, 50/1-2: 20, 38 Archibald, R. E., 49/3-4: 160 Aguila, Jamie R., 50/3-4: 161 Architectural Styles, Art Deco, 49/3-4: 111; Aguirre, Miguel Antonio, 50/3-4: 101 Arts & Crafts, 50/1-2: 8, iii, 111, 119, 132n; Al Mathis Memorial Hall, 49/3-4: 256 50/3-4: 107; Beaux-Arts, 49/3-4: 121, 125, 130; Alaska-Yukon-Pacific Exposition (see Expositions) Churrigueresque, 49/3-4: 123, 125, 126; Alba, Alicia Gaspar de, 50/1-2: 64 Argonauts, 50/1-2: 4; Classical Revival, 49/3- Alborta, Freddy, 50/3-4: 169 4: 111; Gothic Revival, 49/3-4: 114, 122; Greek Albright, Mr. and Mrs. James, 49/3-4: 181 Revival, 49/3-4: 114; International Style, 49/3-4: Albright, Harrison, 49/3-4: 134, 135 111; Italianate, 49/3-4: 111, 114; Mediterranean Alcatraz, 50/3-4: 165 Style, 49/3-4: iii; 50/1-2: 9; Mission Revival, 49/3- Alcazar Gardens (see Balboa Park) 4: 111, 116, 117, 119, 130, 131n; Pueblo, 49/3-4: 122, Alderson, Ray, 49/3-4: 135 129; Queen Anne, 49/3-4: 111, 114; Romanesque, Aldrete, Alberto V., 49/3-4: 136, 146 49/3-4: 111, 114, 116, 122, 126; Spanish Colonial Aldrich, Thomas Bailey, 50/3-4: 148 Revival, 49/3-4: iii, 113, 122-129 passim; 50/1-2: Aldridge, Mr. and Mrs. Darwin R., 49/3-4: 207, 208 8, 15n; Spanish Renaissance, 50/1-2: v; Victorian, All Saints Lutheran Church, 49/3-4, 216 49/3-4: iii All Souls’ Church: 49/3-4, 193 Argüello Moraga, Santiago E., 50/1-2: 4, 30-36 All-American Outdoor Sports Stadium, 49/3-4: 174 passim, 40n, 41n Allen, Frank P., 49/3-4: 123, 135 Argüello, Emigdio, 50/1-2: 33, 34, 40n Allen, Jason C., 49/3-4: 203 Argüello, Gervaslo, 50/3-4: 155 Allied Architects Association of Los Angeles, Argüello, Ignacio, 50/1-2: 35, 36, 37, 39, 40n 49/3-4: 135 Argüello, José Antonio, 50/1-2: 35, 36, 37, 39 Alling, Edward P., 49/3-4: 170 Argüello, José Darío, 50/1-2: 30, 39n Almar River, 50/1-2: 33 Argüello, Maria Luisa, 50/3-4: 155 Alpaugh, Norman Walton, 49/3-4: 243 Arizona, 50/1-2: 4, 55, 57 Alpine, 49/3-4: 160, 216 Armour, Allison V., 50/3-4: 75, 85 Alvarado, Francisco Maria, 50/1-2: 13n Arnberg, Christine, 49/3-4: 216 Alvarez, Mrs. M. H., 49/3-4: 217 Ascención, Father Antonio de la, 49/3-4: 124 Amaru, Inca Túpac, 50/3-4: 168, 169 Ashes of Hate, 50/1-2: 11 American Association of University Women, Asian Americans, 50/3-4: 110, 115, 156 50/3-4: 105, 120 Asner, Bernard A., 49/3-4: 256 American Broadcasting Corporation (ABC), 50/1- Asociación Nacional Mexicano-Americano 2: 48, 51 Associated Charities, 50/3-4: 110, 116 American Civil Liberties Union (ACLU), 50/3-4: (ANMA), 50/1-2: 24 104, 105, 115, 116 Atkins, Sam, 49/3-4: 136 American Civil War, 50/3-4: 147, 149 Atlantic, The, 50/3-4: 147 American Genetics Association, 50/3-4: 75 Austen, Jane, 50/3-4: 147 American Indian Movement, 50/3-4: 166 Austins, 49/3-4: 217 American Institute of Architects, San Diego Aveldson, A. N., 49/3-4: 223 Chapter, 49/3-4: 136 Avery, Paul, 49/3-4: 136 American Legion Building (see Balboa Park) Avila House, Los Angeles, 50/1-2: 7 Avila, St. Teresa, 50/1-2: v

* This index does not include the current issue.

76 Index

Azcárraga Milmo, Emilio, 50/1-2: 43, 45, 52n Bastion Capital, 50/1-2: 46 Azcárraga Vidaurreta, Emilio, 50/1-2: 42, 43, 44, Batchelder, E. C., 49/3-4: 208 45, 47, 52n Bates, Mr. and Mrs. John M., 49/3-4: 217 Aztec Brewery, 49/3-4: 147, 170, 257 Bauer, Mr. and Mrs. Emil, 49/3-4: 217 Aztec Cuauhtemoc, 50/3-4: 168 Bay City Ball Club, 50/3-4: 90-101 passim Babcock, Elisha, 49/3-4: 117 Beardsley, Helen D. Marston, 50/3-4: 102-123 Babcock, Graham, 49/3-4: 117 passim Bade, Elizabeth, 50/3-4: 120 Beardsley, John, 50/3-4: 104, 116, 118 Bailey, Dr E. S. and Mrs. Clara H., 49/3-4: 183 Beatty, Hugh and Elaine, 49/3-4: 217 Bailey, Liberty Hyde, 50/3-4: 78, 86 Beaux-Arts Institute, Indiana, 49/3-4: 125 Bailey, Wheeler J., 49/3-4: 119, 132, 150, 151, 153, Bechberger, W. A., 49/3-4: 216 188, 189 Bederman, Gail, 49/3-4: 123, 132n Baily, Joshua L., 49/3-4: 151, 188 Beech, George, 49/3-4: 231 Baja California, 50/1-2: 2, 24, 30, 33, 34, 38, 39n, Belcher, Mr. and Mrs. Frank, 49/3-4: 217 40n, 41n, 56; 50/3-4: 84, 88, 89 Bell, Alexander Graham, 50/3-4: 78 Bake, Joanne Stevenson, 49/3-4: 112 Bell, Marian Hubbard, 50/3-4: 78 Baker, Charlotte, 50/3-4: 119 Bell, Mr and Mrs. Arthur, 49/3-4: 217 Baker, Harrison R., 49/3-4: 127 Bellon, Walter, 50/3-4: 110 Baker, Howard W., 49/3-4: 170 Beloit Academy, 50/3-4: 90 Baker, Otho, 49/3-4: 230 Beloit College, 50/3-4: 93 Bakewell and Brown, 49/3-4: 136, 137 Bender, Charles Albert, Chief, 50/3-4: 159 Balboa Park, 49/3-4: 124-138 passim, 147, 148, Bennett, Dr. Ema, 50/3-4: 85 158-167 passim, 173, 177, 179, 186, 198, 200-208, Bennett, Mr. and Mrs. J. W., 49/3-4: 188 217, 221, 229, 235, 245, 247, 253, 254, 257, 258; Bennett, Mr. and Mrs. Ralph B., 49/3-4: 217 50/1-2: 1; 50/3-4: 69, 80, 84, 106; Alcazar Gardens, Benson, Jackson J., 50/1-2: 61 49/3-4, 174, 204; American Legion Building, 162; Berends, Lucille, 49/3-4: 217 Botanical Building, 158, 164, 256, 257; California Berglund, Barbara, 50/3-4: 163 Building, 122-124 passim; El Prado, 123, 147, 158, Bermuda Apartments, 49/3-4: 175 159, 166; Electric Building, 124, 229, 254; 50/3-4: Berry, Jill K., 50/3-4: 70 69; Ford Building, 49/3-4: 137, 163, 205, 228; 50/3- Bethel, Ann, 50/3-4: 70 4, 69; Hall of Champions, 49/3-4: 140, 203; House Betts, Mr. and Mrs. C. E., 49/3-4: 176 of Charm, 225, 256; House of Hospitality, 147, Bingham, Mr. and Mrs. S. H., 49/3-4: 216 199, 204, 205, 215; Medical Arts Building, 162, 223; Binnard, Mr. and Mrs. Norris, 49/3-4: 176 Montezuma Gardens, 174, 206; Plaza de Pacific, Bird Designs, 49/3-4: 137 235; Plaza de Panama, 148, 159 Bird Rock Hotel, 49/3-4: 217 Balch, Emily Greene, 50/3-4: 104, 105, 108 Bird, Mr. and Mrs. B. J., 49/3-4: 137 Bancroft Building, 49/3-4: 114 Bishop Buddy Residence, 49/3-4: 231 Bancroft Library, University of California, Bishop, Tom C.: 49/3-4: 217 Berkeley, 50/1-2: 13n, 14n, 18n, 29n, 39n, 40n, 41n; Bishop’s School for Girls: 49/3-4: 151, 153; 50/3-4: 120 50/3-4: 70 Black Panthers: 50/3-4: 165 Bancroft, Hubert Howe, 50/1-2: 13n, 14n, 15n, 31, Black, Mr. and Mrs. W. H.: 49/3-4: 231 32, 33, 37, 39n, 40n Blackwell, Mr. and Mrs. E. J.: 49/3-4: 217 Bandini, Casa, 50/1-2: 2, 6 Blackwood, Barry: 50/3-4: 69 Bandini, Helen Elliott, 50/1-2: 5, 14n Blake, H. M.: 49/3-4: 208 Bane, George A., 49/3-4: 190, 231 Blum, Samuel: 49/3-4: 156 Bank of America, 49/3-4: 204 Bodmer, Hatch, Heimerdinger and Associates: Bank of Commerce, 49/3-4: 246 49/3-4: 138 Bank, Samuel, 49/3-4, 156 Bodmer, Herman Louis: 49/3-4: 137, 138 Barber, Mr. and Mrs. Walter, 49/3-4: 231 Bogan, Adm. and Mrs. G. F.: 49/3-4: 217 Bard College, 50/3-4: 159 Bokovoy, Matthew: 49/3-4: 113, 131n; 50/3-4: 145 Barie, William, 49/3-4: 188 Boles, H. D.: 49/3-4: 138 Barker, William C., 49/3-4: 208 Bon Tons, 50/3-4: 95 Barnes, Ross, 50/3-4: 93 Booth, Rt. Rev. Msgr. James T., 50/3-4: 67 Barney, L. W., 49/3-4: 188 Booth, Jane, 50/3-4: 69, 72 Barney, Phillip, 49/3-4: 223 Booth, Larry, 50/3-4: 69, 72 Barney, Warren A., 49/3-4: 136 Borensteins, 49/3-4: 257 Barrett, K. C., 49/3-4: 136 Boston Ranch, 50/3-4: 142 Bartlett, Mrs. F. E., 49/3-4: 175 Bostonia, 50/3-4: 131 Bascomb House, 49/3-4: 217 Botanic Gardens of Buenos Aires, 50/3-4: 78 Bass, Charlotta, 50/3-4: 160 Botanical Building (see Balboa Park)

77 The Journal of San Diego History

Botta, Anne Lynch, 50/3-4: 147 Calhoun Street, San Diego, 50/1-2: 1, 4, 9 Boulder Heights, 50/3-4: 143 California Building (see Balboa Park) Bound for Freedom: Black Los Angeles in Jim Crow California Division of Water Resources, 50/3-4: America (Flamming), 50/3-4: 160 128 Bound for Santa Fe: The Road to New Mexico and the California Division of Water Rights, 50/3-4: 133 American Conquest, 1806-1848 (Hyslop), 50/3-4: 153 California First Bank, 49/3-4: 193 Bourne, Stanley, 49/3-4: 253 California Garden, 50/3-4: 80, 88 Bouvier, Virginia, 50/3-4: 152 California Historical Society, 50/3-4: 69, 154 Bowling, Mr. and Mrs. H., 49/3-4: 183 California Immigration and Housing Commission Bowman, H. D., 49/3-4: 208 (CIHC), 50/3-4: 106 Bowman, Mr. and Mrs. Robert W., 49/3-4: 217 California Landmarks Club, 49/3-4: 116, 118 Boyd, Nan Alamilla, 50/3-4: 163 California Pacific International Exhibition (1915), Boyden, Donald, 49/3-4: 138 49/3-4: 136, 137, 158, 167, 174, 176, 205, 206, 215, Boyenstein, Mr. and Mrs. H., 49/3-4: 183 257 (see also Expositions) Brackenbury, R., 49/3-4: 188 California Railroad Commission (CRC), 50/3-4: Bradley, Lester, 49/3-4: 208 127-144 passim Bradshaw, Captain George Brown, 49/3-4: 170 California Savings and Commercial Bank, 49/3-4: Brand, Millard F., 49/3-4: 187 231 Brandegee, Mary Katharine Layne Curran, 50/3- California Southern Railway, 49/3-4: 141 4: 86 California State Assembly, 50/1-2: 23 Brandegee, Townshend Stith, 50/3-4: 84 California State Polytechnic University, 49/3-4: Brandes, Raymond, 49/3-4: 112; 50/3-4: 67, 72 193, 194 Brav, Nelson (Brav and Schwartz), 49/3-4: 217 California Supreme Court, 50/3-4: 132 Bridges, Mr. and Mrs. A. L., 49/3-4: 179 California Un-American Activities Committee, Bridges, Mr. and Mrs. A. S., 49/3-4: 177 50/1-2: 23, 26, 28n, 29n Bright, John, 50/1-2: 17, 22 California Western University, 49/3-4: 182 Bright, Josefina Fierro de, 50/1-2: 18, 19, 22, 27n, California, State of, Alien Land Laws, 50/3-4: 137; 29n Department of Parks and Recreation, 49/3-4: 140; Brinks and Roberts, 49/3-4: 138 Department of Public Works, 49/3-4: 140 Bristow, Leonard T, 49/3-4: 138 State Parks, 50/1-2: 1, 8, 9, 12, 13; Britton, Neuman, 50/1-2: 20 Cameron, D H., 49/3-4: 208 Brock, Sarah C., 49/3-4: 177 Camp Fire Girls, 49/3-4: 160 Broell, Percy C., 49/3-4: 138 Camp Kearney, 50/3-4: 111 Brown, Harry, 49/3-4: 231 Campbell, J. A., 49/3-4: 183 Brown, Mr. and Mrs. George, Jr., 49/3-4: 183 Campbell, Mary A. 49/3-4: 216 Bruce, Mrs. Edward M., 49/3-4: 188 Campdoras, Mr. and Mrs. F. P., 49/3-4: 176 Buchenau, Jurgen, 50/3-4: 168 Campo Santo, 49/3-4: 173 Buddy, Bishop Charles F., 49/3-4: 231; 50/1-2: iv Camulos, 50/3-4: 145 Buerger, Mr. and Mrs. Bill, 49/3-4: 217 Cannon, Mr. and Mrs. J. H., 49/3-4: 176 Burbank, Luther, 50/3-4: 78 Canohalagua, 50/1-2: 10 Burlingame, 49/3-4: 176 Capps, Edwin M., 49/3-4: 141 Burnap, George, 49/3-4: 140 Cárdenas, Lázaro, 50/1-2: 59 Burne, Stanley, 49/3-4: 140 Cardiff, 49/3-4: 228 Burnett, Coy, 49/3-4: 208 Carey, Mr. and Mrs. William F., 49/3-4: 186 Burnette, Mabel, 49/3-4: 217 Carey, Mrs. J. F., 50/3-4: 121 Burnham, Frederick, Dr., 49/3-4: 146, 171, 200 Carlos, Mr. and Mrs. Salvador, Jr., 49/3-4: 174 Burnham, George, 49/3-4: 180 Carlsbad Union Elementary School District, 49/3- Burnham, John, 49/3-4: 231 4: 138 Burton, R. Q., 49/3-4: 229 Carlsbad, 49/3-4: 138, 163, 232 Bush Egyptian Theatre, 49/3-4: 231 Carlson House, 49/3-4: 217 Buss, Silvers, Hughes and Associates, 49/3-4: 140 Carrillo, Carlos A., 50/3-4: 155 Butter, Hazel, 49/3-4: 254 Carse, S. H., 49/3-4: 208 C Street Theatre, 49/3-4: 231 Carter, Nancy Carol, article by, 50/3-4: 74-101 Caballero, Edward A., 49/3-4: 140 Carteri, B. J., 49/3-4: 208 Cabrillo Bridge, 49/3-4: 158 Cartwright, Alexander J., Jr., 50/3-4: 95 Cabrillo Festival, 49/3-4: 115 Cary, Judge W. P., 49/3-4: 208 Cabrillo School Kindergarten, 49/3-4: 239, 259 Casa de Manana, 49/3-4: 147, 182, 246 Cabrillo, Juan Rodríguez, 49/3-4: 115, 116, 118, “Una Casa del Pueblo – A Town House of Old San 122, 124 Diego” (Walsh), 50/1-2: 1-16. Cajon Valley Union School District, 49/3-4: 138 Cash, Virgil W., 49/3-4: 228

