The most haunting image of old Bunker Hill’s final days depicts a fenced off Victorian mansion awaiting its doom with “progress” looming in the background in the form of the Downtown’s first skyscraper, the Union Bank Building. The residence, affectionately known for years as “the Castle” and located at 325 S. Bunker Hill Avenue, was one of two residences on the Hill to escape the wrecking ball, only to meet an even more tragic end.
Located on Lot 16, Block L of the Mott Tract, early owners of the property were tee-totaling Los Angeles pioneer Virginia Davis and her husband John W., who sold the land for $450 to G.D. Witherell in March of 1882. It has long been believed that the Castle was built around this time, but an 1888 Sanborn Fire Insurance Map reveals the structure as being constructed. In 1887 the property changed hands again, so it probably was capitalist Reuben M. Baker who built the large Victorian structure that would be a mainstay on Bunker Hill for over 70 years.
Designed in the Queen Anne style, the residence had 20 rooms, both a marble and a tile fireplace, and a three story staircase winding up the center of the house. Two of the mansion’s most recognizable features were the stained-glass front door and an overhang on the north side for carriages to pass through to the rear of the property. The curved Mansard roof on the tower and the triangular crown of a front balcony were removed after sustaining damage in the 1933 Long Beach earthquake. The original address of the home was actually 225 S. Bunker Hill Avenue until an ordinance, passed in December 1889, changed street numbering throughout the City, much to the irritation of many an Angeleno.
In March of 1894, grading contractor Daniel F. Donegan purchased the property for $10,500 and moved in with his wife Helen and four children. Though the family lived there for less than ten years, the name Donegan became the one most associated with the house and it has long been believed that the clan were the ones who nicknamed the mansion “the Castle.” A piece of neighborhood lore involved Donegan attempting to clear a nearby rat infested property by offering local children 25 cents for each cat brought to him, to be used as four footed exterminators. Residents were soon irked when their feline pets began to disappear. By 1902, the Donegans had moved, and new owner Colton Russell soon converted the mansion into a boarding house, a role the Castle would play for the next six decades.
During its 60-plus year tenure as a multi-unit residence, the Castle would play host to all walks of life of the City of Angeles. Salesmen, doctors, waiters, elevator operators, miners, firemen, tailors, printers, hotel food checkers (well maybe just one of those), and many others called the Castle home at some point in their lives. When the WPA conducted a census of the area in 1939, 325 S. Bunker Hill Avenue was comprised of fifteen separate units, including a small guest house, built in 1927. The landlord’s family resided in four rooms while the rest of the tenants occupied single rooms and shared six toilets. The majority of the occupants were single, white and over 65 years of age. Rent ranged from $10 to $15 a month and occupancy at the Castle was anywhere from six months to eight years.
What the 1939 census failed to mention, however, was the Castle’s resident ghost.
The spook who haunted the Castle could possibly have been a former resident who met their ultimate doom in the mansion. In 1914 Hazel Harding, a 28 year old former school teacher with a history of mental problems, lit herself on fire and jumped out a second story window. She survived the fall, but succumbed to her burns. In December 1928, 66 year Charles Merrifeld shot himself to death with a revolver in one of the rooms. Merrifeld, who committed suicide to escape the effects of poor health, had been the Castle’s landlord with his wife Bertha since 1919. The Widow Merrifeld would continue to oversee, what she advertised as, the Castle Rooms for an additional eight years following her husband’s death. According to residents interviewed for a 1965 Herald Examiner piece, for years the ghost contented himself with one type of action; “Everytime one of the sculptured wooden decorations falls off the wall, Mr. Spook catches it before it can shatter on the ground and deposits it neatly and safely on the front porch. So the crash doesn’t wake up the tenants.” Perhaps Mr. Merrifeld wasn’t quite ready to give up his duties as landlord.
In 1955, the Community Redevelopment Agency (CRA) announced its plans to overhaul Bunker Hill, and by 1968 the only residences of the bygone era that remained were the Castle and the Salt Box, located at 339 S. Bunker Hill. Both structures were set to be demolished on October 1st of that year, but were saved in the eleventh hour when the Recreation and Parks Commission voted to let the homes reside on city owned land at Homer and Ave 43 in Highland Park. Additionally, the Department of Public Works agreed to move the structures to their new home which would become known as Heritage Square. For the Cultural Heritage Commission, the decision came after a six year battle to save the structures. Once moved, the CHC would then face the task of raising enough money to restore the age-worn buildings.
The Castle and Salt Box were relocated to their new home in March 1969 using $33,000 appropriated by the City Council and $10,000 from the CRA. Almost immediately the structures were invaded by vandals. On October 9, 1969 both houses were set on fire. Within minutes, the lone survivors of Bunker Hill’s Victorian era were gone forever.
All photos courtesy of the Los Angeles Public Library Photo Collection
The recent release of George Mann’s 50-year-old color photographs to this site is one of the most remarkable troves of Bunker Hill ephemera we’ve seen in decades. The accompanying photo, for instance, shows just how dilapidated the neighborhood around Angels Flight on Third Street had become by November 1962, when Mann made his final pilgrimage to the doomed neighborhood. The wrecking ball has already claimed the Hill Crest Hotel at the top of the hill on Olive Street, and the Astoria Hotel is a hulking shell of a firetrap just waiting for a match. Standing near the center of the photo is the Sunshine Apartments, looking empty and haunted, but who knows whether a few derelict souls are still inside, refusing to leave until the bulldozers come growling down the hillside?
Bunker Hill’s Sunshine Apartments at 421 West Third Street has been gone now for over forty-five years, but it’s still one of the most familiar unknown houses in Los Angeles. Perched on a ten-feet-high retaining wall above a narrow alley called Clay Street, it sprawled halfway up a steep hill adjacent to a stairway, its only access, opposite Angels Flight. The Sunshine was the sort of multilevel dwelling that novelist John Fante described in Ask the Dust (1939): “It was built on a hillside in reverse, there on the crest of Bunker Hill, built against the decline of the hill, so that the main floor was on the level with the street but the tenth floor was downstairs ten levels.” The only difference is that the Sunshine was only four stories tall and its front, not its sides, conformed to Third Street’s slant, so that the first floor was only half as wide as the second floor.
Constructed on vacant property around 1905 to accommodate downtown Los Angeles’s growing need for cheap housing, the Sunshine looked like a huge clapboard farmhouse, with a stack of three unadorned verandas and a couple of Queen Anne touches around the front entrance, which was on the third floor. Midwestern migrants probably found the place comfortably familiar. Inside, a labyrinth of odd-angled hallways, step-downs and staircases connected the Sunshine’s many small apartments.
