Postcards From the Past

The Hotel Green, Pasadena

The Bridge

March 15, 2007
South Pasadena

Here’s the Gold Line, its passengers mercifully unaware that they are zipping along to Pasadena in the “Gorge of Eternal Peril” beneath “The Bridge of Death.”

Here’s a close-up of a patch made to fix one of the 1907 cracks in the bridge. And yes, the darn thing is still standing. Hm. Maybe I should call it “The Bridge of Hope” instead.

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In Which a Ghostly Visitor Returns

March 15, 2007
Los Angeles

“Well, dear boy, I suppose you thought you were through.”

“Yes, I did.”

“And?”

“Good grief! Do you see this bridge over the Gold Line? It looks like it’s held up with hairpins and spit!”

“Saliva, dear boy. And what is the Gold Line?”

“Well, it’s sort of a streetcar, except it doesn’t run on the street.”

She leaned back in her ghostly chair. “And what did you think of our little year?”

“I was quite wrong, wasn’t I?”

She merely nodded.

“You could have at least told me.”

“Dear boy, you needed to find out for yourself.”

“OK, so there were movie theaters in Los Angeles.”

“Yes.”

“And there were comics in the paper.”

“Little Nemo is one of my favorites.”

“I couldn’t believe all the domestic violence. Awful stuff.”

“It was terrible,” she said.

“And getting a divorce was so difficult.”

“That was horrible,” she said.

“And the rotten doctors, the fakes and charlatans, dirty restaurants, the drinking and alcoholism. The exploding gasoline stoves.”

“Well,” she said chidingly, “you didn’t write very much about people who were nice. You newspaper folks never do.”

“Most of all, we haven’t changed very much, have we? I mean, look at our problems with transportation... with sanitation... with growth... with housing... immigration... ethnic discrimination... education... polluting the ocean. A century later, the Police Department is still pleading for more officers. It’s the same story, with different details, that we had in 1947.”

“And why do you think that is?”

“Ma’am, that’s a short question with a long answer. You could tell me, couldn’t you?”

“I could.”

“But you’re not going to, because I have to figure it out for myself, is that it?”

She nodded.

“I’ll miss all of you so much.”

“You know where to find us,” she said.

“Was it a kinder, simpler time?” I asked.

“Maybe in some ways, but mostly no.” And then she paused for a moment. “Go take a picture of your bridge. It hasn’t fallen down yet, has it?”

“Nope, it’s still there. Or at least some bridge is still there.”

I didn’t know what else to say: “Thanks for everything.”

“You are most welcome. And thank you.”

And then she was gone.

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The Celebrity Inteview

March 14, 1907
Los Angeles

Harry C. Carr, future author of “Los Angeles: City of Dreams,” visits Fely Dereyne, who is starring in the San Carlo Opera Company’s touring production of “Carmen.”

Accompanied by Times artist Harold R. Coffman, who sketched the singer, Carr conducted a backstage interview with Dereyne with the help of two opera company members who served as translators. As an interview, it is disjointed, poorly organized and frustratingly incomplete; the early work of a green but talented writer who is somewhat smitten with his subject. And yet it is fresh and immediate.

“Dereyne dutifully remarked that she didn’t study Carmen” as a character, Carr says.

“Just natural,” she said in French. “I am just like that myself.”

“Gee,” said the artist, uneasily, “have you really got a temper like that?”

“Sometimes,” she said, with dancing eyes.

“Well, then, I hope you like this picture.”

“Oh,” she said airily. “Sometimes I am ver—how do you call it? Ver’ nice.”

“Like the little girl that had the little curl?”

Dereyne looked troubled. “I don’ know zee ladee; who is she, please?”

“This was a great moment in Dereyne’s career,” Carr wrote. “She was about to learn the tragedy of the little girl who had a little curl. It took two newspapermen, an opera manager and a second tenor to do it.”

Dereyne, an incredibly obscure figure today, was described in The Times as “one of the best Carmens who has ever been seen upon the local stage, for with her vigor and vivacity she never loses sight of the vocal demands of the role. At all times she sings. Her stage work and byplay are constantly assertive.”

She made her Metropolitan Opera debut in November 1907 as Musetta in a performance of “La Boheme” with Geraldine Farrar and Enrico Caruso. Her last Met performance was in 1908 as Nedda in “Pagliacci.” After that she seems to have vanished from the stage.

And there you have it; a moment backstage in a theater (Philharmonic Auditorium) that is gone with people who are, except for Carr, entirely forgotten. That’s what I love about research.

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Farewell, Faithful Companion

Feb. 12, 1907
Whittier

Don had rushed up San Juan Hill with the Rough Riders, fearless in the face of enemy fire. But he could not survive a speeding driver on the otherwise placid streets of Whittier.

A present from Teddy Roosevelt to Hamilton Fish, Don was the mascot of Company B of the Rough Riders. Don was given to Col. William Wallace. When Wallace died in Whittier, Don was given to Wallace’s physician, Dr. Hadley.

“Since that time the big dog had had the freedom of the Quaker town and had never walked through the streets without receiving much attention from small boys and girls to those of larger growth,” The Times says.

Death came from “a big touring car containing four persons, going around a corner at so high a speed that the old dog, which was walking quietly along, could not get out of its way.”

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Los Angeles Has No History

Feb. 24, 1907
Los Angeles

Google Earth, 2007

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