78 Index

Casho, Debra, 50/3-4: 70 Cole, Dan, 49/3-4: 143 Castañeda, Antonia, 50/3-4: 152 Cole, Susan, 49/3-4: 181 Castillo, 50/3-4: 169 Coleman-Trias House, 49/3-4: 218 CBS Television Network, 50/1-2: 51, 53n College Graduate’s Club, 50/3-4: 119 Central America, 50/1-2: 11 College Park Presbyterian Church, 49/3-4: 179 Central Federal Savings and Loan, 49/3-4: 197 College Women’s Club (CWC), 50/3-4: 105, 108, Central Pacific Railroad, 50/3-4: 157 109, 111, 119 Centre City Governmental Facilities, 49/3-4: 160, Collier, D. C., 49/3-4: 122 166, 173, 245, 246 Collins, David, 50/3-4: 100 Century Magazine, 50/3-4: 147, 149 Collumb, James E., 49/3-4: 171, 232, 235 Century of Dishonor, A, 50/3-4: 148 Colonial Dames of America, 50/1-2: 9, 15n Champlain, G. J., 49/3-4: 208 Colonial Hotel, 49/3-4: 141, 231 Chandler, Charles, 49/3-4: 181 Comite de Damas del Congreso, 50/1-2: 20, 21 Chapin, Mrs. Cornelia G., 49/3-4: 188 Commonwealth Building of San Diego, 49/3-4: Charles V, Holy Roman Emperor, 49/3-4: 124 200 Chase, Amanda Mathews, 50/3-4: 106 Communication Act (1934), 50/1-2: 44 Chavez Ravine (Los Angeles), 50/1-2: 65 Communist, 50/1-2: 17, 18, 20, 22, 26, 27n, 28n Chavez, Cesar, 50/1-2: 23 Community Methodist Church of Newport Beach, Cherny, Robert W., 50/3-4: 164 49/3-4: 232 Chicago Commons settlement, 50/3-4: 104 Community Welfare Council, 50/3-4: 105, 119 Chicana/o sexuality/gender, 50/1-2: 64, 65 Comonfort, Ignacio, 50/1-2: 34 Chicano Park, San Diego, 50/1-2: 42, 43 Compione, Richard, 49/3-4: 112 Chihuahua, Mexico, 50/1-2: 55 Comstock and Trotsche, 49/3-4: 114, 141, 142, 143 Children’s Hospital, 49/3-4: 173 Comstock, Nelson A., 49/3-4: 114, 141, 142, 143 Childs, Mr. and Mrs. A. L., 49/3-4: 217 Con, Ray, 49/3-4: 183 Chinese Americans, 50/3-4: 110, 115 Conde Street, San Diego, 50/1-2: 3 Chord, Mr. and Mrs. H. M., 49/3-4: 183 Confronting Race: Women and Indians on the Christiansen, Jeffrey, W., 50/3-4: 153 Frontier, 1815-1915 (Riley), 50/3-4: 155 Chula Vista, 49/3-4: 158, 164, 168, 174, 184, 216, Conway, Moncure, 50/3-4: 147 223, 230; 50/1-2, 19 Cook, 49/3-4: 218 Chung, Mr. and Mrs. Ronnie, 49/3-4: 217 Cook, Allen Bruce, 49/3-4: 147 Church of Jesus Christ of Latter Day Saints Cooper, Bessie H., 50/1-2: 28n (Mormons): 50/3-4, 156 Cooper, Gary, 50/1-2: 18 Churchill Hotel, 49/3-4: 223 Cooper, Henry E., 49/3-4: 143 Churchill, Dr. James F., 49/3-4: 177 Cope Howe, 49/3-4: 218 Churriguera, José Benito de, 49/3-4: 123 Copley, Col. Ira C., 49/3-4: 208, 209 Ciani, Kyle, 49/3-4, 126, 133n; article by, 50/3-4: Cordova, Arturo de, 50/1-2: 26 102-123 Cornell, Mr. and Mrs. C. M., 49/3-4: 218 Ciani, Tony, 49/3-4: 141 Corona, Bert, 50/1-2: 18, 19, 20, 23, 27, 28n, 29, 30n City Beautiful Movement, 50/3-4: 77 Corona, Blanche, 50/1-2: 19, 29n Ciudad Juárez, 50/3-4: 162 Coronado Bridge, 50/1-2: 42 Civilian Conservation Corps, 50/1-2: 13 Coronado, 49/3-4: 127, 130, 160-162 passim, 167, Clairemont, 49/3-4: 139, 217, 254 172, 176, 181, 182, 184, 203-204, 209, 229, 232-233, Clapp, Mr. and Mrs. E. D., 49/3-4: 183 240, 246, 255, 257 Clark, Alice M., 49/3-4: 218 Cortéz, Hernando, 49/3-4: 126 Clark, J. Dallas, 49/3-4: 243, 244 Cotter, Mr. and Mrs. J. E., 49/3-4: 185 Clark, Mrs. John G., 49/3-4: 218 Coulston, Mary B. , 50/3-4: 86 Clark, Tom, 49/3-4: 189 Courtney, James, 50/3-4: 101 Clarke, Mr. and Mrs. Colman, 49/3-4: 218 Couts, Cave, 49/3-4: 115; 50/1-2: 7, 14n Clasen, Mr. and Mrs. R., 49/3-4: 185 Cox, Ray, 49/3-4: 200, 203 Clayton, William, 50/1-2: 1, 10, 11, 15n, 16n Coyotes, 50/1-2: 19, 20, 28n Clough, Edwin, 50/1-2: 8, 12, 14n, 15n, 16n Craftsman, The, 49/3-4: 118 CNN, 50/1-2: 51 Crawford, Kathleen A., article by, 50/3-4: 67-73 Coburn, H. E., 49/3-4: 141 Crawford, Richard W., 49/3-4: 112; 50/3-4: 70, 73 Cochran, William A., 50/3-4: 90, 91 Cream City (Baseball) Club, 50/3-4, 92 Coffroth, James W., 49/3-4: 223 Crédit Lyonnais, 50/1-2: 46 Coggeshal Rowing Center, 49/3-4: 198 Cressey, Charles, 49/3-4: 202 Cohn, Mr. and Mrs. La Motte, 49/3-4: 218 Crest Offset Printing Company, 50/3-4: 69, 70, 73 Coldwell Banker, 49/3-4: 192, 194 Cristina (talk show), 50/1-2: 45 Cole Building, 49/3-4: 183 Crocker, Charles, 50/3-4: 157

79 The Journal of San Diego History

Crouch, Charles, 50/3-4: 124 Diaz, José, 50/3-4: 161, 162 Crowley, Mr. and Mrs. Jerry, 49/3-4: 218 Díaz, Porfirio, 50/1-2: 34, 35, 38, 40n, 41n, 59 Crystal Pier, 49/3-4: 257 Dickey, Mr. and Mrs. Dan, 49/3-4: 218 Culver, Mr. and Mrs. Watson, 49/3-4: 160, 181 Dies, Martin (Senator), 50/1-2: 26 Curry Price Court, 49/3-4: 143 Dixon, Ben, 50/3-4: 67, 72 Curtis, H., 49/3-4: 143 Dixon, Margaret, 49/3-4: 218 Curtis, Robert 49/3-4: 180; Curtis, Hope, Lodge Dodd and Richards, 49/3-4: 146 and Freeland, 144 Dodge, Jack, 50/3-4: 98 Curtiss, E. H., 49/3-4: 209 Dolly Vardens, 50/3-4: 95 Cushman, Charlotte, 50/3-4, 147 Domínguez Family, 50/1-2: 2 Customs and Immigration Building, 49/3-4: 209 Domínguez, José Cristobal, 50/1-2, 2 Cuyamaca Club, 49/3-4: 232 Domínguez, Juan José, 50/1-2, 30 Cuyamaca Dam, 50/3-: 125 Domínguez, Maria Victoria, 50/1-2: 2, 4, 6 Cuyamaca Reservoir, 50/3-4: 133 Domínguez, Victoria: 50/1-2: 4, 5 Cuyamaca State Park, 49/3-4: 149 Dominicans: 50/1-2: 56 Cuyamaca Water Company (CWC), 49/3-4: 147; Don Agustin V. Zamorano: Statesman, Soldier, 50/3-4: 124-144 passim Craftsman, and California’s First Printer (Harding), Cuyamaca, 50/1-2: 2 50/3-4: 154 Czarnowsky, Frank, 50/3-4: 101 Don Quixote de la Mancha, 50/3-4: 152 Daley, Mr. and Mrs. George R., 49/3-4: 162 Donaldson, Milford Wayne, 49/3-4: 112, 147 Daniels, J. W., 49/3-4: 144 Donelson, Commander J. F., 49/3-4: 232 Darlington, Mrs. H. S., 49/3-4: 209 Dooley, Mr. and Mrs. W. S., 49/3-4: 232 Darst, Mrs. A. B., 49/3-4: 151, 189 Dorman, Chet, 49/3-4: 218 Daughters of St. Paul’s, 49/3-4: 162 Dorr, Rheta, 50/3-4: 118 Daun, Alan (Daun and Hoelck), 49/3-4: 144 Dorsett, Palemon Howard, 50/3-4: 75, 85 Davidson, G Aubrey, 49/3-4: 177 Dosal, Paul J., 50/3-4: 169 Davila, Armando, 50/1-2: 24, 29n Dowell, C. W. and Son, 49/3-4: 147 Davis, 49/3-4: 232 Dowell, T. J., 49/3-4: 117 Davis, Mike, 50/1-2: 63 Doyle, Jarvis L., 49/3-4: 206 Davis-Baker Company, Pasadena, 49/3-4: 127 Drager, H. H., 49/3-4: 183 Day, Mrs. Horace B., 49/3-4: 18 Drake, Mr. and Mrs. C. W., 49/3-4: 156 de Castro, Mr. and Mrs. William M., 49/3-4: 185 Dreiser, Theodore, 50/1-2, 22, 23 De Pue, Mr. and Mrs. C. F., 49/3-4: 183 Drewry, R. L., 49/3-4: 257 Death, Dismemberment, and Memory: Body Politics in Dunne, Gundula A., 49/3-4: 112 Latin America (Johnson), 50/3-4: 168 Duringer, Mr. and Mrs. Jon, 49/3-4: 218 Deatrich, Evelyn, 49/3-4: 185 Dye, M. Edison, 49/3-4: 232 Decker, Clarence E. (Decker and Stevenson), 49/3- Eagle, Adam Fortunate, 50/3-4: 165, 166 4: 144 Eales, Mr. and Mrs. Rodney, 49/3-4: 218 Del Mar Race Track, 49/3-4: 168, 175 East San Diego, 50/3-4: 133 Del Mar Turf Club, 49/3-4: 162, 175 Eastman, Dr. William R., 49/3-4: 209 Del Mar, 49/3-4: 158, 162, 168, 172, 174-175, 176, Easton, Jane, 49/3-4: 253 190-191, 212, 218, 220, 223, 259; 50/3-4: 126 Eastwood, Alice, 50/3-4: 86 Delawie, Homer T., 49/3-4: 146; Delawie, Macy Eastwood, John S., 49/3-4: 147; 50/3-4: 129 and Henderson, 146, 250; Delawie, Wilkes, Ebbs, William G., 49/3-4: 177 Rodrigues, Baker and Bretton, 146 Echeandía, José Maria, 50/1-2: 30, 21, 32, 39n, 40n; Dell’Acqua, Mario and Associates, 49/3-4: 146 50/3-4: 154, 155 Deloria, Philip J., 50/3-4: 159 Eckfords, 50/3-4: 95 Deloria, Vine, Sr., 50/3-4: 159 Ecole des Beaux-Arts, 49/3-4: 130 Democratic Party, 50/1-2: 5 Edgemoor Farm, 49/3-4: 149, 201 Denison House (Boston), 50/3-4: 112 Edison Company, 50/1-2: 11 Dennstedt and Dell’Acqua, 49/3-4: 146 Edson, Don, 49/3-4: 147 Denver and Rio Grande Railroad, 50/3-4: 148 Edwards, Mr. and Mrs. Otto, 49/3-4: 181 Denzin, Mr. and Mrs. Chester H., 49/3-4: 229 Edwards, Sam and Grace, 49/3-4: 148 Depression, The Great, 50/1-2: 19, 42; 50/3-4: 115 Eisen, Percy A., 49/3-4: 126, 127, 252 Des Granges, Pauline, 49/3-4: 218 Eitel, Mr. and Mrs. John, 49/3-4: 218 Detention Home, San Diego, 49/3-4: 149, 200, 201 El Cajon Citrus Association, 50/3-4: 136 “Development of Spanish-Language Television El Cajon, 49/3-4: 157, 181, 185, 232, 239, 257; 50/3- in San Diego: A Contemporary History, The” 4: 124, 126-127, 129, 131, 133, 137, 138, 142 (Moran), 50/1-2: 42-54 El Centro, 50/3-4, 157 Deverell, William, 49/3-4: 113, 131n; 50/3-4: 158 El Congreso del Pueblo de Habla Española, 50/1-