Though it made its film debut as one of Angels Flight’s neighbors in a 1920 comedy called All Jazzed Up, the Sunshine didn’t get its first close-up until 1932, when director James Whale cast it as the home of two downtown working girls (Mae Clark and Una Merkel) in The Impatient Maiden, his follow-up to Frankenstein. Because sound cameras in those days were large and unwieldy, he used a smaller silent camera to shoot the movie’s opening scene on the Third Street steps, as the actresses came out of the Sunshine Apartments and walked up the concrete steps to the Angels Flight station on Olive Street. (The dialogue and traffic sounds were dubbed in later.) Whale shot another scene on the front steps near Clay Street and in the rear of the apartments, where a second set of concrete stairs from Clay to Olive ran between the Sunshine and the much larger Astoria Hotel.
But what turned the Sunshine Apartments into a fairly steady (if nameless) character actor was film noir, the mostly post-World War II crime genre that, in its focus on documentary realism, introduced the use of smaller, combat-tested cameras and gritty urban locations to Hollywood cinema. And since—by the mid-1940s—Bunker Hill was a run-down neighborhood of crumbling Victorian mansions, rambling flophouses, and mean, vertiginous streets, it became the perfect setting for film noir’s fascination with the dark side of American prosperity. Despite the Sunshine Apartments’ sunny moniker and relative youth (less than fifty years old), it did a great job portraying a shabby boarding house for desperate and worn-down people.
In Paramount’s Night Has a Thousand Eyes(1948), the Sunshine offered low-rent anonymity to a con man (Edward G. Robinson) hiding from his past. Director John Farrow pointedly established its location with an amazing 180-degree shot—taken from Clay Street—that followed one of the Angels Flight cars up from Hill Street, and panned across the top of the hill to catch Robinson’s character hurrying down the concrete steps and up onto the third-floor porch and into the boarding house’s front door. Another shot showed John Lund and Gail Russell approaching the Sunshine’s wooden porch steps from below.
That same year, in Universal Pictures’ Criss Cross, director Robert Siodmak used the Sunshine as a rendezvous spot for criminals plotting an armored car robbery. Whereas the protagonists’ apartments in the earlier films were obviously studio creations, some of Criss Cross’s seedy flophouse interiors were shot on location. Granted, a couple of shots that showed either Burt Lancaster or Yvonne DeCarlo standing next to a bay window, with the Angels Flight trolleys moving in the background distance, were done on a sound stage. The footage of the incline railway cars passing each other above Clay Street was taken from the Sunshine (most likely from the third-floor porch, judging from the angle), but the building itself didn’t have any bay windows facing Angels Flight, so the scenes had to have been process shots. On the other hand, the maze of dingy hallways—whose atmosphere one character mockingly dismissed as “Picturesque, ain’t it?”—most likely belonged to the Sunshine Apartments.
In another Paramount film, Turning Point (1952), as crusading reporter William Holden and gal pal Alexis Smith ride up Angels Flight, the camera riding with them turns to look across to the Sunshine, where a witness is hiding. But when they walk down the steps from the funicular’s Olive Street station toward the house, they have to duck into a doorway of a nearby building to avoid several thugs standing guard on the Sunshine’s porch.
In the low-budget Angel’s Flight (1965), among the last of Bunker Hill’s noirs, Indus Arthur played a stripper and “Bunker Hill serial killer” avenging an early rape by slashing the throats of men who put the moves on her. The scene of that rape, we eventually discover, had been at her one-time home in the Sunshine Apartments.
The building also showed up briefly in Act of Violence (MGM, 1949), Joseph Losey’s M (Columbia, 1951), and the cheap Lon Chaney Jr. horror film The Indestructible Man (1956), among others. Documentary filmmaker Edmund Penney introduced his lyrical fifteen-minute film, Angel’s Flight Railway (shot in the early 1960s and again in 1969; released in 1997) by looking across Third Street through the ornate woodwork of the Sunshine’s doorway.
The Sunshine Apartments finally had its appointment with the bulldozer around 1965, after Los Angeles’s Community Redevelopment Agency had already torn down many of the other buildings around it. By the time the CRA carted away Angels Flight and the last two surviving houses on Bunker Hill Avenue four years later, the nearly century-old neighborhood of Bunker Hill had ceased to exist.
Yet today the Sunshine Apartments survives in old movies, in countless photo- and postcard-tableaux of Angels Flight, and as the most prominent background feature—painted green—in Millard Sheets’ vibrant 1931 oil painting, Angel’s Flight, which is not only one of the most famous works on permanent display at the Los Angeles County Museum of Art, but also the logo of the OnBunkerHill.org website.
I welcome any further information you may have about the Sunshine Apartments, or any corrections to this blog entry. Even better, I’d love to hear from someone who actually lived or spent time there.
"If they are ignored, [Alice] Callaghan worries, the dangers of handing the streets over to private security forces will only grow. ‘Until they begin interfering with the rights of middle-class people,’ she says, ‘you won’t have anybody crying about it. But by then, it will be too late.’" – Ben Ehrenreich, L.A. Weekly, May 24, 2001
Downtown Los Angeles is my beat.
The fine old business and entertainment district, left nearly untouched as the city threw out her arms in postwar sprawl, is presently growing a new cycle of memories with the adaptive reuse of long-empty office buildings into high-priced loft apartments.
But for all the considerable #DTLA hype, the really interesting stuff is found layers beneath the trendy bars and cafes, the developer-subsidized gallery scene and the mainly young, white, upwardly-mobile residents exploring the pleasures and challenges of life in a transitional urban community.
When you know where to look, downtown is pocked with lore, loss and loveliness: unsolved murders, gorgeous architecture, hidden bootleg and subway tunnels, dilapidated movie palaces turned megachurches, amethyst glass sidewalks illuminating sealed basements–even the actual shabby hotel lobbies where a young Raymond Chandler observed the characters who’d inhabit his noir narratives.
For many years, the main threats facing these evocative spaces were entropy, earthquake and disinterest.
The developers arrived in 1999, palms open for handouts from a Redevelopment Agency that had long since redefined the blight it was formed to combat. Rough streets made hard pillows for thousands, while up above, market-rate renters coddled doggies behind steel doors. Big chunks of Main Street, long the eastern Maginot Line behind which the needy were corralled, were snapped up by a favored developer, and the rescue missions and social service agencies were shooed further east, towards the concrete barrier of the L.A. River.
