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TREASURE ISLAND

1939 - I94o

-%- -

THE MAGIC CITY

In the Court of the Seven Seas rhythm of tremendous scale
was obtained by the equal spacing of sixteen sixty-foot pylons
along its sides. Crowning these pylons were perched prows of
galleons, each graced with a wringed figure representing the Spirit
of Adventure, the work of P. O. Tognelli. "Creation," a group
by Haig Patigian, was in the center of this court.

High up on the walls, between these major motifs, were
spaced a trilogy of sculptural panels by Tognelli depicting "Ex-
ploration," "Trade" and "Commerce." Other bas-relief work by
Tognelli in this court included "Discovery," "Flying Cloud" at
the side entrances, and "Treasure of the Seven Seas." Edstrom's
"Florence Nightingale" stood before the Hall of Science.

At the northern terminus of the Fair's main axis was the
Court of Pacifica, designed by Timothy L. Pflueger. An out-
standing artistic achievement in this court was a huge bold relief
mural, "The Peacemakers," done by Margaret, Helen and Esther
Bruton, emphasizing the Fair's underlying motif, Pacific peace
and unity.

The great panel was 144 feet long and 57 feet in height, and

was done in 270 separate panels,
each four by eight feet. The entire
mural covered a space of more than
8,000 square feet.

The mural was an artistic hybrid

— a cross between sculpture and
painting. Color was used, but only
in large, simple areas. The Brutons
used bold relief technique because
it gave a strong light and dark pat-
tern without destroying the feeling
of the wall.

The central figures of "The
Peacemakers" were a great Buddha

— calm, pacific — and an Occidental
woman, kneeling, swathed in a
white cowled robe. Friezes of mov-

Sunlit pool hi upper
reaches of beautiful
Lagoon of Nations

ing figures on either side represented the Orient and the Occi-
dent, respectively.

A shimmering, scintillating "prayer curtain" of metal hung
as a back-drop behind Ralph Stackpole's "Pacifica." Approxi-
mately 100 feet high and 48 feet wide, the curtain, like the metal-
lic curtains in Oriental temples, gave off melodious sounds as it
fluttered gently in the breeze.

One of the loveliest fountains of the Exposition was located
in this Court, to the east of the Western Gateway (Architect,
Ernest E. Weihe) , the entrance opposite the main ferry termi-
nal with its elephants and howdahs designed by Donald Macky.

Surrounding the sunken basin of this fountain, on the foun-
tain itself, were pieces of sculpture fashioned by well known
artists. Here, expressing the broad Pacific theme of the Exposi-
tion, were Jacques Schnier's male and female figures, "The
Orient," symbolizing the quiet, inward-looking spirit of India;
Brents Carleton's Polynesian group; Adaline Kent's group sym-
bolic of the islands of the South Pacific, young girls in the sun
listening to a young man improvising music; Sargent Johnson's
happy Inca Indians playing the
Pipes of Pan; Carl George's Ameri-
can Indian and Modern Women; a
North American group by Ruth
Cravath Wakefield — Alaskan Boy
Spearing a Fish, American Woman,
and Mexican Boy; a South Ameri-
can group by Cecilia Graham of a
Primitive Woman Making Farina,
A South American Fisherman, and
a Young Native Riding an Alliga-
tor; and a group of Chinese Musi-
cians by Helen Phillips.

Movement and life predominated
here. From the base of the towering
figure of Pacifica a cascade of water
flowed into the fountain. Colored

Splendor of Tower
of the Sun as seen
from East-West axis

From the collection of the

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Prefinger
library

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San Francisco, California
2006

BttMONT ABBEY COLLEGE LIBRARY
BELMONT, NORTH CAROLINA

, «'

TREASURE ISLAND

1939-1940

TREASURE ISLAND

rr rr i

1 h

e Hlacjic

THE STORY OF THE

GOLDEN GATE INTERNATIONAL EXPOSITION
By JACK JAMES and EARLE WELLER

PISANI PRINTING AND PUBLISHING COMPANY
SAN FRANCISCO, CALIFORNIA

by
PISANI PRINTING AND PUBLISHING Co.

SAN FRANCISCO, CALIFORNIA

DEDICATION

To THE FORGOTTEN MAN OR WOMAN (we tried to remember all)
... to the overlooked event or day (there were so very many) . . .
to the few who conceived, the scores who planned, the hundreds
who administered, the thousands who executed, the millions who
made the Magic City on Treasure Island ... to memories of light
and laughter ... beauty transcending imagination . . . singing
strings and flowers nodding in the sunshine . . . the editors
humbly dedicate this book.

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness:

JOHN KEATS (1795-1821)

FOREWORD

THE INSPIRATION of this book is obvious. It springs from memo-
ries of breath-taking beauty that can never die.

The reason for its preparation is equally clear. It was only
fitting and proper that a permanent record of a dream that bur-
geoned into glorious fruition should have been created.

The task of research and preparation was delegated to two
men in whom the management of the Golden Gate International
Exposition of 1939 and 1940 had implicit confidence — Jack
James, Director of Publicity and Promotion for 1940, and Earle
Weller, Manager of the Magazine Division the same year. These
two men knew the picture and appreciated it. They had the facts
in hand, could secure full check on details. They have done their
work, and done it well.

Mr. G. Pisani, head of the Pisani Printing and Publishing
Company of San Francisco, had close contact with the 1940 Fair
through his interest in one of its outstanding attractions, the Sa-
lici Puppets. Mr. Pisani offered to underwrite publication costs
of this volume, when the Exposition Company was unable to
undertake that responsibility. The caliber of his contribution is
apparent. The book speaks for itself.

When it was finally determined to sponsor the publication
of this permanent record of Treasure Island, 1939 and 1940, a
supervisorial committee was chosen, which included, among
others, Leland W. Cutler, President of the 1939 Fair; Marshall
Dill, President in 1940 and George Creel, United States Com-
missioner for both years. This committee has checked and passed
upon all factual data.

The theme of this history of the birth and growth of an idea
might be well summarized in the following extracts from the
closing addresses of the two Presidents of the Exposition, one on
October 29, 1939, and the other on September 29, 1940 —

"The Golden Gate International Exposition was the dream
of many — states and cities and counties, and boys and girls and
men and women. Lights are made by men in beauty and last for
just a little while. Memories come from God and live forever. So
will our memories of this beauty live until Time's End!"

LELAND W. CUTLER,

President of the 1939 Exposition, in
his closing address, October 29, 1939.

"Yesterday's bright version of Treasure Island today becomes
an enduring memory. To have added another chapter to San
Francisco's prismatic history is something in which we can all
take pride. 'A thing of beauty is a joy forever: Its loveliness in-
creases; it will never Pass into nothingness:' . . . 'The feast is over
and the lamps expire!' '

MARSHALL DILL,

President of the 1940 Exposition, in
his closing address, September 29, 1940.

ACKNOWLEDGMENT

THE EDITORS desire to express their appreciation for the cooperation of
the various official agencies in the preparation of this volume; to the Gen-
eral Electric Company and E. T. "Buck" Harris, of KGEI, for the use of
the color plates of the night lighting made up from photographs by Moulin
Studios; to Ted Huggins, of Standard Oil Co., Chairman of the Promotion
Committee for factual material; and to Mrs. Alfred McLaughlin and Mrs.
Frank Panter for information on the women's events at the Fair; to Leland
Cutler, Marshall Dill and George Creel for advice and encouragement.

Authorities consulted for factual material, apart from guide books,
catalogues of the Thorne Miniature Rooms and the Art Exhibits of '39 and
'40, were as follows:

Robert B. Hoover — Business Aspects of the Preparations for the Golden
Gate International Exposition. Master's Thesis. Stanford, 1939.

Eugen Neuhaus — The Art of Treasure Island. University of California
Press, 1939.

Stanley Armstrong Hunter, — Temple of Religion and Tower of Peace.
San Francisco, 1939, 1940.

University of California — Science in the Service of Man. University of
California Press, 1940.

California Commission — Report to Governor Olson, 1941.

U. S. Commission - — Your America. The Story of the United States Gov-
ernment Exhibit at the Golden Gate International Exposition,
1939.

International Business Machines Corp. — Contemporary Art of the United
States, 1940.

Most of the illustrations included here are from photographs by
George Grau, of San Francisco. Others are by Moulin, Bates Creel, Elmer
Eckhardt and members of the Exposition photographic staff directed by
Carl Wallen.

CHAPTER PAGE

Foreword . vii

I. How It Began 3

II. An Island is Built 17

III. The Magic City 25

IV. Beauty and Color 41

V. Let There Be Light! 55

VI. Government on Parade 69

VII. California Presents 81

VIII. Show Window of the States 93

IX. Friends from Abroad 99

X. The Market Place 121

XI. Old Masters and Art in Action 133

XII. Science and Service to Man 143

XIII. The Women's Role 159

XIV. Pageantry and Song 179

XV. Street of the Barkers 209

XVI. Gala Days of '39 . 215

XVII. The Months Between 245

XVIII. The Golden Forties 259

XIX. And the World Came 279

XX. The Curtain Falls 287

Appendix 311

Illustrations in Color

ELEPHANT TOWERS AT NIGHT ON

WESTERN WALLS OF EXPOSITION 187

CADORIN'S "EVENING STAR" IN

COURT OF THE MOON, NIGHT SCENE 153

FLUORESCENT ILLUMINATION OF

THE TOWER OF THE SUN 51

SOUTH TOWER, ENTRANCE TO HOMES AND

GARDENS BUILDING, UNDER FLOOD LIGHTS 255

STACKPOLE'S "PACIFICA"

AND HER COURT, AT NlGHT 221

ARCH OF TRIUMPH AND THE

COURT OF REFLECTIONS 119

NIGHT SCENE, GOLDEN GATE

INTERNATIONAL EXPOSITION 85

GIRL AND RAINBOW FOUNTAIN,

IN THE COURT OF FLOWERS. , 289

Illustrations in Black and White

OAKLAND-SAN FRANCISCO BAY BRIDGE

AND THE SKYLINE OF SAN FRANCISCO ................ 9

LOOKING DOWN FROM THE TOWER OF THE SUN ON

THE COURT OF THE MOON AND TREASURE GARDEN ..... 27

THE COURT OF PACIFICA, WITH THE "FOUNTAIN

OF WESTERN WATERS" IN THE FOREGROUND .......... 37

THE COURT OF THE MOON AND STARS,

THE CALIFORNIA AUDITORIUM, HOME OF THE

FOLIES BERGERE, ON THE LAKE OF NATIONS .......... 48

GIRL AND RAINBOW FOUNTAIN

IN THE COURT OF FLOWERS ........................ 57

FEDERAL BUILDING FROM THE TEMPLE

COMPOUND ACROSS THE LAKE OF NATIONS ........... 71

PACIFIC HOUSE, THE THEME

BUILDING OF THE EXPOSITION ..................... 109

THE TOWER OF THE SUN,

THE YERBA BUENA CLUB, WOMEN'S

HEADQUARTERS ON TREASURE ISLAND ............... 159

SCENES FROM A. L. VOLLMAN'S

"CAVALCADE," EXPOSITION THEME SHOW. ... ........ 184

ASCAP STARS ON COLISEUM

STAGE AT 1940 FAIRCMOU//H Photo) .................... 196

CANDID CAMERA SHOTS ON

THE GAYWAY (George Gran Photos) ..................... 212

Jo Jo, THE CLOWN, AND ONE OF His

JUVENILE PERFORMERS(George Gran Photo) .............. 275

CHAPTER I

IN THE BEGINNING there was an idea, an idea to celebrate in some
fitting manner the completion of the two San Francisco Bay
Bridges, one — the longest single suspension span in the world,
and the other — the largest structure of its kind in the history
of man. The idea took form in the proposal for an Exposition,
a World's Fair in keeping with the magnitude of the projects
it was to celebrate.

In February, 1933, the "Pulse of the Public" column of the
San Francisco News carried a letter signed by Joseph Dixon, who
suggested that a World's Fair be held to commemorate the com-
pletion of the two bay spans. A few days later the News pub-
lished an editorial cartoon on the subject.

For a time the suggestions were forgotten in the days of
financial crisis, but the idea would not die. On May 3, 1933, the
newspapers carried a story that the Chamber of Commerce was
investigating the feasibility of holding a World's Fair and on
May 18, John Shea, of the San Francisco Convention and Tour-
ist Bureau, announced that his organization would confer with

4 THE MAGIC CITY

Mayor Rossi to ask the appointment of a citizens' committee to
launch a campaign for an Exposition. Even then, Yerba Buena
Shoals was mentioned as a possible site. On the following day
the Chamber of Commerce began a survey of the proposed plan.

In June, Harmon S. Butler walked into the offices of the
Junior Chamber of Commerce and carefully deposited a large
bundle on the counter.

"Here it is," he exclaimed, "an Exposition site where San
Francisco can tell the world of her progress."

It was a miniature relief map upon which Butler had traced
a circular "man-made" island in San Francisco Bay.

"Just another 'crackpot' idea," muttered the skeptical, little
dreaming that less than six years later this little map would
present a true picture of the area, with the shores of Treasure
Island, like a shimmering mirage, rising majestically from the
sea.

The Board of Supervisors of San Francisco passed a resolu-
tion on July 31, 1933, calling on Mayor Rossi to appoint a group
of citizens to investigate the proposal for a Fair. A Bridge Cele-
bration Founding Committee was appointed which held its first
meeting on October 10, 1933. An Executive Board of twenty-
five members and an Advisory Planning Committee of thirty-
three were named, the latter to sound out public sentiment, de-
termine the scope of the contemplated celebration, discuss the
location and the vitally important phase of underwriting the
preliminary costs.

The first consideration was the selection of a site. To archi-
tects W. P. Day and George W. Kelham was assigned the task
of weighing all the advantages and disadvantages of the various
locations suggested, which included Golden Gate Park, the Pre-
sidio, Lake Merced and many other sites.

Golden Gate Park provided a beautiful setting for an Expo-
sition, but the physical changes required, the planting and land-
scaping which would be damaged and, in many cases, destroyed,
eliminated it from serious consideration. China Basin offered
possibilities from the standpoint of a vacant expanse of land, but

HOW IT BEGAN 5

the surroundings did not lend themselves to adequate develop-
ment. Similar objections were raised against Candle Stick Point.
This location was readily accessible by rail and automobile, but
the approaches were through industrial areas and its possibilities,
insofar as beauty and charm were concerned, gave rise to grave
doubts.

Lake Merced presented an atmosphere of natural beauty and
was given a thorough investigation by the engineers. It was easily
accessible by automobile and offered an opportunity for excel-
lent transportation service through additional car lines. The ex-
pense of grading and rilling necessary for buildings was a draw-
back and another objection raised was the summer fog which
might dampen the spirits of daytime visitors and interfere with
the effect of the night lighting. Furthermore, it would not be a
constant visible attraction from the city centers and bore no rela-
tion whatever to the bay and the bridges. Nevertheless, the engi-
neers thought it should be given full consideration and prepared
a definite architectural plan showing its possibilities together
with a detailed report regarding physical conditions.

The site which stirred the imaginations of Kelham and Day
lay in San Francisco bay itself, under the surface of the water
on the northwest side of Yerba Buena (Goat) Island, an area
known as Yerba Buena Shoals. The shoals extended over approxi-
mately 735 acres and were separated from the island by a 900
foot channel. Yerba Buena itself stands in the center of San
Francisco bay, midway on the bay bridge, one and three quar-
ters miles from the Ferry building and three quarters of a mile
from the end of the Key System mole which juts out from the
east side of the bay. The island comprises 150 acres, rising 325
feet above sea level, and has been used as a naval receiving sta-
tion for many years.

The engineers, in their investigations of the shoals, sought
specific information on the character of underlying materials and
test borings were made to be sure that foundations might be
laid for permanent buildings without danger of disintegration
through action of the elements.

A barge, suitably equipped with an outfit for core borings,
was rented and several determinations of the depth of water and
the bay bed were made on the site. Holes were driven to 50 feet
below the mean low water line and the engineers found, in gen-
eral, approximately 25 feet of a fine black sand over a dark gray
clay. They concluded that it would provide satisfactory founda-
tion for a sand fill and that buildings of considerable height
could be built without the use of piles.

In the preliminary report of the engineers, construction of
a sea wall and the use of dredges and pumps to fill in the basin
with sand was suggested. Then the man-made island was to be
joined to Yerba Buena and the bridges by means of a viaduct
which would be of permanent value as it would provide access
to the airport to be created on the island when the Exposition
closed.

The shoals offered the possibility of an unusual setting; cli-
matic conditions were favorable; accessibility by bus, train, ferry
and automobile was an important element. But the outstanding
argument was the creation of an airport near the metropolitan

center. In determining the size and
shape of the reclaimed area, there-
fore, foremost consideration was
given to airport requirements and
the Public Utilities Commission of
the City of San Francisco and quali-
fied aviation experts were consulted.
"It is possible," the report read,
"to design the Exposition in such a
way as to make some of the struc-
tures of permanent character and
available for airport usage in the fu-
ture. There also will be available
the permanent bridge, road and
causeway, water supply to the site,
a water distribution system, a storm
sewer system, and at least a portion

F.D.R. Smiles u/> at
Mayor McCrackcn,
Geo. Creel at right

HOW IT BEGAN

of a roadway system. The cost of the permanent improvements
for airport purposes would approximate almost three and one-
half million dollars, and in addition there would be available
on the site ample materials as salvage at a comparatively low
price, to be used for additional requirements of the airport.

"The site under consideration offers a unique opportunity
from the standpoint of beauty of setting. This point is well ex-
emplified in a recent bird's-eye of the bay area and contiguous
counties. In addition, aeroplane views of the site, with the San
Francisco-Oakland Bay Bridge and the proposed Exposition set
in their proper locations, have been made, and are indicative of
the great possibilities. From an advertising standpoint, the in-
tangible charm of the surroundings is conclusive. The site will
be in the direct view of all outgoing and incoming ships, of all
visitors to San Francisco from the East and, in fact, of all traffic
on the bay. From the hills of San Francisco, a panorama of the
Exposition will be visible. . .

"In view of the foregoing, we unequivocally recommend the
Yerba Buena Shoals as the location offering the greatest proba-
bility of financial success, consistent
with the achievement of the objects
of the Exposition."

The suggestion for the reclama-
tion of the Yerba Buena Shoals and
their use as an aviation field had
been first made in 1931 when the
Aeronautics Committee of the San
Francisco Chamber of Commerce
was in search of a site for a terminal
airport which would serve the grow-
ing traffic of the San Francisco Bay
area.

Following the recommendation
of the shoals as a site for an airport,
San Francisco had taken steps to ac-
quire title. A bill was introduced in

Press Pass No. 1 for
First Lady of Land
From Jack James

8 THE MAGIC CITY

the State Legislature and signed by the Governor on June 12,
1933, which transferred the tidelands and submerged shallows
to the city.

The Day-Kelham report was submitted to the general com-
mittee on July 5, 1934. It was not until February 28, 1935, how-
ever, after much argument, that the committee reached a deci-
sion and announced its approval of the shoals as a site for the
Fair. But more opposition developed and, finally, the question
was put to a vote of the people of San Francisco and the decision
of the committee was confirmed.

The city-wide organization, which had been named in the
earlier stages of discussion, had selected an executive board, and
out of this group emerged the San Francisco Bay Exposition
Company, headed by Leland W. Cutler, who had served as
President of the Chamber of Commerce and as chairman of the
Celebration Committee.

On July 24, 1934, the functions of the San Francisco Bay
Exposition commenced as a corporation. A Board of Directors,
consisting of the outstanding business and professional leaders
in the bay area, was created. With Atholl McBean as chairman
of the Board, and Leland W. Cutler, President, immediate steps
were taken for expansion to accommodate such a vast project.
Subsequently, a group of nine, elected by the Board of Directors
among its members, was designated as the Executive Commit-
tee of the Board, with full power and authority, and later still,
the Executive Committee created a Board of Management of
four members to which certain duties and responsibilities were
delegated. The Executive Committee had as its members: Messrs.
Atholl McBean, Alfred J. Cleary, R. B. Hale, R. F. Allen, Col-
bert Coldwell, J. W. Mailliard, Jr., Allen L. Chickering, John
F. Forbes and B. B. Meek, with President Leland W. Cutler as
ex-officio member. The Board of Management, which was created
early in 1937, consisted of Messrs. James B. Black, Colbert Cold-
well, K. R. Kingsbury and J. W. Mailliard, Jr. In the beginning,
the officers of the corporation were: Messrs. Atholl McBean,
Chairman of the Board; Leland W. Cutler, President; B. B.

10 THE MAGIC CITY

Meek, Vice President; Kenneth R. Kingsbury, Vice President;
George D. Smith, Vice President; John F. Forbes, Treasurer;
Allen G. Wright, Secretary and General Counsel; H. C. Bottorff,
Executive Secretary and Assistant Treasurer.

Between the formation of the Bay Exposition Company and
the start of reclamation work on the shoals, the officers and ex-
ecutive committee of the organization were busily occupied.
Financing the huge project was the first problem and, in a de-
pression period, this was no easy matter. Among the first actions
of the Executive Committee was that of requesting the prepara-
tion of a master budget and a program of financing. This mam-
moth task was delegated to John F. Forbes, Treasurer of the
corporation, with H. C. Bottorff, Executive Secretary and As-
sistant Treasurer, assisting.

In May, 1935, W. P. Day was appointed Director of Works
with an authorization to prepare plans and specifications for
reclaiming the underwater site. This preliminary work was es-
sential if funds were to be secured from Federal agencies for the
airport possibilities of the enterprise. Eight applications were
submitted covering the reclamation and sea wall, the water
supply, roadways and bridges, horticulture, pavements, ferry
slips and architectural and engineering design.

Almost simultaneously with the appointment of Mr. Day as
Director of Works, George W. Kelham was appointed Chief of
Architecture and it was Mr. Kelham's task to create an architec-
tural theme and design of a Magic City upon the magic isle, one
which would be an everlasting symbol of beauty in the eyes and
memories of its visitors.

Mr. Cutler and George Creel proceeded to Washington where
they enlisted the enthusiastic support of the President and, in
1935 and 1936, grants of $5,517,830 were made by the Works
Progress Administration. These had to be met by a contribution
from the sponsoring agency, the San Francisco Bay Exposition,
in the sum of $1,103,566. In addition to the Works Progress
Administration grant, the Public Works Administration allo-
cated $1,894,324 against a contribution of the Exposition Com-

HOW IT BEGAN 11

pany of approximately $2,315,280. The plans for construction
and development of the site, such as horticulture, exterior deco-
rating, electrical equipment, etc. required over and above the
grants of the Federal Government and the funds provided by
the Exposition Company to match the Federal grants, the sum of
$8,106,000, making a total budget for construction of approxi-
mately $18,937,000.

In addition to the funds necessary for the development of
the site, there were funds needed for administration promotion,
publicity, the selling of exhibit space, concessions, collection of
exhibits, art treasures and foreign government participation,
representing a budget estimate of $3,250,000.

To meet the budget requirements for construction and over-
head in the pre-period, it was necessary to seek sources of reve-
nue. It was estimated that receipts accruing from the sale of
exhibit space, concession contracts, advance sale of tickets, license
fees, utility service, etc., would produce approximately $3,700,-
000 in the pre-period. Underwriting by public subscription in
the total sum of $7,500,000 was then undertaken by the Finance
Committee under the able leadership of Kenneth Kingsbury.
His first move in this direction was to call together representa-
tives of sixty of San Francisco's leading financial, industrial and
commercial firms. They were asked to donate $15,000 each as a
temporary subscription pending the results of a public drive.
These subscriptions were either to be repaid from the perma-
nent fund, or deducted from later subscriptions of the individual
concerns. The appeal was successful and the funds secured
through these preliminary subscriptions helped clear the way
for actual construction to begin.

The public subscriptions took the form of non-interest bear-
ing certificates carrying a promise to the effect the Exposition
Company pledged itself to do its utmost to redeem the certifi-
cates at par or as near par as the net surplus of the Exposition
would permit. The Finance Committee set out to raise the
$7,500,000 through pledges of commercial interests in the bay
area. A campaign budget was prepared, potential subscriptions

12 THE MAGIC CITY

being based on four items, the proportion of the total subscrip-
tion made by the individual concern to the 1915 Fair, the pro-
portion of the total subscription to the Chamber of Commerce,
the Community Chest and Californians, Inc.

To augment the estimated receipts accruing in the pre-
period from public subscriptions, advance sales, etc., in order
to meet the actual cash requirements for sponsorship of Federal
grants, overhead and Exposition construction costs, the Execu-
tive Committee arranged to borrow from two large corporations
and six major banks in San Francisco, the sum of $2,750,000,
with the understanding this loan would be repaid from operating
revenues.

One of the most important committees, one which operated
"behind the scenes" and received no public acclaim, was the
Insurance Committee. Without insurance there could have been
no Exposition. Priceless works of art, valuable books and fabrics,
expensive machines ... all these had to be "covered" with ade-
quate policies.

Lives of the workmen, guards, cashiers and all who toiled to
build and operate the Fair required protection. It was no simple
task to estimate the hazards and determine the premiums on the
multiplex activities of the Exposition. Realizing the importance
of this task, early in 1936 the Executive Committee appointed
an Insurance Committee to consider and recommend to the
Board the designation of certain insurance brokers who would
act in an advisory capacity to the management, representing the
casualty and surety groups and the fire groups. The report of
the Insurance Committee recommended the appointment of
John B. Levison (chairman) , Harry W. Spencer, Charles Nich-
ols, George Levison and N. G. Birkholm for the casualtv and
surety group, and James M. Ryan (chairman) , Henry Doble
and Lloyd Rowley for the fire group. The recommendation of
the Committee was approved and the appointments were made
official on April 14, 1936.

In an Exposition, one of the major insurable hazards involves
the protection and supervision of all personal injuries, both those

HOW IT BEGAN 13

involving members of the public and involving employees. In
insurance terminology this is known as workmen's compensation
insurance and this form of coverage was immediately procured
to protect the responsibility of the Exposition Company to its
employees for all injuries arising out of and occurring during
the course of employment. By direction of the Exposition man-
agement, negotiations for placement of casualty insurance and
surety bonds were carried on primarily with B. G. Wills, Vice
President of the Fireman's Fund Indemnity Company of San
Francisco. The result of negotiations with the Fireman's Fund
Indemnity Company was a specially designed policy, which
blanketed all personal injury and property damage liability to
which the Exposition Company would be exposed. In the writing
of this policy, as in all others, provision was made so as to cover
the entire construction period, operating period and demolition
period. In view of this, when it was determined that the Expo-
sition would operate again in 1940, all that was necessary was
an extension of the original expiration date.

Special forms of surety bonds were required to meet the pe-
culiar circumstances arising out of the inter-relation of responsi-
bilities among the Exposition Company, the City and County
of San Francisco, and the State of California Toll Bridge Au-
thority. These dealt for the most part with the island approaches
from the San Francisco-Oakland Bay Bridge.

Automobile coverage and many other miscellaneous forms of
protection had to be provided long before the Fair became an
actuality.

One of the vital factors in the entire insurance program was
exhibitors' and concessionaires' insurance. The Exposition Com-
pany had to make certain that all participants carried at least
adequate public liability and workmen's compensation policies.
To accomplish this, the Exposition Insurance Associates devised
a master policy under which certificates would be available to
any participant, thereby providing him with the proper public
liability insurance. A similar procedure was followed in han-
dling participants' workmen's compensation insurance. Each par-

14 THE MAGIC CITY

ticipant was contacted, insurance requirements thoroughly dis-
cussed, and adequate evidence of necessary coverage had to be
furnished by the participants prior to the opening of the Expo-
sition in compliance with the rules and regulations of the Expo-
sition Company.

Under the terms of the master liability policy placed with the
Fireman's Fund Indemnity Company, provision was made for
the furnishing, equipping, and operating of a complete emer-
gency hospital, located in the Administration Building. Super-
vised by the Exposition Company, the emergency hospital oper-
ated successfully during the early construction period and both
operating periods of the Exposition. Ambulance service estab-
lished in conjunction with the hospital assured prompt medical
attention being given to all suffering injuries or illness while on
the Island.

With the increased tempo of construction, negotiations for
importations of fine arts and other loan exhibits, purchase and
rental of equipment, and manifold "hazards" incident to the
growing Magic City, the grave responsibility of the Exposition
Company for protection grew\ Ample coverage in fire, marine
and all-risk insurance was provided. A comprehensive plan of fire
protection was laid out, including a separate high pressure system
of mains, hydrants, water supply, fire alarm system, both manual
and automatic inside the buildings, and a complete "street sys-
tem." Special attention was given the permanent hangar building
which housed the irreplaceable and valuable art treasures.

An intricate network of "coverage" harboured exhibits and
equipment in transit. All-risk insurance was carried on plans,
specifications, drawings, models, and designs. Chartered craft
plying the bay waters between the Island and the mainland were
protected pending accessibility by automobile. Miscellaneous
forms of all-risk policies protected property loaned to or owned
by the Exposition Company. Contractors' and workmen's equip-
ment and materials were covered.

The losses on fire and supplemental coverages, from the start
of construction to the termination of insurance protection wrere

HOW IT BEGAN

very low. The California Building, destroyed by fire, was the
property of the State of California and insurance on this struc-
ture was handled by the California Commission.

The total amount of insurance coverage for the Exposition,
including Casualty, Fire and All-Risk reached the staggering
sum of $21,000,000. Due to the proper organization and plan
of procedure laid well in advance, the cost to the Exposition
Company in premium was comparatively small in relation to the
total coverage. The total fire losses covered by insurance aggre-
gated only $5,920.