80 Index

2: 17-29 passim Fairbanks, Douglas, 50/1-2: 11 “El Congreso in San Diego: An Endeavor for Civil Fairchild Tropical Botanical Garden, 50/3-4: 75 Rights” (Larralde), 50/1-2: 17-29 Fairchild, D. L., 49/3-4: 209 El Cordova Hotel, 49/3-4: 181, 182, 257 Fairchild, David, 50/3-4: 75, 77, 79, 80, 81, 82, 83, El Cortez Hotel, 49/3-4: 126, 133n, 199, 252 84 El Paso, Texas, 50/3-4: 162 Fairchild, Marian, 50/3-4: 81, 82 Electric Building (see Balboa Park) Fairgrounds, 49/3-4: 174, 175, 207 Elk’s Club, 49/3-4: 143, 232 Fairmont Theatre, 49/3-4: 255 Elliott, Mr. and Mrs. H. J., 49/3-4: 183 Falconer, Mr. and Mrs. Roy, 49/3-4: 257 Ellwood P. Cubberley Elementary School, 49/3-4: Farrell, Mary Belcher, 50/1-2: 9, 15n 162 Federal Board of Vocational Education, 50/3-4: Emerson, Ralph Waldo, 50/3-4: 147 122 Empty Beds: Indian Student Health at Sherman Federal Communications Commission (FCC), Institute, 1902-1922 (Keller), 50/1-2: 58 50/1-2: 44, 46, 47, 48, 49, 50, 53n Encinitas, 49/3-4: 180, 226 Fenton, Miss L. G., 49/3-4: 172 Enger, Hal, 50/3-4: 68 Fernandes, Richard J. and Associates, 49/3-4: 148 English Lutheran Church, 49/3-4: 170 Ferrer, María del Rosario Estudillo de, 50/1-2: 4 Engstrand, Iris H. W., 50/1-2: i, iv, v; 50/3-4: 68, Ferris, Robert Donald (Ferris and Brewer; Ferris, 71, 154 Johnson, and Perkins), 49/3-4: 112, 148 Engstrand, Mr. and Mrs. Paul, 49/3-4: 218 Figueroa, José (Governor), 50/1-2: 33; 50/3-4, 155 Ensenada, 49/3-4: 230, 236; 50/1-2: 35, 36 Filipino Americans, 50/1-2: 17, 20, 22, 62; 50/3-4: Entravision Communications, 50/1-2: 48, 49 162 Epstein, Michael J., article by, 50/3-4: 90-101 Fimmerman, D. E., 49/3-4: 257 Erickson, Mr. and Mrs., 49/3-4: 183 Fine Arts Gallery (see San Diego Museum of Art) Escondido, 49/3-4: 141, 166, 196, 223, 226 Fine, Dr. Lawrence, 49/3-4: 218 Escudero, Ambrosio, 50/1-2: 17 Finney, Charles Grandison, 50/3-4: 146 Esling, Helen, 49/3-4: 218 Fipp, Dr. and Mrs. B. S., 49/3-4: 173 Esparza, Richard, 50/3-4: 69 Firestone Fountain, 49/3-4: 173 Estrada Land Planning, 49/3-4: 148 First Capital Corporation of Chicago, 50/1-2: 44 Estrada, Steve, 49/3-4: 148 First Congregational Church, 49/3-4: 190 Estudillo Family, 50/1-2: 1-16 passim First National Bank of Escondido, 49/3-4: 223 Estudillo, Casa de, 49/3-4: 113, 115, 119, 120, 121, First National Bank, 49/3-4: 167, 187, 196, 223, 232 132n, 253: 50/1-2: 1-16 passim; 50/3-4: 145 First National Trust and Savings Bank, 49/3-4: Estudillo, José Antonio, 50/1-2: 1-4 passim, 13n, 162, 209 14n, 15n First Presbyterian Church, 49/3-4: 162 Estudillo, José Guadalupe, 50/1-2: 4-6 passim, 11, Fisher, Colin, 50/3-4: 71 14n Fisk, Mr. and Mrs., 49/3-4: 156 Estudillo, José María, 50/1-2: 2, 4, 10, 13n, 16n Fiske, Deborah Vinal, 50/3-4: 146 Estudillo, Salvador, 50/1-2: 6, 15n Fiske, Nathan Welby, 50/3-4: 146 Estudillo, Victoria Dominguez de, 50/1-2: 4-6 Flamming, Douglas, 50/3-4: 160 passim, 14n Fleet, Mr. and Mrs. David, 49/3-4: 149 Eucalyptus Reservoir, 50/3-4: 125 Fletcher Hills, 50/3-4: 143 Euhal, J., Architectural Department Board of Fletcher, Col. Ed and Mrs., 49/3-4: 209, 210; 50/3- Education, 49/3-4: 148 4: 124-144 passim Ewing, 49/3-4: 232 Flinn Springs County Park, 49/3-4: 225 “Exploring San Diego’s Past: Fifty Years of The Folsom, Mr. and Mrs. Bruce, 49/3-4: 218 Journal of San Diego History” (Crawford), 50/3-4: Forbes, George, 49/3-4: 210 67-73 Ford Bowl, 49/3-4: 162, 206 Expositions (see also Balboa Park): Alaska-Yukon- Ford Building (see Balboa Park) Pacific Exposition, 49/3-4: 244; California Pacific Foreign Club, 49/3-4: 232, 233 International Exposition, San Diego (1935), 136, Forest City Base Ball, 50/3-4: 92 158, 167, 174, 176, 204-205, 215, 228, 257; Iberian- Foret, Camille, 49/3-4: 210 American Exposition, 178; Panama California Forgotten Village, The (1941), 50/1-2: 23 Exposition, San Diego (1915), 114, 122-126, 158- Forward, James, 49/3-4: 210 159, 198, 256; 50/1-2: 1; 50/3-4: 110, 114; Panama Foster, Philip W., 49/3-4: 198 Pacific International Exposition, San Francisco Fouce, Jr., Frank, 50/1-2: 44, 52n (1915), 49/3-4, 121; World Columbian Exposition, Fouce, Sr., Frank, 50/1-2: 52n Chicago, 121, 123; 50/3-4: 78 Fouchey, Dr. Alphonse D., 49/3-4: 245 Facism, 50/1-2: 24 Fowler, Mr. and Mrs., 49/3-4: 228 Fairbanks Ranch, 49/3-4: 137 FOX Broadcasting Company, 50/1-2: 48

81 The Journal of San Diego History

Fox Building (Samuel I. Fox Building), 49/3-4: Golden Valley, 49/3-4: 193 178, 179 Golden West Hotel (The Workingman’s Hotel), Fox, Jack, 50/1-2: 25 49/3-4: 135 Fox, Samuel I., 49/3-4: 178, 179 Golden, M. H., Construction Company, 49/3-4: Fox, Vicente, 50/1-2: 59 196 Fox-Gaynes Realty Investment Company, 49/3-4: 179 Golder, Dr. A. W., 49/3-4: 163, 215 Franceschi, Emanuele O., 50/3-4: 78, 87 Goldis, Jerome D., 49/3-4: 112, 156-157 Francis W. Parker School, 49/3-4: 130 Goldwyn, Samuel, 50/1-2: 11 Franciscans, 50/1-2: iv, 24, 56; 50/3-4: 149 Golem, Mr. and Mrs. Howard, 49/3-4: 218 Franger, Joseph F., 49/3-4: 112 Gonzales, Mr. and Mrs. Cristin F., 49/3-4: 185 Frank, Ralph L., 49/3-4: 149 Gonzalez, Manuel G., 50/3-4: 162 Franklin, Mr. and Mrs. William C., 49/3-4: 218 Gonzalez, Michael J., 50/1-2: 59 Frary, Mrs. Frank, 49/3-4: 206 Gonzalez, Pedro, 50/1-2: 42, 43 Frazer, Elinor, 49/3-4: 149 Goodhue, Bertram G., 49/3-4: 111, 113, 122-126 Free Industrial School (FIS), 50/3-4: 121 passim, 135, 158-159 passim Freeland, E. L., 49/3-4: 144, 149, 169, 170 Gordon, D. G., 50/3-4: 131-135 passim Freeman, Samuel, residence, 49/3-4: 247, 256 Gould, E. B., 49/3-4: 171, 204 Friedkin, Mr. and Mrs. Thomas H., 49/3-4: 218 Graham, Clifford C., 49/3-4: 218 Frink, Lisa, 50/1-2: 63 Grant, Jr., Ulysses S., 49/3-4: 126 Frizzell, Dr. and Mrs. E. H., 49/3-4: 218 Gray Apartments, 49/3-4: 183 Froehlich, Arthur, 49/3-4: 168 Gray, Andrew B., 50/1-2: 33 Frost, G. T., 49/3-4: 156, 157 Gray, Paul Byran, 50/1-2: 30 Fuller, Mr. and Mrs. Edward, 49/3-4: 210 Grebe, Mr. and Mrs. Howard, 49/3-4: 159 Furgatch, Harvey, 49/3-4: 218, 256 Green Dragon Colony, 49/3-4: 193 Gaines, Stanley O., 50/1-2: 50, 53n Green, Mr. and Mrs. L. R., 49/3-4: 210 Galavisión cable network, 50/1-2: 49 Greene, Elizabeth, 49/3-4: 160 Galvan, Roberto, 50/1-2: 19, 20, 26 Greene, Richard, 49/3-4: 160 Garate, Donald, 50/1-2: 55 Greenslade, Lt. and Mrs. John F., 49/3-4: 210 Garcia, Mario T., 50/1-2: 14n, 18, 26, 27n, 28n Greenwood Cemetery, 49/3-4: 257 Garcia, Miraslava Chávez-Garcia, 50/3-4: 152 Gregg, Adolph, 50/3-4: 100 Gardner, Kenneth, 49/3-4: 149 Gregg, William Seaton Jr., 50/3-4: 101 Garland, Judy, 50/1-2: 18 Gregory, Emily Lovira, 50/3-4: 75 Garland, Lee, 49/3-4: 184 Griffith, D. W., 50/1-2: 11 Garland, Mr. and Mrs. Hastings, Jr., 49/3-4: 218 Griffith, W. L., 49/3-4: 255 Garrettson, D. F., 49/3-4: 210 Griffiths, R. E., 49/3-4: 160 Garza, Eduardo, 49/3-4: 255 Grimes, Bill, 50/1-2: 46 Gaultney and Elwell, 49/3-4:150 Gross, William, 50/3-4: 125 Gay, Henry Lord, 49/3-4: 149 Grossmont Reservoir, 50/3-4, 128, 135 Gaynes, A. F., 49/3-4: 210 Grossmont Union High School District, 49/3-4: Gemmell, Mr. and Mrs. Robert C., 49/3-4: 190, 210 139, 148 “George White Marston: Baseball Player” Grossmont, 49/3-4, 139, 148, 223, 231, 240; 50/3-4: (Epstein), 50/3-4: 90-101 131, 135 George, Jesse, 50/3-4: 136, 137; 50/3-4: 136, 137 Grosvenor, Gilbert H.,50/3-4: 87 Georgia, A. R., 49/3-4: 210 Guadalupe Hidalgo, Treaty of, 50/1-2: 33 Geronimo, 50/3-4: 159; 50/3-4: 159 Guerra, Casa de la, Santa Barbara, 50/1-2: 7 Getz, Tommy, 50/1-2: 8, 10, 11, 12, 16n Guevara, Che, 50/3-4: 168, 169 Giberson, Earl F., 49/3-4:150 Guillén, Ysidro, 50/1-2: 13n5 Gildred, Phil, 50/3-4: 69 Gulino, Michael J., 49/3-4: 174 Gill, Irving, 49/3-4: iii, 111-119 passim, 122, 127, Gunn, W. A., 49/3-4: 210 143, 146, 150-153 passim, 171, 189, 195; 50/1-2: 1, 6 Guy, Donna J., 50/3-4: 168 Gill, Louis, 49/3-4: 118-119, 151-154 passim Guymon, E. T., 49/3-4: 171, 204 Gillespie Field, 49/3-4: 225, 226 Haigler, Dr., 49/3-4: 181 Gird, W. E., 49/3-4: 190 Hale, Wesley, 49/3-4: 170 Glenn Abbey Memorial Park, 49/3-4: 223 Hall, Adm. and Mrs. G. B. H., 49/3-4: 218 Globe Theatre, 49/3-4: 171, 206 Hall of Champions (see Balboa Park) Goethe, Johann Wolfgang von, 50/3-4: 147 Hallmark Cards, Inc., 50/1-2: 44, 45 Goldberg, Dr. and Mrs., 49/3-4: 224, 255 Hamill, Samuel W., 49/3-4: 111, 112, 154, 155, Goldberger, Arthur, 49/3-4: 190 160-61, 165, 168, 170, 174, 175, 200, 215, 227, Golden Door, 49/3-4: 195, 196 229; Hamill and Froehlich, 168; Hamill, Ruocco, Golden Hill, 49/3-4: iii Kennedy, and Rosser, 169; Hamill, Hope, Lykos,

82 Index

Wheeler, Freeland, 170 Hennessey, Gregg R., 50/3-4: 70, 71, 73, 90 Hamilton, Charles S., 49/3-4: 190; 50/3-4: 95 Hennessy, Dr. F. A., 49/3-4: 190 Hamilton, Marion S., 49/3-4: 210 Henry Street Settlement, 50/3-4: 112 Hammon, Jensen and Wallen (Archeological Herbert Hoover High School, 49/3-4: 148, 228 STTE), 49/3-4: 170 Heritage Square Park, 49/3-4: 257 Hammond Building, 49/3-4: 233 Hermandad Mexicana Nacional, La, 50/1-2: 27 Hancock, Stanley, 50/1-2: 20 Hess, Mrs., 49/3-4: 233 Handlery, Harry, 49/3-4: 199 Heuser, Mr. and Mrs. William, 49/3-4: 219 Hanford, Mrs. Anna J., 49/3-4: 190 Hewett, Edgar, 50/3-4: 149 Hansen, F. J., 49/3-4: 223 Hewitt, Harwood and Norman Miller, 49/3-4: 171 Hanson, Erik, 49/3-4: 112 Hidalgo y Costilla, Father Miguel, 50/3-4: 169 Harbor Plaza, 49/3-4: 173 Higginson, Thomas Wentworth, 50/3-4: 147 Harborfront Auditorium, 49/3-4: 163 Hill, Mary Anderson, 50/3-4: 108, 119, 121 Harding, George L., 50/3-4: 154 Hill, Mother Rosalie Clifton, RSCJ, 50/1-2: iv Harding, Marston, 49/3-4: 210 Hill, Nary A., 49/3-4: 185 Harlan, Mr. and Mr. Bane, 49/3-4: 190 Hillcrest Manor Sanitarium, 49/3-4: 219 Harnish, Mr. and Mrs. H. R., 49/3-4: 246 Hillside Hospital, 49/3-4: 157 Haro, Francisco, 50/3-4: 155 Hinkle, 50/3-4: 225 Harper, Curt, 50/3-4: 67 Hirschy, Mr. and Mrs. Fred, 49/3-4: 180 Harper’s Monthly, 50/3-4: 147 Hispanic Broadcasting Corporation (HBC), 50/1- Harpst, Margarette, 49/3-4: 181 2: 46 Harrington, John Peabody, 50/3-4: 149 Historic American Buildings Survey, 49/3-4: 246 Harris, Deland (Dell) W., 49/3-4: 170 Hobson, A. L., 49/3-4: 190 Harris, Enan, 50/3-4: 100 Hoelck, Arthur C., 49/3-4: 144 Harris, Mr and Mrs. Frank C., 49/3-4: 225 Hoffman, David, 50/1-2: 5 Harrison, Shelby M., 50/3-4: 108 Hoffman, Eugene M., 49/3-4: 171 Harritt, Chester, 50/3-4: 135, 136 Hogan and Hippen Medical Center, 49/3-4: 219 Hartley, Mr. and Mrs. John, 49/3-4: 218 Hollywood, 50/1-2: 11, 18, 22, 45 Hartung, Earl W., 49/3-4: 170 Holy Cross Mausoleum, 49/3-4: 172, 173 Harvey, Mr. and Mrs. D. M. J., 49/3-4: 186 Hom, Edwin K., 49/3-4: 228 Hatch, George C., 49/3-4: 138, 168, 179 Home Bound: Filipino American Lives Across Haugh, Jim, 49/3-4: 218 Cultures, Communities, and Countries (Espiritu), Haughey, J. F., 49/3-4: 144 50/1-2: 62 Hawaiian Trust Co., 49/3-4: 199 Honnald, Douglas, 49/3-4: 171 Hawley, George M., 49/3-4: 223 Honolulu, 50/1-2: 10 Hawley, John S., 49/3-4: 206 Hood, Mr. and Mrs. J. H., 49/3-4: 219 Hay Development, 49/3-4: 197. Hope, Frank L., 49/3-4: 113, 144, 166, 169, 170, Hayden, G. E., 49/3-4: 210 172, 177, 173 Hayden, Karen, 49/3-4: 112 Hopkins, Mark, 50/3-4: 157 Hayes, Benjamin, 50/1-2: 2, 3, 5, 13n, 14n Hopkins, Mr. and Mrs. Charles, 49/3-4: 257 Hayward, Mr. and Mrs. Chester, 49/3-4: 219 Horcasitas, María Gertrudis, 50/1-2: 2 Hayward, Susan, 50/1-2: 18 Hord, Mr. and Mrs. Donald, 49/3-4: 198 Hazard, Mr. and Mrs. R. E., 49/3-4: 157 Hord, Adm. and Mrs. Paul, 49/3-4: 219 Healy, Martin J., 49/3-4: 233 Horton Plaza, 49/3-4: 151, 227 Hearst Newspapers, 50/1-2: 24 Horton, A. E., 49/3-4: 118 Heart of the Rock: The Indian Invasion of Alcatraz Horton, Alonzo, 50/3-4: 94, 95 (Eagle), 50/3-4: 165 Hospitality, House of (see Balboa Park) Heaton, Mr. and Mrs. T. C., 49/3-4: 225 Hotel Alexandria, Los Angeles, 50/1-2: 17, 24 Hebbard, William (Hebbard and Gill), 49/3-4: 111, Hotel del Coronado, 49/3-4: 130, 176, 203, 204, 246 113, 116-118 passim, 131n, 143, 146, 170-171 Hotel Josephine, 49/3-4: 204 Heidlbrink, Mae, 49/3-4: 233 Hotel San Diego, 49/3-4: 229 Helen Hunt Jackson: A Literary Life (Phillips), 50/3- Hotten, Carl, 49/3-4: 173 4: 145 House of Charm (see Balboa Park) Helland, R., 49/3-4: 184 House of Hospitality (see Balboa Park) Heller, Matt, 49/3-4: 210 Hrdlička, Alĕs, 50/3-4: 149 Hellmann, Lillian, 50/1-2: 22 Hubon, Fred L., 50/3-4: 96 Helt, Edward H., 49/3-4: 203 Hudgins, Amos Algernon, 49/3-4: 233 Hemet, 50/3-4: 145 Hudson, Mr. and Mrs. Victor, 49/3-4: 219 Hemke, Hans and Dorothy, 49/3-4: 219 Hufbauer, Clyde, 49/3-4: 174 Henderson, John D., 49/3-4: 112, 146, 171, 250 Hüller, Luis, 50/1-2: 35, 40n