The Occupy LA encampment sprung up around our iconic City Hall on October 1, 2011, was initially welcomed by Mayor and City Council, and forcefully evicted by LAPD on November 30. The threatened bill to taxpayers, mainly for police overtime, hovers around $4 Million. There has been no suggestion that the public officials who asked protesters to stay might be held liable for any of these costs.
Pushed out of the core of downtown, not wanting to fold up their (figurative if not always literal) tents, some Occupiers found themselves at the "other" local Occupation, the media-invisible Occupy Skid Row encampment at 4th and Towne Streets.
Occupy Skid Row was, until its summer 2012 LAPD / County Health Department eviction, the longest surviving American Occupy camp. Unlike occupations in urban centers, this one grew up in a neighborhood that was already home to thousands of poor, addicted, ill and needy citizens. In a city that has failed over decades to deal humanely and effectively with the homeless, a few more tents bedecked with idealistic slogans made no difference… at least at first.
But as the City Hall contingent got familiar with the rhythms of life on Skid Row, and spent more time with socially-conscious homeless citizens and activists, they got an education in the unique social justice challenges facing the poor and homeless when they sought to cross back over Main Street into gentrified Downtown.
You see, gentrification doesn’t just happen. It has to be helped along. There are a number of effective tools at the disposal of developers seeking to make their buildings more appealing to renters and businesses. But not just any tenants: they need a very specialized group of early adopters who, when properly primed, will serve as an unpaid street team, marketing the value of the community as they revel in their status as "urban pioneers." History shows that soon after bohemians populate a depressed urban neighborhood, wealthy people with bohemian tastes will follow. Then it’s bye-bye bohemians. It was ever thus.
Some gentrification tools are transformative: lease large ground-floor spaces to gallerists willing to take a chance in a bad neighborhood in exchange for five years of negligible rent; don’t charge pet deposits; subsidize an Art Walk; open restaurants that keep extended hours to create a community space.
Other tools are restrictive. It seems such a small step from having security guards inside locked lobbies and garages to instructing maintenance crews to hose down the sidewalks at 4am to dispatching teams of security guards to enforce the social order through intimidation and walkie-talkies that connect directly to the real police.
But that small step is the distance from private property to public space, and in the New Downtown, that’s a distinction that’s blurred and frequently abused by "The Shirts," the color-coded security details employed by varied BID (Business Improvement District) entities that have carved up Downtown into discrete zones.
The city doesn’t clean the streets frequently enough? Don’t pester your Councilman; the BID will do it. Insufficient police presence to deter drug dealing and prostitution? Nothing a crew of beefy guys on bikes and Segways can’t handle. And why should anyone complain? BIDs are financed through commercial property tax diversion, not out of residents’ pockets, and everyone benefits from cleaner, safer streets.
The problem is that when a business lobby takes over civic services, they absorb civic power, with none of the accountability. Residents are encouraged to simply call the BID when they see something troubling on the streets, and a crew will show up and "deal with" the problem. (Conveniently, crimes reported to BID security are not recorded in LAPD crime statistics, making BID-protected neighborhoods appear safer than they really are.)
And as landlords make decisions about which sort of people are allowed to stroll or linger, unmolested, on public streets, a chilling effect spreads. Tired of being hassled, the poor and the undocumented and the weird stay away. Demographics normalize. Rents go up. Yoga studios move in. It’s an urban redevelopment success story– at least it looks that way on the surface.
Seeking a fresh focus for a movement that had grown bored with the dry crimes of banks, Occupy LA activists decided to drill beneath Downtown’s surface. What they found was the woman behind the curtain: Carol Schatz, President and CEO of the Central City Association and of the Downtown Center BID. Ms. Schatz and the powerful organizations she controls are well-known in the business community, but obscure to the general public.
In late May 2012, a decision was made by Occupy LA, LA CAN, Occupy The Hood, Occupy Skid Row, Hippie Kitchen, Los Angeles Catholic Worker and other community groups and individuals to establish a protest camp on the public sidewalk outside CCA’s headquarters at 626 Wilshire. The intent was to draw attention to ways in which the CCA’s Downtown 2020: Roadmap to L.A.’s Urban Future position paper (PDF link) seeks to criminalize homelessness and poverty in order to create a more business-friendly environment.
The protest was peaceful, if occasionally disruptive to those doing business at 626 Wilshire. Tents were set up on the sidewalk in the evening, and removed in the morning as workers arrived. Occasional daytime protests were scheduled to coincide with large meetings of CCA member organizations. Discussion groups gathered, drums were pounded, security guards razzed and preached to, dissenting messages scrawled in chalk on the sidewalk. The peculiar orientation of the building, one very short block from where Wilshire dead ends, meant that during the night camps there was minimal foot traffic and no impediment to local business.
The plan was to camp out for a week–and considering that the campers got few visitors and received no media attention, the protesters would almost certainly have moved on, had they not been subject to unwarranted police harassment.
I dropped by 626 Wilshire a few nights after the camp was formed. Perhaps a dozen people were gathered on the sidewalk. They were a varied group: men, women, multi-racial. A young man and an older woman approached me separately, and each made pleasant conversation about social justice issues. They seemed happy to have someone new to talk with. Across the street, I saw an LAPD patrol car parked with two officers in it. Around the corner, a second black and white lurked. It seemed an excessive response for a peaceful gathering on a public sidewalk.
Within days, word filtered out through Occupy LA’s social media accounts that protesters were being arrested for chalking.
Still, there was no press attention. No criminal charges were filed. The arrests continued. People felt intimidated and angry. The "siege" was indefinitely extended.
Several individuals organized a Chalk Walk on July 12, during the monthly Downtown Art Walk, in order to bring the story of the arrests to a wider audience. The slogan was FREE CHALK FOR FREE SPEECH. Most participants were members of Occupy LA, although it was not an official OLA event.
That Thursday around 7pm, about two dozen people gathered on Spring Street between Fifth and Sixth Streets handed out sticks of washable sidewalk chalk wrapped in information about the CCA protests and chalking arrests to Art Walk attendees.
By 7:15pm, the protesters were surrounded by approximately 40 LAPD officers, and the first chalking arrest was made. Many people stopped and chalked. As dusk fell, the police presence grew, and more people were arrested. At 9pm, police donned riot helmets, and many of the protesters left for a planned fundraiser. At 9:15pm, there were so many police massed on Fifth Street that traffic was impeded and a curious crowd formed.