Meanwhile, out of the shallow sands was rising a man-made
island, gigantic dredges were drawing material from the ocean
bed to deposit it within a great stone-rimmed cup that loomed
like a yawning crater on the north side of Yerba Buena Island, a
fleet of barges was plying back and forth bringing tons of earth,
rich loam and full-grown trees, and architects and engineers were
busy with blue prints and specifications, calculating, sketching
and planning the Magic City which was to rise like the palace of
Aladdin from the shimmering waters of San Francisco Bay.

View from the air
of early building on
The Isle of Magic

CHAPTER II

/?« iilcuut )i Built

DON JUAN MANUEL DE AYALA, the first white man to pass
through the Golden Gate, discovered Yerba Buena Shoals in
1775. For more than a century it appeared on the charts as a
menace to navigation. But in 1936 giant dredges, twice as many
as were employed in the construction of the Panama Canal, be-
gan to pump black sand from the bottom of the bay and raise
the shoals to the dignity of an island.

In February of 1936, when Exposition-airport plans had ad-
vanced to the construction point, the Corps of Engineers of the
United States Army put to work the first of its fleet of dredges;
more and more were added until there were nine of them work-
ing at one time. All told, eleven dredges were used, raising

18 THE MAGIC CITY

Treasure Island from its age-old depth of 2 to 26 feet below sea
level to an elevation of 13 feet above mean low water. It was to
be 5,520 feet long, and 3,400 feet wide, comprising 400 acres.

For eighteen and one half months the pumps of these dredges
throbbed in San Francisco Bay, pumping the sand from the bot-
tom through discharge pipes a mile in length at the peak rate
of 3,000,000 cubic yards a month.

More than black sand spurted from the island ends of these
discharge pipes, for the dredge cutters were disturbing quiet
depths that had rested inviolate through geological ages. Teeth
and tusks of extinct and fearsome mammoths, more than 250,000
and perhaps a million years lost in antiquity, came through.
Fossilized vegetable remains, peat . . . fish and shell-fish by the
million gushed into the fill; the seagulls made short work of
the edibles.

Construction strategy began the fill on the shallower southern
portions of Yerba Buena Shoals, which lies just north of the island
of the same name — midpoint of the San Francisco-Oakland Bay
Bridge. As black sand poured in, its weight pushed softer mate-
rials constantly ahead and out of the area to be filled in.

Thus the towers and palaces of the 1939 World's Fair, and
the airport runways that were to succeed them, were to have a
firm foundation. As the fill advanced a seawall followed it ... a
wall more than three miles long, containing 287,000 tons of
quarried rock and rising two feet above the established level
of the sand fill. Actual volume of the sand retained within this
seawall was 20,000,000 cubic feet; the intentional loss through
sluicing softer mud ahead of the firm sand required the dredges
to handle 25,000,000 cubic feet in completing the fill.

As areas near the seawall were dredged down to final depth,
hopper dredges were brought into action. These sailed the bay
to "borrow areas" several miles distant and nearer the Golden
Gate Bridge that spans the harbor entrance. There they dredged
their material and sailed back to Treasure Island, dumping in
stock-piles where pipeline dredges were anchored to give the
material its final boost across the rock rampart and into place.

AN ISLAND IS BUILT 19

Leveling was accomplished largely by hydraulic action as the
water drained back into the bay; finishing touches for construc-
tion purposes, including the Exposition's $17,500,000 building
program and the parking lot for 12,000 cars, were accomplished
by bulldozers and carriers.

Lt. Col. J. A. Dorst, district engineer, was ranking officer on
the reclamation project for the Army Engineers. Exposition par-
ticipation was handled under direction of W. P. Day, vice presi-
dent and Director of Works, who was in general charge of all
phases of construction of the Pageant of the Pacific.

The Army Engineers estimated that it would take them
eighteen and a half months to dredge Treasure Island out of San
Francisco Bay, and that it would cost $3,803,900. They used
eleven dredges; they pulled the last one off the job exactly
eighteen months and 15 days after the first one went on, and the
job cost $4,100 less than the estimate.

A causeway, 900 feet long and 110 feet wide, was constructed
to link with nearby Yerba Buena. On this craggy island the Bay
Bridge becomes a tunnel, and at both ends of this bore are the
highway laterals that bring Treasure Island within 10 minutes
of San Francisco or Oakland. Without a single left turn or grade
crossing, traffic was added to and subtracted from the streams
crossing the bridge — contributing to the millions of visitors who
came to the World's Fair.

Involving 7,600 feet of highway construction, the network of
roads between the bridge and Treasure Island was built with
two objects in view: six lanes of travel during the Exposition
traffic peak, and three lanes as a permanent connection between
bridge and airport. Consequently three lanes were of permanent
construction; the other three were temporary, constructed par-
tially upon timber trestles to reduce excavation quantities, which
came to 155,000 cubic yards.

The highways cost $600,000, and because of the permanent
airport value of the three-lane link there were Public Works
Administration funds in this phase of construction.

Along the western edge of the 400-acre Island was a broad

THE MAGIC CITY

automobile highway, diving through an underpass at one point
to permit pedestrians — passengers discharged by ferry boats that
supplemented the highways in serving the Exposition — - to cross
in safety without interrupting traffic flow.

One of the difficult problems which confronted the engineers
was the elimination of salt so that trees and flowers could grow.

Two hundred wells were drilled 25 feet into the soil and
vacuum pumps drained millions of gallons of brine into the bay.
Rains helped to clear the salt away and the pumps were halted
when the water level had fallen to eight feet below the surface.
Rich loam was brought from the Sacramento river delta and
tons of commercial fertilizer were added until tests revealed that
the island was ready for its horticultural adornment.

The problem of irrigation was handled, for the most part,
by installed sprinkler-heads. Water brought from San Francisco
through an ingenious flexing pipeline between the decks of the
$77,000,000 San Francisco-Oakland Bay Bridge, was pumped
into a 3,000,000-gallon reservoir on Yerba Buena Island where
it flowed by gravity across the 900-foot causeway connecting the

AN ISLAND IS BUILT 21

two islands, and was delivered to every corner of Treasure Island
through a distribution system containing more than 26 miles
of pipe.

The theme of the Exposition was "A Pageant of the Pacific"
so that plantings indigenous to nearly all the Pacific climates
and nations were selected.

Some 800,000 annuals were grown from seed at the Balboa
Park nursery of the Exposition, in San Francisco. Perennials
numbered more than 400,000, bulbs were planted in their plot-
ted locations, in September of 1938, 250,000 tulips, 20,000 iris,
20,000 tuberous begonias, 10,000 hyacinths, and thousands of
other varieties.

A daily crew, averaging 350 men in 1937, and 1200 men in
1938, was directed by the Bureau of Horticulture. Under the
tutelage of skilled engineers and landscape men, these workmen
carried out the transplanting and propagating. Headquarters for
more than a year was the 28-acre Balboa Park nursery, equipped
with two hot-houses, a cold-house, two lath-houses, and other
service buildings which, with the 20-acre propagation area, of-
fered every facility necessary for growing of the whole range
of World's Fair varieties.

The propagation program included vines and many smaller
shrubs, as well as annuals and perennials. The process began
with seeds or cuttings in the hot-house. After an appropriate
period they were removed — some to the cold-house, some to
the lath-houses, and finally into the open air for final seasoning
before transplanting to the island.

A novel facility was a large "electric hot-bed" in the main
propagating house, thermostatically controlled to maintain the
soil at a constant temperature of 60 degrees and nearly doubling
the rate of growth. Propagating beds heated by highly resistant
electrical cables were laid among the roots. Clean river sand was
used and the plantings were fed chemically without mulching
of any kind — thus kept free of pests.

Many strategies were employed to get maximum "perform-
ance" out of plantings. Some specimens were kept trimmed of

THE MAGIC CITY

blossoms so that strength would go into structural growth; thus
vines frequently were transplanted with spreads of 25 to 40 feet,
ready to burst into bloom. Other specimens, too large or not
sufficiently well-furnished to accord with plans, were "topped"
and induced to put new roots high on their stems, so that they
would fit a prescribed purpose.

A spectacular phase of the program during the summer of
1938 was the transplanting of the 4,000 trees, with the attendant
transportation, boxing and anchoring of specimens towering
from 60 to 70 feet above their boxes. Hundreds of these weighed
up to 40 tons each, and they were brought from widely scattered
points in California, held for their "rest period" in Balboa Park,
and finally transplanted to Treasure Island. More than 10 acres
of trees once stood boxed in Balboa Park, and many others were
held boxed in place at various points in the Bay district, to be
shipped direct to Treasure Island from their original sites when
the time came. These trees were donated by owners.

Plant material, when offered, was inspected by the Bureau's
Division of Procurement, and the best method of transplanting
each specimen was determined. The size of the box in which
the tree was placed depended upon the size and root structure
of the specimen. Superfluous roots were carefully cut, the box
was built around the cube of earth, and if the tree was to be
moved immediately, the bottom was added.

Power winches, heavy jacks and booms raised it to ground
level and it was placed on low-bed trucks or imderslung trailers.
In Balboa Park the tree rested, putting out new roots, fed with
a solution of one ounce of ammonium sulphate for each square
foot of box and sprayed periodically. Trailers of special design
were used by the Exposition Company for the larger specimens,
and trucks, railway flat cars, barges, tugs and tractors helped to
keep a steady stream of trees and plants moving across the Bay
and into locations already spotted on blueprints throughout
the summer and fall of 1938.

Large-scale transplanting began in May, as soon as the
"unsalting" of the fill was completed. Five constructing com-

AN ISLAND IS BUILT 23

panics of the Bay area plunged into the task of moving 35,000
tons of big trees, under a "management contract" involving
about $315,000. At the rate of 40 to 50 daily, the trees moved
from a 40-mile radius to Treasure Island. Loaded on barges at
San Francisco, Redwood City and the Berkeley waterfront, they
moved across the Bay like small floating sections of forest. Un-
loaded at the World's Fair site, they were hauled to final position
by caterpillar tractors, and placed in their holes. After the huge
trees came the smaller ones, as well as the shrubs and flowering
plants.

Plantings of ground cover, shrubs, vines and trees at the
Exposition were governed by two considerations: color, and ex-
posure. Separate courts of the elaborate architectural plan were
given separate color schemes, carried out by the bloom and the
foliage of all forms of growth. Seasonal blooms were changed
three or four times during the 40 weeks of the Fair.

From the start of operations on the Exposition until its close,
Organized Labor cooperated to the fullest extent in every phase
of the gigantic undertaking. W. P. Day, recognizing the im-
portance of harmonious relations between contractors and em-
ployees, invited representatives of the San Francisco Labor
Council and the San Francisco Building Trades Council to a
conference early in 1937 and out of this came an agreement satis-
factory to all parties. As a result, the Golden Gate International
Exposition passed into history as the greatest Union-made job
on record from the first scoop of mud to the final lick of paint
and installation.

Day by day, and month by month, the island rose from the
sea and vines and trees came full-grown into their places as by
enchantment to form a background of beauty and color for the
palaces which were to rise on what had been a long reach of
water disturbed only by the restless tides. It was "Treasure
Island," indeed, a new engineering triumph to stir the imagina-
tion, set in the silver sea, ready for the architects and builders
to fashion turrets and towers and columns into a Magic City for
the pleasure of the world.

CHAPTER III

Mcujic. Gi

BLENDING MAYAN, Incan, Malayan and Cambodian architecture,
the walls of the Magic City arose on the newly created Treasure
Island.

To the architectural commission, composed of Geo. W. Kel-
ham, Arthur Brown, Jr., Lewis P. Hobart, Wm. G. Merchant,
Timothy L. Pflueger and Ernest E. Weihe, had been submitted
the problem of determining the style of architecture and a
building group plan, controlled only by the assumptions neces-
sarily made by the Director of Works in the application for
Federal government funds. Perhaps for the first time in the
history of expositions, architects were given a site whose shape
and size were made to order for their purpose.

This commission, in search of new sources of inspiration,
studied the Panama-Pacific International Exposition of 1915,
with its rather strict adherence to established architectural styles,
and the Chicago Exposition, which attempted something decid-
edly modern. Architects who had worked on both of these pre-
vious events served on the Commission for San Francisco's 1939
Exposition.

THE MAGIC CITY

As to the selection of an architectural theme, a member of
the Exposition staff outlined it as follows: "Since the Exposition
was to be a Pageant of the Pacific, it was natural that the archi-
tects should select a structural style set by a race that ran a course
and died, leaving remains of a forgotten people whose noble
temples suggest a high civilization. The Maya civilization and
architecture of old Mexico has been little known in the United
States, but more attention to archeology and particularly the
activities of the Carnegie Institute have of late focused wide-
spread interest upon it."

Although Maya architecture quite frequently had been em-
bodied in the design of modern structures, compositions and
general concepts usually followed recognized classics. In the
Exposition structures the treatment was adjusted to a modern
trend with a mingling of Oriental, Cambodian and Mayan styles.
A major objective was the creation of a practical and at the
same time dramatic presentation wholly unlike any heretofore

The Magic Island attempted.

from Yerba Buena, T i i r i t r

framed by Eucalypti In the layout or the grounds there was no single focal point

THE MAGIC CITY

to confuse traffic; the effort, rather, was to achieve an even dis-
tribution. This applied primarily to structures erected with
Exposition company funds, but even for the structures to be
designed and built by participants the area was laid out with
wide treelined avenues and streets and the area was subdivided
into blocks just as a city of ideal, advance planning.

One of the chief charms of Treasure Island lay in the oppor-
tunity it provided to the visitor to achieve a perspective and en-
joy beauty and color apart from the throngs of patterned ways.
Since wind came from only one direction so much of the
time, it was decided to provide wind protection by locating
continuous buildings of considerable height along the western
boundary of the grounds. Under such an arrangement shelter
would be provided for the entire area except the space devoted
to automobile parking. Again, this plan made the southerly end
of the fill a particularly secluded area partly by reason of the
building arrangement and partly because of nearby Yerba Buena
Island. This area, therefore, lent itself well to aquatic sports and
other uses of the lagoon to be formed between the site and

Yerba Buena Island. Fortunately,
nothing in the original assumptions
upon which all the preliminary
steps in the construction had been
based, conflicted with this general
scheme of arrangement.

Although design and construction
of the participants' buildings was
under the control of the Depart-
ment of Works, wide latitude was
permitted in architectural design.
The result was the creation of a
group plan of unusual architectural
unity. It was almost impossible to
segregate the twelve principal ex-
hibit palaces into individual units.
Unbroken walls and parapets ex-

Yacht Harbor seen
from crest of Yerba
Buena (Goat) Island

tended in two directions, rising to tremendous gateways and
curving around courts and gardens in an area more than half
a mile long by a third of a mile wide.

The first rough plans were developed into a scale model with
which it was determined by experiment that walls about 80 feet
high would divert wind to best advantage and give a compara-
tively sheltered area on the lee side. Manifestly a wall this high
could not be justified, economically, unless it also served another
purpose, i.e., was part of a building. It was this consideration
which led to the great height of the buildings with their setback
walls and their great unobstructed interior spans.

More than a million square feet of floor area had to be
housed by the Exposition company in structures that would be
in use less than a year. There were permanent structures too,
of course, such as the hangars and the air terminal building,
totalling 350,000 square feet of floor space. The latter were built
of reinforced concrete and structural steel but for the temporary
structures numerous advantages favored timber. Some of these
were lower first cost, speed of erection, ease in removal after the
Exposition and salvage value.
There was also the consideration
that lumber was a local product ob-
tainable from nearby mills.

Timber was used almost exclu-
sively in twelve exhibit palaces, the
400-foot Tower of the Sun (a steel
frame clothed in timber) and nec-
essary adjuncts such as warehouses,
police and fire stations, ferry termi-
nal buildings, gateways, pools,
grandstands, flag standards, subways,
bridges and Pacific basin buildings.
Altogether, in the buildings, other
than those put up by individual ex-
hibitors, about 27,000,000 square
feet of timber (exclusive of wharves)

Arch of Triumph
from the corner of
Court of Flowers

30 THE MAGIC CITY

was required. A large part of this was Douglas fir, although for
certain uses redwood and hemlock were employed.

In addition to the normal vertical loading, all structures were
designed for a wind load of 15 pounds per square foot for the
first 60 feet of height, and 20 pounds per square foot above that
height. In all timber structures adequate resistance to lateral
forces was afforded by a structural design worked out for wind
loads only. For figuring a combination of vertical and seismic
loads, the usual working stresses were increased from one-third
to one-half, depending upon the particular use and type of the
structure.

To provide wind load resistance, extensive use was made of
diagonal sheathing as diaphragms. Practically all of the exhibit
palaces were designed for a live load of 100 pounds per square
foot.

The exhibit palaces were supported on wooden piles about
65 feet long. Under the central tower, 90-foot piles were used.
The roof arches, together with the exterior walls and architec-
tural ornamentation, were supported on concrete and timber
foundations resting on the piles, but the floor construction was
supported by timber resting directly on the ground.

The typical exhibit palaces were 200 feet wide and 887 feet
long. A series of three-hinged timber arches was used, spanning
the full width of 200 feet and spaced 41 feet center to center;
in the center of the building the clear distance from the floor
to the bottom of the arch was 68 feet.

The walls of the palace buildings varied from 65 to 85 feet
in height, with a series of setbacks for architectural effect and
for concealing floodlight units. It was the setback wall as much
as the desire to create large and unobstructed spaces adaptable
to varying needs of participants that made the arch type of roof
a particularly pleasing and economical solution.

Consideration was given in the structural design to the proba-
bility of prefabrication of the various units on the ground, with
subsequent erection in large units. This possibility was recog-
nized by the contractors, and resulted in safer and more eco-

nomical methods of construction. The construction plan was to
fabricate studs and sheathing on the ground in large panels
which were then lifted bodily into place.

Similar methods were employed for placing rafters and other
structural elements. The timber arches of 200-foot span were
fabricated on the ground and raised bodily to final position, the
entire setting operation for each arch requiring only about 30
minutes. Even the exterior sheathing and studding of the 400-
foot central tower was prefabricated in panel units which were
lifted bodily into final position. These prefabrication and erec-
tion schemes reduced hazard, and also resulted in a saving of
time and expense.

The principal structures erected by the company itself were
two large hangars, an airport terminal building, a series of con-
nected exhibit palaces covering more than 1,000,000 square feet,
a central tower, a Pacific basin area (composed of a central
unit and surrounded by buildings representative of countries
on the Pacific Ocean), a Western States building, a Fine Arts
palace, ferry slips, warehouses, police and fire houses, roads,
bridges, etc.; together with lagoons, fountains, and pools.

The general design was partly controlled by the necessity
for the erection of hangars and an airport terminal building for
a permanent airport for the city of San Francisco. The two han-
gars were duplicates in design and each had outside dimensions
of 287!/2x335 feet. The total cost of these two structures of re-
inforced concrete and structural steel, exclusive of outside and
inside finish and doors, was $725,000. Their location was at the
southerly end of the fill, convenient to the nearby lagoon used
by seaplanes. Hangar construction was started as soon as the fill
at the southerly end was completed, not from choice,, but be-
cause of the necessity of continuous construction to comply with
government requirements.

The airport terminal building, designed after careful in-
vestigation of principal terminals of the United States, was of
reinforced concrete on a pile foundation. It was semi-circular
and its floor plan contained 160,000 square feet. Its total cost

32 THE MAGIC CITY

was about $850,000. This building and the hangar buildings
were finished with a dash coat of cement plaster to match as
closely as possible the exterior finish of the temporary exhibition
structures.

Crowning the lofty spire of the Tower of the Sun (Archi-
tect, Arthur Brown, Jr.) was a golden phoenix, symbolizing the
rise of San Francisco after the disastrous fire of 1906. Modeled
by O. C. Malmquist, this great mythical bird was 22 feet high,
fabricated of wrought iron. Next below the spire were Lion
Head reliefs by Malmquist, and at the tops of the tali, slender
arches the same sculptor had four relief plaques, repeated in
duplicate for the octagonal tower, representing "Gentle Wind,"
"Cold Wind," "Trade Wind" and "Storm."

For the arches in the tower William G. Huff did four
free-standing figures, representing "Industry," "Agriculture,"
"Science" and "The Arts." These also were repeated to fill the
octagon, as were two more of Malmquist's signs of the zodiac —
representing the apparent path of the sun through the constel-
lations— near the base of the Tower of the Sun, just above the
low portals.

Within the Tower of the Sun was a carillon of 44 bells, a
gift of Dr. Nathaniel T. Coulson to Grace Cathedral, San Fran-
cisco, loaned to Treasure Island for the period of the Exposition.

The largest, or Bourdon bell, was low G and six tons in
weight, the largest bell in the West. It was played by a great
electro-pneumatic hammer striking it from the outside, actuated
either from a paper roll, from a special keyboard, or by the
swinging of an electric motor actuated by a switch.

In addition to the 6-ton Bourdon bell, there were 43 bells
weighing from 13 pounds up to 5,126 pounds. Arranged in five
tiers, these were fitted into a massive steel frame which stood on
top of the frame of the Bourdon bell. They represented three
and one-half chromatic octaves from low C, and, with their
frames, weighed 34 tons.

The carillon was played from a regular keyboard. This was
located at the base of the Tower of the Sun and operated by

THE MAGIC CITY 33

electro-pneumatic power. Compressed air at low pressure acting
on pistons was used to give the actual blow, and low-voltage di-
rect current provided the connections between the keyboard and
the air-valves of the pistons. There was also an automatic player
which operated like an electric piano. In order to operate this
machine, a paper band was inserted, which had been perforated
to play the tune desired; then a switch was turned which cut off
the keyboard, and started the automatic player.

Several times during a certain week during the 1939 opera-
tions period, and again during the spring of '40, the Island popu-
lation was startled out of the daily routine by a jangling crash of
roulades, cadenzas and whatnot emanating from the carillon.
Some not naturally moved by concord of sweet sounds were in-
clined to wonder if perhaps the famous tower might not have
acquired a sudden case of "bats in the belfry."

They need not have worried. It was only Alec Templeton,
the blind piano virtuoso, playing Bach's Fugues!

Alec was always more than willing to discuss terms for a
Treasure Island concert. Every visit meant opportunity to try
out some new arrangements of a classic theme on the carillon.

Around the Tower of the Sun boldly arcaded pavilions led
into the main exhibit structures. In each of these four pavilions
was a single piece of statuary. Malmquist contributed "Fauna"
and Raymond Puccinelli, "Flora." "Land" and "Sea" were mod-
eled by Ettore Cadorin and Carlo Taliabue respectively. Over
the two main arches leading into the Court of Honor were two
applied figures by Adeline Kent, representing Air and Water.
In this court, designed by Arthur Brown, Jr., were four small
fountains, and Clara Huntington's delightful statue of St. Francis.

Man's conquest of the oceans of the world was expressed by
the architecture, sculpture and painting of the Court of the
Seven Seas. Designed originally by George W. Kelham, and car-
ried to completion after his death by J. H. Clark, it was the
longest and one of the most beautiful courts of the Exposition.
Almost a thousand feet long and two hundred feet wide, it ex-
tended from the Court of Pacifica to the central Court of Honor.

THE MAGIC CITY

In the Court of the Seven Seas rhythm of tremendous scale
was obtained by the equal spacing of sixteen sixty-foot pylons
along its sides. Crowning these pylons were perched prows of
galleons, each graced with a winged figure representing the Spirit
of Adventure, the work of P. O. Tognelli. "Creation," a group
by Haig Patigian, was in the center of this court.

The great panel was 144 feet long and 57 feet in height, and

was done in 270 separate panels,
each four by eight feet. The entire
mural covered a space of more than
8,000 square feet.

The mural was an artistic hybrid

The central figures of "The
Peacemakers" were a great Buddha

— calm, pacific— -and an Occidental
woman, kneeling, swathed in a
white cowled robe. Friezes of mov-

Sunlit pool in upper
reaches of beautiful
*y^ Lagoon of Nations

THE MAGIC CITY

ing figures on either side represented the Orient and the Occi-
dent, respectively.

Movement and life predominated
here. From the base of the towering
figure of Pacifica a cascade of water
flowed into the fountain. Colored

Splendor of Toiler
of the Sun as seen
from East-West axis

36 THE MAGIC CITY

lights, concealed beneath the cascading waters, gave them an
ever-changing rainbow of colors. Murals by John T. Stoll and
Armin Hansen adorned the Hall of Science and Vacationland.

Southward from the Court of Honor, the Court of the Moon
(Architect, Geo. W. Kelham) , opened out to disclose a series of
gardens and pools. At night the resources of artificial "moon-
light" enhanced the charm of this court and its beautiful land-
scaping. Here a lovely fountain, rectangular in shape, was suffi-
ciently large to accommodate twenty-four arches of water. Ettore
Cadorin fashioned two works of sculpture— "The Moon and
the Dawn" and "The Evening Star," for the ends of this court.
On each corner of the fountain stood a great madrone tree, and
along the sides, Irish yews with masses of blue hydrangeas.

Incised in relief on two ornamental pylons, between niches,
and over building entrances leading off this court, were numer-
ous works of Tognelli. These included such fanciful subjects as
St. George, Centaur, the Wonderful Lamp, Fairy Queen, Genie
of the Gardens, Moon Princess, King Oz and the Polar Bear,
Prince Igor and Jack and the Beanstalk.

To the south of the Court of the Moon was Treasure Gar-
den and a great pool and fountain with a capacity of 406,000
gallons of water. Around the fountain were grouped the works
of Haig Patigian called "The Earth Dormant," "Sunshine,"
"Rain" and "Harvest."

Striving for a new and spectacular effect, engineers, in plan-
ning the fountain for Treasure Garden, succeeded in shooting
what are called "long drops" from the fountain jets. These created
the illusion of the drops of water falling and rising simultane-
ously and proved a beautiful vista when flooded by colored lights.

On the walls of the two South Towers flanking the gardens
were several fine murals. In the easterly tower Helen Forbes had
two panels painted on canvas 7 feet wide by 16 feet high, while
Dorothy Puccinelli decorated two walls of the tower in the same
manner.

In the westerly tower, the entrance to the Mining Palace,
Franz W. Bergmann displayed two murals. One of them, "Gold,"

THE MAGIC CITY

represented three miners digging, with a symbolic figure in the
center. The other, "Fortuna," represented a miner and a lady
of the Gay '90's with the symbolic figure of Fortune in the
center. Two other oils with a mining theme were done for this
structure by Nelson Poole.

Directly east from the main court lay the Court of Reflec-
tions (Architect, Lewis P. Hobart) . Here the spirit of peace
and tranquility prevailed. Central in this court were two long
rectangular pools reflecting the soft coral walls with trailing
vines hanging from the parapets. At the west end of the pools
was a statue, "Girl and the Penquins," by the late Edgar Walter.
Unlike the other courts, no fountain disturbed the placid waters
which mirrored the surroundings of the Court of Reflections.

Over the entrances leading into this court were two bas relief
figures by David Slivka, "Abundance," and "Fertility." Four
relief panels by Michael von Meyer representing "Beauty,"
"Knowledge," "Music" and "Labor" graced the walls.

Leading from this court into the Court of Flowers was the
magnificent Arch of Triumph. Designed by Lewis P. Hobart,
this structure stood 105 feet in height with an arch opening of
more than 90 feet. For the west face of this arch Jacques Schnier
designed two stylized eagles representing the United States. Two
mural panels by Hugo Ballin, each 10 feet wide and 44 feet high,
beautified the inside face of the arch. Two decorative figures on
the buttress of the east side of the arch were done by William
Gordon HufF.

One of the most colorful areas on Treasure Island was the
Court of Flowers (Architect, Lewis P. Hobart) . There was a
feminine quality about this court, the gently curving lines of its
arcades, the graceful nymphs which adorned the pools, and the
warm, smooth color scheme.

Centered in the square court, surrounded by a broad circu-
lar promenade, was the Fountain of Life and in each of the four
corners there were secondary fountains with many small but im-
portant works of sculpture. The largest of the fountains arose
from a circular basin. The dominating piece of sculpture for

THE MAGIC CITY 39

this fountain was fashioned by O. C. Malmquist, as were the
lesser figures around the base. Topping this 50-foot fountain
was the 1 2-foot figure of a feminine nude plucking a rainbow out
of the western sky. Figures of mermaids, seals, and other deni-
zens of the sea were placed around the base. Floodlighted at
night, with water cascading down from the basins of the foun-
tain, causing an effervescent mist to rise, "The Rainbow," bathed
in the aurora of light and spray, was a spectacle of unusual
beauty.

Choosing oil for his medium, Millard Sheets did six panels
for the north and south walls of the palaces abutting the Court
of Flowers. Each panel, 20 feet wide and 35 feet high, was framed
by one of the graceful colonnades extending around the court.
The first panel depicted the Spanish period of California his-
tory. Another turbulent period of the state's history was shown
in the second panel, which portrayed the days of '49. The third
panel was dedicated to "California — Land of the Sun."

Among the important figures adjoining the East Towers at
the end of this court were the five-foot statues of "Light" and
"Darkness" by Beniamino BufFano.

A cosmopolitan atmosphere was evident in the Pacific Basin,
eastward of the main east-west axis. Here were concentrated the
buildings of foreign governments around broad lagoons, spanned
by bridges to symbolize unity. Structural shapes of these small
governmental buildings and groups reproduced native forms.
The entrance into the Court of Flowers was marked by temple-
towers standing upon ghats and flanked by mural panels (Archi-
tect, Wm. G. Merchant) . Jacques Schnier decorated the north
wall with a bas relief representing the "Dance of Life." On the
south wall adjoining the towers Lulu Hawkins Braghetta did a
similar panel called "Path of Darkness."