83 The Journal of San Diego History

Hunt, Edward, 50/3-4: 147 Johnson, J. G. (Johnson and Johnson), 49/3-4: 176 Huntington Library, 50/3-4: 70 Johnson, Paul, 49/3-4: 112, 148 Huntington, Henry, 50/3-4: 157 Johnson, Mr. and Mrs. Scott, 49/3-4: 219 Hurlbert, Frank and Associates, 49/3-4: 174 Johnson, Troy R., 50/3-4: 166 Hussey, John E., 49/3-4: 174 Johnson, W. J. (Johnson and Johnson), 49/3-4: 176 Hutchinson, Mr. and Mrs. E. G., 49/3-4: 186 Johnson, William Templeton (Johnson and Hutton, E. F., 49/3-4: 194 Abrams; Johnson and Hatch; Johnson, Hatch and Hutts, William J., 49/3-4: 184 Wulff; Johnson and Synder), 49/3-4: 111, 113, 129, Hyslop, Stephen G., 50/3-4: 153 133, 154, 177-179 Iberian-American Exposition (see Expositions) Johnson-Tyson-Lynd, 49/3-4: 254 Immaculata Chapel, Alcala Park, 49/3-4: 172, 173 Jolly, Michelle E., 50/3-4: 152 Immaculate Conception, Church of the, Old Town, Jones, H. H., 49/3-4: 211 49/3-4: 172; 50/1-2: 3 Juan Bautista de Anza, Basque Explorer in the New Immigration and Housing, Division of, 50/1-2: 22 World, 1693-1740 (Garate), 50/1-2: 55 Imperial Beach, 50/1-2: 33 Juan Soldado: Rapist, Murderer, Martyr, Saint Imperial Savings and Loan, 49/3-4: 148 (Vanderwood), 50/1-2: 60 Imperial Valley, 50/1-2: 19, 20, 23; 50/3-4: 81, 115 Juárez, Benito, 50/1-2: 34-36 passim, 40n In Ko Pah Park, 49/3-4: 225 Judson, C. S., 49/3-4: 211 Indian Revolt, 1775, 50/1-2: 24 Judy, W. H., 50/3-4: 137 Indians (see Native Americans) Julian, 49/3-4: 206 Indians in Unexpected Places (Deloria), 50/3-4: 159 Junípero Serra Museum, 49/3-4: 130, 133n, 142, Industrial Workers of the World (IWW), 50/1-2: 64 177, 179, 253, 259; 50/3-4: iii, 67, 107 Institute of Geophysics of Planetary Physics, 49/3- Kahn, Harry, 49/3-4: 234 4: 224 Kahn, Louis I., 49/3-4: 180 Ipswich Female Seminary, 50/3-4: 146 Kamerling, Bruce, 49/3-4: 112, 131n, 132n; 50/3-4: Italian Americans, 50/3-4: 121 70, 73 Ito, Mr. and Mrs. Church, 49/3-4: 219 Kaminar, Myron and Dorothy, 49/3-4: 258 ITT Technical Institute, 49/3-4: 174 Kaplan, H. R., 49/3-4: 219 Iturbide, Agustin de, 50/3-4: 169 Kassel, Dr. and Mrs., 49/3-4: 219 Jack Murphy Stadium, 49/3-4: 173 KBNT, 50/1-2: 42, 48, 49, 50, 53n Jackman, Mrs. C. M., 49/3-4: 211 Kearny Mesa, 49/3-4: 163, 174 Jackson, Chris and Sharon, 49/3-4: 219 Kelham, George W., 49/3-4: 180 Jackson, F. W., 49/3-4: 245 Keller, Jean A., 50/1-2: 58 Jackson, Helen Hunt, 49/3-4: 115; 50/1-2: 6, 11, Keller, Walter S., 49/3-4: 180 16n; 50/3-4: 145-151 passim Kellogg, Paul U., 50/3-4: 108 Jackson, Herbert L. (Jackson and Hamill), 49/3-4: Kelly, Michael, 50/3-4: 164 111, 127, 128, 129, 133n, 174, 175, 207-215 Kenny, Robert, 50/1-2: 19 Jackson, Parker, 49/3-4: 112, 133n Kensington Heights, 49/3-4: 126-127 passim, 129, Jackson, Robert C., 49/3-4: 163 133n, 144, 156, 223, 226, 236, 256, 258 Jackson, William Sharpless, 50/3-4: 148 Kern, Edward, 50/1-2: 58 Jacobs, Theodore, 49/3-4: 135, 146, 200, 252 Kern, Richard, 50/1-2: 58 Jacobsen, Ed, 49/3-4: 233 Kerstetter, Todd, 50/3-4: 159 Jacobson, Mr. and Mrs. Isador, 49/3-4: 255 Keys, Alice M., 49/3-4: 211 Jacumba, 49/3-4: Khoury, Eleos, 49/3-4: 219 James, George Wharton, 50/1-2: 12, 16n; 50/3-4: Kim, C. W., 49/3-4: 180 149 King, Edith Shatto, 50/3-4: 106-113, 116 Jamison, Bertha, 49/3-4: 181 King, Frederick, 50/3-4: 108, 109 Japanese Americans, 50/1-2: 17, 20, 22, 23, 24; King, T. S., 49/3-4: 180 50/3-4: 137 King, Tom, 50/3-4: 136 Jaussaud, Lester, 49/3-4: 219 Kingston, Mr. and Mrs. Jeffrey, 49/3-4: 219 Jayme, Father Luis, 49/3-4: 124 Kinney, Abbott, 50/3-4: 149 Jennison, Dr. and Mrs. J. E., 49/3-4: 206 Kino, Father Eusebio Francisco, 50/1-2: 56 Jensen, Joan, 50/3-4: 108 Kirkwood, W. J., 49/3-4: 180 Jessop and Sons, 49/3-4: 233 Kistner, Theodore C. (Kistner, Curtis and Wright), Jesuits, 50/1-2: 56 49/3-4: 180 Johnson, A. Delafield, 49/3-4: 176 Klauber, Hugo, 49/3-4: 151 Johnson, Mrs. Arthur S., 49/3-4: 211 Klauber, Melville, 49/3-4: 153, 247 Johnson, Grace, 49/3-4: 234 Klauber, Philip M., 49/3-4: 262; 50/3-4: 69 Johnson, H. M., 49/3-4: 190 Klein, James E., 50/3-4: 165 Johnson, Hiram, 50/3-4: 106 Klicka, Emil, 49/3-4: 234

84 Index

Knight, Court, 49/3-4: 234 Lee, Alice, 49/3-4: 151 Knudson, Mrs. Valdimer, 49/3-4: 190 Leidy, George B., 49/3-4: 111, 183-185 Koke, Dr. and Mrs. Martin P., 49/3-4: 234 Leisenring, H. G., 49/3-4: 253 Koll Company, The, 49/3-4: 197 Lemon Grove, 50/1-2: 19; 50/3-4: 133, 139, 143 Kornweibel, Theodore, 50/3-4: 157 Lentz, Charles H., 49/3-4: 185 Kresser, Mr. and Mrs., 49/3-4: 184 Leucadia, 49/3-4: 137 Kritz, Joan, 49/3-4: 219 Levi, Richard, 50/3-4: 69 Krop, Phoebe S., 49/3-4: 113, 131n Libbey, E D., 49/3-4: 190 Krotsch, H. V. (Krotsch and Stecker), 49/3-4: 180 Liberty Media Inc., 50/1-2: 49 Ku Klux Klan, 50/1-2: 19, 20, 21, 22, 25, 28; 50/3-4: Liebhardt, Weston and Goldman, 49/3-4: 185 164 Liebmann, Mr. and Mrs. Joachim, 49/3-4: 220 Kuhn, Skip (Skip and Alvarado), 49/3-4: 220 Light, J. D., 49/3-4: 185 Kumeyaay , 49/3-4: 123 Linda Vista, 49/3-4: 152, 246; 50/1-2: iv Kunze, Arthur A., 49/3-4: 111, 181-182 Lindbergh Field, 49/3-4: 163, 179, 199, 227, 234, KWHY, 50/1-2: 50 258 La Flesche, Susette, 50/3-4: 148 Lindbergh Flight Memorial and Museum, La Grange, 49/3-4: 220 49/3-4: 163 La Jolla Art Center, 49/3-4: 193, 194 Linnean Society, 50/3-4: 75 La Jolla Cultural Center, 49/3-4: 194 Lipetzky, Jerome and Lynn, 49/3-4: 220 La Jolla Museum of Art, 49/3-4: 194 Little Mothers Club, 50/3-4: 112 La Jolla Museum of Contemporary Art, 49/3-4: Live Oaks Park, 49/3-4: 201 195, 196 Lloyd, Harold, 50/1-2: 11 La Jolla Presbyterian Church, 49/3-4: 173 Locke, J. A., 49/3-4: 211 La Jolla Public Library, 49/3-4: 129, 130, 177, 178, Lococo, Thomas N., 49/3-4: 157, 158 179, 186 Lodge, William Percy, 49/3-4: 144 La Jolla Women’s Club, 49/3-4: 151, 152, 247 Logan Heights, 50/3-4: 111 La Jolla, 49/3-4: 117-119 passim, 129, 130, 141, 147, Loizeaux, Mr. and Mrs. William, 49/3-4: 220 151, 152, 162, 173, 177-179 passim, 186-199 passim, Loma Portal, 49/3-4: 172, 211, 223 206, 208, 209, 212, 217-224 passim, 231-240 passim, Lomaland, 50/3-4: 96 246, 247, 255; 50/1-2: 9 Lomawaima, K. Tsianina, 50/3-4: 167 La Mesa Dam, 50/3-4: 129 Long, Baron, 49/3-4: 223, 234 La Mesa Reservoir, 50/3-4: 125, 133 Long, Ryan F., 50/3-4: 168 La Mesa, 49/3-4: 149, 160, 163, 167, 180, 183, 184, Looking for Steinbeck’s Ghost (Benson), 50/1-2: 61 190, 211, 216, 218, 221, 232, 235, 239, 256, 258; Loos, Anita, 50/1-2: 11 50/3-4, 124-144 passim López, José, 50/1-2: 40n La Punta, Baja California, Mexico, 50/1-2: 33 López, Lino, 50/1-2: 34, 40n Lakeside, 49/3-4: 163 Loreto, Mexico, 50/1-2: 2 Land of Sunshine, 49/3-4: 116 Lorini, Dr. R., 49/3-4: 151 “Land, Water, and Real Estate: Ed Fletcher and Los Angeles Embassy Auditorium, 50/1-2: 24 the Cuyamaca Water Company, 1910-1926” Los Angeles Sentinel, 50/1-2: 29n (Strathman), 50/3-4: 124-144 Los Angeles Times, 50/1-2: 10, 19, 22, 24, 28n, 52n Lange, Dorothea, 50/1-2: 23, 61 Los Angeles, 49/3-4: 115, 116, 126, 135, 247, 252, Langham, Mr. and Mrs. J. R., 49/3-4: 220 256; 50/1-2: 6, 7, 17, 26, 42, 44, 46, 65 Lannon, E. T., 49/3-4: 211 Los Angeles, Fiesta de, 49/3-4: 115 Lareau, Richard John, 49/3-4: 182 Los Banos Bathhouse, 49/3-4: 116, 117, 118, 131n Larkin, Rita, 50/3-4: 68 Louis Bank of Commerce, 50/1-2: 114, 230, 246 Larkins, Mr. and Mrs. C. D., 49/3-4: 246 Loveless, Ilton E., 49/3-4: 124, 186, 187, 255 Larralde, Carlos M., article by, 50/1-2: 17-29 Lovell, Capt. and Mrs. Royal, 49/3-4: 220 Larrick, Herschell, 49/3-4: 220 Lowell, Robert, 50/1-2: 22 Las Palmas River, 50/1-2: 33 Lowery, 49/3-4: 230 Las Quintas Moriscas, 49/3-4: 190 Lowery, Barbara, 49/3-4: 220 Lasky, Jesse, 50/1-2: 11 Loyola, St. Ignatius, 50/1-2: v Lathrop, Barbour, 50/3-4: 75, 77, 85 Lozano, Humberto, 50/1-2: 17 Latinos (see Mexican Americans) Lummis, Charles Fletcher, 49/3-4: 116, 118, 131n; Lawrence, Deborah, 50/3-4: 155 50/1-2: 6, 12; 50/3-4: 148 Lawrie, Annie, 49/3-4: 181 Lumpkins, William, 49/3-4: 186 Lawrie, S. Mildred, 49/3-4: 181 Lundy, 49/3-4: 234 Laycock, Clark Jr., 49/3-4: 183 Lyman, John B. Jr., 49/3-4: 138 Le Espiritu, Yen, 50/1-2: 62 Lyon, Mr. and Mrs. Edward, 49/3-4: 220 League of Women Voters, 50/3-4: 120 Lyons, Mary E., 50/1-2: v