Around 9:30pm, the rough arrest of a petite woman incensed the gathering crowd, and they poured into the intersection. The police responded with riot tactics, breaking up the crowd by running three skirmish lines: north, south and west. At 10pm, the first less-lethal projectiles were fired. As the police moved south into the commercial heart of the Historic Core, they begin closing galleries, restaurants and residential buildings and not permitting anyone to enter or exit.
By the night’s end, at least three Art Walk attendees would suffer beanbag wounds to their torsos, and one to his face, 17 people would be arrested, two police officers would suffer minor injuries, thousands of people would be terrorized, and numerous artists, vendors, galleries, restaurants, bars and food trucks would suffer financial harm.
A troubling toll, and yet it’s hard to see the event as a failure, since the goal of raising consciousness was achieved. On Wednesday night, the CCA was a mystery. By Friday morning, it was the centerpiece of a dozen newspaper articles, some nationally syndicated. Complex issues like the dark side of gentrification, private security in public spaces, and the criminalization of poverty got a rare airing. And suddenly, Occupy LA was as relevant as it had ever been.
As the August 9 Art Walk approached, tensions were high over what role chalk protests and Occupy might play. My husband Richard Schave and I, as the people who had run and put the Art Walk into a non-profit in 2009, only to be forced out due to sabotage by the local BID director, were approached by a member of Occupy LA who was concerned about the potential for further violence. We reached out to the Mayor’s Office and to the Art Walk Task Force seeking dialog, and helped organize a Town Hall meeting, where activists, artists, vendors, business people and residents shared their concerns, frustrations and hopes for peace.
Days passed. Some worried because The Fresh Juice Party, chalk muralists affiliated with Occupy Oakland, planned to attend Chalk Walk 2. Police spokesmen said anyone chalking would be jailed–and indeed several muralists were detained and one arrested. But as darkness fell, the police pulled away from Pershing Square, where the protesters were gathered around a large cartoon mural of a lion and a duck with a word bubble message "I ♥ The 1st Amendment / Chalkupy!"
A young woman stood on the mural, hula hooping. Folksinger Michelle Shocked, who has been using the name Michelle Chocked for anti-BID art actions, played a set. A couple of Fresh Juice Partiers donned animal costumes, and brought their mural to life with a slapstick chase. People crowded around the wide concrete wall, inscribed with a quote from Nation editor Carey McWilliams about the lively community of oddballs that inhabited Pershing Square in the 1930s, and chalked words and pictures in a riot of color and expression.
It was the best party Pershing Square had seen in decades. And the next morning, the press praised all concerned for restraining themselves on a battleground that wasn’t really a battleground, just a square block in the heart of the city, where after much tension and blessed release, we saw what was possible when fun overruled fear, and art trumped enforcement.
And on an urban stage where the actors can appear to be placed in the pose of scrappy street fighters vs. armored warriors, with reporters in helicopters screaming "Occupy Riot at Art Walk!" to footage showing no such thing, the fact is that Occupy can still turn, fluid as an eel, and transform the scene, the context and the conversation surrounding a local injustice. It’s more than a little uncanny, and thrilling to watch. And anyone who is counting this magickal child out as she approaches her first birthday hasn’t been paying attention.
Downtown is still a mess, albeit a beautiful one. And the war’s not over, not by a long chalk. But there’s hope on the wind, and humor, and dialogue. And no telling how these creative protests will change us next.
This essay was originally published in Occupy! #5.
Occupy! is an OWS-inspired gazette, published by n+1.
Chalk Walk timeline in video and photographs – http://ccacdtla.wordpress.com/
In 1905, when George Santayana wrote, "Those who cannot remember the past are condemned to repeat it," we can be quite certain that he was not sitting in an east-facing room of the Biltmore Hotel, looking out over Pershing Square. That’s because the hotel didn’t exist yet, and L.A.’s old public square was still called Central Park.
But the philosophers’ words seem very apt as we reflect on the oddly familiar reports coming out of Pershing Square, City Hall and the press this week.
If you want to know what’s happening in 2012, it’s easy enough to follow that trail… bearing in mind that business groups that are able to pay lobbyists and publicists and who donate to politicians always have an edge when it comes to getting their perspectives heard. (An alternative view is here.)
Los Angeles Times, October 31, 1931
Here On Bunker Hill, we’d rather cast an eye backwards, in hopes that by reminding the players in our modern comedy of the old roles they are inhabiting, that their performances will be more thoughtful and humane.
Behold, Pershing Square in the middle 1950s! This north-facing photograph, shot in 3-D Technicolor by the celebrated vaudeville dancer (and chronicler of Bunker Hill) George Mann, has not been seen in nearly fifty years. It is one of four vintage images of the park just discovered in Mann’s archive, and scanned especially for inclusion in this blog post by Dianne Woods.
photo: George Mann
Here we see the plain and grassy park as it was remade, following the controversial construction of an underground parking lot and civil defense shelter. Gone are the beloved walkways and mature tree cover that were for decades the symbols of the place, and cause for concern by moralists who raved that the bushes were filled with libertines and the shady spots with loudmouthed loons. Fine old trees have been replaced by fast-growing bamboo and a few anemic rose bushes.
Compared to the old Pershing Square, this park is a dump.
Pershing Square as it was
And yet, along the semi-shaded benches that line the lawn, many dozens of people have gathered in the heat of the day–so many that some must stand, or venture out onto the lawn to sit on low walls in full sun.
photo: George Mann (detail)]
Although the park’s designers sought through the redesign to make the space less hospitable for loitering, the urge of the people to come together in the commons proved stronger than the grim psychological landscape.
We see that it is a multi-racial crowd, mainly men, nearly all middle-aged or elderly. Among them must be a number of the 9000 denizens of single rooms up on Bunker Hill, the voiceless many who will in just a few years be cast to the winds after the largest eminent domain action in US history.
photo: George Mann
Over in the northeast corner, a young black man in a natty brown sport coat seems to be taking advantage of the crowd’s idle attentions to practice his oration. Just behind, elevated on a box, a fellow all in white gestures meaningfully to a man who looks interested, if perhaps a little bit afraid.
photo: George Mann (detail)
This area was our speaker’s corner, much like the famous one in Hyde Park, London, a loud, strange, loathed and beloved zone of free expression (and gleeful heckling) that was over the decades subject to repeated suppression attempts by business groups and politicians. The names of these powerful entities may be different, but their complaints and tactics have scarcely changed in six decades.
letter to the editor, Los Angeles Times, March 18, 1953
The problem then as now, of course, was that after being instructed crack down on "undesirable" behavior within the park’s borders, the unsubtle mind of a beat cop was pressed to its limits by the appearance of such unusual public activity as the impromptu June 1955 attempt by fifteen young classical musicians to perform Handel’s "Water Music" beside the park’s fountain.