For Pacific House (Architect, Wm. G. Merchant) , the theme
building of the Exposition, situated on an island in the center
of the lagoon, Miguel Covarrubias painted eight great maps of
the Pacific Basin area. Four of these pictorial mural maps meas-
ured 15 by 24 feet and four others measured 9 by 13 feet.

40 THE MAGIC CITY

A horizontal terra cotta relief map was made for the same
building by Antonio Sotomayor. This pictorial map, 30 feet wide
and 47 feet long, was built in 361 sections, on the scale of 4,000
feet to the inch.

Adjoining the Pacific Area was the Court of the Nations, and
beyond it the four-acre Federal Building (Architect, Timothy
L. Pflueger). On its main facade were two gigantic murals, each
360 feet long by 60 feet high, spectacular examples of Works
Progress Administration art. Sketches by Herman Volz, San Fran-
cisco artist, were transferred to the walls by WPA artists. The
north mural was entitled "The Conquering of the West by
Water," and at the south (or right) of the great Colonnade of
States was "The Conquering of the West by Land."

Two other murals, in the Hall of National Defense, were done
in Washington by Frank Imirie, government artist. These were
250 feet long by 14 feet high, and depicted the evolution of the
United States Army from Revolutionary times down to the
present.

On the California building nearby (Architect, Timothy L.
Pflueger), Robert B. Howard showed in relief the "Amenities
of Western Life" and the "Economic Development of the West."
For the entrance to the Aviation Palace, Carlo Taliabue symbo-
lized the "Spirit of Aerial Transportation." On the wall near the
South Tower Jacques Schnier portrayed the spirit of goodwill
between the East and the West.

Sculptor, architect and painter had accomplished their task.
The Magic City had become a reality. But while the massive
walls and palaces were taking form and the symbolic statuary was
being put in place there were other artists at work, lending life
and spirit to the scene. Flower beds were being planted, flood-
lights were being installed that this dream world should live and
breathe, a masterpiece of beauty and color.

CHAPTER IV

Q&CUltif,

BEAUTIFUL BY DAY, the night spectacle of the Golden Gate Inter-
national Exposition was a scene long to be remembered.

Casting its sheen of gay and lambent light upon the placid
waters of San Francisco Bay, the brilliant aureole of Treasure
Island pierced the sky with scintillating fingers and cast a myriad
of radiant paths across the reaches of land and sea.

Black light, mysterious element made visible against the back-
drop of sky, and the new fluorescent lights blended to give con-
stantly changing color to the picture of nocturnal enchantment.

A battery of 10,000 flood-lights, new in design and rivaling
the rays of the sun, bathed the magic isle in brilliant beams.
Cylindrical lanterns, eighty-six feet high, cast a soft, exotic glow
along the pathways and through the courts.

The hues of the rainbow — luminous greens, pinks, blues and
amber — played upon the walls and towers and fountains and
turrets, a glorious symphony of color.

THE MAGIC CITY

stanton, Color

Mixing lights as an artist mixes paints, a modern electrical
genius was at the beck and call of the Exposition's electrical divi-
sion, and aided in the creation of a color poem in light that was
one of the outstanding illumination achievements of all time.

The wizard of light was A. F. Dickerson, of the General Elec-
tric Company, who worked with Jesse E. Stanton, the Color
Architect, in carrying out the night effects in keeping with the
official "palette of color." This comprised nineteen hues, all
drawn from the coloring of Pacific shores. They were: Exposition
ivory, Sun of the Dawn yellow, Pagoda yellow, California ecru,
Old Mission fawn, Santa Barbara taupe, Polynesian brown, Santa
Clara apricot, Pebble Beach coral, Imperial Dragon red, Death
Valley mauve, Evening Star blue, Pacific blue, Southern Cross
blue, Del Monte blue, China Clipper blue, Hawaiian emerald
green, Ming jade green (light and dark) , and Treasure Island
gold. The "palette of color" also governed the choice of flowers
and shrubs in the various courts.

From the hills of San Francisco, the night scene accentuated
first of all the glowing, shimmering Tower of the Sun rising

above the west walls. The walls themselves were flooded in white
light, radiated by projectors concealed in troughs.

Bathed in rose red by distant spotlights, the massive Elephant
Towers, flanking the Tower of the Sun, marked the portals to
Treasure Island in vivid and colorful fashion.

Each court and esplanade received individual lighting treat-
ment. The gardens and lagoons were lighted placidly, to enhance
the charm of water-reflected towers and stately vistas. The 40-acre
Gayway, on the contrary, was lighted in exhilarating hues, de-
signed to stimulate visitors to the joy of living.

Nowhere, except on the Gayway, was a light bulb exposed to
the eye. Throughout the island, a concealed, indirect lighting
system was installed, with beams in fantastic array shooting from
mysterious places.

Under the spell of gaily tinted lights, the fountains appeared
to be liquid gold. Man-made moonlight, blue-green, softened the
walls. Shades of red and orange merged to make the courts a
fanciful fairyland of color.

Giant spotlights played upon the colossal statue of Pacifica,

and gave her court a regal splendor.
Shimmering beams gleamed upon
the magnificent Persian prayer cur-
tain which formed a tinkling back-
ground for the towering Goddess.

Peach tones against a base of lu-
minous yellow lit the Gourt of the
Seven Seas; warm amber shades cast
a mellow glow over the Court of
Honor; pink and coral were blended
to give a placid tone to the Court of
Reflections.

With the re-opening of the
World's Fair in 1940, Color Archi-
tect Jesse Stanton decided to com-
pletely transform the picture by day
and night. The color was set at a

Massive urns form
harder of beauty
for "Evening Star"

BEAUTY AND COLOR

higher key, more vivid and stimulating. Palace walls were sprayed
with bright colors and new flood-lights of every conceivable hue
were added. The result was startling but entirely in keeping with
the quickened pace of the second year.

Pacifica, the 80-foot statue which stood as a symbol of the Ex-
position, was robed in pure white against a curtain of vivid orange
and blue. The contrast brought the great figure to life, as if it
were about to walk down the esplanade into the Court of the
Seven Seas.

The Tower of the Sun was encased in glittering ivory, the
surface encrusted with metallic substances that caught every
gleam of sunlight and the fluorescent floods at night. The Ele-
phant Towers were resplendent in apricot and orange red, lemon
green, silver and gold.

In the Court of Reflections the pools were decorated in mid-
night blue. Colors in the Court of the Seven Seas were yellow
and bright blue green, while pink was the central motif of the
Court of Flowers.

Walls of the exhibit palaces were painted a light lemon yellow
or Spanish white and every statue
and mural was highlighted with
color so that it stood out against its
background of building or shrub-
bery.

Pleas were received to preserve
the general pattern of hues in the
Court of the Moon. "This was sheer
perfection," wrote one admirer.
"Please keep it just as it was." So
the color architect stayed his hand.
The Gayway received a new and
special treatment to provide a can-
opy of lights of many hues instead
of the direct white lighting of 1939.
One of the main entrances into the
fun zone from the parking area

Stackpole's statue
of "Pacifica" with
its colorful court

46 THE MAGIC CITY

opened through a new, giant gateway, decorated in glowing
neon and fluorescent lights.

Careful planning and coordination of effort brought about
a most pleasing harmony between the day and night color of the
buildings and the massed flowers, trees and shrubbery through
the entire island. The Department of Horticulture began its
labors even before the island had been completed, for it, too,
dealt with blue-prints and long distance planning which would
bring flowers to their peak of bloom for the opening of the Ex-
position and then maintain an ever-changing schedule through-
out the season.

North of the causeway connecting Treasure Island with
Yerba Buena Island and the San Francisco-Oakland Bay Bridge
was an Avenue of Palms, with Phoenix canariensis in numbers
flanking the six-lane motor highway.

At the two main entrances and at intervals along the west
facade were stately Washingtonia robusta palms, up to 70 feet
in height, with hardy shrubs and tropical grasses in borders to
form a transition between the lofty walls and entrance towers,
and the striking ground cover planned for this area. There were
more than a million separate cuttings planted for this spectacular
feature alone — a varicolored "Persian Prayer Rug" or Magic
Carpet of mesembryanthemum, 25 acres in extent.

As the Exposition itself was laid out as an ancient walled city,
courts and gardens within offered opportunity for tender sub-
tropical plantings to thrive with complete protection from the
rigors of wind and chill.

The Department of Horticulture assisted also in coordinating
the landscaping plans of the State in expending the $5,000,000 ap-
propriation for buildings and exhibits: the Federal government
with its $1,500,000, and the individual exhibitors and conces-
sionnaires who erected their own buildings and landscaped their
own plots contributed to the general landscaping plan. Avenues
approaching these buildings, outside the central court group,
were lined with acacia melanoxylon, acacia latifolia, platanus
orientalis and olives. The long walls of the East Facade, fronting

BEAUTY AND COLOR 47

the Pacific Basin area, were relieved by planting including euca-
lyptus, cypress, pentstemon, heather, leonotis, and Shasta daisies.

Along the shores of the lagoons in the Pacific Basin were wil-
lows overhanging plants along the marginal walks, with water
plants and a variety of smaller specimens.

Central feature of the Court of Flowers was a circular pool
with fountain. Around this pool were pyramidal Grecian laurels
spaced with aralia sieboldii, a large-leafed tropical plant. Beneath
these were more than 150 strelitzia regina (Bird of Paradise) ,
with four changes in a border of seasonal flowers to maintain a
constant color note of gold.

The central pool was framed in an angular border accentu-
ated by eucalyptus viminalis, 35 to 40 feet high, spaced with
boxed red-flowering peach about 12 feet high. In the corners
of the court were smaller pools backed by eucalyptus polyanthe-
mos, alsophia Australis (Tree Fern) with aralia paparyfera, cala-
dium esculanteum (elephants' ears) , rhododendrons, and acan-
thus mollis ranged along the walls. At accent points were planted
eugenia myrtifolia 16 to 18 feet high, and eucalyptus ficifolis
(red-flowering) at the entrances.

Plans called for 46 different varieties in this court, with more
than 45,000 individual specimens. The Court of Flowers opened
the season with calendulas, golden violas, bronze pansies, orange
and yellow tulips, blue lobelia and sweet alyssum. These were
followed with double pink larkspur, white and yellow dianthus,
blue agapanthus, multicolor lantana and celoisa cristata in mix-
ture, followed in the fall by dwarf chrysanthemums and white
begonias.

Adjoining the Court of Flowers was the long Court of Re-
flections, with bougainvillea supplementing the vine plantings
at the entrance, and tall poplars beside the Arch of Triumph at
the eastern end. The color theme here was red, and a spectacular
feature was the living border of red passion vines 20 to 25 feet
long, with spreads of 15 to 18 feet, cascading into the court
from niches high in the walls.

Central in this court were two long rectangular pools flanked

i5|

. "*JF

BEAUTY AND COLOR 49

by Japanese privet trees 20 to 30 feet high, and eight-foot coton-
easter franchetti standards, covered with red berries. In this court
were more than 93,000 separate plantings. From February to
May it was a mass of red ranunculus and red tulips, with a ground
cover and borders of ruby violas and tango red pansies.

The background for these flowers was a mass of red flowering
rhododendrons accentuated at various points by plantings of
red geraniums. In May and June red verbenas were at their
height and were followed by red salvia. From the first of July
until the early fall hybrid amarayllis, red tuberous begonias, red
phlox, red salvia and echium bourgaeanum were the main at-
traction. From early fall until the 1939 closing chrysanthemums,
fuchsias and poinsettias were at their height. The background
for these flowers in the red court was carried out as nearly as
possible in trees and shrubs which produced red flowers or had
a red cast to their foliage; such as red leafed plum (prunus pis-
sardi) , eugenia myrtifolia, red flowering eucalpytus, escallonia
rubra, hydrangeas and red bougainvillea.

Gold and bronze were the color notes struck in the central
Court of Honor, around the 400-foot Tower of the Sun. The
theme tree was Magnolia grandiflora, with its golden-brown
leaves, and the court was spaced off by boxwood hedge borders
and two circles of Valencia oranges. The "plant census" in this
court exceeded 83,000 specimens. It was in full bloom from Feb-
ruary until May consecutively with blue hyacinths, yellow and
white tulips, radio violas, Lord Beaconsfield pansies. This plant-
ing was followed in the early summer and fall by tuberous be-
gonias, golden bronze dahlias, otaheite dwarf oranges, colorful
pepper plants and dahlia imerialis, Japanese privet trees, 40 to
50 feet high, California madrones, California wild lilac, and
stately Irish yews around the central pool served to dignify the
Court of the Moon, with its color theme of blue and white. There
were more than 148,000 plantings here, including violas, Peru-
vian blue scilla, pure white phlox and candytuft, heavenly blue
pansies, forget-me-nots, iris, delphiniums and ageratum.

Live oaks (querous agrifolia) lent distinction to the South

50 THE MAGIC CITY

Gardens just beyond, which boasted more than 346,000 plant-
ings. Pink tulips flanked the four corners of the sunken garden
area; the pool being massed with quantities of blue hyacinths.
This planting was followed by colorful annuals of all descriptions
to carry through the summer and fall months. Almond stocks and
marguerites formed a background in the remainder of the South
Garden, accentuated with brilliant plantings of seasonals.

The Exposition's main north-south avenue, knowrn as the
Court of the Seven Seas, had a row of acacia melanoxylon stand-
ards along each side of the center line, with strips of seasonal
plantings beneath them, and a wide lawn between trees and
walls. Flowering trees, including 70-foot eucalypti, and English
laurels were spaced along the walls. The color scheme of this
court was worked out almost entirely in yellows and whites.
Amurense lemon yellow poppies with a ground cover of apricot
violas opened the Exposition, together with borders of white
English daisies, white violas and yellow and white tulips. These
flowers were accentuated with background of white flowering
spiraea and Philadelphus coronarius together with double white
flowering peach and yellow forsythia. This color scheme changed
in the early summer with the planting of thousands of soft,
violet phlox. There were more than 215,000 plantings here.

The Court of Pacifica, northerly terminus of the Seven Seas,
had a grouping of standard acacia trees around the central foun-
tain. Blue and gold — California's state colors — prevailed, car-
ried out in ageratum, calendulas, marigolds, chrysanthemums,
marguerites, zinnias, yellow allyssum, centaurea cyaneous, ane-
mones, Shasta daisies and iris.

The Court of Nations, between the Federal Building on the
eastern shore of Treasure Island and the Pacific Basin, opened
with a planting of yellow calendulas, and white anemones com-
bined with a ground cover of yellow alyssum and blue ageratum.
When the calendulas passed their peak, the ageratum carried the
blooming season through the summer and fall months with a
consecutive blooming of quantities of dwarf lemon marigolds,
yellow marguerites, giant marigolds, tithonia speciosa (Mexican

BEAUTY AND COLOR 53

zinnias). The color in this court during the fall months was accen-
tuated with the early dwarf bedding chrysanthemums followed by
taller growing chrysanthemums in shades of yellow and bronze.

Fragrance, as well as color and artistic arrangement, was care-
fully considered by the Bureau of Horticulture. In every court
and garden were plantings, with penetrating fragrance, so that
each unit had its characteristic fragrance as well as color. For
this purpose the planners made considerable use of viburnum
carlesi, hyacinths cestrum nocturnum, spicy rhododendrons,
carissa grandiflora, Hildebrand's honeysuckle, star jasmine and
many others.

Julius L. Girod, responsible as Chief of the Bureau of Horti-
culture for the accomplishment of this gigantic two-year task of
transformation was a protege of John McLaren, famed creator
of Golden Gate Park in San Francisco. McLaren himself acted
in an advisory capacity in this, his second World's Fair, for he
was Chief of Division in the horticultural program of the Pan-
ama-Pacific International Exposition in 1915.

Elmer C. Gould, assistant Director of Horticulture in 1939,
was appointed Chief of the Division for the Fair in Forty and
designed a planting schedule to conform with the more vivid
color scheme developed by Color Architect Stanton.

One of the most spectacular floral sights of the second year
was the "Border of the Magic Carpet" —red Flanders poppies,
four feet high, rimming the entire front walls of the Exposition.
The Magic Carpet, 25 acres of mesembryanthemums, was again
brought into full bloom for the opening. More than 1,500,000
plants bloomed within the walls.

Nearly a million new annuals were planted in the flower beds,
half of which were timed to blossom during the early weeks of the
Exposition and the remainder from July to September. Each in-
dividual court, as in the previous year, had its particular color
scheme and gardeners set to work as soon as the re-opening was
decided on. Old plants were removed and beds re-cultivated to
insure the glorious bloom which had been so important a part
of the picture in 1939.

54 THE MAGIC CITY

Treasure Garden was more beautiful than ever with three
levels of blue Chinese forget-me-nots, gold pansies and yellow
calendulas making up California's colors of blue and gold.

Blooming white stocks gave a celestial touch to the blue-white
Court of the Moon. Mixed cineraria accentuated the Court of
Honor. California poppies added a vivid orange note to the
Court of Reflections and red stocks provided a vivid contrast.

Tuberous begonias bloomed early on Treasure Island and
were seen in all their beautiful pink, red and yellow in the Court
of Flowers.

Mixed orange calliopsis and salmon and orange godetias gave
a golden hue to the Court of the Seven Seas. In the Court of
Pacifica, orange calendulas were in full bloom, and around the
Fountain of Western Waters in the same court, red, yellow and
purple ranunculus and anemones of the same warm colors lent
their fragrance to the air. Massed pelargoniums supplied the
color tempo around the Lake of Nations.

Seven acres of lawn . . . 4,000 trees fully grown . . . 40,000
shrubs . . . eight miles of shade trees . . . flowers of every shape
and hue . . . the perfumed gardens of Treasure Island will always
be a happy memory to the millions who found in the Magic City
"a thing of beauty and a joy forever."

CHAPTER V

THE CITY-THAT-WAS-TO-BE was pre-viewed and found good by a
most distinguished and appreciative guest just seven months be-
fore its formal opening. That guest was President Franklin
Delano Roosevelt.

Speaking before a luncheon gathering in the Administration
Building — some 1,000 civic, business, labor, political and in-
dustrial figures were present by eagerly sought invitation — the
President commented that what he had seen had so impressed
him that he was inclined to believe "your Exposition will set a
new standard of beauty." This on July 15, 1938, when construc-
tion and beautification was hardly more than at the half-way
mark!

"I think you people out here on the Pacific Coast, when you
start to do something, do it better than anyone else in the United
States," he declared. "All I can tell you is I await the passage of
months before I can come back here to see your Exposition in its
completed beauty."

Choosing his words carefully, definitely sounding policies
which were to become even more firmly established in the years
to come, the President spoke briefly on world peace. A signifi-
cant paragraph:

"The year 1939 would go down in history not only as the
year of the two great American Fairs, but would be a year of
world wide rejoicing if it could also mark definite steps toward
permanent world peace. That is the hope and prayer of an over-
whelming number of men and women and children in the world
today."

The President saw in the elaborate plans of commerce and
industry for displays at the New York Fair and the Golden
Gate International Exposition "an expression of confidence that
the United States and all the Western Hemisphere will be at
peace next year."

This luncheon on Treasure Island was a significant occasion

in the political and social history of San Francisco. The lion and

Huge crowd gathers the lamb lay down together for the nonce; righteousness and

for Fair program in . , , ,

Temple Compound peace had met each other.

58 THE MAGIC CITY

A Republican Governor of California (Frank F. Merriam)
sat next a Democratic United States Senator (the late William
Gibbs McAdoo) at the head table with a Democratic President.
Harry Bridges, the waterfront labor leader, sat cheek-by-jowl
with men high in the waterfront Employers' Association. A. F. of
L. and C. I. O. shelved differences for the day. So completely
obliterated were political and economic lines that United States
Commissioner George Creel, acting as master of ceremonies,
dared to "wise-crack" about situations which actually were no
laughing matter. All of which delighted the guest of honor
no end.

Introducing Governor Merriam, Creel said he was "not only
Governor of California, but also one of the few survivors of a
once-great tribe which still practices the curious rites of its pe-
culiar political sect." The Governor took this introduction in the
best of spirits, declared that "the coming elections undoubtedly
would leave some things to be decided by the people in the
future."

San Francisco's Republican Mayor Rossi, even then involved
with the Department of the Interior over Hetch Hetchy prob-
lems, was presented by the impish Creel as "one suffering from
the seven-year Ickes!"

When Rossi and President Cutler of the Exposition strove to
express their gratitude to President Roosevelt for Federal aid
already granted the Exposition, Creel denned gratitude as "a
lively anticipation of favors to come."

Despite his eagerly expressed desire to return to Treasure
Island for a more extended visit, President Roosevelt was never
to find the time. Advance preparations were made for his recep-
tion in the summer of 1939, but pressure of more important
duties forced cancellation of plans. Even so, the Exposition had
no more active and valued friend than Franklin D. Roosevelt.

Came at last the fateful day — February 18, 1939 — when the
Magic City was to fling wide its gates.

Years of discussing and planning — months of construction on
a project so ambitious as to stagger the imagination — final weeks

LET THERE BE LIGHT 59

of frenzied furbishing, of last-minute checking and re-checking
details —

All this was over and done with now, and the idea that men
had dreamed five years before had been given solid form, clothed
in beauty far beyond the concept of the original dreamers. The
Magic City stood ready, brave and awe-inspiring in the California
winter sunlight.

Still a cold and lifeless city, however, for all the broad vision
of its designers and the tried skill of its builders. A city that had
yet to find itself. Apprehensive more than serene, and anything
but indifferent to fate, it sat opposite (rather than by) the
Golden Gate, awaiting the coming of a happy people to fill its
echoing courts with laughter and music, to breathe into its high-
vaulted corridors that soul which was to give it true being.

Meantime, another and larger city of magic across the bay was
re-discovering its soul. And a merry, carefree — bawdy, even —
process it proved to be!

Picture the day — February 14, 1939. In the wee hours of that
morning, Mr. John Tourist pulled into San Francisco. Ordi-
narily, Mr. Tourist would have sought sleep, but in San Francisco
that day there was neither sleep nor quiet nor sanity nor aware-
ness of time — for it was FIESTA!

Dawn came, but dawn was merely a pause for hot coffee, a
lull for reloading six-guns, for taking a hitch in silver belts, for
straightening bandanas and ten-gallon hats, for greeting thou-
sands of other modern cowboys, cowgirls, miners and "Thirty-
niners" with a "Yippi-Yi-Yo." Mr. John Tourist fell in step.

San Francisco not merely transformed herself for the 1939
Exposition-opening Fiesta — she reverted to type, forsaking fold-
ing money and all its modern trappings for the rush and dust of
the good old days.

No man was safe, that Fiesta Week, who did not sport at least
one garment or decoration blending into the thoroughly Western
atmosphere of all San Francisco. Leading more than a half-
million San Franciscans in the art of going Western was Fiesta's
President, Parker S. Maddux, President of the San Francisco

60 THE MAGIC CITY

Bank. In very un-banker-like fashion, Mr. Maddux worked be-
hind his desk bedecked in a manner to cause envy in the hearts
of the Old West's sheriffs and ranchers. But rare was the execu-
tive in any local industry who worked that week in San Fran-
cisco's traditionally conservative dress.

City administration went Western to keep pace with the tax-
payer's festive mood. Retaining only his white carnation, the
Honorable Angelo J. Rossi, mayor, conducted city affairs be-
neath a black sombrero trimmed with silver, packed two six-guns
to back his proclamation that Fun was King during Fiesta Week.

Focal point of this gaily mad week was a small office in down-
town San Francisco. From Fiesta headquarters, a deluge of pub-
licity roared out across the nation. In national magazines, in the
press, over the radio, 48 states listened to the greatest round of
business-building ever staged by any city. (Twenty-two per cent
jump in retail sales during the week!) Pulling the levers releas-
ing this avalanche of favorable publicity for San Francisco,
working with the famous communities which give the city its
famous color, was Fiesta's Managing Director, Don V. Nicholson.
In that office men met and created Polk Gulch, the Haight-Cole
Frontier, The Marina Coast, Old Mission Trail, Rancho del Sol,
Covered Wagon Days and scores of stunts and opportunities for
Fiesta fun.

Parades and kangaroo courts, bunting and mounted posses,
firecrackers and whistles and horns, costume balls and dragon
dances, fun from dawn to dawn — this was the order of those
120 brilliant hours that climaxed on Treasure Island, February
18th, 1939. San Francisco was tired AND happy with her Fair.

Came 1 940 and another perfect excuse for San Francisco and
her neighbors to go Fiesta again. Since 1939, forward-looking
Parker Maddux, supported by the press and civic leaders gener-
ally, had answered the growing demand for an annual festival
by permanently organizing The San Francisco Festival Associa-
tion, Inc., to be sparked and directed by Don V. Nicholson and
Harold J. Boyd as treasurer. The Association promptly set about
to prove wrong all those who said the 1939 Fiesta could never

LET THERE BE LIGHT 61

again be equalled. It was equalled, but on a different plane, for
Fiesta had grown up. During the Golden Forties Fiesta, whiskers
and cowboys appeared aplenty, from May 21 through May 25,
but the new order placed greater emphasis upon re-creating San
Francisco's golden days; the bright reds and golds and silvers of
Old Spain and Mexico, the music of the range and the lands
south of the border. Again the city's colorful districts burst forth
with false store fronts, donned their ancestral dress; flags of all
nations welcomed the tourist and strolling minstrels erased any
worries found among the local citizenry. And on the night of
May 22, 1 940, this city of many races whose blood-kin in Europe
were skidding over the brink of war, staged a parade whose three-
hour magnificence paid tribute to San Francisco's tolerance, her
civic pride and her love of a good celebration.

The public schools dramatized the career of the West in a
production, "Span of Gold"; fireworks turned night to day along
the Bay; ten thousand danced in costume at the Civic Audito-
rium. Hundreds of thousands again sought the spirit of Fiesta
and turned their full attention to a grand opening of the "Fair
in Forty."

Among the many heritages which the Magic City left the
Bay Area was the well-tested belief that San Francisco and the
Bay Area deserve, and desire, an annual festival. Thus, the chap-
ter on "Fiesta" can never be closed; rather, it will be the yearly
chronicle of The City That Knows How.

Magic of the Night cast its enchanted spell upon potential
devotees some hours in advance of the formal opening on Feb-
ruary 18. That all things might be in readiness, and duly tested
in advance, the full lighting system of Treasure Island was
turned on the evening of February 17. From 10:30 until mid-
night residents of San Francisco and the East-bay cities drank in
the glowing beauty of that irridescent jewel in the middle of
San Francisco Bay. It was a dress-rehearsal of unusual promo-
tional value, whetting public interest as nothing else could have.

Optimism was tinged with apprehension when the manage-
ment had completed its final pre-opening survey. Transporta-

62 THE MAGIC CITY

tion and travel agencies, hotels, housing committees and other
sources reported "the greatest influx of visitors the San Francisco
Bay area has ever known." Fearful lest the Exposition's untried
facilities for handling crowds might break down under the strain,
the management sounded a note of warning, rather than broad-
casting a welcoming "come one, come all!"

Conservative estimates indicated an opening-day attendance
of 200,000, it had been reported some days in advance. In light
of this influx, it was suggested that San Franciscans come to the
Island by ferry, rather than risk heavy traffic on the bridge. Lest
the 100-odd cafes and eating-places of Treasure Island, admit-
tedly "more than adequate for any ordinary banner-day," be
over-taxed, it was further suggested that visitors bring their own
lunch and "make a picnic out of it."

Anticipation and realization frequently fail to coincide in all
details, however. So it was in this instance. Quoting from the
San Francisco Examiner's unbiased report of the news of the
day— "That 'horrible traffic situation' that was predicted just
didn't materialize. At no time did the bridge traffic jam up. At
no time, up to mid-afternoon, were either the parking facilities,
the roadway facilities or the crowd-handling facilities on the
Island or any of its approaches even taxed."

What the food-dispensing and parking-lot concessionnaires
had to say on the general theme was not quoted. Possibly it was
not quotable.

Truth to tell, the first day's attendance of 128,697 was prob-
ably a mite disappointing to some of those in authority over
Exposition affairs. They had builded their hopes high. But then,
as was pointed out quite cheerfully a few days subsequently,
comparative attendance figures for the first two days of the San
Francisco Fair and corresponding days of the Chicago Century
of Progress gave the edge to the West by something over 50,000.
The executors and sentiment-accelerators took heart.

Influx of trade was expected to start early in the morning on
opening day. All Exposition employes were at their posts at 7
a.m., prepared for any and all eventualities. Most of them stayed

LET THERE BE LIGHT 63

up all night, just to be sure. Others actually worked all night —
those connected with the Department of Works and the Depart-
ment of Operations in particular. These loyal folk achieved a
modern miracle in getting the grounds and buildings cleared for
opening. The night before no one could have imagined that the
exhibit palaces could possibly be made ready, so great was the
confusion of last-minute set-ups. Next morning, at 10 o'clock
promptly, all was swept and garnished to receive company.

The California Commission staff lays claim to the record
achievement in this connection. Friday night they all but lost a
truck in the deep mud of what was to be the court in back of the
California Building. Saturday morning they were mowing a new
lawn on that very spot!

"Fair today and Sunday, gentle northeast wind" was the
weather prediction for the auspicious occasion — and the prom-
ise was lived up to in full detail. Storms had been threatening
earlier in the week, but switched providentially to strike Los
Angeles instead. (Loyal San Franciscans pointed out that that
was what came of living right!)