85 The Journal of San Diego History

Machado family, 50/3-4: 72 McClain, Molly, 50/1-2: iv, v, 27n; 50/3-4: 71 Machado, Jesús Maria, 50/1-2: 34, 40n McCoy, 49/3-4: 186 Machado, Joaquín, 50/1-2: 34, 40n McDonald, Mr. and Mrs. William T., 49/3-4: 212 Machado, Manuel, 50/1-2: 13n McGaughey, John and Janet, 49/3-4: 220 Mack, Harry, 49/3-4: 186 McGaw and Stevenson, 49/3-4: 187 MacMullen, Jerry, 50/3-4: 67, 72 McGrew, Clarence, 50/1-2: 6, 10 MacNeil, Tim, 50/3-4: 68 McGroarty, John Steven, 49/3-4: 128, 133n; Macomber, Charles, 49/3-4: 186, 230 50/3-4: 145 MacPhail, Elizabeth, 50/3-4: 79 McGuire, Mr. and Mrs. Thomas G., 49/3-4: 220 Macy, Alfonso, 49/3-4: 146 McKanna, Jr., Clare V., 50/1-2: 56 Magee, Mrs. H. C., 49/3-4: 212 McKinley Elementary School, 49/3-4: 212 Magee, Victoria Pedroarena de, 50/1-2: 5 McLain, John, 49/3-4: 212 Maher, N. C., 50/3-4: 100 McMahan’s Furniture Stores, 49/3-4: 196 Major Crimes Act, 50/3-4: 167 McNitt, Frank, 50/1-2: 57 Maldonado, J. Eduardo, 49/3-4: 186 McTernan, John, 50/1-2: 19 Malin, Mr. and Mrs. Jay, 49/3-4: 157 McVey, John I., 49/3-4: 188 Malinick, Cynthia, 49/3-4: 126, 133n McWilliams, Carey, 49/3-4: 113, 131n; 50/1-2: 1, Mallen, Benesh, 49/3-4: 181 16n, 18-26 passim, 28n, 29n; 50/3-4: 145 Mallen, Mr. and Mrs. J., 49/3-4: 181 Mead, Frank B. (Mead and Requa), 49/3-4: 119, Malverde, Jesús, 50/1-2: 60 127, 132, 153, 188-192 Man, Robert L., 49/3-4: 186 Meador, Mr. and Mrs. Bruce, 49/3-4: 220 Mann, Herbert J., 49/3-4: 187 Mean, Francis, 50/3-4: 110 Mannen, Bertha K., 49/3-4: 220 Medical Arts Building (see Balboa Park) Many Faces of Gender: Roles and Relationships Melford, George, 50/1-2: 11 Through Time in Indigenous Northern Communities Melos, 49/3-4: 234 (Frink), 50/1-2: 63 Melville Klauber House, 49/3-4: 247 Margerum, Fred P., 49/3-4: 151 Menem, Carlos Saul, 50/3-4: 169 Margolin, Mr. and Mrs. Elias, 49/3-4: 220 Meneses Research & Associatees, 50/1-2: 51 Margolis, Ben, 50/1-2: 25 Merrill, Roy W., 49/3-4: 212 Marin, Francisco de Paula, 50/1-2: 10, 16n Merwin, Dr. and Mrs. Keery, 49/3-4: 220 Marine Corps Recruit Depot, 49/3-4: 124 Mexican Americans, 50/1-2: 17-29 passim; 30-54 Marks, Mr. and Mrs. Joseph, 49/3-4: 220 passim; 50/3-4: 103-123 passim; 145, 148, 150, 153, Marsh, Barbara, 50/3-4: 68 156, 161, 162, 167 Marshall, Liz and Len, 49/3-4: 220 Mexican Revolution, 1910-1940, The (Gonzales), Marston Company, 49/3-4: 163, 178, 190; Building, 50/1-2: 59 135; Department Stores, 50/3-4: 94 Mexican Revolution, 50/1-2: 23, 29, 59 Marston House, 50/3-4: 70 Mexicans, 49/3-4: 121, 122; 50/1-2: 1, 4, 6, 7, 12, Marston, Anna Gunn, 50/3-4: 103, 107, 115 13n, 31, 34, 35, 39n, 40n, 42, 43, 44, 47, 53 Marston, George W., 49/3-4: 116, 126, 146, 171, Mexico, 50/1-2: 2, 4, 8, 13n, 17, 19, 22, 24, 29n, 30, 178, 180, 190, 198, 225, 258; 50/3-4: 67, 70, 90-101 32, 33, 34, 38, 42, 43, 44, 48, 49, 52, 52n, 53n, 55; passim, 104, 105, 107, 115, 116 50/3-4: 81 Marston, Helen D. (see Beardsley, Helen Marston) Meyer Medal, 50/3-4: 74, 75, 83, 84, 85 Marston, Mary Gilman, 50/3-4: 90, 91, 98, 107, 120 Meyer, Frank N., 50/3-4: 84 Marston, Mr. and Mrs. Arthur Hamilton, 49/3-4: Mí San Diego (Channel 43), 50/1-2: 49 151, 152, 220, 230, 258; 50/3-4: 98 Miami, 50/1-2: 44, 45 Martin, 49/3-4: 220 Millane, Mr. and Mrs. Jack, 49/3-4: 160 Martin, Irving, 50/3-4: 133, 139 Millay, Edna St. Vincent, 50/3-4: 147 Martin, Mr. and Mrs. C. A., 49/3-4: 206 Miller, Commander and Mrs. Clayton L., Martínez, Cutri, 49/3-4: 187 49/3-4: 163 Maryland Heights, 50/3-4: 129 Miller, Dr. and Mrs. Willis, 49/3-4: 163 Mathews, Lou, 50/3-4: 133 Miller, Jim, 50/1-2: 63 Mattachine Society, 50/3-4: 163 Miller, Joaquin, 50/3-4: 148 May, Clifford Magee, 49/3-4: 147, 187 Miller, Merrill T., 49/3-4: 212 May, Elsie, 50/3-4: 87 Mills, Dorothy B., 49/3-4: 176, 215 Mayhew, Kelly, 50/1-2: 63 Mills, Leslie, 49/3-4: 212 McBain, A., 49/3-4: 187 Minchin, John, 49/3-4: 192 McCain, Mr. and Mrs. James, 49/3-4: 220 Mission Bay, 49/3-4: 184, 207, 220 McCarthy, Joseph, 50/1-2: 32, 35 Mission Beach Bathhouse, 49/3-4: 223 McCarthy, Thomas J., 50/1-2: 28n Mission Beach, 49/3-4: 183, 299, 223, 224 McCarty, Walter G., 49/3-4: 252 Mission Hills, 49/3-4: iii, 127, 183, 187, 208

86 Index

Mission Indian bands, 50/3-4: 149 Nason and Smith Wholesalers, 50/3-4: 126 Mission Play, The, 50/3-4: 145 Nation, The, 50/3-4: 147 Mission San Diego de Alcalá, 49/3-4: 117, 118, 127, National Archives at Laguna Niguel, 50/1-2: 18, 186, 247; 50/1-2: 3, 7, 30, 56 27n, 40n Mission San Gabriel, 50/1-2: 7; 50/3-4: 145 National Association for Hispanic Journalists Mission San Juan Capistrano, 50/1-2: 7, 32, 33 (NAHJ), 50/1-2: 51 Mission San Luis Rey, 50/1-2: 2, 7 National Association of Professional Base Ball Mission Santa Barbara, 49/3-4: 192; 50/1-2: 7 Players, 50/3-4: 92 Mitchel, Gregory, 49/3-4: 223 National Child Labor Committee, 50/3-4: 121 Mitchell, Alfred, 49/3-4: 206 National City Methodist Episcopal Church, 49/3- Mitchell, Sam B., 49/3-4: 184 4: 234 Mondorf, A. W., 49/3-4: 184 National City, 49/3-4: 157, 173, 177, 185, 234 Montalvo, Carlos, 50/1-2: 20, 24, 27, 28n, 29n National Hispanic Television Index, 50/1-2: 46 Montezuma Gardens (see Balboa Park) National Organization for the Advancement of Montezuma Mountain School, 49/3-4: 212 Colored People (NAACP), 50/3-4: 161 Montgomery Memorial, 49/3-4: 224 National Register of Historic Places, 50/1-2: 12, Montgomery, Ross, 49/3-4: 192 National Socialist Party (Germany), 50/1-2: 20, 24 Montoyo, Alfredo, 50/1-2: 23, 24, 29n National Steel and Shipbuilding Company Mooney, James, 50/3-4: 149 (NASSCO), 50/1-2: 64 Moonlight Beach County Park, 49/3-4: 225 Native Americans, 49/3-4: 115, 120-127 passim, Moore, Levi P., 49/3-4: 187 152, 258: 50/1-2: 2, 6, 8, 10, 24, 39n, 55-59 passim, Moore, Ronald E., 49/3-4: 192 63; 50/3-4: 159, 166; 50/3-4: 111, 148-156 passim, Moores, John, 50/1-2: 64 165, 166, 167 Moorshead, Oliver, 49/3-4: 190 Nativism, 50/3-4: 106 Moraga, José Joaquin, 50/1-2: 30, 39n Navajo Expedition: Journal of a Military Moraga, María Ignacia, 50/1-2: 30, 39n Reconnaissance from Santa Fe, New Mexico, to the Moran, Kristin C., article by, 50/1-2: 42-54 Navajo Country… (McNitt), 50/1-2: 57. Mordhurst, Mrs. W. M., 49/3-4: 173 Navajo, 50/1-2: 57, 58 Moreno, Jesús, 50/1-2: 13n Naval Regional Medical Center, 49/3-4: 160, 250 Moreno, José Matias, 50/1-2: 37 Naval Reserve Armory, 49/3-4: 234, 235 Moreno, Luisa, 50/1-2: 17, 18, 19, 22-27 passim Navy Field Coliseum, 49/3-4: 163 Morgan, Julia, 49/3-4: 193 Nazareth House, 49/3-4: 163 Morley Field, 49/3-4: 221 NBC/Universal, 50/1-2: 46, 49, 50, 51, 53n Morris, David E., 49/3-4: 193 Negotiating Conquest: Gender and Power in Morris, William E. and Louise G., 49/3-4: 140 California, 1770s-1880s (Chávez-Garcia), 50/3-4: Morrison, Mr. and Mrs. Jack, 49/3-4: 221 152 Morse, Whaley and Dalton, 49/3-4: 143 Neighborhood House, 50/3-4: 103-124 passim Mosher, Mr. and Mrs. Jack, 49/3-4: 193 Neill, Walter B., 49/3-4: 212 Mosher, Robert (Mosher and Drew; Mosher, Drew, Nemiroff, Dr. and Mrs. Robert, 49/3-4: 221 Watson; Mosher, Drew, Watson and Ferguson), Nesmith Greely Building, 49/3-4: 114, 142, 143, 49/3-4: 111, 112, 136, 193, 195-198 passim 247 Moss, James E., 50/3-4: 68 Nestor Company, 50/1-2: 11 Mount Empire Union High School, 49/3-4: 228 Network Partnership, 50/1-2: 46 Mount Helix Theatre, 49/3-4: 212 Neves, Mr. and Mrs. Manuel, 49/3-4: 221 Mount Helix, 50/3-4: 135 New Foothills Hotel, 49/3-4: 191 Muir, John, 50/3-4: 158 New Mexico, 50/1-2: 4, 57, 58 Munk, Judith H., 49/3-4: 198 New Millennium Homes, 49/3-4: 198 Munras, Estévan de, 50/3-4: 155 New Town, San Diego, 50/3-4: 94, 95 Murder at the Sleepy Lagoon: Zoot Suit, Race, and New Woman, 50/3-4: 115, 116 Riots in Wartime L.A. (Pagán), 50/3-4: 161 New York Independent, 50/3-4: 147 Murphy, Ben, 49/3-4: 184 New York, 50/1-2: 44, 45, 61 Murphy, Michael Martin, 50/3-4: 159 Newsom, Mr. and Mrs. T. R., 49/3-4: 221 Murray Dam, 49/3-4: 147, 258; 50/3-4: 128, 129, Neyenesch Printers, 50/3-4: 68, 72 133, 141 Nickerson, John F., 49/3-4: 184 Murray Hill, 50/3-4: 135 Nicol, Frank and Jean, 49/3-4: 221 Murray Reservoir, 135 Nielsen Company, A. C., 50/1-2: 45, 46, 48, 52n, Murray, James, 50/3-4: 125, 127, 129, 131, 132 53n; Media Research, 45, 46, 48, 52n, 53n Nannie Dodson Home Society, Inc., 49/3-4: 212 Nieto, Frank, 50/1-2: 20 Naples Zoological Station, 50/3-4: 79 Nieto, Manuel, 50/1-2: 30 Nash, Joseph, 50/3-4: 95 Nixon, Richard M., 50/3-4: 108