It was weird, it was different–of course it must be against the rules.
"Not on my beat! No permit, no music!" exclaimed Patrolman Bill Shirley, headless of the cries from the people of the park to just let the kids play. Once the Young Artists Chamber Orchestra had been shooed away, a reporter watched as a group of Bunker Hill regulars sang along to a hymn played on guitar and concertina. Officer Shirley had no complaint, for this was a daily feature of park life.
Similarly, in August 2012 when a group of chalk artists came from Oakland, at their own expense, to create a sidewalk mural during the Downtown Art Walk, they were harassed by police and private security guards, the media and blogosphere fretted that they might be planning violence, and one of the artists was arrested.
But let’s get back to Pershing Square history. Like September 1963,when a colorful group of about forty Pershing Square habitués including one "Stoolpigeon Mary" protested plans by the Rec and Parks Department to further diminish the already compromised layout of the park, removing the few trees and benches and narrowing the pathways.
This $100,000 proposal, financed by parking revenues, was loudly denounced as an attack of the "rich against the poor." The ragged citizens marched together to City Hall to decry these actions of the wealthy, those lucky ones who had air-conditioned offices, luxurious homes and private clubs at their disposal, and yet seemed so intent on taking away the one place where the poor of downtown could escape their hot single rooms and enjoy each others’ company in a natural setting.
Photo: Los Angeles Times
And indeed, the main proponents of the 1963 "beautification" plan–one misstep of many towards the hideous concrete hell that is today’s Pershing Square–were the Downtown Business Men’s Association (known now as the Central City Association) and Mayor Sam Yorty, who would later be voted among the worst three big city leaders in American history. Mayor Yorty expressed concern in particular that the park had become a haven for "undesirables" who frightened females.
The truth was that there were unafraid women to be found in Pershing Square, but never so many as the men. But we know of them from accounts of how they preached or sang the gospel, or cared for the birds like the much-loved retired telephone operator Pigeon Goldie Osgood (whose 1964 murder in the Cecil Hotel was never solved). George Mann’s newly rediscovered photograph suggests that the ladies preferred the shady, less crowded corners of the square.
photo: George Mann
The last Pershing Square photo in the set shows the scene looking west towards the Biltmore Hotel from near the corner of Sixth and Hill, not far from where the Occupy LA protest group holds its thrice-weekly general assemblies today.
photo: George Mann
The path is shady, and an old man bends to drink from the water fountain. A woman, perhaps holding a petition, has engaged a seated man in earnest conversation.
photo: George Mann (detail)
Beside the tall statue of the doughboy on his plinth, we see a man whose body language evokes the classical portrayal of melancholy.
photo: George Mann (detail)
There’s something beautiful in his solitary desperation, a formal elegance in the body’s compact lines–and also a sense of hope because, as lonesome and pained as this individual appears, he still was able to take his place in the lively public park with all the other souls of the city, not shooed or hidden away as an undesirable, but there on the wall as a member of a community. The park was there to accept all comers, to give them a safe place to rest, cool water, human company and a breeze off the fountain.
Such are the vibrant scenes that emerge from a box tucked away many decades ago by a tall, funny man who went out into his native city looking for images that would resonate as uniquely of Los Angeles. He went, of course, to Pershing Square, and to Bunker Hill, and to the Plaza and Olvera Street. Of the three, Bunker Hill is gone forever, the Plaza is a tourist attraction and still a place for the people to gather, and Pershing Square is in terrible peril.
Pershing Square is today far, far worse than the 1950s redesign, or the 1960s one, or the 1980s one. With each change, the park has become less accessible, more restrictive, less green, less vibrant. This is a place where it takes longer to read the rules of what is not allowed than to walk right into the park and out again.
If "Stoolpigeon Mary" and her friends could see what’s been done to Pershing Square since they marched to City Hall in 1963, they would be horrified–but probably not surprised. For the current iteration of the park–a sprawling hardscape broken up by confusing walls and a rarely-functioning, nearly-waterless fountain, historic figures relegated to a Sculpture Ghetto that doubles as a dog run, the small patch of grass roped off, the benches deliberately divided to deter anyone from even thinking about lying down–is a space designed by the wrong people for the wrong reasons.
Esotouric tour guide Richard Schave explains the problems
So why is Pershing Square so awful?
Fear and money, two powerful forces that don’t belong anywhere near a public park. Money came to the park in the form of the city-owned underground parking lot, for which the old trees and paths and fountain were ripped up in 1951, in the first assault upon its heart.
Fear came to the park in the form of a civil defense shelter, hidden away within the garage, and later in attempts to legislate and design away the park’s appeal to undesirable Angelenos: communists, homosexuals, the poor, the mad, the homeless, the old, the revolutionary, the anti-social, the voiceless.
Fear and money are good for politicians, but very bad for public policy and public space. Try to imagine any one of the great parks of the world, forced to bend to these two incompatible motivations. Imagine the lawns of Central Park, roped off so nobody can rest on them. Or the Serpentine pond in London, drained down to the rocks. Or Griffith Park, its paths covered over in concrete, its trees cut back to eliminate the shade.
Fear is no way to design a city.
It is not too late for Pershing Square to again be a great public space, but it’s going to require great courage by our civic leaders to reject false and alarming narratives of "decadent" misbehavior and harm to phantom businesses, and to stand up for the precepts on which America was founded. And it will require that our people involve themselves is a space that defies involvement, and demand something better for themselves and for people not at all like them.
Let these beautiful and powerful images, sent across the decades from the eye of the great George Mann, give us all a star to steer by. Let’s not be afraid of one another or of how our fellow citizens might behave. Let us instead make a fine place in which to be fine people, and see what surprises await us there.
Hillzapoppin‘ in the OBH! A couple swanky new color images emerged from the greater Mann grotto and the good people at the archives wanted to share them with you. Ain’t they the best?
This image is later than the other Manns (Menn?) we’ve seen. (Given the specific progress made on the Union Bank tower, I’d peg this photo at September 1966). By comparison, here’s one of late-50s vintage you’ve seen before:
The Community Redevelopment Agency got their wreckers and worked from top to bottom; started with the Elks in the autum of 1962, then hit the Hulburt (middle) and finished the Ferguson on Hill in ’63.
With Angels Flight’s Western Wall removed, you then see thesetwo characters in images of the Flight, but they were chewed up pretty quickly.