San Francisco's colorful and carefree Fiesta culminated the
night before Opening Day. The celebration lasted till the dawn's
early light, and then some.

Perhaps that is why the first ferry to leave San Francisco at
8 a.m. for Treasure Island was not crowded anywhere near the
limit set by Federal regulations, why traffic flowed unimpeded at
50 miles per hour across the Bay bridge. The celebrants just had
to catch up on some sleep before challenging further amusement
over in the Magic City. Some 7,000 persons were registered
through the turnstiles during the first hour — something of a
disappointment. However, as the morning hours passed, the traf-
fic of trade increased, and before noon the clients were arriving
in gratifying number.

First scheduled official event of the day was to be Governor
Culbert L. Olson's appearance beneath the Arch of Triumph
connecting the Court of Reflections and the Court of Flowers.
There His Excellency was to open a gate, built in the image of

THE MAGIC CITY

the Golden Gate bridge, with a large and ornate jeweled key
specially made for the occasion. This event was billed for 10:30
in the morning.

Governor Olson had been quite ill — his political opponents
were showing inclination to make capital out of his alleged "state
of collapse" —so it was suggested by President Leland W. Cut-
ler of the Exposition that the gate-opening ceremony be post-
poned an hour in order that the Governor might rest, and go
immediately to the formal dedicatory exercises in Federal Plaza.
The Governor rather resented such "coddling" but finally
agreed. As he left his private suite in the California Building for
his first appearance of the day, he was heard to remark, sotto voce
but grimly withal, in passing a group of reporters: "Does this
look like 'a state of collapse?" Thus proving that even Chief
Executives have their moments of human frailty.

By noon the vast Court of Nations (later to become more
familiarly known as Federal Plaza) was jammed with humanity,
the crowd spilling over into Temple Compound across the la-
goon. A large platform had been erected in front of the Federal

Building facing toward the main axis
of the courts and exhibit palaces.

Promptly on the stroke of the
hour, bursting bombs, followed by
pealing bells from the Tower of the
Sun carillon signalized that the cere-
monies were under way. President
Cutler stepped to the microphone.
His voice was carried over all the
major broadcasting networks and
was brought to every corner of the
Island by the public address system.
Obviously this was a moment in his
life which he would remember
always.

More than any one man or group
of men Leland W. Cutler was re-

An airplane soars
over the gigantic
figure of "Pacifica"

LET THERE BE LIGHT

sponsible for the creation of the Magic City now opening its gates
to the world. He looked on the culmination of years of labor and
saw it was good. He spoke slowly, and with marked feeling:

"I have waited four years for this moment — waited as a
mother waits for her child's first step — waited as a man who
builds an ocean-going ship and, with bated breath watches it
slide down into the water. Today our Exposition which we have
been building becomes your Exposition. Treasure Island is of-
fered today upon the altar of greater peace and greater good will
among all the nations, among all the races."

A roar of applause indicated that his hearers were only too
willing to accept the transfer of ownership.

The Most Reverend John J. Mitty, Archbishop of San Fran-
cisco, raised his hand to pronounce the invocation. The serried
thousands before him bowed their heads reverently. His Grace
prayed for divine guidance toward the paths of peace, conclud-
ing his eloquent plea with: "In these days of universal need,
hold us close to Thee in love and service, and to one another in
brotherhood, and direct our erring feet into the ways of peace."

Led by the Exposition Band, a
massed chorus of 500 sang the Na-
tional Anthem, as the Stars and
Stripes rose to full staff, the Cali-
fornia Grays, Governor Olson's
guard of honor, stiffly at attention.

Atholl McBean, chairman of the
Exposition's board of directors,
spoke briefly. Rabbi Irving E. Reich-
ert of Congregation Emanu-El char-
acterized America's spirit of freedom
and religious tolerance, exemplified
on the Island by the non-sectarian
Temple of Religion, as "an eloquent
symbol of our faith in the Father-
hood of God and the Brotherhood
of Man."

Tower of the Sun,
an angle shot by
artist George Gran

66 THE MAGIC CITY

Representing the chief executives of all cities in the Bay
area, Mayor Angelo J. Rossi of San Francisco gave a warm greet-
ing to Exposition visitors. He said, in part:

"To us is given the honor and responsibility of staging the
Golden Gate International Exposition and acting as host city in
welcoming the world to participate in a celebration dedicated to
the future of the Pacific empire.

"In the spirit of western hospitality we invite the world to
share the beauty and grandeur of Treasure Island in 1939.

"As chief executive of the host city, it affords me genuine
pleasure to assure visitors that a heartfelt welcome awaits their
coming to the Exposition. Speaking for the citizenry of San Fran-
cisco, we look forward to upholding western tradition of cor-
diality and friendship. We know that the journey will be worth
while, that the visit will be replete with interest and entertain-
ment, and that memories will be stored with treasures of the
Golden Gate International Exposition and the attractions of
California and the west's vacationlands."

Speaking for the Governors of the eleven western states, Gov-
ernor Olson dedicated 1939 as the "Fiesta Year of the West."
His message follows:

"Living in a land endowed by nature with scenic grandeur,
natural wonders and resources, we of the western states feel that
this is a most favored part of the world. Our grandfathers settled
here and conquered a wilderness. Our parents tamed that wil-
derness and created for us a great empire, productive enough to
enable all of us, if we will, to live and enjoy a life worth while.
They bequeathed to us a tradition of true western hospitality
characteristic of the pioneers of our land.

"Upholding this tradition, the whole west — from the north
to the deep south, from the Rockies to the Pacific — is holding
open house, the premiere fiesta of all times — the Golden Gate
International Exposition on Treasure Island in San Francisco
Bay. This year will be marked by a second mighty westward
migration with all roads leading to Treasure Island. The eleven
western states will be the hosts.

LET THERE BE LIGHT 67

"Now therefore be it proclaimed by us, the Governors of
these eleven western states, that in the year 1939 we hereby indi-
vidually and severally invite the people of the whole world to be
the guests of the west and the Golden Gate International Expo-
sition on Treasure Island throughout the year."

Senor Fernando Berckemeyer, Peruvian Consul General and
dean of the San Francisco consular corps, brought greetings and
congratulations from Latin America.

George Creel, United States Commissioner to the Exposition,
pointed out that the Federal government was actually "discharg-
ing an obligation, rather than conferring a favor," by partici-
pating in this Pageant of the Pacific. Mr. Creel introduced
Secretary of Commerce Daniel C. Roper as President Roosevelt's
personal representative for the occasion. Secretary Roper de-
clared that "these great international expositions both measure
and pictorialize the panorama of human progress."

Then Mr. Creel presided over the radio controls to present his
Chief, whose voice came over the ether-waves, to be rebroadcast
over the public address system, from the tip of far-off Florida.
President Roosevelt's message, received with sincere enthusiasm
follows:

"As the boundaries of human intercourse are widened by
giant strides of trade and travel, it is of vital import that the
bonds of human understanding be maintained, enlarged and
strengthened rapidly. Unity of the Pacific nations is America's
concern and responsibility; their onward progress deserves now
a recognition that will be a stimulus as well.

"Washington is remote from the Pacific. San Francisco stands
at the doorway to the sea that roars upon the shores of all these
nations, and so to the Golden Gate International Exposition I
gladly entrust a solemn duty. May this, America's World's Fair
on the Pacific in 1939, truly serve all nations in symbolizing their
destinies, one with every other, through the ages to come."

The Right Reverend Edward Lambe Parsons, bishop of the
Episcopal diocese of California, pronounced a brief benediction.
The Exposition band and the massed chorus led the huge throng

68 THE MAGIC CITY

in the singing of "America." The formal opening ceremonies
were concluded. The Magic City began to take on new life.

A gay, carefree life it was, with the carnival spirit predomi-
nating. The Gayway received a heavy play. The exhibit palaces
drew their thousands. That night there was free dancing in Festi-
val Hall and in the Administration Building, and the California
Ballroom was dedicated to a rich and full life (due to be tragi-
cally terminated by fire a year and a half later) with a Grand
Ball.

Far into the night the merrymakers held sway. The Magic
City on Treasure Island had found its soul.

And the following Monday painters and carpenters hastened
to finish some few chores perforce left undone, due to the ex-
igencies of Opening Day. Pacific House opened for public in-
spection. The French Pavilion was ready for customers. The
Gayway was better prepared for a rush of trade.

The show settled down for its long scheduled run.

CHAPTER VI

GOVERNMENT is NO longer remote but, under the compulsion of
vast changes in our social and economic structure, now touches
intimately the life of every citizen from the cradle to the grave,
from pre-natal care to old age security. The fight against infant
mortality, the right of every child to health and education, the
humanization of industry, the right to work and old age security,
all these are no longer problems of the individual, but govern-
mental obligations that must be discharged if our democracy is
to endure.

The purpose of Federal participation in the Golden Gate In-
ternational Exposition, as conceived by Commissioner George
Creel, was to show to citizens, in as dramatic and as interesting
a manner as possible, the meaning of government today; what it
is doing and why. Under his direction, exhibits were functional
in character and not departmental. Such Federal activities as bore
relation to each other, or joined effort to attain a common end,
were grouped in order that the whole picture might be seen, not
merely a part. Moreover, all exhibits were dynamic, rather than

THE MAGIC CITY

static, so that what people were shown was really "government
in action."

The Federal building, designed by Timothy L. Pflueger,
occupied a site of approximately seven acres, with a frontage of
675 feet and a depth of 435 feet. Located on the Oakland side of
Treasure Island, it stood at the end of the East- West axis of the
Exposition. The building was in the form of a hollow rectangle
pierced through the center of the long side by the great Colon-
nade of States. One hundred feet high and 265 feet long, the slen-
der columns of the Colonnade were capped by a canopy perforated
in star-shaped patterns. Each of its 48 columns represented a com-
monwealth, decorated with the state's seal, while the three aisles
symbolized the Executive, Legislative and Judicial branches of
government. The design, dramatic and unique, was in keeping
with the exhibits within.

The west, or principal frontage, faced the great Federal Plaza
where all outdoor events — pageants, military drills, concerts and
ceremonies~ were held. Flanking the Colonnade were two por-
meet Indian chief ticos, each 60 feet high and 190 feet long, the walls of which were

THE MAGIC CITY

decorated with two murals in brilliant colors, one dealing with
the Conquest of the West by land and the other by sea. These
colossal murals, the largest in the world, were designed by Her-
man Volz and executed under his direction by a selected crew of
WPA artists.

The portions of the building containing the exhibits rose to
various heights, approximately 35 feet, and the two courts —
North and South — were each 160 feet by 200 feet. The exhibits
themselves, dynamic throughout, were no less impressive than
the structure itself.

The functional treatment was strikingly exemplified in the
"Span of Life," a broad title given the exhibit in the southwest
wing at the right of the entrance to the Colonnade. Starting with
pre-natal care and continuing in perfect sequence to old age in-
surance, the work was shown of all those Federal agencies that
have to do with infant mortality, child health, education, em-
ployment, disemployment and larger security for the aged. The
complete story made an amazing picture.

Many difficulties attended the creation of an exhibit that
would make plain the myriad activi-
ties of the Works Projects Adminis-
tration, that mighty Federal agency
designed to provide public employ-
ment for the unemployed. Out of
long study came the brilliant con-
ception of a model community plac-
arded in such manner as to show
WPA contributions to our national
life. When completed, the model
was only 15 feet high by 10, and yet
complete with buildings, water
mains, tennis and golf courses,
threaded by roads and rivers, and
landscaped with minute shrubs and
plants.

On the doll-size house, a placard

Candid camera shot
of real Americans in
U. S. Indian Exhibit

GOVERNMENT ON PARADE

stated that WPA workmen have constructed 3,985 life-size school
buildings in the United States. Across the street, actually only
five inches in this midget town, a tiny recreation center carried
a sign informing visitors that 6,435 such buildings have been
erected. Looking down on this Lilliputian community, Ameri-
cans were made to realize that the model, multiplied thousands
of times, was a facsimile of the United States.

Surrounding the model community were a score of booths,
appropriately staffed, showing such WPA projects as termite re-
search, sewing, ceramics, handicraft, toymaking domestic science,
together with the output of the Writers' Project and Art Project.

The Terrarium located in the "L" at the end of the south-
west wing, was devoted to the Federal Government's campaign
for conservation of our natural resources, and over the doorway
hung this warning, "Plan or Perish."

Fifty feet in diameter, and rising to a domed roof forty feet
high, the Terrarium had at its center a miniature dust bowl,
sunk to a depth of eight feet. Devastated farms, deserted commu-
nities, choked water courses, all were depicted realistically, while
around the lower wall were exquis-
itely executed dioramas of land-
scapes showing the various phases of
land abuse and soil conservation.

The first diorama showed Amer-
ica as the white man found it with
nature in perfect balance; the sec-
ond diorama the ravages of erosion
by wind and water; the third pre-
sented the progress of the campaign
of the Soil Conservation Service of
the Department of Agriculture,
showing every detail of the fight to
restore land to productive activity;
the fourth gave a comprehensive
picture of TVA work and accom-
plishments; the fifth demonstrated

Impressive group of
statuary found in
Court of Seven Seas

74 THE MAGIC CITY

the Bureau of Biological Survey's fight against stream pollution,
permitting the return of fish and wild fowl; the sixth dramatized
the work of the Bureau of Reclamation and its fight against the
desert.

The south wing carried this over-all title, "The Helping
Hand of Uncle Sam," and gave a vivid picture of the Recon-
struction Finance Corporation, the Federal Deposit Insurance
Corporation, housing agencies, Federal aid to road building and
all forms of transportation, the Post Office Department, recipro-
cal trade treaties, the Veterans' Administration, Rural Electrifi-
cation, etc., etc.

The functional treatment was carried to its ultimate in the
Housing exhibit, where a 100 foot stretch of models and diora-
mas explained the activities of each agency making home own-
ership easier, the testing of materials, the checking of costs, and
plans for slum clearance both in the cities and the rural areas.

On the outer wall of the building, above the entrance to the
exhibit, murals gave more colorful interest to the story of hous-
ing. Side by side with a painting of a city slum, was shown one of
the new model communities made possible through Federal aid.
Another mural, showing a drab suburban area, carried these
captions: "Beauty and Originality Cost No More than Ugly
Uniformity" and "Today's Jerry Building, Tomorrow's Slums."

The extreme southern portion of the South Court also con-
tained a life-size 4-story tenement, brought out from an eastern
city, and a sharecropper's shack, transported intact from a south-
ern county. Photographs showed the two generations that were
born and lived in the tumbledown cabin, while directly adjacent
were photographs of the new homes that were provided by the
Rural Resettlement Administration.

Of particular interest was the Bureau of Public Roads ex-
hibit. Entitled "Highways of History," it began with the land-
ing of the first horses in America, and worked on down through
Boone's Wilderness Road and the Natchez Trace to the modern
highway and its uses.

These scenes were depicted in 35 dioramas, which by means

GOVERNMENT ON PARADE 75

of a mechanical device and mirrors, were brought successively
into view, and described by a synchronized recorded narration.

A popular exhibit was that of the United States Secret Ser-
vice of the Treasury Department, showing the fight against coun-
terfeiters of coin and currency. Along with it, the Customs Bu-
reau displayed the one hundred and one methods used in
narcotics smuggling.

The southeast wing was given over in its entirety to those
contributions that have been made to science and invention by
public servants working in Federal laboratories and experimental
stations. No section of the building was more popular, or more
educational for that matter, due to the fact that few citizens
were cognizant of the important part that government scientists
and inventors have played in America's forward march.

Various ingenious machines showed how the Bureau of
Standards studies, develops and lists in order to improve the
products of American factories; a "Forest Horn of Plenty" dis-
played the innumerable by-products that have been developed
by government scientists, and striking displays made clear the
manner in which the Department of Agriculture has improved
wheat and corn, poultry and livestock.

A whole room was allotted to the United States Weather
Bureau, and for the first time thousands of Americans were made
to understand the incredible amount of work that lies behind
each daily weather report. The exhibit displayed all of the com-
plex assortment of meteorological instruments and techniques
used in measurements of pressure, temperature, relative humid-
ity, sunshine and evaporation.

The exhibit of the National Advisory Committee for Aero-
nautics threw light on the experimental and research work in
aviation that has resulted in improved aeronautical design and
increased aircraft safety and efficiency.

The Coast and Geodetic Survey gave a complete picture of
the way in which America's sea coasts are surveyed and charted,
likewise studies made in connection with earthquakes.

At the south end of the Science wing, the Civil Aeronautics

76 THE MAGIC CITY

Authority occupied 3,400 feet of floor space and 2,900 feet of
wall space. The main floor portion of the exhibit was devoted to
the demonstration of the activities of a regular Airway Traffic
Control Center. An effective feature was a huge mural map, 20
feet high and 32 feet long, titled "The Airman's America" and
made up of sectional navigation charts issued by the Civil Aero-
nautics Authority to pilots for cross-country flights.

The whole long stretch of the northwest wing, including the
"L," was given over to national defense activities, Army, Navy,
and Marine Corps sharing the space. Brilliantly designed and
executed, every detail had life, motion and drama, and public
interest stood attested by the thousands of visitors that packed
the wing each day from opening to close.

The Army exhibit opened dramatically with a Link Trainer
in action. Next came a huge animated diorama, portraying the
attack of a brigade of mechanized cavalry. After that, in swift
succession, were other dioramas, case exhibits, murals, etc., that
showed every Army activity both in peace and war.

The Navy Exhibit in the large "L" at the north end of the
National Defense Wing, was designed to show the growth and
development of the Navy and naval ships from the time of the
Revolutionary War up to the present. On the waves of a diorama
ocean, 1 12 feet long, 20 feet deep and 20 feet high, floated models
of battleships, cruisers, aircraft carriers, destroyers and subma-
rines while circling above were six miniature patrol bombing
planes of the flying boat type, and six miniature bombing planes,
flying in formations of three. Another feature of the exhibit were
models of the "Bon Homme Richard," the "Constitution," the
"Monitor," the "Merrimac," and the "Olympia," Admiral Dew-
ey's flagship.

The Marine Corps exhibit consisted of six niches containing
two dummies each in uniforms worn by members of the United
States Marine Corps since 1798. Each niche also contained a
painting, depicting battle scenes in various wars.

The National Defense exhibit, however, was not confined to
the building, for a Flying Fortress — Type B-17 Army bomber

GOVERNMENT ON PARADE 77

-was installed at the east end of the Colonnade of States, and
two Air Corps enlisted men were always on duty. Visitors entered
through the main door by a series of steps and a platform, passed
through the gunner's department, radio room, and exited by a
flight of steps through the bomb bay. Machine guns, radios and
dummy bombs were in place and all points of interest were la-
beled by aluminum cards.

The Exposition Company of the 30th Infantry was another
Army highlight. The entire unit, consisting of nine officers, one
warrant officer and 208 enlisted men encamped on the waterfront
just north of the Federal Building throughout the two seasons
of the World's Fair.

Throughout 1939 and 1940, the Exposition Company pro-
vided Guards of Honor and Escorts of Honor for distinguished
visitors officially visiting Treasure Island. The most impressive
ceremony of all, and one witnessed regularly by thousands, was
the daily Retreat Ceremony. Each afternoon at four-twenty-five,
the Regimental Band gave a concert in front of the Federal
Building, after which the company executed a few movements
of the Manual of Arms, and stood at Parade Rest while the Color
Guard lowered the two great flags.

Two pavilions on the waterfront housed exhibits showing
the activities of the United States Coast Guard, and also served
as headquarters for a detail of two officers and thirty enlisted
men. Daily drills were given, illustrating the use of boats and
beach apparatus, and on special days, these were followed by a
capsize drill. From time to time, destroyers, lighthouse ships and
other craft were moored off shore, all open to visitors.

The Indian exhibit, located in the north wing of the Federal
Building, was the largest and most comprehensive ever installed
at any exposition, covering an area of 50,000 square feet. Be-
ginning with an introductory gallery of Indian history, eight
main galleries were devoted to the great areas of Indian cultures
— the Eskimo Hunters of the Arctic, the Fishermen of the
Northwest Coast, the Seed Gatherers of the Far West, the Buf-
falo Hunters of the Plains, the Woodsmen of the Eastern Forests,

THE MAGIC CITY

the Cornplanters of the Pueblos, the Navajo Shepherds and the
Desert Dwellers of the Southwest.

In addition to the stationary displays of Indian arts and
crafts, there was a program of activities throughout the exhibit
which included talk tours by national authorities, demonstra-
tions by outstanding Indian craftsmen of weaving, pottery mak-
ing, silversmithing, wood-carving, sand painting and other arts.
In the market place, Indian workers were given opportunity to
display for sale their finest crafts.

A striking feature was the Sandpainting Room, specially
constructed in the form of a Navajo hogan where specially quali-
fied medicine men performed this esoteric ceremonial rite, never
witnessed before except in the Navajo country itself. Although
the room was small, accommodating only 200, in one afternoon
9,866 persons streamed through the doors.

All the principal features of the 1939 Indian exhibit were
retained for 1940, and to them were added a special Maya ex-
hibit, and an Andean room dealing with the Inca and pre-Inca
period.

A small, but completely equipped
theatre occupied the entire south
end of the northeast wing and was
designed both for the Federal The-
atre Project and the showing of
Government motion pictures. Prior
to the discontinuance of the Federal
Theatre Project on June 30, 1939,
"Run Little Chillun" and "The
Swing Mikado" had played to 16,-
817 paid admissions at 75 perform-
ances, a remarkable record consid-
ering that the theatre had a seating
capacity of only 473. After June 30,
the theatre was devoted entirely to
the presentation of documentary
films covering every activity of the

Color guard parades
before the massive
Federal Building

GOVERNMENT ON PARADE

Federal Government, and the same program was carried during
the 1940 season.

Adjoining the main theatre was a small auditorium where
children were admitted without charge to WPA marionette
shows. Specially equipped with a revolving stage permitting
seven complete changes of scenery without re-setting, every per-
formance was played to standing room only. In 1939, some 40,-
000 children saw 448 performances of "Snow White," and in
1940, performances of "Pinocchio" and "The Treasure Island
Varieties" were witnessed by more than 90,000, although the
seating capacity of the theatre was 100.

The great South Court, shadowed by magnolia trees and
bright with flowers, was given over entirely to the varied activi-
ties of the WPA recreation program. Orchestras from the Music
Project played throughout each day, and ping-pong tables, bad-
minton courts, shuffle boards and other games furnished enter-
tainment to thousands.

The highlight of the Court was a working model of the pre-
school play centers, established by hundreds throughout the
country. An information house of
modern glass brick gave full infor-
mation about the WPA recreation
program, and in twenty booths scat-
tered about the Court, trained lead-
ers gave instruction, along with
displays of finished work. At a minia-
ture lake instruction in fly casting
was given by a WPA expert.

The North Court was turned over
in its entirety to the National Park
Service in order to let this agency
show what it had done to make
Americans an outdoor people. Vari-
ous trees, plants and flowers were
brought down from the Yosemite
National Park, waterfalls created,

Artist George Grau
snaps an unusual
Tower stairway shot

80 THE MAGIC CITY

trails made, and wayside shelters built, complete in every detail.
In the center of the court huge redwood logs were laid in amphi-
theatre fashion around a campfire circle, and here Forest Rangers
and Park officials gave lectures from time to time. This Sylvan
Theatre was also used for concerts and chorals, and became one
of the most popular places on the Island.

Not the least interesting feature of the court was a replica of
the General Sherman Tree in Sequoia National Park, the "oldest
living thing in the world." The cross-section of the trunk was so
skillfully arranged that it seemed to be one piece, and the annu-
lar rings were captioned in such manner as to connect the growth
of the giant Sequoia with historical events.

Shelters built out from the side wall of the court were used
by the Forest Service to exhibit fire fighting apparatus, and
blown-up photographs illustrated methods of forest protection.

A sun deck off the Commissioner's office in the southeast
wing was used throughout 1939 and 1940 for buffet luncheons
in honor of distinguished guests.

CHAPTER VII

THE STATE OF CALIFORNIA had a $5,350,000 interest in the
Golden Gate International Exposition, represented in 18 build-
ings and more than a score of important exhibits.

The property investment was administered for the people of
California by the California Commission, a representative body
of 25 men and women who served without remuneration.

Chief among the buildings and one of Treasure Island's most
beautiful structures was the California State Building, the popu-
larity of which brought 3,500,000 visitors within its doors in 1 939.

The California State Building adjoined the Federal Plaza
and overlooked the Court of the Great Seal and the Lake of the
Nations. Against the walls were chairs and lounges in a tem-
pered, modern French design upholstered in damask of formal

82 THE MAGIC CITY

design, with fuchsia-colored foliage on a cream-colored back-
ground.

Opening off the promenade was the Women's Lounge, a
long, high ceilinged, rectangular room designed primarily as a
combined dining-room and lounge for women's activities, but
also used for social gatherings. The massive furniture was of
pickle oak, a light-grained wood filled in with white lead and
waxed to a soft finish. French doors, opening on the terrace,
were draped with straight hangings of blue velvet and, in the
evening, soft illumination was diffused through diamond shaped
openings of glass set flush with the ceiling in a novel pattern.

Opposite the Women's Lounge were three rooms reserved
for an exhibit of California painters, etchers and photographers.
The central room, Graphic Hall, was octagonal in shape with
galleries on either side containing selected exhibits of camera
studies, lithographs and paintings by California artists.

The main foyer, or rotunda, was a large circular hall occupy-
ing the center and reaching the full height of the building. Since
it was used as a lounge and an audience chamber for visiting
orchestras, fashion shows and other entertainment, two sides
were arranged so as to accommodate rows of large wicker chairs,
comfortably upholstered in the basic tones of deep aquamarine
blue and Chinese red, which formed a keynote of the decorative
scheme.

Decorating the upper portion of the semi-circular walls on
each side of the Rotunda were pictorial maps, one representing
the highway system of California and the other the Pacific trade
routes. Casements extending to the ceiling over the entrance
doors and over the French doors opposite, which opened onto
the terrace and the State Gardens, gave a maximum of light. On
the walls to the right and left of the entrance were hand carved
wooden plaques bearing the individual seals of all the California
Counties. A circular recessed dome in the ceiling, rose-tinted,
was surrounded by light diamonds.

A room designed especially for Jo Mora's "Portola's Expedi-
tion in 1769" was located just off the Rotunda. It was in cres-

CALIFORNIA PRESENTS

cent form, 100 feet in length and 10 feet in depth, and on
it was placed a caravan of 64 human and animal figures
made of plaster of paris, each in different posture. A changing
combination of colored lights against the diorama, showing the
pale light of dawn, the hot sun of mid-day, and finally a glow-
ing panorama of the setting sun fading into the cold blue of
moonlight, providing a pleasant retreat for visitors, who rested
in comfortable lounge chairs and were at the same time enter-
tained with an interesting sound narration describing the scene.
In the other end of the building was a reception room which
extended along the inner side of the State Gardens and opened
full-length into the ballroom. Perhaps the most unusual feature
of this room was the curved interlacing ceiling fixture, which fur-
nished the illumination. The predominating color tone of the
walls and hangings was a soft salmon. Couches and chairs lined
the room. The light standards were of copper and ebony. An in-
teresting part of the illumination was a group of light globes
hung on a slender shaft, which depended from the ceiling at the
end of the room, where curving stairs led to the balcony.

The ballroom was an immense,
rectangular room, with balconies
extending around three sides. The
east wall was devoted to a large, re-
cessed stage, framed by scenes por-
traying the Spanish Fiesta days of
early California.

There were three methods of il-
lumination in the ballroom, which
could be used separately or together
to achieve various effects. The most
striking, perhaps, was the suspended
translucent ceiling of "celo-glass" of
a structural herringbone design, af-
fording indirect lighting by means
of concealed light "spots." Large
balloon lanterns of rose-colored silk

Gov. Olson greets
Sierraville Stage at
The City of Magic

THE MAGIC CITY

dropped from the ceiling on straight metal shafts above the bal-
conies. And not the least effective were the louvers or open niches
of light housed inside the full height of each of the main struc-
tural columns supporting the balconies and the ceiling. The
chairs lining the walls under the balconies were upholstered in
blue and rose.

The Executive Offices of the California Commission were lo-
cated on the second floor. Private offices of Governor Culbert
L. Olson were entered through a reception room at the head of
the stairs. On the left of the inner corridor was the Administra-
tion dining room, and at the end of the corridor was the confer-
ence room used by the California Commission and other com-
mittees in official gatherings at the Exposition.

Under the sponsorship and management of the California
Commission and located on the southeastern side of Treasure
Island were the nine county group buildings. In appearance, each
county building took its cue from the sponsoring region.

The county buildings included: the Redwood Empire, Ala-
meda-Contra Costa, San Francisco, Mission Trails, Shasta-Cas-

cade, Alta California, San Joaquin,
Sacramento-Tahoe, and Southern
Counties. Each of these housed a
number of arresting exhibits and
dioramas portraying the commer-
cial, agricultural, recreational and
educational advantages of the re-
spective areas represented.

The Shasta-Cascade building con-
tained exhibits and decorations typi-
fying the outdoor wonderland of
Northern California with a large
rustic outdoor campfire circle where
numerous picnics and outdoor
luncheons were held.

The Redwood Empire building
was constructed in the form of a

Fire raqes in State's
beautiful building
on Treasure Island

. *»

CALIFORNIA PRESENTS 87

hunting lodge in the heart of the redwoods, with brooks, ponds
and gardens planted in native wild flowers indigenous to the
northern coastal counties.