87 The Journal of San Diego History

No There There: Race, Class, and Political Community Padilla Corona, Antonio, article by, 50/1-2: 30-41 in Oakland (Rhomberg), 50/3-4: 164 Pagán, Eduardo Obregón, 50/3-4: 161 Noah’s Ark Restaurant and Trailer Park, 49/3-4: Page, Nelson, 50/3-4: 149 137 Pala Mission, 49/3-4: 258 Noble, Col. Robert H., 49/3-4: 191, 213 Paley, William, 50/1-2: 11 Noble, Lt. Com. and Mrs. J. B., 49/3-4: 213 Palisades Restaurant, 49/3-4: 224 Nolan, Dr. and Mrs., 49/3-4: 235 Palk, Mr. and Mrs. Robert J., 49/3-4: 221 Nolen, John, 49/3-4: 198 Palmer, Ann, 50/3-4: 146 Nordhoff, 49/3-4: 191 Palmer, Julius, 50/3-4: 146 North Park, 49/3-4: iii, 79 Palmer, Lester W., 49/3-4: 235 Norwegian immigrants, 50/3-4: 107 Palmer, Ray, 50/3-4: 146 Noticiero Telemundo, 50/1-2: 45, 49 Panama California Exposition (see Expositions) Nourse, Mr. and Mrs. Hal E., 49/3-4: 221 Panama Canal, 49/3-4: 122, 156 Nusbaum, Jesse, 50/3-4: 149 Panama Pacific International Exposition (see O’Henry Club, 49/3-4: 235 Expositions) O’Neill House, 49/3-4: 148 Panter, John, 49/3-4: 112, 260 O’Neill, Dr. Frank, 49/3-4: 158 Parke, E. Charles, 49/3-4: 200 O’Rourke, P. F. and Maud W., 49/3-4: 152, 235 Parsons, Samuel, 49/3-4: 171, 200 O’Rourke, P. J., 49/3-4: 235 Partido de Acción (PAN), 50/1-2: 59 Oakes, Richard, 50/3-4: 166 Partido Revolucionario Institucional (PRI), 50/1-2: 59 Obregon, Alvaro, 50/3-4: 168 Pasadena Flower Show, 50/3-4: 84 Ocean Beach, 49/3-4: 183, 235, 239, 257 Pastore, Caesar, 49/3-4: 172 Oceanside, 49/3-4: 151, 163, 164, 240, 258, 259; Pathfinder Survey of San Diego (1914), 50/3-4: 109, 111 50/3-4, 126 Pauma, 49/3-4: 221, 235 Ocheltree Architecture, 49/3-4: 198 Pearson, Mr. and Mrs. Glenn, 49/3-4: 200, 235 Ojai, 49/3-4: 191 Peckham, H. R., 49/3-4: 178 Oklahoma, 50/1-2: 19 Pedrorena Family, 50/1-2: 2, Old Globe Theatre, 49/3-4: 171, 206 Pedrorena, Miguel de, 50/1-2: 14n Old Monk’s Tale, The, 50/1-2: 11 Pelley, William Dudley, 50/1-2: 20 Old Town, 49/3-4: 114-120 passim, 138, 140, 148, Pendleton, Major General Joseph, 49/3-4: 124 235, 257; 50/1-2: 2, 6; 50/3-4: 94, 145 Pendleton, Mr. and Mrs. W. K., 49/3-4: 221 Olive View Sanitarium, Los Angeles, 49/3-4: 135 Perenchio, A. Jerrold, 50/1-2: 45 Olmstead Brothers, 49/3-4: 198 Perlman, Captain and Mrs. Benjamin, 49/3-4: 235 Olsen, Ed, Jr. and Associates, 49/3-4: 198 Perón, Juan, 50/3-4: 168 Olvera Street (Los Angeles), 50/3-4: 145 Petersen, Charles W., 49/3-4: 160 Oneira Women’s Club, 49/3-4: 136 Peterson, Dwight J., 49/3-4: 213 Opie, Capt. J. H., 49/3-4: 221 Peterson, Harold J., 49/3-4: 213 Orange County, 50/1-2: 22 Peterson, Marguerite, 49/3-4: 219 Orchestra Hall, 49/3-4: 213 Peto, Mr. ad Mrs. Guy, 49/3-4: 221 Order of ’76, 50/1-2: 20 Pettit, Mr. and Mrs. M. H., 49/3-4: 213 Orman, Mr. and Mrs. Gerald, 49/3-4: 221 Philadelphia National Bank, 49/3-4: 199 Orozco, Ricardo, 50/1-2: 37, 38, 39, 41n Philip II, King of Spain, 49/3-4: 124 Orsi, Richard J., 50/3-4: 157 Phillips residence, 49/3-4: 221 Ortega de Argüello, María del Pilar, 50/1-2: 30, Phillips, Kate, 50/3-4: 145 34-37 passim, 40n, 41n Phillips, Ralph, 49/3-4: 146 Ostenberg, Mr. and Mrs. W. H., 49/3-4: 221 Phillips, W. S., 49/3-4: 223 Osuna, Juan María, 49/3-4: 128, 218; 50/1-2: 13n Phoenix Little Theatre, 49/3-4: 221 Otay Dam, 50/3-4: 129 Photographic Arts, The Center for, 49/3-4: 229 Otay Mesa, 50/1-2: 19, 31, 33 Piccirilli, Furio and Attilo, 49/3-4: 124 Otay River, 50/1-2: 33 Pickford, H. T., 49/3-4: 172 Otis Elevator Co., 49/3-4: 199 Pickford, Mary, 50/1-2: 11 Ouer Group, 49/3-4: 164 Pickford, Roy, 49/3-4: 182 Our Lady of the Pines Catholic Church, 49/3-4: 164 Pickford, T. H., 49/3-4: 182 Pacific Beach, 49/3-4: 148, 174, 184, 217, 233; 50/3- Pickford, T. M., 49/3-4: 172 4: 137 Pico, Pío (Governor), 50/1-2: 7, 31-37, 40n; 50/3-4: Pacific Telephone and Telegraph, 49/3-4: 199 155 Paderewski, Clarence J. Pat, 49/3-4: 199 Pierotti, Peter, 49/3-4: 144, 235 Paderewski, Dean and Associates, 49/3-4: 199 Pinnell, Richard L. (Pinnell and Stevenson), 49/3- Paderewski, Dean, Albrecht, Stevenson, 49/3-4: 199 4: 200 Paderewski, Mitchell, and Dean, 49/3-4: 199 Pio Pico State Historic Park, Whittier, 50/1-2: 7

88 Index

Plaza de Pacific (see Balboa Park) Rancho Tia Juana (see Tijuana) Plaza de Panama (see Balboa Park) “Rancho Tía Juana (Tijuana) Grant, The” (Padilla Plymouth Hall Congregational Church, 49/3-4: 152 Corona), 50/1-2: 30-41 Point Loma, 49/3-4: 124, 127, 157, 172, 177, 182, Randel, B. F., 49/3-4: 144 185, 193, 221, 234, 235, 239, 241, 245, 254; 50/3-4: 137 Rasche, Frank F., 49/3-4: 203 Pokorny, Frank A., 49/3-4: 184 Raymond, Robert S., 49/3-4: 204 Ponca Chief Standing Bear, 50/3-4: 148 Rector, Fred, 49/3-4: 184 Port of San Diego, 49/3-4: 197 Red Cloud Woman, 50/3-4: 159 Portolá, Gaspar de, 49/3-4: 124 Redhead, Ralph B., 49/3-4: 204 Portuguese Americans, 50/3-4: 121 Redlinger, Matthew, 49/3-4: 141 Post, Edward H., 49/3-4: 235 Redmore, Louis W., 49/3-4: 221 Post, William, 50/3-4: 133 Reed, David, 49/3-4: 204 Potter, J. W., 49/3-4: 200 Reeves, Marjorie, 50/1-2: 2 Powers, Brad W., 49/3-4: 200 Regional Confederation of Mexican Workers Powers, R. M., 49/3-4: 213 (CROM), 50/1-2: 60 Poyner, Mr. and Mrs. N. D., 49/3-4: 157 Reid Brothers, 49/3-4: 204 Presidio, The (San Diego), 49/3-4: 120, 138, 163, Reid, James William, 49/3-4: 204 166, 179, 198, 225; 50/1-2: 2-4 passim, 14n, 15n, 30, Reid, Merritt J., 49/3-4: 204 31, 39n; 50/3-4: 93; Presidio Chapel, 49/3-4: 164 Reif, Fred, 50/3-4: 72 Preston, Clarence, 50/3-4: 138 Reinhardt, Gregory A., 50/1-2: 63 Preston, Mr. and Mrs. G. C., 49/3-4: 184 Reitz, Mr. and Mrs., 49/3-4: 192 Priteia, B. Marcus, 49/3-4: 200 Relf, Connie and Geoff, 49/3-4: 221 Progressive, 50/3-4: 105, 106, 108, 117, 123, 127, 157 Reliance Group, 50/1-2: 44 Public Utilities Act of 1911: 50/3-4: 127 Requa, Mrs. S. J., 49/3-4: 206 Pueblo of San Diego, 50/1-2: 2, 3 Requa, Richard (Requa and Jackson), 49/3-4: 111, Putnam Foundation, 49/3-4: 173 112, 113, 127, 128, 129, 131n, 133n, 154, 155, 174, Putnam, S. O., 49/3-4: 236 188, 191, 204-215 Qualitee Dairy Products, 49/3-4: 201 Resolutes, The, 50/3-4: 96 Quayle, Charles and Edward (Quayle Brothers “Revelations of a Reformer: Helen D. Marston and Cressey; Quayle Brothers and Treganza), Beardsley and Progressive Social Activism” 49/3-4: 200, 202, 203; (Ciani), 50/3-4: 102-123 Quintana, Mr. and Mrs. Frank, 49/3-4: 221 Reyerson, Dr. Knowles A., 50/3-4: 84 Race and Homicide in Nineteenth-Century California Reynold, Capt. Stewart, 49/3-4: 229 (McKanna, Jr.), 50/1-2: 56 Rhodes, H. E., 49/3-4: 213 Radio, 50/1-2: 21, 42, 43, 44, 46, 53n, 54n Rhomberg, Chris, 50/3-4: 164 Ragen, Dr. and Mrs. Frank J., 49/3-4: 158 Rice, John, 49/3-4: 149 Rainier, J. M., 49/3-4: 236 Rice, Lilian, 49/3-4: 111, 113, 117, 129, 133n, 143, Ramírez, Ricardo, 50/1-2: 35, 36 149, 215, 216, 217, 221, 222, 255 Ramona (1884), 49/3-4: 115, 119, 120, 122; 50/1-2: Rice, Mr. and Mrs. J. U., 49/3-4: 221, 255 6, 10, 11, Richards Lot, Martinez St., 49/3-4: 221 Ramona, 49/3-4: 199, 219, 220; 50/3-4: 145, 149; Richards, D. M., 49/3-4: 213 50/3-4: 145 Richards, Helen, 49/3-4: 122 Ramona’s Marriage Place, 49/3-4: 119, 121, 253; Richards, Janet H., 49/3-4: 221 50/1-2: 8, 10, 11, 12; 50/3-4: 145 Richards, Peter, 49/3-4: 221 Ramona’s Wishing Well, 50/1-2: 10 Richards, Sim Bruce, 49/3-4: 112, 216-223, 219, Ramsey, Grace K., 49/3-4: 213 220, 221 Rancheria Map, 49/3-4: 164 Richardson, Dr. and Mrs. C., 49/3-4: 157 Rancho de los Peñasquitos, 50/1-2: 30 Richmond, Mary A., 49/3-4: 191 Rancho Guajome, 49/3-4: 115; 50/1-2, 7, 9; Richmond, Mary E., 49/3-4: 206 50/3-4: 145 Ridgeway House, Kensington Heights, 49/3-4: 127 Rancho Janal, 50/1-2: 2 Ridley, Henry Nicholas, 50/3-4: 75, 85 Rancho Melijo, 50/1-2: 33, 34, 40n Riggs, Dawn, 50/3-4: 71 Rancho Monserate Mobile Home Park, 49/3-4: 225 Rigsby, Mr. and Mrs. George, 49/3-4: 221 Rancho Nacional, 50/1-2: 33 Riley, Glenda, 50/3-4: 155 Rancho San Jacinto Viejo, 50/1-2: 2 Rincon, Ismael “Smiley”, 50/1-2: 20, 22, 24 Rancho Santa Fe Hotel, 49/3-4: 128 Ring, Jonathan, 49/3-4: 223 Rancho Santa Fe School, 49/3-4: 128 Rios, Diana, 50/1-2: 50, 52n, 53n Rancho Santa Fe, 49/3-4: 128, 129, 133n, 192, 213- Risdon, Mr. and Mrs. Charles S., 49/3-4: 164 216 passim; 50/1-2: 2 Roberts, Dent H., 49/3-4: 179 Rancho Temecula, 50/1-2: 2 Roberts, Lennard H. B., 49/3-4: 184

89 The Journal of San Diego History

Roberts, V. Earl, 49/3-4: 221 Saks Fifth Avenue: 49/3-4: 259 Robertson, Alice Adams, 50/3-4: 120 Salerno, Daniel, 49/3-4: 225 Robertson, O. W., 49/3-4: 191 Salk Institute for Biological Studies, 49/3-4: 180 Robinson, Alfred D. , 50/3-4: 80, 88 Sallmon, William H., 49/3-4: 179; 50/3-4: 80, 88 Robinson, Earl H., 49/3-4: 182 Salmon, C. B., 50/3-4: 93 Roche Brothers Sheet Metal Works, 49/3-4: 259 Salvation Army, The, 49/3-4: 164 Rodriguez, Celia, 50/1-2: 25 Salyers, Charlie H., 49/3-4: 222 Rodriguez, Gov. Abelardo L., 49/3-4: 236 San Antonio, Texas, 50/1-2: 44 Rogers, Lincoln, 49/3-4: 124, 125, 126, 133n, 223-224 San Diego Administration Building, 49/3-4: 257 Rogers, Spencer and Helen, 49/3-4: 222 San Diego Aerospace Museum, 50/3-4: 69 Rogers, W. R., 49/3-4: 191 San Diego and Arizona Railroad, 49/3-4: 259; Rojo, Manuel Clemente, 50/1-2: 37, 40n, 41n 50/3-4: 157 Roland, Gilbert, 50/1-2: 26 San Diego Architectural Designs Co., 49/3-4: 225 Roman Catholic Chruch, 49/3-4: 164; 50/1-2: iv, San Diego Associated Charities, 50/3-4: 111 1n, 2, 3, 20, 28n, 59, 60; Bishop of San Diego, San Diego Association of Governments 49/3-4: 164 (SANDAG), 50/1-2: 64 Roosevelt, Eleanor, 50/1-2: 22 San Diego Athletic Club, 49/3-4: 255 Roosevelt, Franklin D., 49/3-4: 124; 50/1-2, 24 San Diego Avenue, 50/1-2: 3, 5, 9 Root, Henry, 50/3-4: 146 San Diego Bay, 49/3-4: 114, 115, 118, 122, 124 Rosado, L., 49/3-4: 182 San Diego Botanical Garden Foundation, 49/3-4: Rosarito, El (Ranch), 50/1-2: 40n 164 Rosas, Juan Manuel de, 50/3-4: 169 San Diego Building and Remodel Service, Rosecroft (Point Loma), 50/3-4: 80, 88 49/3-4: 225 Rosenbalm, M. J., 49/3-4: 184 San Diego Cable Railway, 49/3-4: 227 Roundtree, John E., 49/3-4: 184 San Diego Centre City, 49/3-4: 245, 246 Rowe, 49/3-4: 222 San Diego Chamber of Commerce, 49/3-4: 213, Rowe, George E., 49/3-4: 223, 224 236; 50/1-2: 64 Royal Society, The (UK), 50/3-4: 75 San Diego Children’s Home Association, Rueben H. Fleet Space Theater and Science Center, 49/3-4: 194 49/3-4: 138, 146 San Diego City and County Administration Ruiz, Francísco María, 50/1-2: 30 Building, 49/3-4: 136, 154, 155, 161, 257 Ruiz, Manuel, 50/1-2: 29 San Diego, City of, 50/3-4: 133, 134, 135 Ruiz, Vicki, 50/1-2: 18, 28n San Diego Civic Center, 49/3-4: 147, 199, 200, 203, Ruocco, Lloyd A., 49/3-4: 111, 169, 224 257 Russ School, 49/3-4: 244 San Diego Club, 49/3-4: 137, 236 Russell Sage Foundation, 50/3-4: 108 San Diego Convention and Visitors Bureau, 50/1- Russell, James, 50/3-4: 101 2: 64 Rutherford, Mr. and Mrs. M. L., 49/3-4: 157 San Diego County Bridges, 49/3-4: 259 Ryan, David, 49/3-4: 140 San Diego County Courthouse, 49/3-4: 141, 143, Ryan, Mr. and Mrs. T. Claude, 49/3-4: 158 156, 169, 170, 201, 202, 206, 207, 226, 257 Saavedras, Miguel de Cervantes, 50/3-4: 152 San Diego County Federal Tower, 49/3-4: 196 Sábado Gigante, 50/1-2: 45 San Diego County Hall of Justice, 49/3-4: SABDAC, 49/3-4: 193 144, 201, 257 Sackheim residence, 49/3-4: 157 San Diego County Hall of Records, 49/3-4: 147, Sacramento, 50/1-2: 6, 18, 21 201, 257 Safeway Stores, 49/3-4: 227, 236 San Diego County Hospital, 49/3-4: 191, 238 Saint Agnes Catholic Church, 49/3-4: 236 San Diego County Municipal Jail, 49/3-4: 141, 149, Saint Ann’s Church, 49/3-4: 152 170, 201, 202, 226 Saint Augustine School, 49/3-4: 213 San Diego County Theatre and Fine Arts Saint Charles Chapel, 49/3-4: 172 Foundation, 49/3-4: 194 Saint Didacus Church, 49/3-4: 172 San Diego County Tuberculosis Sanitarium, 49/3- Saint James by the Sea Episcopal Church, La Jolla, 4: 237 49/3-4: 117, 118 San Diego County Unified School District, 49/3-4: Saint John’s School, 49/3-4: 236 139, 204, 224, 227, 239, 259 Saint Joseph’s Church, 49/3-4: 172 San Diego County, Department of Public Works, Saint Matthew’s Episcopal Church, 49/3-4: 143, 247 49/3-4: 225-26; Planning Department, 49/3-4: 226 Saint Patrick’s Parish, 49/3-4: 144, 164 Recreation Department, 49/3-4: 226; Works Saint Peter’s by the Sea, 49/3-4: 222 Project, 49/3-4: 226-27 Saint Rose of Lima Convent, 49/3-4: 164 San Diego de Alcalá, 50/1-2: iv Saint Thomas Catholic Church: 49/3-4, 191 San Diego Department of Parks and Recreation,