But back to our original Mann photo up top. To the east of the flight on the other side of the tunnel, the Royal Liquor’s still there, and so’s the McCoy house above.
Royal Liquor–AKA St. Helena Sanitarium–always amuses because before Los Angeles became last refuge for the hunted and the tortured, it was just a sunny place to go for salubrious living:
Now let’s cross the intersection, down Hill a bit…
…turn to see that Olivet and Sinai have passed each other. The Hill Crest and the Sunshine, of whom we’ve spoken quite a bit recently, gone, again, the CRA working down from Olive to Clay, the HillCrest lost in the autumn of 1961 and the Sunshine goes ca. 1965. There’s the McCoy House and St. Helena, although now the latter, known as My Hotel for some time, became the Vista Hotel between 1942 and ’47 (and the actual full name of its corner booze boutique, despite what the neon read, was Royal Gold Liquors). Vaguely visible looming behind in the mist, the Belmont.
The former front door of the Ferguson Café apparently a swell place to park your faded yellow jalopy. In September of 1966. Now, not so much.
Hey, at least the light pole and fireplug are still there.
Thanks to George Mann’s son Brad Smith, and daughter-in-law Dianne Woods, for allowing us to reprint these copyrighted photographs and tell George’s story. To see George’s photos of theater marquees, visit http://www.flickr.com/photos/brad_smith
In the first installment of our series on George Mann’s newly-discovered vintage Los Angeles restaurant photos, we introduced you to Mann’s custom 3-D photo viewer, which provided free entertainment to patrons as they waited to be seated in numerous L.A. restaurants, and to images of the Malibu restaurants that were displayed inside the viewers. In the second entry in the series, we toured the Bixby Knolls neighborhood of Long Beach, home of some gorgeous, long-demolished restaurants–and a surprising survivor. And last time we got together, we took a trip to the dark side of life along the celebrated Restaurant Row, La Cienega Boulevard.
Today, our travels with George take us to the top of La Cienega and then deep into the Sunset Strip, to see what’s cooking along that fabulous boulevard, which for close to a century has been the preferred promenade for movie stars, gangsters, star makers and the normal folks who love to look at them. Let’s see which Sunset Strip establishments caught George Mann’s discerning eye.
photo: George Mann
We begin at the Marquis Restaurant, at the intersection of Sunset and Roxbury. The space is perhaps best remembered as the Mexican club/restaurant Carlos & Charlie’s, which in its final years had a reputation for rowdiness. Later it was Dublin’s Irish Pub, and it’s presently something called Sunset Beach that looks like a bunch of tipsy white sails unfurling around popsicle sticks.
photo: George Mann
But from the mid-1940s through the early 1970s, this was The Marquis, sometimes known as Paul Verlengia’s Marquis, after its opera-singing host.
George Mann’s photo captures the restaurant soon after its 1953 remodel, a low-slung brick and half-timbered structure with the look of a country house converted to trade.
The interior was similarly homey and understated, and must have been a welcome respite from the self-consciously modernist glamour of so many Sunset Strip establishments. But while the Marquis looked sleepy, dinner was still served until the wee hours, with Chef Pietro Giordano whipping out platters of his famous Zucchini Florentine (“better than that at Alfredo’s in Rome!” – Louella Parsons), a sort of crustless quiche, on demand.
It was in this pleasant space that comic George Gobel not only dined with his mama on Mother’s Day 1955, but advertised the fact, in advance, in the Los Angeles Times. Now why don’t TV stars do that sort of thing any more?
It was here, too, that actor Gig Young and his bride Elizabeth Montgomery strapped on their bibs and shared a piping dish of Shrimps Marquis in 1959. A few years later, Gig might have taken his new wife Elaine Young up to the Oak Barrel Bar to dig the swinging sounds of the Sam Ray Trio, or enjoyed strolling musicians in The White and Marquesa Rooms.
photo: Los Angeles Times
In spring 1960, Paul Verlengia opened another restaurant just four blocks east, the Four Trees. He took Louella Parsons’ quote with him.
The Marquis sailed on sans Verlengia, and into a tragedy. On February 8, 1963, the restaurant’s corporation president George Dolenz (dad of future Monkee Mickey and himself star of TV’s Count of Monte Christo), climbed onto the roof of the Marquis to inspect recent construction. He suffered a heart attack, was brought down by firemen, and was declared dead on arrival at Citizens Emergency Hospital. Since 1951, Dolenz’ main focus had been the restaurant. He was just 55.
In 1965, owner Tom Seward started keeping lunch hours, and coined the gracious if not too memorable slogan “A good place for business or pleasure. Our surroundings take the busy out of business.”
When local restaurant owners from the Sunset Strip Association met in November 1966 to voice their concerns about ongoing teenage protests of new curfews on the boulevard, they chose the Marquis for their press conference. Fred Rosenberg, president of the association, blamed police and newspapers for exacerbating the problem. Outside, teens protested, perhaps confusing this relatively liberal business group with the far crankier Sunset Plaza Association headquartered some blocks west.
By 1970, the Marquis was reinvented as the Martoni Marquis, under the management of famed restaurateur Mario Marino. Sonny Bono was goo goo for his clams. And sometime in the mid-1970s, the Marquis quietly faded away.
photo: George Mann
Heading west into the Strip proper, we come to Ciro’s, which lives on today as the Comedy Store. In the mid-1960s, the nightclub played host to rousing sets by folk-rock crossover act The Byrds, whose fame was cemented when Bob Dylan dropped by to whale on the harmonica. But this 1950s-era night time shot shows a pre-pop Ciro’s, and a more interesting use of the building than has been made in decades.
photo: Los Angeles Public Library
The biggest difference between George Mann’s photo and the current design is how the entire building is used to imaginatively sell the venue and its performers. Today it’s simply a black box covered with faux celebrity signatures, but the place was designed to tell a more complicated and attractive story.
Just look at how much is going on, without any sense of clutter. There’s an understated neon CIRO’S script on the roof, a rosy spot-lit CIRO’S script on the street-facing curtain wall, a bright neon CIRO’S looking onto the driveway, a spot-lit banner advertising CIRO’S FUN FESTIVAL on the small projecting second story cube–all framing a row of soft lights welcoming celebrants into the exciting zone within.
And that, friends, is the difference between signage designed by an architect and signage designed by the guy who paints the sign.
photo: George Mann
George couldn’t have picked a more iconic night to shoot Herman Hover’s Ciro’s than one when the marquee welcomed the Will Mastin Trio starring Sammy Davis, Jr.