The Sacramento Valley-Tahoe Region building gave an inti-
mate picture of the agricultural, mining and recreational re-
sources of that region. More than $100,000 in nuggets, gold dust,
wire gold, rich quartz and other specimens were shown there.

The San Joaquin Valley building specialized in the agricul-
tural riches of that territory. On many occasions, such as city
and county "days," samples of fresh or dried fruits were given
away to visitors.

The Alta California building had individual dioramas and
displays of each county represented within its group, in addition
to a large model of typical agricultural areas of that section, ani-
mated by model trains. Attracting the attention of visitors were
numerous fluorescent ores displayed under "black light" in a
replica of a mine tunnel.

The Mission Trails building utilized the best architectural
features of seven of California's famous old Franciscan missions.
A feature of this building was an imported Spanish tile fountain
which graced the center of the interior.

The Alameda-Contra Costa building displayed the industrial
resources of those two counties. In addition, the garden court
of this building was one of the floricultural masterpieces of the
entire Exposition.

Largest exhibit building in the State-Counties group was
the Southern Counties building, which, during 1939, housed
the exhibits of Los Angeles and San Diego Counties, and in 1940,
Los Angeles County alone. A huge array of fresh fruit and veg-
etables, dioramas, murals and other media were used to display
the varied resources of this region. One of the outstanding ex-
hibits was the Cecil B. DeMille collection which told the amaz-
ing story of the development of the motion picture industry.

The San Francisco building was the host City building at
the Exposition. Connected with the host State building by the
Court of the Great Seal, the San Francisco building was one of

88 THE MAGIC CITY

the important centers on Treasure Island. It depicted the early
history of San Francisco, its present development and a model
of a streamlined San Francisco of 1999. Attractions in the build-
ing included the Franciscan Order's exhibit of historical mission
relics and the Wells Fargo exhibit of the days beginning with
the Gold Rush of '49.

In addition to the exhibits in the California and County
buildings, the State constructed and maintained a number of
other displays picturing the varied resources of the great Pacific
Commonwealth.

California's greatest industry is Agriculture and it was only
fitting that this great natural resource should have an outstand-
ing place. Practically every farm cooperative and organization
in the State joined with the California Commission in build-
ing and maintaining this exhibit. The history of agriculture in
California from the days of the padres down to the present was
dramatically portrayed in a series of dioramas. Central theme of
the exhibit was a large globe illustrating how California dis-
tributes agricultural commodities by sea transportation to the
concentrated centers of population throughout the world.

One of the most interesting and instructive exhibits of the
entire Exposition was that of the University of California. It
traced the course of human, animal and plant life from the
pleistocene period to modern times. It showed the seven races of
man and their early migrations over the earth. The sciences of
geology, anthropology, paleontology, zoology and the study of
heredity were illustrated with a truthfulness only science can
attain. A large section of the exhibit was devoted to medical
science. One of its outstanding features was a replica of the huge
atom smasher at the University of California. Space also was
given to examples of structural engineering and other accom-
plishments in the modern endeavors of man.

Every phase of modern schooling in California was shown in
the Education exhibit. Nursery school, kindergartens, junior
and senior high schools and their objectives were demonstrated.
A series of transparencies showed the methods employed in spe-

CALIFORNIA PRESENTS 89

cial education, such as for the deaf, blind and crippled. Safety
education, schoolhouse planning, Indian schools, vocational edu-
cation and many other phases of this profession were illustrated
in the exhibit. The entire effort caused widespread comment
among experts in educational fields throughout the country.

Probably the greatest collection of the works of contempo-
rary California artists ever assembled was exhibited during both
years of the Fair. Scores of paintings, water colors, etchings, wood
cuts, photographs and other forms of art were hung in the cor-
ridors of the California building.

For the first time in the history of Expositions, the recrea-
tional activities of a great State were shown in detail. In the
Recreation building there was a little theatre for dramatics, mo-
tion pictures and puppet shows; a music room for vocal and
instrumental programs; a junior museum featuring arts, crafts
and hobbies. Other popular features were a typical backyard
with fireplace and picnic area for luncheon parties, a well
equipped playground for children and a sports field.

California is famous for her flowers and it was natural that
the California Commission's Hall of Flowers would prove one
of the most attended spots on Treasure Island. Here profes-
sional, amateur and scientific exhibitors displayed the finest of
plants and blooms from North and South America and the
islands of the South Pacific. Here garden clubs and other organi-
zations vied with each other in fragrant floral exhibits of riotous
color. So popular was this building that the California State
Fair obtained it for future use as a permanent building when
the 1940 Exposition closed.

Another important aspect of the California area was the col-
orful outdoor landscaping. Hundreds of varieties of flowers,
shrubs and trees made it a garden spot of flowering magnificence.
Flower lovers from all over the West made trips through the gar-
dens conducted by competent guides. All of these flowers, shrubs
and trees were preserved after the Exposition closed for distribu-
tion among various State institutions.

One of the engineering wonders of the modern world is the

Central Valley Project, which, when completed, wrill harness the
flood waters of the Sacramento and San Joaquin rivers to reclaim
hundreds of thousands of acres of desert and arid lands and pro-
vide cheap electric power for all of Northern California.
Throughout the Exposition, the California Commission main-
tained a novel exhibit of this project in the Hall of Western
States. It consisted of a huge screen on which a combination of
stereopticon slides and motion pictures, all automatically oper-
ated, continuously unraveled the history, aims and scope of the
project.

Perhaps the most realistic and elaborate display of the entire
Exposition was that of the California Department of Natural Re-
sources and the Highway Department. A typical mountain brook
and waterfall so natural in construction they seemed to have been
lifted bodily out of the High Sierras, first attracted the eye. Then
in successive dioramas were mounted specimens of all of Cali-
fornia's principal wild bird and animal life in their natural set-
tings. In the area devoted to the Highway Department, a series
of scenes showed the development of the arteries for traffic from
the time of the narrow dirt road to the modern super-highway.
Many sections of California served by this highway system were
portrayed.

Other buildings built by the California Commission were the
Coliseum, seating 9,200 people, which was the scene of many
livestock shows, symphony concerts, rodeos, and horse shows;
the California Auditorium and radio studios which housed the
Folies Bergere and from which most of the Treasure Island pro-
grams were broadcast; the livestock barns; the United States
Coast Guard buildings, and the Press Building. The Press build-
ing was one of the most popular gathering places on the island.

On Saturday, August 24, 1940, at 9:20 o'clock in the morn-
ing, a staggering blow was dealt the California Commission, the
one misadventure to mar the entire administration of the State
of California's participation on Treasure Island. Fire broke out
in the rear of the ballroom stage of the California State building
and the flames spread quickly to the entire structure, completely

CALIFORNIA PRESENTS

destroying it except for a separate wing housing the displays of
the Department of Natural Resources. Twenty-seven engine
companies, 14 truck companies, 5 water wagons, and 2 fireboats,
comprising the personnel of 52 officers and 252 men, were im-
mediately set in action and valiant fire fighting was witnessed.
Sixty thousand six hundred lineal feet of hose, 42 ladders of vary-
ing length and an 85 foot aerial truck were used. When a check
was made of the blaze in the ballroom stage, it was found that
the fire had spread to the roof and was beyond control.

Meanwhile the work of removing the contents of the build-
ing was started and a detachment of 200 soldiers, stationed at
Treasure Island's Camp Hunter Liggett, swung into action, ar-
riving at the scene on the double. The valuable service of this
disciplined group, along with the assistance of 160 sailors from
the United States Navy mine layers, the "Montgomery" and the
"Ramsay," resulted in the saving of practically all of the works
of art, many historical objects of intrinsic value and a large
amount of equipment. The California State Police, San Fran- fire-fighters vainly

/"•• T» i • /"< IT • TT- i try to extinguish

Cisco City Police, California Highway Patrolmen and Exposition the spreading flames

a ,

THE MAGIC CITY

Guards, also gave their services and aided materially in remov-
ing official files, furniture and furnishings.

Within three hours after the destruction of the building, the
Executive officers had opened new headquarters, re-established
telephonic communication and were continuing with business
as usual. A luncheon that was scheduled for several hundred
guests in the California Building the same day of the fire was
given on time in another suitable location.

CHAPTER VIII

tlte Stated,

TEN STATES AND BRITISH COLUMBIA paraded their wares in the
Hall of Western States. Located north of the Federal exhibit
area, it faced the Concourse of Commonwealths, the main high-
way on the eastern side of Treasure Island. Represented there
were Arizona, California, Colorado, Idaho, Montana, Nevada,
Oregon, Washington, Utah, and British Columbia.

The Hall of Western States was constructed around an open
court, with individual rooms for each State, and an outdoor area
devoted to a large exhibit of Oregon wild-life.

The court contained a relief map of the eleven Western
States and British Columbia. This relief map, the largest ever
built, was 110 feet square and was composed of 2,048 separate
sections. For more than a year, as many as 500 people at one

94 THE MAGIC CITY

time were engaged to work on the project. Visitors viewed the
map from a bridge crossing from a fountain at the main gate to
the entrance of the first of the State exhibits.

Directly fronting the eastern end of the bridge was the Utah
exhibit with those of other States flanking it on either side. The
Utah room contained six dioramas with scenic backgrounds pre-
senting views of the State. These included the Utah salt beds
with Captain Eyston's racing car establishing the world's land
speed record of 357.5 miles per hour, Bryce Canyon, the Utah
Cooper Company mine, largest copper tonnage producer in the
world, Temple Square in Salt Lake City, the Natural Bridge,
the Great White Throne in Zion National Park, and a typical
agricultural scene.

Next to the north was the Nevada exhibit. This exhibit was
composed of an interesting collection of prehistoric fossils, re-
productions of Indian ruins dating back 2,000 years, Indian
relics, a diorama of Fort Churchill, examples of Indian bead and
basket work, mineral specimens, and photographs in color of
Nevada scenes.

Idaho displayed a huge diorama, which occupied the entire
end of the room, reproducing Arrowhead Dam and waterfall.
Huge photographic enlargements against the other walls of the
room reached to the ceiling, pictorially relating scenes in Idaho.
A mechanical life-sized figure of a guitar-playing Idaho agri-
culturalist, provided a source of interest by conversing with
World's Fair visitors.

Montana, the next exhibit, reproduced the interior of a log
construction lodge. This contained in the north section a large
diorama expressive of the outdoors, with a stone fireplace and a
glowing fire in the center. The walls were lined with big-game
exhibits, fossils, mining scenes and specimens, and Indian relics.

The end room in this section of the building, as well as the
grounds adjoining, were occupied by exhibits from Oregon.
One scene represented the Oregon coast line with the waves of
the ocean constantly in motion, breaking on the shore. The ex-
hibits stressed the industrial, agricultural and recreational fea-

SHOW WINDOW OF THE STATES 95

tures of the northwest empire. In the outside area, adjacent to
the building, was an interesting exhibit of Oregon wild-life,
which included water fowl, quail, pheasants, various types of deer
and a busy colony of beaver actively at work felling young trees
and carrying on construction.

The Colorado exhibit contained a remarkable collection of
outdoor scenes. The center of the room was dominated by a por-
trayal of Pike's Peak, which revolved so that visitors might view
the mountain from all angles. Mesa Verde Cliff dwellings, park
areas, and other interesting views also were displayed.

The Arizona presentation in the adjoining room, was charac-
teristic in its furnishings. Navajo blankets, Indian relics and
crafts, saddles, scenes of mining industry and cases of specimens
of native ores were shown.

British Columbia's section featured murals, mounted speci-
mens of fish and game, displays of mineral, industrial and agri-
cultural products. Photographs and illuminated maps supplied
a graphic picture of the surrounding territory.

Washington had a diorama of Rainier National Park. Color
photographs lined the walls. Display cases and other dioramas
sketched the picturesque story of this northern State.

The California section was devoted to a detailed presentation
of the Central Valley Water project. This story was traced in
historical form from the early days to completion of the project,
and was presented through the medium of composite still and
motion pictures, automatically controlled and projected on a
screen 54 feet wide and 16 feet high.

The Missouri building and exhibits represented an expendi-
ture by that State of $130,000. Located north of the Hall of
Western States and facing the Concourse of Commonwealths, the
structure covered 10,000 feet of floor space with an outdoor area
of similar size devoted to well-kept gardens.

Within the building exhibits traced early history of Missouri,
its development, cities and towns, resources, scenic aspects, prod-
ucts, culture and future aims. In the principal section of the build-
ing were replicas of a pioneer cabin and two historic structures.

96 THE MAGIC CITY

The pioneer cabin with its mud-chinked log walls and shake
roof, was an authentic reproduction of the type of structure
which housed the early settlers in Missouri. Its furnishings, the
tools and implements that were used, revealed the self sustaining
character of the people. Traps, spinning wheel, corn husker, and
mill, the covered well with its bucket, the enormous fireplace in
which the family cooking was done, the ox yoke, rifle, churn, a
four-posted bed and the dinner bell — these and other necessities
fashioned by human hands completed a picture of pioneer life.

A grove of trees native to Missouri stood stalwart in a central
area within the building, the trunks gracefully towering into a
ceiling of branches and blue sky. Other exhibits of Missouri's
manufactures, agriculture, transportation, and commerce were
spaced about the walls of the building. Occupying one entire
end of the room was a vast diorama in which the varied rocks
and minerals of the State were set. In the center of this was a
moving panorama in color, of native scenes.

On the south wall was a unique agricultural map which,
through the ingenious use of three-sided panels that revolved at
intervals, presented writhin the same frame three entirely differ-
ent maps of Missouri. In this succession of maps, the agricultural
products of the State were impressively shown.

The two farther corners of the structure were given over to
reproductions of historical buildings of early Missouri days.
Another section of the building was devoted to Missouri au-
thors, including Mark Twain and Eugene Field, both native
sons of the State. Others presented outdoor scenes, bird life,
mining, agriculture and industry.

The Illinois Building was located just north of the Missouri
Building. A life-size statue of Abraham Lincoln marked the en-
trance. Just inside the building was a corridor leading to the
exhibit room, lined with paintings portraying the famous scenes
of the State's early history. These included New Salem, for some
years Lincoln's home community; Kaskaskia, the first capital;
President Grant's home at Balena, and the Icariam Mass Hall at
Nauvoo. The center of the principal exhibit room was taken up

SHOW WINDOW OF THE STATES 97

with a great relief map of Chicago. At one end of the room was
another relief map of the entire State, carved in balsa wood.
Another map, automatically operated and illuminated, showed
the agricultural resources of Illinois. Colored photo transparen-
cies at one side of the map were lighted up in sequence, and si-
multaneously other areas lighted up to outline the regions from
which the illustrated products came.

One of the dioramas was a scene of New Salem as it appeared
during the time of its first settlement by John Rutledge and John
Cannon in 1828. This was the settlement in which Lincoln
worked as a clerk and at other endeavors from 1831 to 1837 while
striving to complete his education and study law.

Kaskaskia, in 1818, was the original capital of Illinois, and
this was pictured, as well as Starved Rock State Park. Miniatures
of the State capital and Lincoln's home in Springfield occupied
a section of the building and dioramas and photographs set forth
the industrial features of the State.

CHAPTER IX

AN INVITATION to the world to participate in the Golden Gate
International Exposition was issued by President Roosevelt fol-
lowing the passage on June 16, 1936, of a Congressional resolu-
tion which read in part, as follows:

"WHEREAS, there is to be held at San Francisco, California,
during the year 1939 an international exposition which has for
its purpose the celebration of the completion of the San Fran-
cisco-Oakland bridge and the Golden Gate bridge, and which is
designed to depict and exhibit the progress and accomplishments
of the Pacific area of the United States in science, industry, busi-
ness, transportation, and culture, and which, because of its world
character will contribute to cordial relations among the nations
of the world; and

"WHEREAS, because of its location and purpose, its scope and

100 THE MAGIC CITY

aims, said exposition is deserving of the support and encourage-
ment of the government of the United States of America:

"THEREFORE, BE IT RESOLVED by the Senate and House of
Representatives of the United States of America in Congress
assembled, —

"That the President of the United States be, and he is hereby
authorized and respectfully requested by proclamation, or in
such manner as he may deem proper, to invite all foreign coun-
tries and nations to such proposed exposition with a request
that they participate therein."

In spite of war and rumors of war, the invitation brought
many acceptances. On the eve of the Exposition's premiere, the
list of foreign lands participating included the Netherlands East
Indies, Brazil, Mexico, Argentina, New Zealand, Ecuador, Peru,
Chile, French Indo-China, Costa Rica, El Salvador, Australia,
France, Italy, Panama, the Philippines, Johore, Norway, Colom-
bia and Japan.

Because of war conditions many of these nations were unable
to continue an official exhibit in 1940, but various organizations
and groups carried on with representative displays so that the
second year of the Fair would not be lacking in its picture of art,
industry and culture of our "friends from abroad."

Most picturesque section of the Magic City, due to the varied
types of architecture employed in constructing the buildings for
the different participating nations, and their setting of lakes and
lagoons, was that which centered about Pacific House, theme
building of the "Pageant of the Pacific." Pacific House was the
hospitality center for foreign visitors, and was dedicated to the
vast Pacific area, its countries and its peoples.

Pacific House itself was of unique design, cruciform in
shape, each of the four walls being identical. Huge windows 50
feet wide and 40 feet high, allowed light to flood into the build-
ing. At night an efficient system of indirect lighting accentuated
the colorful interior and its exhibits.

Exhibits told the story of culture, commerce, history, social
life, arts and sciences, recreation, music, dances and handicraft

FRIENDS FROM ABROAD

101

of the Pacific peoples. The entire center of the building, covering
a space 30 feet wide and 40 feet long, was occupied by a combined
fountain and relief map of the Pacific area, designed and exe-
cuted by Antonio Sotomayor. Striking a note of originality were
four whales in the middle of the fountain, spouting water to feed
the Pacific Ocean of the elliptical basin with its relief surface.

High on the north wall of the building was a leaded glass
map of the trade routes of the Pacific, 15 by 24 feet in size, show-
ing thirty nations in contrasting colors.

The dominant features of the main walls were the series of
six pictorially illuminated maps created by Miguel Covarrubias,
assisted by Antonio Ruiz. These presented the costumes, physical
characteristics, products, industries, handicraft, textiles, archi-
tecture, flora and fauna, history and transportation, and other
examples of life in the Pacific.

In the west wing of the building two paintings portrayed the
economy and the peoples of the Pacific. Other paintings in the
east end of the room depicted art forms and other features of the view of Pavilion of
nations in this area. nfly sh°ws P?rtico

of marble columns

102 THE MAGIC CITY

Small cabinets around the main room contained illuminated
miniatures and dioramas. These included explorations, fossils,
useful plants, archaeological discoveries, and numerous other in-
teresting displays. One showed the arrival of Amundsen at the
South Pole, December 17, 1911. Other historic figures were rep-
resented, such as Captain Cook mapping the Pacific, Magellan,
who christened the ocean on his globe circling exploration trip,
and Balboa's discovery of the Pacific in 1513.

Around the entire room were growing specimens of trees,
plants, Mowers and shrubs, native to Pacific nations, selected both
from the standpoint of decorative beauty and value to civiliza-
tion. Of special interest to students was the library in which more
than 10,000 volumes had been assembled with the cooperation
of the American Library Association and numerous publishers.
In 1940, reproductions of the Covarrubias maps replaced the li-
brary and there was also a constantly changing series of interest-
ing exhibits from the countries of the Pacific Area.

In addition to the presentation of the various exhibits, Pacific
House was the scene of a series of meetings and discussions rela-
tive to the unification of this far-flung area and its diversified
racial types. Open forum discussions by leaders in science, art,
business and all subjects pertinent to the Pacific countries were
on the daily programs.

In lighter entertainment there was an excellent varied pro-
gram of movies and of music and dance, each afternoon and
evening. The educational program was under the sponsorship of
Pacific House and the Institute of Public Relations.

For informal contacts with visiting foreigners and for Expo-
sition hospitality, there was a very large reception room overlook-
ing the main hall, called the Balcony. Under the chairmanship
of Mrs. William Denman, the Social Relations Hospitality Com-
mittee, with its many sub-committees, established a cordial Center
in the Balcony for the informal meetings of the Consular Corps
and the Commissioners to the Exposition with the people of the
Bay Area, and for the more formal Exposition hospitality to the
visiting representatives of other countries and the United States.

FRIENDS FROM ABROAD 103

Pacific House, which was developed as a part of the Golden
Gate International Exposition's original plan and foreign policy
in relation to the Pacific Area countries and North American
unity, is now a California Corporation under a Board of Direc-
tors who are developing its future permanent organization.

The corporation owns the famous Covarrubias maps painted
by this artist for the Exposition. These murals have been loaned
to the Committee on Art of Mr. Nelson Rockefeller's Commit-
tee, for the co-ordination of the commercial and cultural relations
between the American Republics under the Council of National
Defense. They are on exhibition in New York for one year.

The lure of Hawaii, magnetic with its languorous and exotic
atmosphere, was transported to the Hawaiian pavilion on Treas-
ure Island in 1939.

This building, in its attractive tropical setting, faced the Con-
course of Commonwealths, and formed the southeastern boun-
dary of the area devoted to exhibits of America's outlying
possessions and those of foreign nations. Over the wide main
entrance, and embellishing the facade, was a relief presenting a
typical scene of Hawaii.

Within the building, at either end of the principal exhibit
room and reaching its full height, were immense glass enclosed
cases. These contained colorful native costumes, flowers, fruits,
utensils, products, and many other attractively grouped displays.
Similar cases along the other walls of the room contained a rec-
ord Marlin swordfish weighing 620 pounds, 12 feet 8 inches in
length, and examples of weapons, implements and dress of Ha-
waii's earlier civilization.

On the western side of the main room were dioramas with
moving exhibits traveling slowly across the foreground, showing
the scope of Hawaii's outstanding industries, pineapple and
sugar, and transportation facilities to the island, the latter stress-
ing the proximity of Hawaii and the United States by air lanes.

Also of interest to visitors was the sound-color film, "Hawaii,
U. S. A.," which was presented in the auditorium daily.

Grouped around the spacious Latin American court were

104

THE MAGIC CITY

picturesque pavilions embracing the exhibits of Chile, Peru,
Guatemala, Panama, El Salvador and Costa Rica. This area com-
prised one of the most colorful sections of Treasure Island.

The Chile exhibit, in one of the pavilions, was divided into
two rooms, the first being devoted to art and culture, as well as
travel exhibits of the country. The second room was occupied
with commercial presentations for the most part, the basic in-
dustry, nitrate production, being stressed. Pottery, weaving, arts,
jewelry, silverware, baskets, furniture, saddles, and leather goods,
also were displayed there.

Peru offered a colorful exhibit with emphasis on its indus-
trial and economic resources. Sections were devoted to art objects
from the ancient Inca civilization, Andean murals and photo-
graphs, paintings, and native wares such as jewelry, screens, fur-
niture, blankets, miniatures, textiles and pottery.

Across the court, forming one side of its northwest entrance,
stood the Guatemala building. Extensive maps and photographic
enlargements of Guatemalan scenes were observed in the main
room. The east room offered a series of exhibits of the art, re-
sources and vivid costumes of the
country. Coffee, and a variety of
agricultural and mineral products
were featured, as well as hardwoods.
Under the direction of Benedito
Ovalle, the Guatemala Marimba
band, which had performed at the
1915 Exposition in San Francisco,
presented afternoon programs in
the court.

The Panama exhibit was housed
in a low structure of Spanish archi-
tecture. Many of its pottery displays
were five centuries old. Paintings of
the San Bias Indians, travel maps,
and photographs covered the walls.
One particularly interesting canvas

Korean dancer in
native costume at
Japanese Pavilion

FRIENDS FROM ABROAD

105

showed the native dress, La Pollera, in all its vivid colorings.
Examples of these hand-made dresses manifested the fine, deli-
cate needlework of the women. Motion pictures of Panama
were presented in the pavilion daily.

Adjacent to the Panama building was the unique El Salvador
exhibit. Within this building was reproduced an entire section
of an El Salvador city, with a coffee shop and its gay patio, a band
stand, palm-lined court, complete even to blue sky in which
stars twinkled through the medium of hidden lights as the moon
rose over a mountain background. Around the walls were paint-
ings and murals and a series of illuminated display cases in which
the products of the country, its recreational features and its art
were presented.

Coffee, rosewood, mahogany, cedar, alabaster, turquoise, gold
and silver appeared in the varied displays of Costa Rica. Colorful
dioramas and murals together with an impressive series of speci-
men groups, told the story of the republic's natural resources.
Wood carvings, elaborate in design and of artistic excellence,
were a center of interest during the Exposition.

The Pavilion of the United States
of Brazil, unusual in design, faced
the Pacific Promenade in the center
of Treasure Island.

Both ends of the principal room
were covered with immense murals
portraying striking native scenes. In
the center of the room was a large
scale relief map of South America,
showing in detail, the topographical
features of the various countries,
transportation lines and principal
cities. Just beyond this was a glass
topped display case which held some
exceptionally fine specimens of sap-
phire, topaz and other stones. Other
display cases, paintings, dioramas

Approach to Japan's
exhibits as framed
by blossoming trees

106 THE MAGIC CITY

and specimen cabinets were utilized throughout the room to pre-
sent Brazilian commerce, industry, scenery, agricultural and
mineral resources and production, hardwoods, granite, marble,
drugs, tobacco, rubber, nuts, cocoa, mate, minerals, etc.

One entire section was devoted to coffee, in keeping with the
importance of this industry in Brazil. The entire process of plant-
ing, cultivating, harvesting, drying and shipping was explained
by means of photographs, sample cases and displays.

Bringing into focus the scenic aspects of the country, another
room contained travel photographs, large maps and other lure.

One of the most attractive features of the Brazilian pavilion
was the patio that nestled in a corner formed by the two wings
of the structure. Here, in a setting of Brazilian flora, umbrella-
shaded tables were grouped and visitors were served mate, the
native drink, and coffee. An orchestra offered both American
and Brazilian music daily from 4 to 7.

The Pavilion of the Republic of Argentina in 1939 faced the
Pacific Promenade near the Lake of the Nations and was, in con-
tour, a vast semicircular glass display of unusual height and depth.

Within this window was an amazingly varied display of prod-
ucts of the Argentine, including ponchos, shawls, textiles, and
furs of vicuna, guanaco, and llama.

Murals lining the inner walls of the building portrayed typi-
cal scenes in the Argentine, industry, commerce and transporta-
tion. Large maps delineated the transportation facilities of the
country, its resources and products.

A section devoted to the packing, packaging and shipment
of food products, especially meats, showed the huge development
that has taken place in this leading industry. Exhibits of the
variety of wines produced, native hardwoods and leather, added
to the interesting display.

The building also contained an extensive library and read-
ing room with a separate room set aside for art exhibits, where
works of the principal painters and sculptors of the Argentine
were represented. In the auditorium, color and sound pictures of
this South American Republic were shown at regular intervals.

107

The Argentine Cafe, with its excellent cuisine, was a popular
social center throughout the 1939 run.

A real cantina and restaurant of old Mexico, serving native
drinks and dishes, was to be found in the Mexican pavilion in
the Latin-American court during the 1939 season. Here a floor
show entertained visitors while, in the exhibit salon, there were
sandal-makers, silversmiths and leather workers, engaged in their
crafts.

In 1940, the Mexican exhibit was presented under private
auspices. Examples of modern art, textiles, pottery and silver
work were offered for sale.

Kangaroos, wallabies, wombats and a collection of strange
birds were the center of attraction at the Australian pavilion in
1939. Many exhibits were devoted to vacation advantages and
travel. On the north wall of the building was a map outlining
the principal travel routes to Australia. Set off by highly pol-
ished Australian woods were paintings, photographs, and other
displays.

One elaborate scene depicted the brilliant colored fish and
coral growths. Mounted specimens of the lyre bird, birds of
paradise, and the little-known duck-billed platypus made inter-
esting subjects. A model of the world's largest gold nugget,
weighing over 2,284 ounces, which was found in Australia in
1869, also was shown.

An exhibit of wild flower paintings, photographs and speci-
mens of Australian aboriginal weapons, boats and utensils, occu-
pied the second floor of the building.

The New Zealand pavilion was a typical Maori meeting
house with strangely carved decorations. It was located on the
Concourse of Commonwealths, on the eastern side of the island.

Directly over the entrance were three murals depicting the
coming of the Maoris in 1550, landing of the Tasmanian ships,
and the arrival of Captain Cook in 1769. Under this was an illu-
minated map.

Color photos and display cases lined the wTalls, presenting
typical New Zealand scenes, products, recreations, and history.

108 THE MAGIC CITY

These included modern New Zealand, the discovery of gold in
1860, clearing the brush, first settlement in 1860 and the famous
Fox Glacier. One of the most interesting was a typical Maori
village, with its weavers and Poi dancers.

Maori handicraft, native village buildings in miniature, war
canoes, weapons, gods, treasure caskets, emblems of rank, flax
skirts and allied items were the subjects in another display case.

One of the unusual settings was that representing Rotorua's
thermal wonderland with its spouting geysers in action, sur-
rounded by boiling mud pools and silica terraces.

Minerals, agriculture and civic and cultural progress were
featured in elaborate presentations.

The Philippine pavilion, designed by Gregorio P. Gutie-
rrez, was a one-story structure of typical Philippine architecture,
with two wings running to the south and "west from the main
rotunda, and enclosing a court of remarkable beauty.