90 Index

49/3-4: 225 Sanchez, George, 50/1-2: 18, 26, 28n, 29n San Diego Department of Public Health, 50/1-2: Sandoval, Lourdes, 50/1-2: 48 23; 50/3-4: 110 Santa Barbara, 50/1-2: 7, 18, 19, 30 San Diego Electric Railway, 49/3-4: 224, 227 Santa Clara, 49/3-4: 143, 185 San Diego Emergency Hospital, 49/3-4: 152 Santa Fe Depot, 49/3-4: 137, 187 San Diego Fire Commissioner, 50/3-4: 95 Santa Fe Land Improvement Co., 49/3-4: 214 San Diego Floral Association, 50/3-4: 80 Santa Fe Railroad, 49/3-4: 118, 128, 136 San Diego Flume Company (SDFC), 50/3-4: 125, Santa Fe Trail, 50/3-4: 153 126, 127, 128, 132 Santa Monica, 50/1-2: 50 San Diego Free Industrial School, 50/3-4: 111 Santísima Trinidad Cathedral, La (Havana, Cuba), San Diego Gas and Electric Company, 49/3-4: 227, 49/3-4: 122 239; 50/3-4: 69 Santos, Alma, 50/1-2: 26 San Diego Herald, 50/1-2: 3 Sargent, Charles S., 50/3-4: 78, 86 San Diego Historical Society Quarterly, The, 50/3- Savage, Thomas, 50/1-2: 37 4: 67 Schafer, Miss, 49/3-4: 259 San Diego Historical Society, 50/1-2: iv; 50/3-4: iii, Scharf, Thomas L., 50/3-4: 68, 70 67-74 passim Scheffler, Diana, 49/3-4: 112 San Diego Housing Commission, 49/3-4: 176 Schict, John, 49/3-4: 227 San Diego Humane Society, 49/3-4: 239 Schiefer and Sons, 49/3-4: 227 San Diego International Airport, 49/3-4: 163, 179, Schiller, Mabel B., 49/3-4: 206 199, 227, 234, 258 Schmachtenberg, Kristin M., 49/3-4: 260 San Diego Labor Council, 50/3-4: 106 Schmock, 49/3-4: 222 San Diego Land and Town Corporation, 50/3-4: 88 Schneider, F. A., 49/3-4: 147, 225 San Diego Magazine, 50/1-2: 64 Schnell, Mr. and Mrs. H. E., 49/3-4: 240 San Diego Maritime Museum, 50/3-4: 72 Schoenbrun, Mark, 49/3-4: 214 San Diego Museum of Art, 49/3-4: 130, 194, 197 Schumann-Heink, Ernestine, 49/3-4: 191 San Diego Museum of Man, 49/3-4: 166 Schwabland, George A., 49/3-4: 227 San Diego Museum of Natural History, 49/3-4: Schwartz, Julia A., 49/3-4: 191 130; 50/3-4: 87 Schwieder, Etta and Lydia, 49/3-4: 214 San Diego Padres, 50/1-2: 50 Scott, Rodger M., 49/3-4: 183 San Diego Parking District Survey Committee, Screen Writers Guild, 50/1-2: 22 49/3-4: 166 Scribner’s Monthly, 50/3-4: 147 San Diego Pipe and Supply Company, 49/3-4: 184 Scripps Hospital, 49/3-4: 152 San Diego Public Library, 50/3-4: 70 Scripps Institute of La Jolla, 50/3-4: 79 San Diego Reader, 50/1-2: 64 Scripps Playground, 49/3-4: 152 San Diego River, 50/3-4: 125, 128, 133, 135, 139 Scripps, Ellen, 49/3-4: 151 San Diego State College, 49/3-4: 130, 179, 194 Scripps, F. T., 49/3-4: 162 San Diego Sun, 50/1-2: 10, 16n Scudder, Vida, 50/3-4: 118 San Diego Trust and Savings Bank, 49/3-4: 167, Sea Island Sugar Exhibit, 49/3-4: 176 176, 179 Security Commercial and Savings Bank, San Diego Tuberculosis Hospital, 49/3-4: 135, 202, 49/3-4: 224 237, 238 Security First National Bank, 49/3-4: 167 San Diego Unified Port District, 49/3-4: 227 Serra Museum (see Junípero Serra Museum) San Diego Union, 50/1-2: 9, 15n, 16n, 64; 50/3-4: Serra, Father Junípero, 50/1-2: 56; 50/3-4: 67 94, 96, 97 Serrano, Adelaida, 50/1-2: 5 San Diego Union-Tribune, 50/1-2: 29n, 51, 53n, 54n; Sessions, Harriet, 50/3-4: 76 50/3-4: 68 Sessions, Josiah, 50/3-4: 76 San Diego Volunteer fire company, 50/3-4: 95 Sessions, Kate Olivia, 49/3-4: 228; 50/3-4: 75-89 San Diego Yacht Club, 49/3-4: 240 passim; nursery, 76 San Diego Zoo, 49/3-4: 193 Sessions, Milton, 49/3-4: 214, 228 San Dieguito Park, 49/3-4: 226 Shakespeare, William, 50/3-4: 147 San Dieguito Union High School, 49/3-4: 216 Sharp, Carl, 49/3-4: 240 San Francisco Chronicle, 50/3-4: 166 Sharp, Dennis, 49/3-4: 112, 113, 260; 50/3-4, 71 San Francisco, 50/3-4: 163 Shearer, Brent, 50/1-2: 49, 53n San Luis Obispo County, California, 50/1-2: 57 Shelton, Willis H. P., 49/3-4: 240 San Luis Rey River Bridge, 49/3-4: 227 Shepard, Rita S., 50/1-2: 63 San Pasqual, 49/3-4: 214 Shepherd, Thomas L., 49/3-4: 228 San Ysidro Ajolojol Ranch, 50/1-2: 40 Sherman Institute, Riverside, 50/1-2: 58 San Ysidro, 49/3-4: 161, 185, 209, 231, 259 Sherman Oaks, 50/1-2: 24 Sanchez, Carlos, 50/1-2: 49 Shields, Karena, 49/3-4: 222

91 The Journal of San Diego History

Shrader, E. Roscoe, 49/3-4: 191 Spanish International Communication Shumway, Jeffrey M., 50/3-4: 169 Corporation (SICC), 50/1-2: 44 Siebert and Hamill, 49/3-4: 229 Spanish International Network (SIN), 50/1-2: 44 Siebert, John S., 49/3-4: 228, 229. Spanish Radio Broadcasters’ Association, 50/1-2: 44 Silence, Mr. and Mrs. T. E., 49/3-4: 240 Spicer, Mr. and Mrs. Raymond D., 49/3-4: 222 Silva, Mr. and Mrs. Edward P., 49/3-4: 222 Spin Physics Inc., 49/3-4: 196-197 Silver, H. H., 49/3-4: 144, 233 Spreckels Brothers, 49/3-4: 230 Simard, Commander and Mrs. C. T., 49/3-4: 149, Spreckels Commercial Wharf, 49/3-4: 230 174, 216 Spreckels Organ Pavilion, 49/3-4: 159, 180, 206, Simmons, Lucia, 50/3-4: 104 207, 259 Simonson, Harry and Louise, 49/3-4: 222 Spreckels, John D., 49/3-4: 120, 122, 135, 176, 255; Simpson, Lieutenant James H., 50/1-2: 57 50/1-2: 1, 6, 10, 64; 50/3-4: 145 Simpson, Mr. and Mrs. Eddie, 49/3-4: 172 Spreckels, Mr. and Mrs. Claus, 49/3-4: 214, 217, Simpson, Ron and Judy, 49/3-4: 222 240 Sinclair, John, 50/1-2: 51, 52n, 53n, 54n Spring Valley Irrigation District, 50/3-4: 139, 143 Singer, David Raphael, 49/3-4: 229 Spruce Street Suspension Footbridge, 49/3-4: 225 Sisson, Mr. and Mrs. C. Paul, 49/3-4: 222 St. Paul’s Episcopal Church, 49/3-4: 256 Skidmore, Owings, and Merrill, 49/3-4: 229 Stahmann, Ray, 49/3-4: 184 Skinner, Alma, 49/3-4: 222 Stalin, Joseph, 50/1-2: 20, 26 Sleepy Lagoon Case (1942), 50/1-2: 24, 28n; 50/3- Stallings, Tom and Claudia, 49/3-4: 222 4: 161 Stanford University, 50/1-2: 18, 27n, 29n; 50/3-4: Smelser, Alpha F., 49/3-4: 182 157 Smidt, Mr. and Mrs., 49/3-4: 184 Stanford, Leland, 50/3-4: 157 Smith, Mr. and Mrs., 49/3-4: 184 Stanley, R. L., 49/3-4: 230 Smith, C. Arnholt, 50/1-2: 64 Stannard, John B., 49/3-4: 114, 230 Smith, Mr. and Mrs. C. E., 49/3-4: 214 Starkey, Harold B., 49/3-4: 259 Smith, Mr. and Mrs. C. L. S., 49/3-4: 222 Starr, Kevin, 49/3-4: 113, 131n; 50/1-2: 12, 16n Smith, Fred W., 49/3-4: 191 Stauffer, Paul C., 49/3-4: 222 Smith, Hilda Worthington, 50/3-4: 118 Stecker (see Krotsch and Stecker), 49/3-4: 180 Smith, Hoke (Senator), 50/3-4: 122 Steinbeck, John, 50/1-2: 22, 23, 24, 61 Smith, L. A., 49/3-4: 229 Stensland, Mr. and Mrs. Sidney C., 49/3-4: 185 Smith, L. E., 50/3-4: 88 Stephens, Mr. and Mrs. James, 49/3-4: 222 Smith, Mr. and Mrs. W. Murray, 49/3-4: 240 Stern, Martin Jr. and Associates, 49/3-4: 230 Smith, Palmer, 49/3-4: 229 Stevenson, Frank W. (Stevenson and Alpaugh; Smith, Steven, 49/3-4: 229 Stevenson, Allen and Lutzi), 49/3-4, 111, 124-126 Smith-Hughes Act, 50/3-4: 112, 122 passim, 133n, 135, 144, 145, 187, 199, 200, 223-24, Smith-Lever Act, 50/3-4: 122 230-244, 255 Smylie, Dr. and Mrs. Robert S., 49/3-4: 215 Stewart, Victor, 49/3-4: 244 Smythe, William E., 49/3-4: 121, 132n Stewart, William B., 49/3-4: 244 Snyder, Irving, 49/3-4: 214 Stickley, Albert, 49/3-4: 214 Social Gospel, 50/3-4: 115 Stickley, Gustav, 49/3-4: 119, 132n Solá, Vicente de, 50/3-4: 155 Stingaree District, 110 Solana Beach, 49/3-4: 214, 221 Stires, 49/3-4: 222 Soldado, Juan, 50/1-2: 60 Stokes, Mr. and Mrs. A. E., 49/3-4: 240 Solomon, Jacob, 50/3-4: 100 Stone, William, 49/3-4: 240 Sonora, Mexico, 50/1-2: 17, 39n, 55, 59 Storm, Mr. and Mrs. Eugene, 49/3-4: 253 Sony Corporation, 50/1-2: 49 Stowe, Harriet Beecher, 50/3-4: 147 South Park, 49/3-4: iii Straeten, Commander Renier J., 49/3-4: 240 Southard, A. M., 49/3-4: 229 Stratford Inn, 49/3-4: 171 Southern California First National Bank, Strathman, Theodore, article by, 50/3-4: 124-144 49/3-4: 196 Strout, Mr. and Mrs. E. A., 49/3-4: 152 Southern California Library for Social Studies Sturges, Clara, 49/3-4: 130 & Research, 50/1-2: 18 Sub-Human Primate Research Center, Oregon, Southern Pacific Railroad, 50/1-2: 22; 50/3-4: 49/3-4: 229 157, 158 Sullivan, Jerry, Jr., 49/3-4: 214 Southern Trust and Commercial Bank, 49/3-4: 240 Sunset Limited: The Southern Pacific Railroad and the Southwestern College, 50/1-2: 48 Development of the American West (Orsi), 50/3-4: 157 Southwestern House, 49/3-4: 220, 222 Survey, The, 50/3-4: 103-108; 112-117 passim Spain, 50/1-2: iv, v, 2, 13n, 55 Sweet, A. H., 49/3-4: 191, 245 Spalding, Albert G., 50/3-4: : 50/3-4: 93, 94, 96 Sweet, Lorraine B., 49/3-4: 240