For Ciro’s on the Strip is where the 25-year-old Sammy became a star in March 1951, and forever eclipsed his father and “uncle” Mastin–not to mention the venue’s nominal headliner, Janis Paige, who graciously, and wisely, insisted on taking the opening slot for the remainder of the booking after seeing what Sammy was capable of.
But Sammy never forgot his roots, and despite his solo fame, he often performed with his old partners. The three men are buried in adjacent plots in Forest Lawn – Glendale.
But Sammy played Ciro’s with the Mastin Trio several times. So when was this photo taken? It’s not just the kid’s name on the marquee that tells us this photo wasn’t taken during Sammy’s star-making debut engagement. On the opposite side of the strip we see a trio of ground-mounted billboards flanking a double globe street light. These sit on the piece of land now occupied by the Mondrian Hotel.
photo: George Mann (detail)
The billboards advertise, from left to right: Ballantine Ale, the Bob Hope film “Here Come The Girls,” and Goebel 22 beer. The Technicolor-drenched “Here Come The Girls” was released in late October 1953. And sure enough, just in time for Christmas 1953:
So what could the SRO, celebrity-packed Ciro’s audience expect from the Will Mastin Trio with Sammy Davis, Jr.? While we weren’t able to find reviews of the 1953 performance, we did find a Billboard notice of the group’s August 1955 appearance at the club.
In it, Joel Friedman raves: “In the idiom of the trade, [Davis] gassed ’em… Davis devoted the lion’s share of his hour and a half turn to his relatively new career as a pop singer… He could have continued for another hour and still had the audience cheering for him. Tho such uninhibited thunder is generally reserved for the ballpark, Davis had it at Ciro’s opening night.” Friedman also praised Davis’ musical impressions of Nat “King” Cole, Mel Torme, Tony Bennett and Frankie Laine, his comic ripostes to famous audience members, and naturally his dancing.
This clip from the Milton Berle show gives an idea of the trio’s Sammy-centered variety act of the mid-’50s.
But to see the kind of electrifying dance action that made Sammy Davis, Jr. the unbridled sensation of the Sunset Strip, just clear your mind of all distractions, click below, and don’t forget to breathe:
As for Ciro’s, its smoothly moderne exterior (1940) was the work of architect George Vernon Russell, later hired by club founder Billy Wilkerson to craft the look of the Flamingo Casino (1945). The interior decoration, early Hollywood Regency heavy on the swag curtains and gilded putti, was by Tom Douglas.
Today, the club grinds along as The Comedy Store, successful at what it does, but with far less architectural panache. We’re hopeful that one day it will be restored to its original luster. If the owners want some inspiration, they need only consult George’s lovely 1953 photographs.
photo: George Mann
Continuing west along the boulevard, we come to Charlie Morrison’s Mocambo club, that legendary hotbed of musical race mixing. George Mann liked it so much, he photographed it on two occasions. This moody shot seems to capture the scene just as dusk falls. The neon and bulb signs are already flashing, awaiting the coming of darkness and the music-hungry hoards.
photo: Jet Magazine, November 26, 1953
In late November 1953, our marquee star Eartha Kitt made her first appearance on the Sunset Strip in an extended, sold-out Mocambo booking backed by the Paul Herbert Orchestra. Thanks to Billboard’s thoroughness, we know that the gig had a $2 cover, 230 person capacity, and shows at 10:30pm and 12:30am, with a third show added due to the huge demand.
Miss Kitt was riding high on her first wave of suggestive hits, “Santa Baby,” “C’est Si Bon” and “I Want To Be Evil.” After just two nights, Billboard predicted a smash for the girl “who sings like Marilyn Monroe walks.” Before the engagement was up, she was booked to play the Sahara Casino in Las Vegas at four times her Mocambo salary.
photo: Jet Magazine, December 3, 1953
A star-making booking, to be sure. Still, Los Angeles Mayor Poulson is said to have flipped his wig over Kitt’s “too sexy” performance before the King and Queen of Greece. Reached in Texas, Her Highness said she found the show “lovely” — but what can you expect from foreigners?
Of her 1953 appearance at the Mocambo, Billboard‘s Bob Spielman cooed: “The theme of Miss Kitt is sex, and you don’t have to spell it backwards for people over 35 to know what it is. Endowed with beautiful features, excellent figure and good voice, Miss Kitt conjures a sort of psychoanalytic vision on the stage, something that every man wants but can’t have because you know it isn’t real… In the final analysis, tho, as she hisses about the stage, one isn’t quite sure whether the hiss is that of a cobra poised to strike, or merely steam escaping from an overheated radiator.”
photo: George Mann
George seems to have returned to the Mocambo to get a proper shot of the neon at night. Dancer Billy Daniel and Lita Baron (Mrs. Rory Calhoun) played several engagements at the club in the early ’50s, but we’re guessing George visited in January 1954, having decided his daylight view from late ’53 didn’t quite capture the scene.
Daniel and Baron didn’t quite capture the scene, either: their song and dance routines paled in comparison to the departed sensation that was Miss Kitt, with Billboard opining they were “dull, altho eye-appealing.” At the Mocambo just a few months pre-Kitt they’d been heralded as “the outstanding new terp-song act of the year.” Ouch. A few months later, Lita Baron left the act. Marriage (a rocky one) to a movie star seems to have required her full attention.
We appreciate the details captured in George’s rare daylight shot. Note the signature logo planters flanking the entryway.
photo: George Mann (detail)
Note, too, that the famed nightclub shared its premises with a forgotten colleague, the namesake restaurant and cocktail bar of KFWB DJ / record exec / audio tape entrepreneur / anti-trust activist (he took on “octopus” talent agency MCA and won in 1945) / marketing whiz Larry Finley.
photo: Billboard Magazine, 1968
Finley (“the voice with a smile”) broadcast his popular radio show from the restaurant. The venue was sometimes called Larry Finley’s M.O.P. (for My Own Place) and stayed open until 4am–which just happened to be when the six-hour Larry Finley Time show signed off the air.
photo: Billboard Magazine, 1966
Larry Finley–and if you’re wondering where an Irish kid found all that chutzpah and energy, you won’t be surprised to know he was born Lawrence Finkelstein–died in 2000, aged 87.
photo: Billboard Magazine, October 28, 1967
Continuing westward, we come to a forgotten cocktail bar sporting a rather jazzy neon font, Adam’s Rib.
photo: George Mann
While the address of this place eludes us, the identifiable neon in the distance situates the bar somewhere in the vicinity of Sunset and Sherbourne.
photo: George Mann (detail)
Adam’s Rib is a truly remarkable place: a Sunset Strip nightspot that never made it into the papers. It must have been truly wild to slip so far under the radar.