The inside of the building was finished in native woods. The
story of the Philippines was presented through actual specimens
rather than through the use of dioramas and murals.

Centering in the main rotunda was an exhibit of gold pro-
duction. In the four corners were life-sized figures of Philippine
native girls in the colorful costumes of the islands.

The exhibits were divided between the two main wings, one
side devoted to natural resources and recreation, the other to
manufactured products of the Philippines.

Native clothing, implements, utensils, basic products, flora
and fauna, art and culture, were attractively presented. Tropical
fruits and vegetables, bamboo and cane furniture, hemp and rope
products were featured.

The art of the islands, living conditions, cultural progress
and educational advancement, were the subjects of other dis-
plays. Ancient costumes and weapons provided a distinct contrast.

Clothing, art objects, jewelry and cigars, were included in
another wing of the building.

The lighting arrangement of this pavilion was unique and
effective, with mother of pearl utilized in the fixtures, as well as

110 THE MAGIC CITY

in the windows. Partitions and ceiling were of woven split bam-
boo, trimmed with varieties of hardwood.

In addition to the exhibits housed in the main structure, the
island representation also included a band of 1 10 pieces from the
Philippine Constabulary, which presented daily concerts in their
own band stand in the lagoon adjoining the Pavilion.

One of the most extensive exhibits of foreign nations was
that of Japan. The building represented an ancient Japanese
feudal castle and Samurai house. All materials, even the work-
men, were brought over from Japan aboard one of the palatial
"Maru" liners. The liner dropped anchor in the Port of the
Trade Winds at Treasure Island and unloaded its Exposition
cargo and workmen, gaining distinction by being the first ship
of major tonnage to enter the port of the man-made island.

Employing a unique method of construction, the roof of the
Japanese pavilion was fashioned first, then the interior com-
pleted, and last, the outer walls were erected. All woodwork
was dovetailed, no nails or bolts being used.

In flexible soled sandals, known as zoris, and blue and white
kimonos, Japanese workmen climbed nimbly about on a scaf-
folding held together by rope lashings instead of nails. Their
manner of handling and using tools kept a group of curious on-
lookers agog as saws cut upwards, planes were pulled toward the
workman and plumb lines were weighted with wooden objects
resembling a Dutch shoe.

Situated in a garden setting of charm and artistic beauty, the
Japanese pavilion was an inviting attraction to visitors.

The process of fabricating silk was one of the outstanding
displays, showing the growth of silkworms, drying and boiling
of the cocoons, reeling and spinning of the threads, and the prep-
aration of raw silk skeins for shipment.

Dyed silk rugs, fine pottery, delicate porcelains, mosaic
screens, painted fans, carved furniture, ornaments, graceful
flower arrangements and many other objects brought the essence
of the people's artistry into the rooms.

Native craftsmen were busily at work demonstrating the

FRIENDS FROM ABROAD 111

making and decorating of gaily colored parasols and other forms
of native workmanship.

Large, illuminated travel maps covered the walls of a room
devoted to travel and recreation information. Notable in the
room were four Japanese scenes pictured in hand embroidered
silk panels, and a revolving pedestal, set in a fish-pond on which
figures represented Japanese, Manchurian and Korean girls in
native robes.

A picturesque Japanese tea garden provided a pleasant at-
mosphere for visitors to rest, sip fragrant tea, and eat cakes made
from rice.

A small building, adjoining the main pavilion, was known
as the Hall of Festivals. This was used for special events, doll
and art exhibits, and other features. Included in the displays
were seventeenth century armor and costumes, Japanese toys,
miniatures, ornaments, dolls and many other interesting articles.

The Japanese pavilion was the focal point of many social
functions both in 1939 and 1940. Host and hostess were the
genial Consul-General and his wife.

Stepping through the portals of the French Indo-China pa-
vilion was akin to entering an ancient temple. Bas-reliefs from
Angkor, hand carved wooden figures and ceramic panels, com-
bined with the strange Annamite architecture, made the two-
story building distinctive and impressive. A grass covered, open
court in the center was outlined by rows of hand carved wooden
columns, dragon designed, and handsome lacquered panels.

Exhibits were assembled from Laos, Annam, Tonkin, Cam-
bodia, and Cochin, China. The displays included products of
the ancient hill tribes, as well as those of the highly developed
cultural, industrial and commercial life of the urban centers.

Handicraft included inlaid ivory, silver and jewelry, fans,
furniture, dresses, sarongs, scarfs, slippers, statues and statuettes.

Many of the items were from the ancient city of Angkor,
dating back to the ninth century. Lacquer work was featured in
furniture, screens, chests and art objects.

Unusually striking were the weird stage costumes, properties

112 THE MAGIC CITY

and musical instruments with their brilliant colorings and gro-
tesque masks.

Dioramas portrayed the ancient water wheels used for irri-
gation, native villages, jungle scenes, boats and carts, various
tribal customs and dress. On the walls were ancient weapons of
the early tribes and the crude agricultural tools they used.

Miniature ship models constructed of tortoise shell, paintings
on silk, decorated furniture, pottery, ivory work, silk sarongs,
ceramics were only a few of the exhibits which made up one
of the most artistic displays at the Fair.

One room was devoted to big game hunting trophies. Here
were mounted specimens of the water buffalo, many species of
deer, panther, and other animals, ivory tusks, and little known
game such as the serow and mutjac.

In addition to setting forth in detail the travel, hunting, and
recreation advantages of this area, attention also was drawn to
the country's major products, such as rice, rubber, cement, lac-
quer, pit coal and copra.

Annamite and Cambodian music was presented every day
from 2 to 6:30 p.m.

Reproducing a Hindu-Javanese temple the Netherlands East
Indies building was prominent for its size, architecture and dec-
orative features. Decorative embellishments included terra cotta
reproductions of statues and masks cast from rubber moulds.
Many of the statues surrounding the grounds and within the
building were actual examples of Balinese hand-carved stone.

This pavilion included exhibits from Sumatra, Bali, Borneo,
Java, the Celebes, and the western half of New Guinea.

The rotunda of the main entrance contained many statues,
paintings, carvings, tapestries and textiles. Display cases lined
the walls filled with a remarkable collection of handicraft,
jewelry and art work.

Native arts and crafts were stressed and artists were active in
their native occupations of Batik work, silversmithing, wood
carving, and the making of parasols.

Illuminated travel maps of the Netherlands East Indies and

FRIENDS FROM ABROAD 113

the world traced principal transportation routes. Cleverly lighted
dioramas portrayed island volcanoes in eruption. One diorama
realistically pictured a Javanese village background with a water-
buffalo drawn cart in the foreground.

Directly across the court from the Netherlands East Indies
pavilion, was the Isle of Bali restaurant where native foods were
served by Balinese in their picturesque dress.

On the upper reaches of the Lake of Nations, near Pacific
House, was the pavilion of Johore, a replica of a sultan's council
house.

Dominating several exhibits was a miniature of a tin-ore
dredge in actual mining operation. The rubber industry was
presented through a series of photographs and specimens, show-
ing the entire process by which rubber is secured and made
ready for marketing, from getting the basic latex from the trees
to its final preparation for shipment.

Interesting contrasts were offered in reptiles and animals,
whose habitats are in Johore. Some of these were the huge moni-
tor lizard, monkeys, the flying fox, tortoises, tapirs, anteaters, the
mouse-deer, honey bears, and others.

Sinister looking blow pipes, their thorn tips covered with
poison, were displayed. These weapons are still used by the
jungle people, who are known as Jakuns. Other exhibits in-
cluded miniature fish traps made of bamboo poles and Malayan
costumes from the Sultan's collection.

One of the outstanding pavilions on Treasure Island was
that of Italy. Names of the leading cities and regions were em-
bossed on a 115 foot tower at the base of which appeared the
Fascist emblem, a bronze axe. Marble was used in the construc-
tion of the columns and the floor. Designed by Dr. Alfio Susini
of the Italian Royal Academy, the tourist lures of Italy were
shown in colored motion pictures, murals and dioramas. Native
flower girls acted as hostesses. The attractive scenes, which were
the center of interest in the main exhibit room, were the works
of Prampolini, pupil and friend of Marinetti, pioneer in the field
of futuristic art.

114

THE MAGIC CITY

Largest in size among the foreign exhibit buildings, were
those of France, facing the Pacific Promenade. One of the build-
ings was devoted to French exhibits and the other to the Cafe
Lafayette, a restaurant serving fine French dishes and wine.

Typically Parisian in style, the cafe was situated in an at-
tractive setting. A spacious circular dining room done in blue
and cream and surrounded by mirrored walls, occupied the cen-
ter of the building. Following the curve of the room, were a
cocktail bar and two champagne bars, one serving domestic and
the other imported vintages. Large and colorful umbrella cov-
ered tables with matching chairs were set on a "sidewalk" in
front of the building overlooking a shallow pool and formal gar-
den effect. This restaurant was one of the most popular meccas
on Treasure Island.

Adjacent to the Cafe Lafayette was the imposing exhibit
pavilion, its facade adorned with a painting of French life. The
interior was divided into three principal rooms, a number of
Enthusiastic crowds alcoves, and a motion picture theater.

saw Salici's Puppets

air hi Forty Facing the visitor as he stepped through the doors or the pa-

i i

•

FRIENDS FROM ABROAD 115

vilion was Rodin's famous statue of "The Shadow." Within were
assembled an extensive collection of the works of well-known
French painters and sculptors, and early editions of printing.
Included among the artists represented were Marie Laurencin,
Utrillo, Dufy, Vlaminck, Derain, Renoir, Marque.

Displays of modern French stylists contrasted with costumes
of 1797. Examples of French textiles, velours, mousselines, satins,
velvets and other materials were offered, as well as an array of
gold, silver and fine glassware.

Travel and tourist exhibits, composed of photographs, mu-
rals, dioramas, and wall maps of Paris, Rheims, Carcassone, and
other famed places in France, were of interest to the visitor.

Famed as a winter playground it was fitting that Norway
should be represented by a ski lodge. Pre-fabricated in the home-
land, and complete in every detail, the lodge was shipped to
Treasure Island in 1939, accompanied by carpenters to take
care of its erection.

The building was constructed of logs, without the use of
nails. The roof was covered with salt and growing grass to assure
insulation from the cold.

An immense open fireplace in the center of the living room
gave an inviting warmth and soft glow for friendly gatherings.
Here, Norwegian delicacies were served to visitors. Around the
room were skis, sleds, toboggans, and exhibits of Norwegian
handicraft, all in keeping with the lodge itself. Flanking the
living room were two wings, one containing a great steam bath
and the other used as a food storehouse.

In 1940, Norway residents of the bay area took over the for-
mer New Zealand pavilion and completely remodeled it for
their exhibit purposes. Since war conditions prevented importa-
tion of exhibits, materials for display were collected from Nor-
wegian colonies throughout the United States.

The exhibit featured tapestries, knitted articles, carvings,
silver filigrees, copper and glassware. Occupying a prominent
section of the pavilion was an extensive Norwegian sports dis-
play with skiing predominating. This centered on skiing equip-

116 THE MAGIC CITY

ment of all sorts, together with Norwegian sportswear and im-
plements for mountain climbing.

The Norway pavilion of 1940 was the center of Norwegian
war relief for the duration of the Exposition. The exhibit was
sponsored by the Norwegian National League and all Norwe-
gian societies in the San Francisco Bay area.

An International Market, where the arts and handicraft of
more than two dozen different nations were displayed, was a new
cosmopolitan feature of the 1940 Exposition.

The 1939 Philippine pavilion was completely rehabilitated
to house the various exhibits and the combined display contained
a variety of imported products from simple ornaments to hand-
made Persian rugs.

More than twenty-five exhibitors had display space, includ-
ing Rumania, Hungary, Alaska, Brazil, French Indo-China, Hol-
land, Java, Bali, Switzerland, Belgium, Italy, the Philippines,
Persia, India, Egypt, France, England, South Africa and the
West Indies.

Costumed attendants, speaking many foreign languages, were
on hand to sell wares and each bazaar was architecturally repre-
sentative of its own country.

French dolls, dressed in Provincial styles; jungle jewelry,
hand-made by Caribbean natives; batiks, lace, pewter, and wood
carvings, were among the articles displayed.

An innovation in 1940 was International Court, located be-
tween the Avenue of Olives and the Lake of Nations. Here Co-
lombia, Uruguay, Ecuador, Peru, Portugal and Switzerland had
pavilions.

The Malay States took over the Johore building for 1940,
featuring big game hunting and gold mining.

Colombia presented exhibits from its land of coffee, gold and
emeralds. Visitors were served Colombian coffee in a pleasant
patio.

Ecuador, rich in silver and noted for its output of "Panama"
hats, provided one of the best art exhibits on the island. Ancient
pieces of art brought to Ecuador by the Spaniards, as well as

FRIENDS FROM ABROAD 117

the Inca arts, were displayed, together with an imposing com-
mercial exhibit.

The rising commercial importance of Peru was stressed by
means of attractive, electrically lighted maps in the Peruvian
pavilion. Noted among other displays in this building were the
four murals by Miguel Covarrubias in the foyer, portraying dif-
ferent phases of Inca life.

Portugal presented an enlarged exhibit of Portuguese prod-
ucts, including Madeira embroideries, filigree jewelry, crockery,
and the famous Portuguese wines. The Portugal display took
over the Guatemala building of 1939.

Switzerland took over the '39 Chile-Paraguay pavilion dis-
playing for sale commercial articles included embroidered
pieces. Graphics depicted Switzerland's dairy industry.

An international Treasure House in which were exhibited
art objects from all over the world, was opened for the 1940
Exposition. An Arabian Nights array of gold and silverware
from Egypt, Arabia, Mesopotamia, Transjordania, Nepal, Tibet,
Turkey, Greece, the Malay States, China, Japan, and a score of
other Far Eastern and Western countries, was installed. One
of the objects of particular interest was the "Wishing Rug,"
which Suzanne of Tiflis wove in 1793 and sold to the Shah of
Persia to ransom Prince Jean from the wicked Kurd, Sharaf Ali
Ogloo of Arabia.

The Treasure House was set up in the Netherlands East
Indies building, taking over the entire area occupied in 1939
by the Dutch protectorate.

CHAPTER X

Market

THE VACATIONLAND BUILDING, east of the Palace of Electricity
and the Hall of Science and bordering on the Court of the Seven
Seas, summarized the recreational allure of the million square
miles that comprise the West, "all outdoors under one roof."
Sponsored by transportation lines, motor manufacturers and
clubs, travel agencies, regional groups and allied interests, it
stressed the urge to go places and see things. There were full
scale models of modern Pullman accommodations. Here, ready
for occupancy, were shown interiors of an observation car, draw-
ing room compartment, connecting double bedrooms, roomettes,
single section with the new type berth and the tourist section.

122 THE MAGIC CITY

The travel interest was stirred further by exhibits of South-
ern Pacific, the Santa Fe, Pennsylvania, Chicago & Northwestern,
Union Pacific, Western Pacific, Denver and Rio Grande Rail-
roads, Transcontinental- Western Air and United Airlines, Grey-
hound, Gray Line and the travel agencies.

The Santa Fe exhibit, in addition to a model of the newest
Streamliner locomotive, presented an extensive diorama show-
ing the operations of a railroad through rural territory and
communities.

A model railroad system built by Milton Cronkhite, pioneer
model builder, was a feature. The miniature railroad had all the
equipment of a working carrier — switches, crossovers, yards,
water tanks, bridges, block signals and station houses. Ten model
locomotives and a hundred cars were employed in the demon-
stration.

The Southern Pacific Company exhibit included a "Little
Theatre of the West" showing western attractions in natural
colors and a display of contemporary Mexican rooms in minia-
ture. The miniature furniture, paintings, bric-a-brac and other
items for these rooms were collected in Mexico by Miss Joyce
Campion of San Francisco, and the designs and arrangements
were worked out by Hilaire Hiler, nationally known artist who
has his studio in San Francisco. The Southern Pacific Round-
house revealed a panorama of illustrated photographs portraying
the progress of rail transportation.

Miniature models of locomotives, passenger equipment and
freight cars were featured in the Pennsylvania Railroad exhibit.

The Western Pacific railroad 1940 exhibit featured scenes-
in-action, optical illusions and an animated display showing
travelers boarding the "Exposition Flyer." The exhibit also
showed the Feather River Canyon with realistic action effects
and illuminated murals.

The California-Nevada Railroad Historical Society assem-
bled a comprehensive display, including a diorama presenting
railroading as it was carried on in the Sierra region of early days.
And it included a reproduction of a small-town railroad station

THE MARKET PLACE 123

of the 1870 period, with the station agent's den, the waiting room
and the baggage room, complete even to a gold-scale, oil lamps,
worn-out broom and the agent's corn-cob pipe.

On the east side of this building was the Father Hubbard
Arctic Expedition exhibit. The clothing, equipment, instruments,
weapons, boats, sleds, dogs and other items used by Father Hub-
bard in his frequent explorations of the Far North were displayed
with native Alaskan ivory, metal, wood and beadwork.

There were also exhibits of items for vacation use and wear.
Levi Strauss & Co. put a group of marionette cowboys through a
wild west show; Keyston Brothers had a "Trading Post" with
saddles and riding equipment; Mission Sweater Shops had a
sweater mill in operation; Evinrude and Johnson displayed a line
of outboard motors; while travel information was handed out by
the American Express Co., Thos. Cook 8c Son, and the National
Automobile Club.

Other displays in the Vacationland Building included: Royce
Industries, Railway Express, Bethlehem Steel, Logan Knitting
Mills, the American Bible Society and the Lutheran Church, the
Boy Scouts of America, a Candid Camera Shop, the Doane Mo-
tor Truck Co., the Goodrich Tire Company, an oyster bed where
girls dived for Imperial Pearls, labor-saving devices in a machin-
ery show, gold mining methods by the Merrill Co., a presenta-
tion of the work of the Junior Chamber of Commerce, boat
models of the Pacific Interclub Yacht Association, Weeks-Howe-
Emerson and Peterson Clippers, sheet metal by the Rheem Co.,
and a Palace Travel Coach which was said to be "the last word
in trailers."

Agricultural Hall provided a broad picture of the natural
resources and industries of California. Individual exhibitors co-
operated with the State Commission in one of the most compre-
hensive presentations ever assembled.

The Dried Fruit Association, the Prune Growers, Sun-Maid
Raisins, the date industry, hops, flax, walnuts, apricots, lima
beans, honey, poultry, beet sugar, Calavo avocados, olives and figs
were all a part of this great panorama of wealth and progress.

124

THE MAGIC CITY

The silk worm industry had a booth as well as the Cotton
Cooperative. The Peach Canners were there along with the Fruit
Growers Exchange. The Frosted Foods Institute, The Challenge
Cream and Butter Association, and the Hay, Grain and Seed
industry were there.

California's Future Farmers revealed the strides made in the
development of youth and a number of leading producers com-
bined in a showing of the great wine industry of the State.

The National Livestock and Meat Board, the Peach Canners,
the University of California, the Western Growers Protective
Association, brewers, beet and berry growers, the Tri-Valley
Packing Association, the Seed Council and the State Department
of Agriculture presented educational and colorful stories of the
growth and marketing of products of field and farm.

Bank of America's "Bank of Tomorrow" was one of the most
beautiful buildings on Treasure Island. It was furnished in mod-
ernistic style and soft pastel shades as a color theme. Without
windows and with concealed lighting, streamlined fixtures and
glass tile counters, it attracted 3,750,000 visitors in 1939, 75,000

in a single day. Night and day the
branch's sixty employees were the
targets for staring, curious eyes. In
order to render a complete service
to its customers and the public, the
branch operated from ten in the
morning to ten at night. More than
a thousand checks a day were han-
dled—a total of 260,000 during the
254 days of 1939.

Nearly 400 tons of silver were
taken the first year from the branch
for use in making change at all the
various booths, ticket offices and
cash registers. Surplus cash to the
amount of $17,500,000 was shipped
to San Francisco for safe-keeping.

Afternoon tea in
General Electric's
plate glass house

THE MARKET PLACE

125

Visible from all parts of Treasure Island, the giant National
Cash Register, high as a six-story building, told the story of daily
and accumulated attendance at the Exposition. Figures on the in-
dication panel at the top of the huge register were two feet,
four inches in height. Every half hour the numerals changed,
bringing the attendance figures up to the minute. At the base of
the cash register were window displays of National Cash Register
and Accounting Machine products.

Collectors, spare time gatherers of everything from buttons
to beer mugs, had an opportunity to display their belongings
in the National Hobby Show at the 1940 Fair.

Miniature railroads, pictures, woodcraft, costumes, stage
coaches, mosaics, dolls, minerals, puppets, model boats, live
snakes, stamps, coins, aquariums and many other out-of-the-ordi-
nary items were included in displays, sponsored by hobby or-
ganizations and model clubs.

Jules Charbineau, owner of the world's largest collection of
smallest curiosities, presented his miniature museum of 28,500
articles in the Homes and Gardens Building both seasons.

An ail-American exhibit of con-
temporary art, in which the 48 states,
as well as Hawaii, Puerto Rico and
the Virgin Islands were represented,
was one of the features of the exhibit
of the International Business Ma-
chines Corporation at the 1940 Fair.

The paintings, which occupied a
special gallery of science and art,
were selected by 53 juries of art au-
thorities and art museum directors.

The Singer Sewing Machine ex-
hibit included a sound motion pic-
ture in technicolor, describing in
detail the operation of the modern
sewing machine and its attachments.

In the Foods and Beverage Palace,

Sidewalk barbecue
adds savory odors
to the atmosphere

126 THE MAGIC CITY

there was everything that could be desired in the way of liquid
and solid refreshment. Here were California Packing Company's
Del Monte family attractively displayed, Libby, McNeill 8c
Libby's "Treasure Ship," Heinz's "57," See's Candy, Planter's
Peanuts, Hills' Coffee, "the Junket folks," Schilling brands and
Sea Island Sugar.

Armour & Company offered an entertaining motion picture
in connection with their extensive displays of merchandise; Na-
tional Biscuit Company demonstrated the baking of crackers and
cookies, and there were appetizing offerings by Standard Brands
of California, and draughts of sparkling wine from the Wine
Temple.

California Walnut growers had a model packing house and
the Leslie Salt Co. had a working model of evaporating and re-
fining processes. Then it was quite the thing to finish the round
off with one of the latest Santa Fe cigars.

In 1940, you could enjoy even a more varied menu of delec-
tables. There was an attractive lunch room next to the Coca Cola
bottling machine and Acme Beer was on tap in a neighboring
booth. There were Loma Linda Health Foods, "Rancho" soups
right off the fire, and Sun Maid raisins packaged while you
waited. Roma Wines, as well as Italian Swiss Colony, were avail-
able and Washington apples were there from Liberty Orchards.

If you preferred to stroll about the building, there was an
interesting display from Czecho-Slovakia, an Ant Hut and nov-
elty booths on every hand. Kerr Glass demonstrated the proper
way to can fruits and vegetables and a Quickcooker utensil pre-
pared meals in a jiffy.

Two live chinchillas, valued at more than $3,500, were
housed in a double 200-pound ice refrigerator as one of the
unique features of the Ice Industry exhibit, sponsored by the
California Association of Ice Industries.

The Exposition home for the chinchillas was provided for
the purpose of demonstrating the air-conditioning properties
of an ice refrigerator, which although air-tight, conditions the
imprisoned air through ice meltage.

THE MARKET PLACE 127

Glass panels were provided in the refrigerator doors so that
the little animals might be seen at their housekeeping.

On the east side of the Court of the Moon was the Palace of
Homes and Gardens. Here were exhibits of scientific home build-
ing, home products and Dupont's "Wonder World of Chem-
istry." Demonstrators and lecturers told the story of the achieve-
ments of research chemists in the transformation of raw mate-
rials . . . coal, cotton, vegetable oils, salt, wood, air, water . . .
into fabrics, rubber, dyes, perfumes and plastic.

Construction, interior fittings, innovations in the use of glass,
steel, chromium and other materials were featured in the home-
building division. There were glass tiles, glass partitions, and
even glass furniture. Bath fixtures in hues of pastel and shining
chromium, glass walls, glass shower rooms, and glistening gadg-
ets galore. China displays were also notable.

Miniature models of low-cost homes, constructed of western
woods together with specimens of the various types employed, gas
home appliances: radiators, ranges, water-heaters, ironers. These
are a few of the varied array in the Palace of Homes and Gardens.

The Blindcraft exhibit was an attraction and a miniature of
the Mormon Tabernacle drew much attention.

Outside the building in the plaza to the east, were full-scale
model homes, completely furnished. These included the metal
home, with double walls for insulation, covered with a pumice
and cement combination, and without dust-collecting corners
anywhere, all wall intersections being rounded. Then there was
the model home of Western pine, with its gleaming white, blue-
trimmed construction set off to advantage in a flower-bordered
lawn. Just beyond was a nursery exhibit and, adjoining, a steel-
frame home, scientifically planned and beautifully furnished.

The American home, from architect to householder, was the
theme of the 1940 Constructional Industries exhibit.

Sponsored jointly by the American Institute of Architects,
the Associated General Contractors of America and the Asso-
ciated Homebuilders of San Francisco, the building display was
located in the Homes and Gardens Palace.

128 THE MAGIC CITY

More than 100 model homes comprising an entire miniature
village occupied the center of the exhibit. Each tiny dwelling
was constructed to scale and exemplified a type of California
home.

Surrounding the miniature village were displays of home
products, materials and furnishings, with a central information
booth sponsored by the California Redwood Association.

Specializing in home materials were exhibits by Johns-Man-
ville, the Horn Products Company and the Michel PfefFer Com-
pany, with a combination paint and glass display by W. P. Fuller
and the Pittsburgh Glass Company. Other firms featuring glass
displays were Libby Owens Ford and the San Francisco Glass
Association.

Maxwell Hardware Company of Oakland, Hundley Hard-
ware, Crane Company and Gladding McBean featured house-
hold essentials, while the San Francisco Bank, in a special exhibit,
informed prospective buyers of ways to purchase new homes.

Homebuilding murals and graphic displays of household
products were presented by many participants. The Heating and
Piping Contractors Association exhibit showed home boilers in
operation and the Paraffine Companies offered an extensive dis-
play of roofing materials.

Domestic uses of gas were shown in the display of the Pacific
Coast Gas Association, lamps and stoves were shown by the Cole-
man Company, murals in linoleum were featured by the Paraf-
fine Companies. Building materials were exhibited by Masonite,
Pioneer Division of Flintkote, the West Coast Lumbermen, and
the Douglas Fir Plywood Association. Home equipment included
Serta-Sleeper mattresses, Rudolph Wurlitzer and Baldwin pi-
anos, Schlage locks, Owens-Illinois Pacific Coast Co. "Talking
Bottles," Utah Woolen Mills blankets, American Radiator and
Standard Sanitary Corporation plumbing fixtures, Gladding
McBean 8c Co. Franciscan ware and decorative tiles, and Mar-
chant Valve Corporation leak-proof faucets.

Other exhibits included the Girl Scouts of America, Mrs. G.
Sharpe, Key Manufacturing Co., California Cotton Mills, Na-

THE MARKET PLACE 129

tional Automotive Association, Woman's Almanac, Daggett &
Ramsdell cosmetics, Collier and Son, publishers; the Salvation
Army, Gabriel Moulin, photographer; the Independent Order
of Foresters, Crane Company, Fuller brushes, Lions Interna-
tional and the Mormon Tabernacle.

In 1940 there were many new exhibitors, Edna Kirby's glass
house was an attractive feature, and a Bahai Temple stirred com-
ment. Then, too, there was an aluminum display, a labor exhibit
by the Building Trades Council, weatherstrips by Chamberlain,
sprinklers by Clifford, saws by Dewalt and enamel by Doss.

The Associated General Contractors were represented as were
the Heating Contractors, the Hardwood Association, Kraftile
Nu-Way Couplings, Palace Hardware, the Pyrene Company,
Salih Enterprises, Vermont Marbles, the Truscon Steel Co., Orig-
inal Utah Woolen Mills, Standard Sanitary Plumbing Co., the
Stamp Club and Stainless Steel.

Outdoor exhibits included the Hindustan Temple and the
Little Church in the Wildwood. Throughout the second season
of the Fair the National Garden Show, in an extensive, walled
plot, across from the Palace of Fine Arts, afforded visitors an
opportunity for viewing prize gardens created by expert land-
scape artists in an ideal setting of floral beauty.

One might "eat in all languages" on Treasure Island, par-
ticularly during the first season. Although some concessionaires
dropped out the following year, there was still wide gastronomic
variety available for visitors.

The Argentine Cafe was the "swank" spot for the general
public in '39. The Yerba Buena Club was even more luxurious
in its appointments, but was a membership proposition. So was
the Treasure Island Men's Club over on the Avenue of Olives
in the first months of its operation. Later it became virtually a
concession, and, in 1940, frankly such.

Cafe Lafayette's cocktail lounge and cuisine were deservedly
popular both years, as was the Continental Cafe.

Chinese dishes were available in Chinese Village. At the
Javanese Restaurant, hard by the Dutch East Indies Pavilion, one

130

THE MAGIC CITY

might select from an exotic bill of fare up to and including that
famous tropical Dutch dish, "rijsttafel" (rice table) , sometimes
known as "20-boy curry."