92 Index

Sweetwater Water Company, 50/3-4: 88 U.S. Naval Training Center (NTC), 49/3-4: 124, Sycamore Canyon Creek, 50/3-4: 138 125, 133, 223 Tague, Mr. and Mrs. Fonnie, 49/3-4: 225 U.S. Senate Fact-Finding Committee on Un- Talbot, Marion, 50/3-4, 118 American Activities, 50/1-2: 18 Tappan, Mr. and Mrs. W. N.: 49/3-4: 172 U.S. Army Corp of Engineers, 50/3-4: 147 Taylor, Mr. and Mrs. Byron M., 49/3-4: 240 U.S. Bureau of Indian Affairs, 50/3-4: 166 Taylor, James Knox, 49/3-4: 244 U.S. Constitution, First Amendment, 50/3-4: 163; Taylor, Mary Hart, 50/3-4: 111, 112 Fourteenth Amendment, 50/3-4: 163 Teats, Katherine, 49/3-4: 151 U.S. Department of Agriculture (USDA), 50/3-4: Telemundo, 50/1-2: 42, 44-50 passim, 53n 75-80, 81-85 passim Telesistema Mexicano, 50/1-2: 43, 44 U.S. Department of Public Health, 50/3-4: 110 Televisa Corporation, 50/1-2: 44 U.S. Grant Hotel, 49/3-4: 134, 135, 241; 50/3-4, 80 Television Group, 50/1-2: 46 U.S. Marines, 50/1-2: 4, 251 Tenney, Senator Jack B., 50/1-2: 18, 23, 26, 27, 28n U.S. National Park Service, Historic American Terminal Island Prison, San Pedro, 50/1-2: 26 Buildings Survey, 49/3-4: 246, 247; Office of Terry, Dr. M. O., 49/3-4: 192 Archaeology and Historic Preservation, 49/3-4: 247 Theosophical Society, 49/3-4: 192, 245 U.S. Navy, 49/3-4, 124, 126, 132n, 133n, 160, 163, Thiene, Paul G., 49/3-4: 245 170, 186, 224, 242, 247, 251; 50/3-4: 122 Thomas, M. Carey, 50/3-4: 118 U.S. Post Office and Customs House (1911), 49/3- Thompson, D. E., 49/3-4: 214 4: 140, 244 Thompson, Percival, 49/3-4: 151 U.S. Post Office, 49/3-4: 140, 174, 178, 179, 244 Thorneson, Lt. Col. And Mrs. H. K., 49/3-4: 222 U.S.-Mexican War, 50/1-2: 4 Thornton, William N., 49/3-4: 185, 240 U.S.-Mexico Borderlands: 50/3-4: 145 Thoryk, Paul, 49/3-4: 245 Ubach, Father Dominic, 49/3-4: 120 Thurston, Rt. Rev. T. P., 49/3-4: 152 Ullman, Daniel, 50/3-4: 100-101 Tijuana, Baja California, Mexico 49/3-4, 132, 232- Ullrich, Marian, 49/3-4: 222 241 passim; 50/1-2: 17, 30-41 passim, 42, 47, 48, 55, Ullrick, Edgar V., 49/3-4: 246 56, 60; 50/3-4: 105, 106 Under the Perfect Sun: The San Diego Tourists Never Times Gone By, 50/3-4: 67 See (Davis et. al.), 50/1-2: 63 Timken, H. H., 49/3-4: 151, 209 Uneven Ground: American Indian Sovereignty Tingley, Katherine A., 49/3-4: 245; 50/3-4, 93 and Federal Law (Wilkins and Lomawaima), Title Insurance and Trust Company, 50/3-4: 69 50/3-4: 167 Titus, Nat, 50/1-2: 6 Union Title and Trust Co., 49/3-4: 153, 167, 168, 171 Tlayacopa, Mexico, 50/1-2: 2 United Cannery, Agricultural, Packing and Allied Tobin, Ed, 49/3-4: 185 Workers of America (ACAPAWA), 50/1-2: 64 Torrence, Mr. and Mrs. Vigil, 49/3-4: 222 University Heights,, 49/3-4: 113, 138, 184, 232 Torrey Pines Lodge, 49/3-4: 214 University of Alcalá de Henares, 50/1-2: iv Tourgée, Albion W., 50/3-4: 150 University of Algiers, 50/3-4: 75, 85 Tower Theatre, 49/3-4: 222 University of California, Berkeley, 50/3-4: 76, 164 Town, Mr. and Mrs. Robert, 49/3-4: 222 University of California, College of Agriculture, Trabut, Dr. Louis Charles, 50/3-4: 75, 85 50/3-4: 84, 158 Train and Williams, 49/3-4: 245 University of California, Irvine, 49/3-4: 259 Trans, Ruth, 49/3-4: 254 University of California, Los Angeles, 50/1-2: 18, Treadwell, Dr. and Mrs. T. J., 49/3-4: 222 28, 64 Treganza, Albert O., 49/3-4: 203, 245 University of California, San Diego, 49/3-4: 194, Treviño, Cayetano E., 50/1-2: 36 197, 224, 259 Tribune, The (Oakland), 50/3-4: 164 University of California, Santa Barbara, 50/1-2: 18 Trost, 49/3-4: 222 University of San Diego, 50/1-2: iv, v; 50/3-4: 68, 71 Trotsche, Carl, 49/3-4: 114, 141, 142, 143 Univisión Television Group, 50/1-2: 42, 44-50 Tuberculosis, 50/3-4: 103, 108, 110 passim, 54n Tucker, Sadler and Bennett, 49/3-4: 245-246 Usquiano, Philip, 50/1-2: 19, 20, 22, 23, 24, 26 Tufts, Charles A., 49/3-4: 246 Valdez, Cesaria, 50/1-2: 21, 22 Tuna canning district, 50/3-4: 105 Valley Center, 49/3-4: 147 Tuolumne County, California, 50/1-2: 57 Van Dorn, Mr. and Mrs. Nicholas, 49/3-4: 222 Tuquerrea, Rafael Lince, 49/3-4: 214 Vancouver, George, 49/3-4: 124 TV Azteca, 50/1-2: 46, 49, 53n Vanderwood, Paul J., 50/1-2: 60 Tyson, Dr. and Mrs. Robert, 49/3-4: 222 Vaqueros, 50/1-2: 6 U.S. Naval Air Station, 49/3-4: 124 Vargas, Getulio, 50/3-4: 168 U.S. Naval Hospital, 49/3-4: 124, 160, 186, 187, Vauclain Hospital, 49/3-4: 202 247, 248 Vaughan, James, 50/3-4: 70

93 The Journal of San Diego History

Velez, Lupe, 50/1-2: 26, 29n Weld, William, 50/3-4: 146 Velvet Barrios: Popular Culture and Chicana/o Welles, Orson, 50/1-2: 22, 23 Sexualities (de Alba), 50/1-2: 64 Wellesley College, 50/3-4: 102, 103, 104, 108, Venevisión, 50/1-2: 46 112, 114, 118 Verdugo, José Maria, 50/1-2: 30 West Coast Langley Theater, 49/3-4: 229 Verner, A. L., 49/3-4: 192 West, Sally, 49/3-4: 112 Vernon, Edward W., 50/1-2: 55 Western Metal Supply Co., 49/3-4: 149, 150 Veterans Memorial and Civic Auditorium Weston, C. A., 50/3-4: 124 Building, 49/3-4: 228, 229 Whaley, Lillian, 50/1-2: 5, 6, 8, 14n Veterans Memorial Convention Center, Wheeler and McCown, 49/3-4: 255 49/3-4: 228 Wheeler, M. G., 50/1-2: 35 Veterans War Memorial Building, 49/3-4: 143, 168, Wheeler, Richard (Wheeler, Stevenson and 227, 228, 229 Loveless), 49/3-4: 170, 253-55 Victoria, Governor Manuel, 50/3-4: 155 Wheeler, William H., 49/3-4: 183, 254, 255 Viet Nam War, 50/3-4: 105 “When Dr. Fairchild Visited Miss Sessions: San Vieter, Jack and Lita, 49/3-4: 207 Diego 1919” (Carter), 50/3-4, 74-101 Villa Montezuma, 49/3-4: 138, 247 White, Edward S., 49/3-4: 214 Villareal, Carlos G., 49/3-4: 185 White, Martin G., 49/3-4: 241 Vinal, David, 50/3-4: 146 Whitney and Company, 49/3-4: 241 Vint, Mr. and Mrs. Vincent J., 49/3-4: 222 Whitney, Governor Robert, 50/1-2: 1 Virussino, Mr. and Mrs., 49/3-4: 185 Whitsitt, Hammond W., 49/3-4: 255 Vista Irrigation District, 49/3-4: 228 Whitson, W. W., 49/3-4: 241, 242 Viva Zapata! (1951), 50/1-2: 23 Wide Open Town: A History of Queen San Franciso to Vizcaíno, Sebastián, 49/3-4: 118, 122 1965 (Boyd), 50/3-4: 163 Vollmer, E. W., 49/3-4: 241 Wikler, Irving, Dr., 49/3-4: 144 Wadas, John, 50/3-4: 70 Wild, Mark, 50/3-4: 160 Waldrons, F. A. S., 49/3-4: 222 Wilken, Dr. C. E., 49/3-4: 242 Walker and Eisen, 49/3-4: 252 Wilkins, 49/3-4: 230 Walker, Albert R., 49/3-4: 126, 127, 252 Wilkins, David E., 50/3-4: 167 Wall Street Corporation of La Jolla, 49/3-4: 194 Williams, Daryle, 50/3-4: 168 Wallace, Albert G., 49/3-4: 214 Williams, Harry L., 49/3-4: 185 Wallace, Edward S., 49/3-4: 214 Williams, J. J., 49/3-4: 242 Wallace, L. R., 49/3-4: 214 Willoughby, Mr. and Mrs. George, 49/3-4: 222 Wallace, Sydney, 49/3-4: 252 WILPF, 50/3-4: 104, 105, 117 Walsh, Victor A., article by, 50/1-2: 1-16. Wilson, Mr. and Mrs. Harlan, 49/3-4: 112 Walters Company, 49/3-4: 241 Wilson, J. S., 49/3-4: 214 War Housing, 49/3-4: 168, 174, 246, 259 Wilson, J. W., 49/3-4: 255 War on Poverty, 50/3-4: 165 Wilson, Pete, 50/1-2: 64 Warburton, H., 49/3-4: 185 Wilson, President Woodrow, 50/3-4: 122 Warner, Charles Dudley, 50/3-4: 149 Wimmer, Harriett, 49/3-4: 255-259 Wassenaar residence, 49/3-4: 247 Winslow, Carleton, 49/3-4: 113, 123, 124, 256 Waterman, H. A., 49/3-4: 222 Winsor, Robert, 49/3-4: 192 Waterman, Hazel Wood, 49/3-4: 111, 113, 119-121 Wishing Well Hotel, 49/3-4: 222 passim, 132n, 222, 253; 50/1-2: vi, 1, 5-13 passim, Wisner, Madelaine, 49/3-4: 222 13n, 15n, 16n Wister, Owen, 49/3-4: 207 Waterman, Waldo S., 49/3-4: 119 Wittenberg, Mrs. Lester (Elvira), 50/3-4: 68 Watson, Mr. and Mrs. Maurice T., 49/3-4: 222 Witty, Bob, 50/3-4: 70 Watts Building, 49/3-4: 138 Woman’s Home Association, 50/3-4: 107, 121 WAVES, 50/3-4: 70 Women’s Club of San Diego, 49/3-4: 176, 242 Weaver, Emmor Brooke, 50/3-4: 88 Women’s Club of Vista, 49/3-4: 215 Weaver, W. T., 49/3-4: 144 Women’s International League, 50/3-4: 105 Webb, Fred K., 49/3-4: 192 Woodhouse, Elizabeth J., 49/3-4: 192 Weber and Edwards, 49/3-4: 253 Woodjard, G. L., 49/3-4: 153 Weber, 49/3-4: 222 Woods, Dr. and Mrs. Harry B., 49/3-4: 223 Weber, David, 50/3-4: 68, 72 Worchester, Daisy Lee Worthington, 50/3-4: 112, Webster, Dr. I. D., 49/3-4: 192 120-121 Wednesday Club, 50/3-4: 120 Workingman’s Hotel, The (Golden West Hotel), Wegeforth, Mrs. H. M., 49/3-4: 153 49/3-4: 135 Weinberg, Mr. and Mrs. Lewis, 49/3-4: 222 World Columbian Exposition (see Expositions) Weinstein, Barbara, 50/3-4: 168 World War I, 49/3-4: 124

94 Index

World War II, 49/3-4: 111, 167, 184; 50/1-2: 13, 22, 24; 50/3-4: 161, 163 Wormley, Katherine, 50/3-4: 147 Worthington, Bryan, 49/3-4: 223 Worthington, Mrs. George (Ethel), 49/3-4: 168 Wounded Knee Massacre, 50/3-4: 159 Wright, Frank Lloyd, 49/3-4: 118, 256 Wright, Leone and Gillett, 49/3-4: 223 Writer, J. A., 49/3-4: 242 Wulff, Fifield, 49/3-4: 168, 179 XEAZ-AM Radio, 50/1-2: 42 XEMO-AM Radio, 50/1-2: 42 XERU Radio, 50/1-2: 42 XETV Television, 50/1-2: 42, 45, 47, 48 XEWT, 50/1-2: 48 XHAS Television, 50/1-2: 42, 49, 50 Y.M.C.A. (Young Men’s Christian Association); 49/3-4, 126, 192, 224, 242, 243; 50/3-4: 99, 107, 119. 120 Y.W.C.A. (Young Women’s Christian Association), 49/3-4: 144, 145, 243; 50/3-4: 120 Yale Clinic Building, 49/3-4: 207, 215 Ybañez, Maria de los Reyes, 50/1-2: 2 Young, Joan Emery, 50/1-2: 28n Zamorano, Agustin V. , 50/3-4: 155-155 Zapata, Emiliano, 50/3-4: 168 Zeuner, Anthony, 49/3-4: 215 Zigo, Mr. and Mrs., 49/3-4: 185 ZLAC Rowing Club, 49/3-4: 216, 223 Zoological Gardens, 49/3-4: 149 Zoological Society of San Diego, 49/3-4: 152, 197, 198 Zoot Suit Riots, 50/1-2: 22; 50/3-4: 161

95 SAN DIEGO HISTORICAL SOCIETY BOARD OF TRUSTEES AND STAFF

Executive Director MUSEUM OF SAN DIEGO HISTORY, David Watson MUSEUM OF SAN DIEGO HISTORY, RESEARCH LIBRARY, JUNIPERO SERRA Officers MUSEUM, VILLA MONTEZUMA, AND MARSTON HOUSE STAFF Harold G. Sadler, President Robert F. Adelizzi, President-Elect Nicole Benson, Executive Assistant Elisabeth Bergan, Vice President Karie Dzenkowski-Castillo, Exhibits Preparator Peter Janopaul, Vice President Laurie Egan, Curator of Collections Susan W. Kalish, Secretary Laura Finster, Development Coordinator Laura Stanley DeMarco, Treasurer Arianna Fogelman, Registrar Ronald J. Urich, Past President Keisha Frandsen, Site Interpreter Katrina Glynn, Education Coordinator BOARD OF TRUSTEES David Hedley, Marston House Site Manager Carl Hess, Museum Instructor Terms Ending June 30, 2006 Raffael Hoffman, Site Interpreter Diane G. Canedo Jane Kenealy, Archivist Ardyce Jarvis Cindy Krimmel, Assistant Photo Archivist Marlene “Mimi” McCoy David Krimmel, Exhibit Designer John M. O’Brien Rebecca Lawrence, Director of Education John Rush Joel Levanetz, Serra Museum Site Manager Treyer Mason-Gale, Assistant Registrar Terms Ending June 30, 2007 Monica Molinary, Site Interpreter James R. Dawe Carol Myers, Photo Archivist Robert McNeely Jensen Olaya, Museum Store James Milch Sarah Post, Curatorial Assistant Drexel Patterson Ginger Raaka, Director of Retail William V. Whelan Alejandra Saldana, Site Interpreter Leon Williams Montay Shine, Site Interpreter Sean Stewart, Assistant Archivist Terms Ending June 30, 2008 Susan Stocker, Accounting August J. Felando Michelle Swinney, Marketing & Site Rental Kenneth Golden Chris Travers, Director of the Booth Historical Al JaCoby Photograph Archives/Photographer Helen Kinnaird Donna Van Ert, Membership Coordinator Michael Morgan Johann Wahnon, Site Interpreter Carol Watson, Payroll Administrator AUXILIARY REPRESENTATIVES CREDITS Bobbie Bagel, Marston House Elisabeth Bergan, Costume Council Design and Layout Edward Streicher, Jumipero Serra Museum Allen Wynar Fred F. Mullins, Jr., SDHS Tours Printing Crest Offset Printing

2/24/06 1:33:24 PM The Jour na l of History San Diego

Volume 51 Winter/Spring 2005 Numbers 1 and 2 • The Journal of San Diego History SD JouranalCover.indd 1