But about those hints of neon in the distance. Look closer. Could that possibly be a blonde carhop in a tiny skirt, bending over as she delivers her tray?
A hitherto unknown figural neon sign of astonishing erotic and artistic accomplishment?
It’s true. And this photo just may represent the most incredible discovery to come out of this series of rediscovered restaurant photos of the 1950s and 1960s.
Meet Miss Jackburger. Isn’t she lovely?
photo: George Mann
The long, narrow site which for many years was home to Tower Records has had other tenants, each one symbolising the vanguard of California culture. In 1944 it was one of several Dolores’ Drive-Ins in the Southland. By 1952, it was Jack’s Drive-Ins [the plural is sic], home of the “Big” Jackburger, and this remarkable polyglot sign comprised of sculpted backlit plastic, sinuous neon tubing and incandescent lights.
photo: George Mann (detail)
Despite the awesome signage, Jack’s on the Strip didn’t last long; by the early 1960s, the site was home to an Earl “Madman” Muntz Stereo-Pak shop installing early car stereos, and by 1970 it was Tower Records. In 2006, Tower’s bankruptcy spelled the end of this pop landmark and the start of an ongoing preservation crisis.
The signature Jack’s is similar enough to Jack’s at the Beach (see our Malibu post) for us to wonder about a business relationship with Jack Compselides’ beachside establishment, yet different enough for us to think “well, there aren’t THAT many ways to spell JACK’S in neon.”
photo: George Mann (detail)
We’d almost suspect the whole thing was a figment of our (admittedly fevered) imagination if it weren’t for one brief 1952 mention in the L.A. Times, proving that Jack’s actually existed.
So essentially, Jack’s Drive-Ins is a mystery, and aside from George Mann, nobody seems to have photographed its incredibly sexy sign. We owe him an enormous debt for having done so. Here’s to you, Mr. Mann!
photo: George Mann
And finally, down towards the end of the Strip, we come to The Plymouth House, which was previously The Deauville, which the Times described as a “pink-walled retreat for stay-up-laters.” The Plymouth House opened in February 1953, featuring an English tavern style interior and Continental/Italian cuisine.
George and Gracie Burns celebrated their 37th anniversary with a dinner in February 1963, and in August 1962 the William Powells hosted a party for guests from San Antonio. Then there was one guest who dropped in a little unexpectedly.
photo: USC Digital Library
In later years the site was home to Gazarri’s, which became ground zero for hair metal culture in the 1980s, and it is presently The Key Club, and our final stop in George Mann’s Sunset Strip tour.
Stay tuned to On Bunker Hill for our next trip in the footsteps of photographer George Mann, when we’ll be featuring the forgotten steakhouses, sports bars and pancake houses of West Los Angeles. Till then!
Today On Bunker Hill is proud to present a bombshell from the archives of George Mann: never-before-seen footage of the legendary American dancer Josephine Baker on stage in Paris in 1931. This too-brief glimpse at the athletic and erotic antics of Miss Baker and company predate Mann’s astonishing color photographs of Bunker Hill by about thirty years.
Like Miss Baker, George Mann was headlining in Paris in spring 1931, as one half of the dance team Barto & Mann. His good friend Bob Vernon was a lead dancer in Miss Baker’s revue at the Casino de Paris, and it was this close association that allowed George Mann to set his movie camera up just on the edge of the stage and capture a scene that is sure to captivate. It seems Miss Baker was a bit captivated, too, if the name “Mann” in quotes on her autographed photograph is anything to go by.
On July 12, 2012, please join On Bunker Hill bloggers Richard Schave, Kim Cooper and Nathan Marsak and Bunker Hill native son Gordon Pattison at Gary Leonard’s Take My Picture Gallery in downtown Los Angeles, for the debut exhibition of George Mann’s astonishing color photographs of Bunker Hill, and a presentation on the history of the neighborhood and Mann’s work.
*[Update to this post: after reviewing other newly digitzed footage shot on the same day as the Wall of Death discussed below, George Mann’s son Brad Smith now believes that this footage was actually shot at the Oakland Orpheum Theatre, sometime between March 31-April 6, 1928. The act and the players were identical to what was seen in March 1928 in Los Angeles.]
Today On Bunker Hill is proud to present another little something special from the archives of George Mann, an artifact that predates his astonishing color photographs of Bunker Hill by about thirty years.
In March 1928, the comedic dance team of Barto & Mann were billed on the vaudeville stage of Los Angeles’ Orpheum Theatre with a slew of acts who are today mostly forgotten, but who had reached the top of a very competitive entertainment industry. It was during this run that the very-small-and-awful-tall Barto & Mann were praised by the L.A. Times as “a knockout team.”
A not-yet-39 Jack Benny was on the bill, as was the magician Cardini (still billed as “The Gay Deceiver;” later on, he became “Suave”). Charlotte Greenwood appeared “in her morning bath” — a bit in which the dancer-comedienne was forever stopped from disrobing by the inopportune arrival of a range of visitors. Also appearing were the pratfalling comic Lupino Lane (Ida’s uncle), Harland Tucker and Carl McCullough singing “When I Was a Dandy and You Were a Belle.”
Then there was the Tom Davies Trio–up at the top of the bill, but something of a mystery until the film snippet below was digitized by George Mann’s son Brad Smith, some 84 years after his father captured this astonishing scene.
Friends, we bring you the celebrated and terrifying Wall of Death, live on the Orpheum stage! And in July 2012, you can see the first exhibition anywhere of George Mann’s Bunker Hill photographs, just steps away from the Orpheum at the Take My Picture gallery.
Today On Bunker Hill is proud to present a little something special from the archives of George Mann, an artifact that predates his astonishing color photographs of Bunker Hill by about twenty years.
George Mann’s son Brad Smith writes: “Long tucked away in closets, attics, garages and basements as I’ve moved from the west coast to the east coast and 30 years ago back again to live in Berkeley, California are three storage containers with about 50 reels of film, each about 400’ long. They were taken by my biological father, George Mann, a vaudeville headliner and half of the somewhat risqué comedic dance team of Barto and Mann. Many of the shots were of his fellow vaudevillians, most long forgotten, but some names are still known today.
One such act was The Three Stooges. The following never-before-seen, two-minute clip of The Three Stooges, taken in 1938 when they were on the same bill at the Steel Pier in Atlantic City, includes George and my mother. It’s quite a smile for me to master the steps involved to digitize, edit and post this clip. I hope watching it makes you smile too.