There was a Russian restaurant, Holland food at the Dutch
Windmill, a Philippine cafe in connection with the Pavilion of
that country. Anyone capable of absorbing haggis could obtain
it on occasions at the Scotch Village, although gin-and-ginger-
beer was a more popular offering. There were Mexican special-
ties provided by a colorful "cantina" on the Avenue of Olives.
Fisherman's Grotto on the Gayway was the Island "branch" of
San Francisco's famous Fisherman's Wharf. The Japanese Pavil-
ion had an annex at which it was frequently necessary to hang
out a sign "No Tempura Today," so popular was that typical
Nipponese food.

The Estonian Cafe on the Gayway specialized in "chicken-
in-the-rough," serving a large clientele both years. The "Dough-
nut Tower" was always crowded, whether during pre-operation,
AH "open-faced" car operation or demolition period.

of modern design in „, 1111 •

automobile exhibit Customers generally had to wait their turn to secure a table

131

in the Press Building dining room. Admission was by card only,
but distribution of those much-sought credentials was rather
widespread.

On the Cavalcade set was an even more exclusive eating spot
— "The Nose Bag," operated for Cavalcade folk, but open to a
few friends.

Foods and Beverages Building housed the Acme Beer Gar-
den, the Italian-Swiss Colony Wine Garden and the unique
"Sandwich Slide" both seasons. Oakwood Barbecue, Crillo's Spe-
cialty Kitchen and the White Star Tuna Restaurant had build-
ings of their own both in '39 and '40. Cafeterias capable of serv-
ing hundreds at a time were located in Homes and Gardens, the
Science Building and Vacationland, and there was a smaller
cafeteria in the basement of the Administration Building.

The Owl Drug Company's lunch counter fed hundreds of
thousands, and there were scores of smaller concessions scattered
throughout the grounds at which one might secure the succulent
hamburger, the tasty hot dog, or such innovations as the "crab-
burger." Even the Palace of Fine Arts "went earthy" in 1940,
permitting light lunch service on the premises.

Ghirardelli Chocolate Company had a building of its own
on the Avenue of Olives, both exhibiting and selling its product.
And a right tasty product it was, of a coolish evening.

There was no cause to either hunger or thirst when visiting
the Magic City.

CHAPTER XI

Old MaAteM. a*td Ant in Action

ONE OF THE MOST magnificent displays of art treasures ever as-
sembled in the United States was an outstanding feature of the
1939 Exposition. From all over the world, paintings, sculptures,
and other art objects were sent to Treasure Island, most of the
foreign paintings never before having been exhibited in this
country. These were housed in one of the permanent hangar
buildings on the Island, familiarly known to Fair goers as the
Fine Arts Palace.

Exhibited in the Division of European Art were the finest
Italian Old Masters and many other paintings and sculptures of
all historic periods, inestimable in value. Among these were Bot-
ticelli's "Birth of Venus," Raphael's "Madonna of the Chair,"
and other masterpieces of Michelangelo, Titian, Tintoretto and
Donetello. Eight specially designed galleries were equipped with

134 THE MAGIC CITY

a new system of lighting for the showing. Gothic tapestries, Ren-
aissance sculptures, hundreds of contemporary paintings by
Europe's modern artists and a collection of great nineteenth
century painters' work completed this section. These master-
pieces were assembled largely through the efforts of Dr. Walter
Heil, Director of the San Francisco Museum of Art.

A broad cross-section of contemporary painting and sculp-
ture by living Americans, Mexicans, and Canadians was dis-
played in the Division of American Art. California artists were
represented by 73 paintings selected by Roland J. McKinney,
Director of Contemporary American Art, who also collected
750 canvases from outstanding American artists in every state.
Two galleries were designed to depict the historic background
of our native art from pre-Revolutionary times to the nineteenth
century.

Arts of the Pacific peoples, cultures of the past and present,
representing two-thirds of the world's population living on the
borders of the Pacific Ocean and resident on its islands, were
found in the Division of Pacific Cultures. Here, masterpieces of
their kind, the lesser known arts of these peoples were dramati-
cally portrayed in a series of galleries. China, South Asia, Japan,
the Pacific Islands, South America, Middle America, and the
Northwest Coast afforded treasures in all media: wood, stone,
bronze, gold, silver, ivory, and textiles.

Contemporary creations by artist-craftsmen of Europe and
America were located in the Division of Decorative Arts, which
included sculpture, book-binding, ceramics, glass, textiles, and
furniture done by the world's foremost decorators. Rooms were
designed in the living spirit of our times, the entire section occu-
pying the center of the Fine Arts Palace, in the form of a wide
rectangle. Twelve of these were located on a raised platform
approximately two and a half feet above the floor, placed back
to back and joined by a corridor. Many of the rooms, 16 by 20
feet in size, were fronted by terraces designed for outdoor living
exhibitions.

On a balcony across the back of the main room group were a

OLD MASTERS AND ART IN ACTION 135

number of small vitrinos housing a room done by Gilbert
Rhodo; a modern chapel by the Monterey Guild; a velvet ex-
hibit by Helen Coles; selection of modern hand-made furniture
by Meis van der Rohe; tapestries from Aubusson, France, by
Paul Bry and Jean Lurcat; stone pottery by Saxbo; and an elabo-
rate jewel exhibit. The rest of the balcony was given over to
work of California artist-craftsmen, including glass, silver, pot-
tery, ceramics and other decorative arts.

The terraces exemplifying the pleasures of outdoor living
were equipped with specially designed furniture.

Material for the Decorative Arts Exhibit came from England,
France, Holland, Denmark, Sweden, Norway, Finland, Italy and
other countries. Dorothy Wright Liebes was responsible for as-
sembling this interesting display.

From England came textiles by Gordon Russell, Ltd., Marion
Dorn, Campbell Fabrics, Edinburgh Weavers, Allan Walton,
Hayes-Marshall of Fortnum and Mason, Old Beach, Donald
Brothers and weavings by Mrs. Ethel Mariet. Wells Coates deco-
rated a room. Modern glass was displayed by Stevens 8c Wil-
liams, Inc., and James Powell and Sons.

Other contributions from England included ceramics by
Wedgwood, and exhibits by Duncan Miller, Oliver Messell,
Rex Whistler, Royal Doulton ware, Spode-Copeland China,
flowers and modern vases by Constance Spry and decorative
panels by Leslie Blanche.

From France there were textiles by Paule Marrot, Bianchini,
Colcombet, Sonia Delauney, Mme. Paul Nelson, Lola Prusac,
Mme. Pingusson, M. Coudurier-Fructus, Ducharme, Helene
Henry, Germaine Montereau, Mme. Alice Chabert-Dupont, and
Mme. Cristofanetti, rooms by Le Corbusier, Kohlmann, and
Rose Adler.

Other French contributions included: tapestries, rugs, and
chairs by Mme. Cuttoli; small set of dishes, blue glass chess set,
and new glass by Jean Luce; an exhibit of glass workmanship by
Baccarat; screen lacquer by Dunand; screen and porcelain by
Raoul Dufy; tapestry and chairs by Lurcat; table lace and needle-

136 THE MAGIC CITY

work, Noel; table cloths, Rodier; glass heads, Henri Navarre;
a chest, Ramsey; montage, jewels, by Jean Schlumberger; dress-
ing table, by Mme. Misia Sort; small decorative piece "Adam et
Eve," by Gabriel Sebastian; "House in Space," by M. Paul
Nelson; wrought iron and crystal grill, Raymond Subes; rugs by
Maurice Lauer; iron chair, straw mannequins, Mme. Zervudaki;
table glass, Lalique; mirrors, plaster, Tita Terisse; books, mod-
ern folios, Vollard; leather, tapestry, Herrick; rugs by da Silva
Bruns; sculpture, Giocometti; leather furniture, Michel-Frank;
glass by Marinot; rope gallery by Daruix; small figures by Ma-
tisse; silver by Puiforcat; and glass by Decorchement.

From Holland came glass by Leerdam, textiles and furniture
by Metz and Company, rug by Konenklijke Cereenidgo Tapejt-
fabricken, and chairs by Oud.

Denmark, long distinguished for its outstanding contribu-
tions to decorative arts, sent exhibits of stone-ware pottery by
Saxbo and Natalie Krebs, silver by the famed George Jensen;
collections of Royal Copenhagen porcelain, and textiles by
Troba-StofFer, Ditz-Sweitzer, and Dessau-Bo.

Progressive Sweden was represented at the 1939 Exposition
through the works of internationally known artists. Exhibits in-
cluded: glass by Orrefors; textiles by Elsa Gullberg, Maita Fjet-
terstrom, and Astrid Sample-Hultberg; ceramics by Lizbeth Jobs
& Sister; Sandberg lace by Greta Sjunnesson; rug by Gulli Lund-
guster; silver by Baron Fleming; exhibit units by Estrid Erikson,
Professor Frank, Captain Berg and Archibald Olaf Ostborg. Carl
Malmston sent furniture and sconces; Nordiska Company a se-
lection of glass and pottery; Eric Grato examples of wrought
iron, and Licium, a church piece.

Among the representative decorative arts from Norway were
textiles, tapestries and embroidery from Der Norsko Husflids-
foroning; three rugs and a selection of pottery by Bruskunst;
ceramics and a wooden horse by Kinstnerforvundet Kjeld; pew-
ter pieces, wood, and wrought iron by Prydkunst, and a hand-
woven curtain from Husflidsforening.

The famous Aalto and Mrs. Aalto of Finland contributed

OLD MASTERS AND ART IN ACTION 137

furniture, glass and weaving; Eliel Saarinen sent silver; Mrs.
Eliel Saarinen a rug; and Hemflet, a collection of rugs. Weaving
by Martta Taipale and textiles from Finland House completed
Finland's offering. Italy was represented with a varied selection
of arts and crafts.

Craftsmen demonstrating the various techniques of their
work, were an integral part of the Decorative Arts section. The
craft idea was presented in two very definite efforts, the first by
working demonstrations done in practical workshops where the
visitor could see textiles woven, ceramics made, bookbinding,
enamel work on metal, and a number of other handicrafts. Two
of the atoliers were arranged so that the work might be observed
from various positions from the level of the floor, as well as
from platforms. Progress from the designer's idea and working
diagram to the finished product was shown.

The second phase displayed examples of executed work.
These examples were assembled into coordinated arrangements,
chosen for their suitability to one another in design, and for
their practical use. For instance, dining room furniture, together
with glassware, china, silverware, and decorative objects, were
associated in a general dining room layout.

There were other rooms entirely the work of decorators and
creators of furniture in the United States.

A handsome jewelry display also attracted wide attention.
Against an exotic background of rich velvet hangings, an im-
mense jewel case contained modern costume ornaments and pre-
cious gems mounted in settings of beautiful and intricate design.

Occupying a special section were miniature rooms valued at
half million dollars, which portrayed development of home de-
sign and decoration in many countries and periods. These were
the creation of Mrs. James Ward Thome of Chicago, interna-
tionally famed for the artistry and beauty of her architectural
models.

The model rooms, each about one and a half by three feet
and two feet in height, were created to scale with sculpture, tex-
tiles, paintings and furniture perfectly produced in miniature.

OLD MASTERS AND ART IN ACTION 139

In rooms such as the French Louis XIV and Louis XV periods,
for instance, elaborate and skillfully carved woodwork was ex-
quisitely and beautifully done.

Textiles used on upholstered pieces were in many cases ac-
tual bits of original material produced in the periods repre-
sented, and accessories, such as tableware, glassware and objects
of art were reproductions in miniature, contemporary with the
original.

The thirty-two miniature rooms, in English and American pe-
riod designs, shown in the Thorne collection, made an interesting
contrast with contemporary rooms of the full-sized central group.

In 1940 Mrs. Thorne exhibited twenty-nine rooms. Of spe-
cial interest were Japanese and Chinese interiors. The other
units consisted of six American, eight French, three Spanish, a
Venetian salon, an early Italian and eight English rooms.

Art in Action — a continuing four-month show revealing the
back-stage side of art in both major and minor projects — was
the 1 940 theme for the Palace of Fine Arts proposed by Timothy
L. Pflueger. There were Old Masters too, and examples of the
best work by European and American artists.

The California artist, Helen Bruton, acted as chief of the Art
in Action Division, assisted by Beatrice Judd Ryan. The project
of Art in Action was completely unprecedented in the history of
art and art display. It was an invitation to the public to see the
arts backstage. With the central section of the Fine Arts Building
entirely turned over to the artists, the public was able to see
sculptors cut their stone, painters mix their oils on the palette,
print makers pull proofs from zinc and copper plates.

The artists worked right in the midst of the public. Many
visitors to whom a painting or a piece of sculpture as a complete
thing was something remote and mysterious, discovered an en-
tirely new outlook on art, while visually taking part in the
process of artistic creation.

On a high wall was a huge mosaic, 40 by 42 feet, depicting
great figures of science from Darwin to Ernest Lawrence, Nobel
prize winner of atom-smasher fame. A staff of artists worked on

140 THE MAGIC CITY

scaffolds and the public could watch them putting together the
polished marble and granite bits of the huge mosaic designed by
the Swiss-American artist, Hermann Volz of the Federal Arts
Project. At the other end of the Active Arts Plaza, Diego Rivera
toiled on a great fresco. Early in 1940, under the sponsorship
of the Board of Education of the City and County of San Fran-
cisco, this outstanding artist was employed by the Exposition
Company to paint a fresco of approximately 900 square feet in
the Art in Action section. The subject of the work was the Art
of the Americas as expressed by the mechanism of the North
fused with the traditions rooted in the soil of the South. This
fresco was to be donated by the City School Department for in-
stallation in the new San Francisco Junior College.

Three large exhibitions of oil paintings, water colors and
prints by California artists, were held during the 1940 season.
Two groups, one of conservatives, and the other of modern taste,
acted as jurors. Prizes totaling $1,500 were awarded.

A festive, active spirit dominated the Arts plaza. To create
an atmosphere of leisure and comfort, there was a lounge in the
center where people might sit and rest. There was also a restau-
rant where light foods were served.

Helen Forbes of San Francisco demonstrated tempera, Max-
ine Albro of Carmel painted in oil. Glen Lukens, one of the fore-
most American artists in his field, produced ceramics. Dudley
Carter did spectacular wood sculpture — working with an axe.
Mickael Chepourkoff offered humorous animal sculpture in
metal. Antonio Sotomayor, Bolivian-born San Franciscan, cre-
ated swift and informal caricatures. Marion Simpson of Berkeley
returned from Mexico to paint in oil. There were weaving dem-
onstrations by Maga Albee and her group, including Jean Fay
and Adaline Emerson.

As a bridge from the Art in Action division of living Cali-
fornia art to the great section of European and American Paint-
ing and sculpture, there was a special showing of California
artists of the past. Considerable space was devoted to the histori-
cal figures of California painting, William Keith, Thomas Hill,

141

Jules Tra vernier, Nahl and others which dealt with people and
scenes of the early days in California.

From the Middle Ages to the present, every major trend and
period in the history of European and American Art was repre-
sented in the Painting and Sculpture Division. Walter Heil, Di-
rector of San Francisco's De Young Museum, was head of this
division, assisted by John D. Forbes.

Among some of the most famous works shown in the Old
Master section were Breughel's "Wedding Dance" from the De-
troit Art Institute, two magnificent El Grecos, several Van
Dycks, Rembrandts, Murillos and Franz Hals and a group of
early Italians. There was also a superb Madonna in terra cotta
by Mino da Fiosole; two works by the Italian fifteenth century
sculptor, Amadeo; several fine pieces of early Greek statuary;
also a considerable number of other fine Dutch seventeenth cen-
tury paintings, and English and French oils of the eighteenth
century.

The French schools of the nineteenth century were amply
represented with distinguished works by Delacroix, Courbet,
Corot, Manet, Renoir and Monet. Works by Utrillo, Matisse,
Laurencin and Dufy were included in the group of contempo-
rary French artists. Another section of this show was devoted to
Old Master drawings collected by Dr. Annamarie Henle from
the Schaeffer Galleries.

A special section was devoted to art works from Central and
South American countries. Dr. Grace L. McCann Morley, Di-
rector of the San Francisco Museum of Art, on an all-plane trip
through Western South America, collected contemporary art
from that continent, while Thomas Carr Howe, Jr., Director of
the California Palace of the Legion of Honor, secured works
from Mexico.

A unique, comprehensive show of photography was held in
the east section of the Fine Arts Building. This exhibition was
directed by Ansel Adams of San Francisco and T. J. Maloney,
Editor of the United States Camera Magazine.

Object of the exhibit was to present photography from the

142 THE MAGIC CITY

earliest day to the present, both in still and motion picture fields.
The exhibit comprised presentations of historic, documentary
and experimental films, a show of color photography, a section
of technological, scientific and news photography, contemporary
American photography and a special section devoted to works by
living California artists. The foyer to the Exhibition was deco-
rated with large photo murals.

Daily gallery tours by art experts and regular lectures, as well
as a series of special displays, were scheduled.

As an additional feature of the exhibit, an unusual show of
fine printing was collected, including a copy of the famous
Gutenberg Bible. Commemorating the 500th anniversary of
printing with movable type, 500 books of the finest presses in
the world were on display. This exhibit was arranged by the
San Francisco Roxburghe Club.

Examples from celebrated presses from the time of William
Morris, who recreated the arts in England in the middle of the
nineteenth century, to the moderns were shown. There was also
an historical section with examples of the most famous historical
presses.

Plans for the architectural exhibition were worked out in
the East by a group of distinguished architects, headed by How-
ard Meyers, Editor of the Architectural Forum.

Richard L. Tobin served as Chairman of the Fine Arts Com-
mittee with Timothy L. Pflueger as Executive Vice Chairman.
Kenneth E. Slaughter was Director of the Fine Arts Building.

CHAPTER XII

Science awd Service to- Man

THE FIELD OF SCIENCE provided some of the most interesting
exhibits on Treasure Island. The wonders of chemistry, physics,
biology, the ceaseless battle of mankind against the forces of
disease, the amazing feats of surgery and medicine . . . these were
only a few of the subjects which were presented in graphic
fashion, with charts and moving figures, dioramas and changing
color.

The feature of the University of California's $300,000 exhibit
was the miniature cyclotron which enabled visitors to do their
atom smashing on a small scale. An exact model of the 225-ton
Berkeley engine was built especially for display at the Exposition.

Visitors saw the active principle of atom smashing in opera-
tion when they pressed a button. The electrical impulse liber-
ated by the button set in motion a number of small spheres in
the circular imitation vacuum chamber in the model. These
spheres emerged at a point corresponding to the point where the
high-speed atomic particles emerged in the real cyclotron, to
liberate a shower of other atomic particles from an elemental
target such as sodium or phosphorus.

144 THE MAGIC CITY

The target was lacking but the manner of bombardment
was clearly shown. What happened during the atom-smashing
process and after was explained by appropriate legends and
demonstrators.

In the model, a gravity "pull" whirled the spheres around
after they had been set in motion, and showed how the magnetic
"pull" operated in the real cyclotron to develop sufficient speed
in the whirling atomic particles to smash the atoms in the target.

Hardly less mystifying was the mechanics exhibits in which
the bullet from a gun met a ball dropped from the top of the ex-
hibit booth. Bullet and ball always met, regardless of the muzzle
velocity of the gun. The velocity was changed from time to time.
The exhibit demonstrated a number of principles of mechanics,
particularly Newton's laws, but it had a direct bearing on both
the differences and the relationships of vertical or gravitational
motion and horizontal motion.

Mathematics showed in another display how curved surfaces
might be generated by a system of straight lines. A number of
models of ruled surfaces were used in working out this principle.
In the same display an instrument known as the brachistochrone
was used to describe the "curve of quickest descent," another
mathematical poser which required long explanation even in its
simplest form, but which the brachistochrone visualized with
startling simplicity.

The University displays showed how commodities of all sorts
flowed between San Francisco and Los Angeles. A dioramic
model of both cities, with the intervening country, was shown,
and on this was to be seen the movement of train and ship, the
manner in which they were fitted into exact schedules and how
their movements were plotted and controlled.

A large map of California explained University activities.
One animated exhibit revealed tiny and very eager young men
and women going into Haviland Hall on the campus, the quar-
ters of the Education department, and emerging therefrom to
go through the University entrance at Sather Gate as full-fledged
graduates.

145

The music display was not only seen, but heard. In the midst
of a group of sepia pictures, showing various developments in
music instruction on the campus, was placed a recording device
which rendered orchestral selections.

Remember the visual-mechanical demonstration of the Men-
delian law of heredity in the Hall of Science? It was a sort of
puppet show arrangement. Visitors pressed buttons to match
blue-eyed and/or brown-eyed parents for scientific exploitation.
Two little dolls — male and female — appeared in an upper
compartment. Then the contrivance started humming and rum-
bling, and eventually possible offspring of such a union appeared
below, duly paired off into dominant blonds and recessive bru-
nettes, or whatever. Carrying on with scientific persistence, the
machine further showed descendants even unto the third and
fourth generation, blue-eyed or brown-eyed according to rote.

Hand in hand, a young couple stood in front of the exhibit.
Obviously they had but recently exchanged vows; Treasure
Island was Honeymoon Island for them.

He looked down into her eyes. They were blue — a heavenly
azure blue. She smiled and blushed prettily and gazed back at
him. His eyes were brown — a virile, vigorous brown. Still
clutching hands, each pressed the corresponding button.

Brown-eyed Papa and Blue-eyed Mamma appeared dutifully,
probably for the some-thousandth time that day. Then some-
thing went wrong with the mechanism. Instead of showing off-
spring dolls of the first generation, the thing slipped a cog and
started begetting blue-eyed blonds, brown-eyed brunettes, blue
eyes with brown hair, brown eyes with yellow hair, boys and
girls and indeterminate infants in truly startling number. It
looked like recess at an orphan asylum!

The brown-eyed bridegroom fell back, horrorstruck. The
bride clung in terror to his protecting arm.

He found his voice first, "Gosh, Babe," he gasped, "if we're
gonna have that many children, perhaps we never should Ve
done it!"

"Let's get out of here — quick!" she whimpered.

146 THE MAGIC CITY

If this should meet their eyes, would the couple in question
kindly report progress to date? Just to keep the record straight?

Time was well taken care of with the centrally controlled
system of International Business Machines and the Westclox Big
Ben polaroid giant of General Time Instruments Corporation.
Music was represented by the Pfeffer Company and the juveniles
enjoyed watching the antics of the Mystoplane. Western Union
and Postal offered wire service at all hours and stenographers
at stenotypes took dictation at around 200 words a minute.

Vacuum cleaners by Hoover, typewriters by Remington-
Rand and business machines by the Addressograph-Multigraph
Corporation gave an insight into modern efficiency methods.
The Oakland Chamber of Commerce had an exhibit here which
outlined the East Bay region with Oakland as a focal point for
distribution and shipping. Electrical products were shown by
Pacific Electric, Sangamo, the General Cable Company and the
Bowie Switch Company. Early pianos and clavichords were
shown by Baldwin.

One of the outstanding exhibits of the Hall of Science in
1939 was that of the Mayo Foundation. It provided in a graphic
manner a comprehensive survey of the age-long battle against
disease and revealed in an interesting way through photographs,
moving graphs and models the work of the Mayo clinic in ser-
vice to man.

State Departments were represented by a series of exhibits
including the Board of Education, the state institutions, nar-
cotics, motor vehicles, the accident commission, social welfare
and public health. Steps in the prevention of tuberculosis formed
the subject of an exhibit by the Tuberculosis Association and
the Birth Control Federation of America had a graphic display.

Books and education were featured by the International Cor-
respondence Schools, the Grolier Society, Quarrie Corporation,
the Merriam Company and the Bookhouse for Children. Crown-
Zellerbach displayed various paper products.

Disaster relief, accident prevention and health activities made
up the Red Cross presentation and safety was stressed by the

SCIENCE AND SERVICE TO MAN 147

Aetna Casualty & Insurance Co. The Schering Corporation fea-
tured hormones and Ciba Pharmaceutical Products explained
the functions of the heart. Metropolitan Life dealt with life ex-
pectancy and the value of insurance. Eli Lilly 8c Co. told the
story of diabetes. Chemical displays were made by Winthrop,
Sandoz, Dow, Stauffer and Monsanto.

Other exhibits included Revelation tooth powder, the West
Disinfecting Co., the California Medical Association, St. Francis
Hospital Properties, Inc., the American Dental Association,
which traced the development of dentistry from primitive times
and emphasized the value of dental health, and Lederle Labora-
tories, Inc. which explained the serum treatment of pneumonia.

New exhibits in 1940 included the California Academy of
Science with a botanical display, the California Heart Associa-
tion, demonstration of "B-l" by the California Nursery Co., Em-
ployment and Industrial Relations divisions of the state govern-
ment, "Magic Shadows," X-ray wonders in medicine and industry,
by the Pacific Roentgen Club, and Noah Webster's desk and the
modern dictionary by the Springer Company.

Dominating the Palace of Mines, Metals and Machinery, one
of the main exhibit buildings of '39, was Treasure Mountain,
diorama of a typical mining region. Here, with the aid of minia-
ture figures, every type of gold mining operation was presented,
quartz, hydraulic, and panning by hand the bed of a stream. The
rock formations reproduced in this scene were created by the use
of moulds, made in the mining regions, from which casts of light
material were made and fitted together.

Underneath the mountain was a reproduction of a gold mine.
Air and water lines were installed, drills of all types were in
place, the repair shop ready for operation, the hoists awaiting
their cargo. Various methods of timbering were shown, as well
as blasting systems. It was a fully equipped mine under actual
operating conditions.

In the center of the south entrance lobby stood a glass case,
protected by iron bars, in which was one of the most unusual gold
formations ever encountered, a large "leader" of gold protruding

148 THE MAGIC CITY

from a quartz formation. Another display case contained samples
of gold ore collected over a period of fifty years. Included in
this, and indicative that gold mining was still a very active busi-
ness in California, were samples of ore taken out within the last
few years assaying as high as $180,000 to the ton, and nuggets
from Sierra County running up to more than 40 ounces in
weight.

Included in one display group were 68 minerals found in the
United States. Another revealed the little-known uses of various
metals in medicine. A hand-made scale, built in Philadelphia
and weighing nearly 1,000 pounds, on which over $100,000,000
worth of gold was weighed in the Bonanza district, was another
interesting item. The assayer's office showed the equipment used
for testing various types of ores. A mining engineer was also on
hand to answer all questions involving mining operation. The
entire exhibit traced the history of metals — from the Stone Age
to the present.

Around the walls of the exhibit were plaques depicting coin-
age of various years and a reproduction of the $50 gold "slug,"
an eight-sided coin, blank on one side, made by private interests
in San Francisco in 1852.

Operations in milling, smelting and refining were illustrated
graphically in the McGraw-Hill exhibit. C. W. Marwedel dis-
played a linotype, tools, metal and machinery. Oliver niters,
Joshua Hendry mine machinery, rope making by the Tubbs
Cordage Company, the Dorr Company's "Metallurgy of Gold,"
Neptune meters, tungsten products, processes of precipitation,
the Great Western Electro-Chemical Company's visual display
of chemicals, animated blue-prints of the Mine, Smelter Supply
Company showing gold recovery processes, seamless tubing of
Timken and the manufacture and application of steel by the
subsidiaries of the U. S. Steel Corporation, all provided educa-
tional subjects for the daily throngs.

One of the largest and most intricate animated displays ever
conceived was installed by Radio Stations KPO-KGO. Electri-
cally motivated puppets made of rubber, representing the lead-

SCIENCE AND SERVICE TO MAN 149

ing Red and Blue Network stars were seen in a series of
performances.

On a stage sixteen feet high there was set a series of little
stages, twelve in clock-wise fashion on a twelve foot panel and a
thirteenth in the middle of the circle. Each performance was of
one minute's duration, providing a twelve-minute complete show
continuously from 10 a. m. till 10 p.m.

A television "roaming reporter" interviewed visitors in the
Court of the Seven Seas for RCA. While persons were being
interviewed, their friends might watch at the receiving set inside
the building.

General Electric Company's powerful international broad-
casting station KGEI, which has since achieved world fame with
its daily transmissions covering half the surface of the globe, went
on the air for the first time on February 18, 1939.

The dedicatory program broadcast by the station, whose stu-
dios and transmitter were part of the General Electric exhibit in
the Palace of Electricity, was on March 4, 1939.

Thereafter, millions in Latin America, Asia, the Antipodes
and South Africa listened to Exposition bands and shows, heard
visiting dignitaries and enjoyed colorful programs at the Fair
through the short radio waves of KGEI. Occasionally, the sta-
tion offered listeners in other lands a booklet describing the
Fair. More than ten thousand requests were received.

Because of geographical location (it is the only international
broadcasting station west of the Mississippi) , KGEI was the only
United States radio station heard in the Orient and the part it
played in the private lives of tens of thousands of foreign listen-
ers is a fascinating story. For them, KGEI was the "Voice of
Uncle Sam" and their sole source of uncolored news.

The station became a permanent installation in the San
Francisco region and, in the Spring of 1941, was moved from
Treasure Island to a permanent location on the mainland, with
studios and offices at the Fairmont Hotel, San Francisco, and
transmitter at Belmont.

R. S. Peare of Schenectady, N. Y., was manager of broad-

150 THE MAGIC CITY

casting for General Electric. E. T. Buck Harris, former San
Francisco newspaperman, was the manager of KGEI and H. M.
Scholes the engineer in charge of technical operations.

A "phantom house" built of plate glass was a spectacular
part of the General Electric 1940 exhibit. A full-size five-room
model home of ultramodern design was shown, with outside and
inside walls of transparent glass, beautifully decorated and elec-
trically equipped throughout. The largest light in the world,
50,000 watts, and the "House of Magic," half-hour scientific
stage show, attracted the crowds.

Broadcasting under glass from KGEI, an animated "light-
conditioning" display contrasting old and modern home lighting
methods, a reproduction of Edison's laboratory with an old-
fashioned glass blower making electric lamps just as Edison had
done, a "Magic Kitchen," which "talked and walked," a "Tire-
o-Scope," device which X-rayed automobile tires for hidden
nails, glass, cuts, and an amateur photography contest made the
General Electric display outstanding. More than four million
persons visited the exhibit in 1939.

The Westinghouse exhibit was one of Treasure Island's ma-
jor industrial attractions both in 1939 and 1940.

"Willie Vocalite," the mechanical man, and "Sparko," the
mechanical dog, were popular features.

The "playground of science" included the Stroboglow and
Grid Glow Tube, the Breath Relay, the Spencer Discs and the
"Cashier's Cage."

A welding exhibit, a cutaway operating turbine, an auto-
matic elevator and a "Motor Torture Chamber" attracted much
attention.

A featured part of the 1 940 Westinghouse exhibit was an oper-
ating model of the Mount Palomar Telescope, brought from the
laboratory of the California Institute of Technology to show the
public just how this largest of all telescopes in the world will
actually operate. It was a one-tenth scale model which, in itself,
was a telescope of large proportions, having a mirror 20 inches
in diameter.

SCIENCE AND SERVICE TO MAN 151

There was also a theatre with a sound movie in color. A tele-
vision lounge in which the public might actually observe tele-
vision reception on the latest receivers was installed.

In addition, there was a replica of the Time Capsule buried
on the site of the New York World's Fair, which contained ob-
jects representative of life in the 20th century — as a message to
the people 5,000 years hence. Duplicates of the contents in the
original capsule buried in 1939 were on display.

"Pedro the Voder" was leading man in the Bell System ex-
hibit. He carried on a lively and intelligible conversation at the
bidding of a young lady who operated a set of keys like those on
an organ. Pedro demonstrated in 1939 his ability to talk. In
1940, he also sang, recited nursery rhymes, and imitated animals.

Other features of the Bell System exhibit included the long
distance demonstration, the word and tone hearing tests, and the
Voice Mirror. At the long distance demonstration, visitors were
selected by lot, every half hour, and allowed to place calls to any
listed telephone of their choosing in the United States. The
audience listened in.

At the hearing demonstration visitors were able to test the
quality of their hearing by taking certain word and tone tests.

The Voice Mirror, an electrical device by means of wrhich
people may listen to their own telephone voices, was also a popu-
lar attraction.

The Pacific Gas and Electric Company had two exhibits, one
to treat of electricity and the other of gas. The electric exhibit
was a 160-foot animated diorama depicting scenes in the days of
'49 and also the City of the Future, together with a large relief
map of the company's system, with miniature reproductions of
power house, transmission lines and distribution centers. Treated
with fluorescent chemicals, at frequent intervals black light was
trained on it, creating amazing effects.

An electrified model of a modern city, operated by automatic
controls revealed day slowly changing to night, lights going on
and off, street signs flashing, elevators running in "skyscrapers"
and many more remarkable details.

152 THE MAGIC CITY

A shooting gallery using electric flashes instead of bullets, a
bicycle to show how much electricity its riders can generate, and a
talking robot entertained the crowds. Spectacular demonstrations
of electrical wizardry, including thrilling experiments, high-
voltage displays, magnetic marvels and many additional "scien-
tific elec-tricks" were offered in a small theater.

The gas exhibit was a comprehensive showing of the latest
in appliances and service.

Participating in the display of the oil industry were the fif-
teen companies comprising Golden Gate Exposition Petroleum
Exhibitors Inc., a non-profit corporation headed by A. C. Gal-
braith as president. Participating companies included Ethyl Gas-
oline Corporation, General Petroleum Corporation of Califor-
nia, Gilmore Oil Company, Hancock Oil Company, Honolulu
Oil Corporation, Richfield Oil Corporation, Rio Grande Oil,
Inc., Seaside Oil Company, Signal Oil Company, Shell Oil Com-
pany, Standard Oil Company of California, Sunset Oil Com-
pany, The Texas Company — California, Tidewater Associated
Oil Company (Associated Division) and Union Oil Company
of California.

In addition to graphic charts, two sparkling fifteen minute
shows were offered: one, a puppet show, which in 1939 enter-
tained more than one million people, and in 1940 a new fifteen
minute show was added, "Oil for Aladdin's Lamp," based on the
story of oil from discovery to ultimate consumption, and with
magical highlights.

A chromium central theme tower, with flowing curtain of
oil and fascinating bubble columns, captured the attention of
all who entered the exhibit.

Three automobile manufacturers were represented in the
1939 Exposition, Chrysler, Ford and General Motors. The latter
two were 1940 exhibitors with more elaborate displays which
were crowded with visitors daily.

Chrysler and General Motors were located in Vacationland
the first season, exhibiting the latest models of passenger and
commercial vehicles together with methods of laboratory tests

SCIENCE AND SERVICE TO MAN 155

and a collection of motor cars of ancient vintage which told in
a graphic manner the history of the industry.

Ford, in 1939, occupied an entire building on the Court of
Pacifica, with an extensive display of new models of all types and
laboratory instruments of popular appeal. One of the exhibits
illustrated the fallacy of perpetual motion; there was a strobo-
scope, a Motor X-ray, a weatherometer to test automobile paint
and a fadeometer to measure the lasting qualities of enamel and
leather.

Ford offered an entirely new and more elaborate show in
1940. In an acre of display space the "Dream of Transportation"
was presented in twelve scenes. There was a "gentleman's buggy"
which was a wedding present to Timothy Hopkins from Leland
Stanford; and a "Governor's Coach" built at a cost of $10,000
in the days of the Nevada gold rush. With a background of
historical murals, models of Ford cars, dating from 1903, were on
display, contrasting with three streamlined productions of the
present day. In the little theater, technicolor films of motor car
manufacture and assembly were shown.

The General Motors exhibit of 1940 was located in the for-
mer Music Hall, off the Court of Pacifica. The amazing story of
scientific research was presented here, emphasizing America's
high standard of living, safety, and the importance of transpor-
tation. New types of glass, light that could be poured like water,
a transparent car and murals by Dean Cornwell in aluminum
and gold leaf, told an interesting story of the advance of industry.
Chevrolet, Pontiac, Buick, Oldsmobile, Cadillac-La Salle, Fisher
Body and Frigidaire were among the units participating in the
exhibit.

The Palace of Air Transportation was one of the Island's
permanent structures. It housed an exhibit in which the unbe-
lievable strides made in air travel were impressively presented.
Under the same roof the visitor found the 1912 biplane of 1,100
pounds operated by R. H. Fowler with an 80-horsepower motor
at a speed of 70 miles per hour, and the Honolulu Clipper, latest
type of Pan-American passenger ship, with four motors of 1,500

156 THE MAGIC CITY

horsepower each, a weight of 41 tons, speed of 200 miles per
hour and accommodations for 73 passengers.

Corrigan's "$900 crate" in which he made the wrong-way
flight to Ireland, was a center of interest and the operating plant
of the Pan-American Airways and the new Clipper ships pro-
vided a continually changing picture of modern aviation. On
the main floor were displays of model airplanes, private passen-
ger planes, Sperry gyroscope developments and allied lines. The
shops of the air line were shown in actual operation through the
large glass windows separating them from the main exhibit room.
These included the instrument, motor, propeller and machine
shops, and a Link trainer, employed in training pilots for in-
strument flying.

On the east wall was a huge color map of the world, showing
every air line in operation, and below this a series of dioramas
with typical scenes in the various nations which are served by
air transportation.

In the main hangar there was room for three of the new type
Clippers and complete equipment for servicing them.

The Golden Gate International Exposition had the unique
distinction among international expositions of having ocean air
transport service operating right on the Fair grounds.

Pan-American Airways clippers left regularly, each week,
from Treasure Island for Hawaii, the Philippines and the Ori-
ent, and arrived weekly from those Pacific ports. In 1940 the
Antipodean run was pioneered and finally brought to regular
schedule.

In the Port of Trade Winds at the southerly end of Treasure
Island, the Clippers rode at anchor, and on departure days,
Tuesday and Saturday, crowds of Exposition visitors gathered
along the esplanade to witness the departure of the winged ships.

In addition to exhibits and booths maintained by various
churches and religious organizations there were three separate
structures dedicated to religion --The Temple of Religion and
Tower of Peace, the Christian Science Building, and the building
devoted to the work of the Christian Business Men's Committee.

SCIENCE AND SERVICE TO MAN 157

The Temple of Religion was located just off Central Square.
The Hall of Friendship seated 250 persons with choir accommo-
dations for 50 voices. Among the permanent displays were ten
enormous murals hung on panels inside and outside the Hall, a
300-foot outdoor painting by Peter Llyin presenting the rise of
religious freedom, the story of creation in murals by Camille A.
Solon, and a 195-foot painting by Jose Moya del Pino portraying
the life of man in relation to God.

Included among the exhibits was a collection of Bibles, dating
from the ancient days of Hebrew scrolls to the latest editions of
the world's greatest books. The Breen Bible, carried by the ill-
fated Donner party, and others equally famous were found here.
One of the interesting objects on display was a hand-carved
mother of pearl portrayal of the Lord's Last Supper, carved by
an Armenian artist in 1735. In the archeological exhibit were
many rare items of unusual interest, some going back to 1500
B. C. Pottery used during the reigns of Saul, David and Solomon,
carbonized grain, dates and raisins of 1400 B.C., and a stone
lamp, were among the exhibits.

The Biblical garden adjacent to the building contained more
than 100 plants mentioned in the Bible, bulrushes and papyrus
from the Valley of the Nile, olive and fig trees from Jerusalem,
and cedar of Lebanon.

Open to all creeds, the Temple of Religion presented the
contributions which religion as a whole had made to human
welfare. Vesper services were held in the auditorium on Sunday
afternoons at 5 o'clock, with the leader of a different religious
faith conducting the services each Sunday.

Near the Central Square was the building in which Christian
Science activities were presented. This semi-circular structure,
with its attractive garden in an inner court, contained a series
of well-arranged exhibits, paintings and dioramas.

This undertaking was sponsored through the joint efforts
of the Christian Science Churches and Societies of California,
joined by many from the eleven western states, Hawaii and
Alaska.

158 THE MAGIC CITY

One of the prominent features of the main exhibit room was
a globe, six feet in diameter, girdled diagonally by a narrow plat-
form on which stood figures representing the children of all na-
tions with hands joined, indicative of the universality of religion.

Third of the Treasure Island buildings devoted to religious
activities was that of the Christian Business Men's Association.
This was located on North Boulevard, in line with the entrance
marked by the Court of Pacifica, approximately in the center
of the island.

In this building the basic story of religion was told through
a series of scientific exhibits, under the title of "Sermons from
Science." There were three demonstrations a day, designed to
prove, through scientific presentation, the harmony of Biblical
teaching with modern science.

It was sponsored by a committee composed of representative
Christian business men from many Churches and religious
groups in San Francisco and the bay region, and its activities
covered a wide range in addition to the scientific sermons.

CHAPTER XIII

Rale

(The material for this chapter was prepared for the Woman's Board
of the Exposition by Hazel Pedlar Faulkner and Marie L. Darrach. Mrs.
Faulkner was Director of Activities for the Women's Board and Mrs.
Darrach Publicity Director, 1939-1940. — THE EDITORS)

IN THE MOSAIC which is the Golden Gate International Exposi-
tion in restrospect, as it covers two years 1939 and 1940, one of
the brightest designs in the complete pattern reflects the work
of the Women's Board of the Exposition, as the focal point of
women's activities.

Reduced to briefest terms the measure of the women's ac-
tivities might be summed up in some such caption as Four Years
Here and There — or Two Years on Treasure Island and Two
Years Before. For the continuous service of the Women's Board
covered a period dating from its appointment by President Le-

160 THE MAGIC CITY

land W. Cutler in December 1936 until the lights went out
finally on both showings of the gorgeous spectacle which was
the Exposition.

More than two years before the gates of Treasure Island
opened, nine women from the Bay area were invited to serve
as a central committee to advise in matters of potential interest
and attraction, to assist with hospitality and to organize and
carry out a widespread task, namely to interest the women of
the Western states particularly in what the Golden Gate Inter-
national Exposition would offer.

Mrs. George T. Cameron of Burlingame was named chair-
man of the group, which included Mrs. George Creel, Mrs. Wil-
liam Denman, Mrs. John F. Forbes of Ross, Mrs. Walter A.
Haas, Mrs. E. S. Heller, Mrs. Duncan McDuffie of Berkeley, Mrs.
Alfred McLaughlin, Mrs. Henry Potter Russell of Burlingame.

The group represented far more than geographical distribu-
tion and social prestige. Every member was a leader in the cul-
tural, artistic or educational life of the community — women
whose benefactions extended well beyond the boundaries of their
own localities.

It was to such a group that the officials of the 1939 Exposi-
tion turned for suggestions and assistance in their efforts to
create an Exposition which should be record-making, both ar-
tistically and financially.

One of the earliest acts of the women's committee (later
named the Women's Board) was the appointment of Mrs. Hazel
Pedlar Faulkner as its secretary. With its membership and its
Director unchanged, the Women's Board was invited by Presi-
dent Marshall Dill of the 1940 Fair to continue, with the em-
phasis in its efforts for the "repeat performance" laid primarily
on promotion and publicity concerning 1940 attractions and
opportunities. In this its work differed somewhat from that of
previous years, when its major pre-Exposition task had been one
of organization for interest and attendance on a large scale.

The task of handling the Women's Board publicity through-
out both Expositions was performed by Mrs. Marshall Darrach.

THE WOMEN'S ROLE 161

How effectively that was done may be realized with the state-
ment that during the 1940 Exposition alone the Women's Board
office had record of 7,351 inches of publicity, exclusive of photo-
graphs, which had appeared in more than two hundred papers.
This record was secured by a state-wide publicity committee, set
up by Mrs. Darrach and operating along parallel lines with
county committees. This publicity committee (from 59 coun-
ties) numbered 216 women — 52 of whom were either owners,
publishers or editors of women's pages of their community news-
papers. Much valuable publicity for the Exposition was written
by staff feature writers from New York, Chicago, Washington,
Denver and other papers, women writers having been assigned
to cover the Fair on invitation of the Women's Board.

From its wealth of experience in varied fields, it was early
apparent that the members of the Women's Board had ideas
which — if and when approved — could add much to the im-
portance and dignity of the Exposition. In a world where in-
terests and activities overlap without regard to sex lines, the
women frequently glimpsed the possibilities of distinguished
attractions, and voiced their thoughts to the Board of Manage-
ment. Many of their proposals were adopted, as outlined or pro-
jected either through their own or additional committees. Fre-
quently they received concrete expression through other depart-
ments or specially constituted divisions of existing departments.

Such recommendations originating in and emanating from
the Women's Board resulted in the creation of the Pacific Area
Committee, of wrhich Dr. Ray Lyman Wilbur was chairman. A
"unified Pacific Area presentation," with Pacific House as the
theme building of the Exposition, thus gave reality to the slogan
of the 1939 Fair — A Pageant of the Pacific. The immensely
popular Hall of Flowers, operated in 1939 under the joint di-
rection of Miss Jean Boyd and Mrs. Marie Louise Kelly, and in
1940 by the California Commission (which erected the build-
ing) was another idea which had its origin in the Women's
Board where, on suggestion of Mrs. McDuffie, the requests of
numerous interested horticultural groups were given voice

162 THE MAGIC CITY

through the establishment of a Horticultural Committee, with
Mrs. Cabot Brown, chairman, and the committee, on request,
"chaperoned" by the Women's Board. So also the exhibit of
Fine Printing (another suggestion of Mrs. McDuffie) , the Ex-
position's Federal Theatre productions, linked to the Women's
Board through the chairmanship of Mrs. George Creel; sponsor-
ship of the Recreation Building program, early proposed by
Mrs. Walter A. Haas and approved by the Board; the unique
Indian Exhibit in the Federal Building and the outstanding
exhibit of Decorative Arts, under the direction of Dorothy
Wright Liebes, as a division of the Fine Arts exhibit in 1939 —
both these were originally proposed for consideration and de-
veloped by the Board's Vice-Chairman, Mrs. William Denman.

In Pacific House throughout 1939 and 1940 the balcony pro-
gram of hospitality was the special concern of the Pacific Area
Social Relations Committee, of which Mrs. Denman was chair-
man, assisted by various hospitality committees. Under the basic
and active interests of Board Members connected with the In-
stitute of Public Relations — Mrs. McDuffie, Mrs. McLaughlin,
Mrs. Heller — the Institute co-operated with Dr. Philip N.
Youtz, Director in 1939, and Dr. Grace McCann Morley, Di-
rector in 1940, in organizing the educational programs for both
years.

Before the completion of its first year of service the Women's
Board, through a committee headed by Mrs. Alfred McLaugh-
lin, had launched the wide phase of its work — the organization
of the women of the State and of the Western states in the
interests of Exposition participation and attendance.

New York on the East and Hawaii on the West, with the ten
states nearts neighbors to California, had committees with chair-
men appointed by the Women's Board. Through these chair-
men and their appointees invitation to membership in the ultra-
smart Yerba Buena Club was featured with other attractions
and offerings. The chairmen who aided in this phase of the
Women's Board work were Mrs. Julius Ochs Adler, New York;
Mrs. Walter Dillingham, Hawaii; Mrs. Thomas E. Campbell,

THE WOMEN'S ROLE 163

Arizona; Mrs. John T. Barnett, Colorado; Mrs. Margaret Cobb
Ailshie, Idaho; Mrs. Charles B. Henderson and Mrs. Tasker L.
Oddie, Nevada; Mrs. Miguel Otero, New Mexico; Mrs. David
Honeyman, Oregon; Mrs. George O. Gallagher, Washington;
Mrs. Katherine Newlin Burt, Wyoming.

Closer at home, the work of Mrs. McLaughlin's committee
embraced each of California's fifty-eight counties, with a chair-
man in each and a committee of varying size and selection, to
permit of organization or geographical representation, so that
the work and word of the Exposition might get into every group
and quarter in each county.

Recognizing the desirability of affording a channel through
which women's clubs might present their ideas to the Exposition,
presidents of thirteen of the largest state groups having national
and international affiliations were invited to serve on an Ad-
visory Committee to the Women's Board on Organization. The
number included the American Association of University Women
(California State Division) , American Legion Auxiliary, Cali-
fornia Federation of Business and Professional Women, Cali-
fornia League of Women Voters, Daughters of the American
Revolution, National Council of Catholic Women, National
Council of Jewish Women, Native Daughters of the Golden
West, California Congress of Parents and Teachers, Inc., Re-
gional Association of Soroptimist Clubs, Young Women's Chris-
tian Association and Farm Home Department, California Farm
Bureau Federation.

Through these representatives and with the cooperation of
many other groups through their official publications and in
open meetings, the Exposition had a direct contact with more
than a quarter of a million women. As in the cases of all major
efforts of the women's work for the Exposition, this extensive
county organization was all carried out on a volunteer basis.

An Executive Committee, comprised of county chairmen of
the six bay area counties with representatives of the Sacramento
and San Joaquin Valleys counties, also aided in the progress of
the Women's Board county organization work. On this com-

164 THE MAGIC CITY

mittee were Miss Annie Florence Brown (1939), Miss Mary
Barmby (1940), Alameda County; Mrs. A. F. Bray, Contra
Costa County; Mrs. H. Brainerd, Mann County; Mrs. W. F.
Chipman (1939), Mrs. Jesse C. Colman (1940), San Francisco;
Mrs. H. S. Dana, San Mateo; Mrs. Almon E. Roth, Santa Clara
County; Mrs. Frederick T. Robson, Tehama County; Mrs. Carlos
McClatchy, Fresno.

In 1938 the Women's Board, emphasizing the Pageant of the
Pacific idea through its county organization, sponsored a Pacific
Area essay contest throughout the high schools and junior col-
leges of California, furnishing to contestants comprehensive bib-
liographies (one for adult groups wishing to study the Pacific
Area was also prepared and sent out) along with sets of colored
mounts, illustrative of the arts and crafts, the peoples and cus-
toms of the Pacific basin. Hundreds of young students partici-
pated in the contest, which was conducted with the generous
and helpful co-operation of the State, county and local school
authorities and directed by county chairmen.

The Women's Board early felt that with such magnificent
opportunities as the Exposition would afford in the field of
cultural and educational exhibits, there should be a substantial
residue of interest and stimulus to continue for future years. To
that end it encouraged and provided material for club programs,
furnished speakers on and off Treasure Island — on subjects of
art, international relations, Pacific Area cultures, foreign ex-
hibits, gardens and Exposition plantings and so on.

For those who could not come to Treasure Island, the radio
in 1939 carried twenty-one wreekly programs, sponsored bv the
Board and prepared and presented by its Director, Mrs. Faulk-
ner. From the all-important question of what to wear to Treas-
ure Island to insure maximum comfort, to the intricacies of
symphony composition and social welfare in Chile — from the
color of Treasure Island's magic gardens, to the romance of
coffee in Brazil or public health clinics in the far-away Phil-
ippine Islands — the radio topics ranged, each program with a
guest speaker and, for a time, a coast-wide audience.

THE WOMEN'S ROLE 165

Prior to the opening of the 1939 Exposition six of the world's
most distinguished women received invitations to be Exposition
visitors — guests of the Women's Board. Three of the number
were able to accept: Mile. Eve Curie, of Paris, author and lec-
turer; Senora Amanda Labarca of Santiago, educator and soci-
ologist; Mile. Nadia Boulanger, of Paris, composer and sym-
phony conductor. Each of these was the center of a busy round
of activities covering a week, honor guest at luncheons and din-
ners, guest speaker before appreciative audiences. A fourth
guest, Madam Sigrid Undset of Norway, a Nobel Prize winner in
literature and rated as the world's most distinguished woman
novelist, unable to accept in 1939, was welcomed in 1940, when
she came, a refugee from her conquered Norwegian homeland.

The State of California was one of the three participating
"partners" in the Golden Gate International Exposition enter-
prise. So, in 1938, Governor Frank F. Merriam named a woman's
committee to serve in the California Building with the official
California Commission. Mrs. Cameron, chairman of the Exposi-
tion Women's Board, was made chairman of the State committee,
on which the other eight members of the Board were named to
serve. On the original Executive Committee there were in addi-
tion to the nine above, the Hon. Florence P. Kahn, Vice-Chair-
man; Mrs. Frederick W. Bradley, Miss Annie Florence Brown,
of Oakland; Mrs. W. E. Chipman, Mrs. William J. Hayes, Red-
wood City; Mrs. Eugene Prince, Mrs. Duncan S. Robinson, Rio
Vista; Miss Ruth Turner, and Mrs. Sanborn Young of Los Gatos.

A change in State administration following the November
elections of that year saw a new California Commission ap-
pointed, with two women, Mrs. H. E. Erdman and Mrs. George
Knox, among them. Reorganization of plans for the California
Building and the retirement of the original and enlarged Wom-
en's Committee followed.

From enlisting membership on an honorary committee of
Governors' wives, to aiding in naming the courts and thorough-
fares of Treasure Island; from planning and carrying out special
events and days, to chaperoning a ten-year old who flew out

166 THE MAGIC CITY

alone from Baltimore for a two-day whirl at the Fair — with
these and many other odd tasks along with their regular work
the Women's Board put in a full four years!

Only on one of the many occasions when the Women's Board
office was appealed to as a court of final answer or as an informa-
tion center did it find itself completely unable to help. That
was the occasion when a hurried delivery clerk thrust a shiny new
leather horse collar through the door and asked in desperation,
"Where does this belong — did you order it?"

Such in brief was much of the work, both on and off the
Island, of the Women's Board from 1937 through 1940. Rela-
tively few persons realized the extent or the compass of the
undertakings which the women carried through. To many, their
main achievement was the building of a club house.

If you were to ask the average visitor to Treasure Island what
was the outstanding attraction and the most talked of feature
during his visit, it is safe to say that from several millions of the
sixteen millions who visited there, the answer would be: The
Yerba Buena Club. To many it was the sole achievement of the
women. And it would have been enough, had it been so, without
many of the other things wrhich they accomplished. For that, too,
was a project of the Women's Board, envisioned as a hospitality
center for the Exposition, as a place for official entertaining and
a smart meeting spot for its members.

During the early weeks of the Women's Board meetings, first
mention of such a plan to the Board of Management was met
with gasps of surprise. To have women offer to build, furnish
and operate such an attraction was one thing, devoutly to be
hoped for; but to have them willing to finance it was another!
And with the latter fact in view, generous permission was
granted. "Go ahead, the sky's the limit, but the bills are all
yours!" was the sort of spirit that prevailed.

Under the capable chairmanship of Mrs. Henry Potter Rus-
sell, assisted by Women's Board members Mrs. E. S. Heller,
architecture and furnishing chairman; Mrs. W. A. Haas, secre-
tary of the Club House Association; Mrs. John F. Forbes, Gar-

THE WOMEN'S ROLE 167

den Club plantings; Mrs. George T. Cameron, honorary hospi-
tality chairman, in official capacity in the corporation, with an
active and enlarged executive committee, and with all members
of the Women's Board co-operating on occasion, the Yerba
Buena Club was a symbol of California hospitality at its best.

Erected on a plot of ground (contributed by the Exposition)
facing the Port of Trade Winds, looking toward the Exposition's
Administration Building (which housed the suite of offices of the
Women's Board) the Yerba Buena Club faced West. Below it
was the sunken Treasure Garden, planned by California's most
distinguished woman landscapist and decorator, Miss Isabella
Worn.

Its golden walls lined with stately poplars and surrounded by
choicest flowers and plantings — the further work of Miss Worn
— the exterior of the Yerba Buena Club gave only the slightest
inkling of the breath-taking beauty which had been achieved
in its furnishings. That feature of the Yerba Buena Club's
charm, admired by countless thousands who came from afar to
see it, was the work of Frances Elkins of Monterey, decorator
whose genius rose to new heights in the Yerba Buena Club.
There that magic combination of the work of architect (William
Wurster) and decorator furnished a setting for the enter-
tainment of crown princes and potentates, maharajahs and pres-
idents, first ladies and stars of varying magnitude. Even Charlie
McCarthy was feted there. Not only did the Women's Board
center much of its entertaining there during 1939, but in 1940
when the club had passed to new control did it welcome Mme.
Undset, Lauritz Melchior, and others of note within its hos-
pitable walls.

The operation of the Yerba Buena Club elicited warm praise
from every quarter and its smooth running and wise administra-
tion resulted from its capable directors — the Executive Com-
mittee of which included in addition to Mrs. Russell, Mrs.
Cameron, and the others, several members of the Women's Board,
Mrs. W. Farmer Fuller, Jr., vice chairman; Mrs. W. F. Chip-
man, Mrs. Eugene M. Prince, treasurer; Mrs. George M. Bowles,

168 THE MAGIC CITY

Mrs. Edward Otis Bartlett, chairman of House Committee; Mrs.
Silas H. Palmer, Miss Katharine Donohoe, chairman of flowers;
Mrs. Marcus S. Koshland, Mrs. Sheldon G. Cooper, Mrs. Henry
Foster Button, Mrs. Fentress Hill, Mrs. Wallace Alexander, Mrs.
Everett J. Brown, Mrs. Harry East Miller, Mrs. William H.
Orrick, Mrs. George Pope, Jr., Mrs. Leon Sloss, Jr., Mrs. M. C.
Sloss, chairman of special hospitality events.

How the Women's Board helped to set up the machinery
for the sale of memberships in the Yerba Buena Club, how its
chairmen, in some instances appointed for the club house effort
and in others for the complete program of the Board's activities,
how through the efficiency of the Club House membership sale
committee 1,400 founder memberships at $100 each were dis-
posed of by July, 1938, six months before the building was com-
pleted, and how more than 6,500 contributing memberships, for
the most part at $10 each, had been eagerly brought by women
from all over the West — the mechanics of the effort which re-
sulted in the charm spot known as Yerba Buena Club make an
interesting paragraph in the record of accomplishments of
women in and for the Golden Gate International Exposition.

Hospitality efforts of the Women's Board included the ap-
pointment of an entertainment committee of men and women
who, with members of the Exposition Board of Directors and
their wives, State and Federal commissioners and their wives,
were on call for entertaining visitors within the city's gates, in
the privacy of homes as often as on Treasure Island. With Mrs.
Cameron chairman of that committee, much of the arranging
for official and semi-official hospitality fell to the lot of the
Women's Board.

Two large teas — given before the opening of the 1939 Ex-
position, one by the California Commission for its Women's
Committee and one given by the Women's Board for its county
chairmen in the same year — brought those women working on
the outside for the Exposition into social contact with those
officially in the organization. Several county chairmen, notably
Los Angeles with Mrs. John D. Fredericks on two occasions;

THE WOMEN'S ROLE 169

San Diego, Mrs. George Burnham; Santa Barbara, Mrs. Harry
Hancock (1940); San Francisco, Mrs. W. F. Chipman and Mrs.
Jesse C. Colman; Stanislaus, Mrs. Geome Hobbs, and the states

of Oregon, Nevada and Colorado, entertained for members of
the Women's Board who traveled on Exposition business.

For the "Fair in Forty" the Yerba Buena Club was revived
as the Treasure Island Women's Club by a new and enthusiastic
group, with Mrs. Frank Panter as its president. A Board of
Directors numbering sixty-four included leaders in all fields of
women's endeavor. This Board entrusted the details of adminis-
tration of the club to an Executive Committee of ten which,
in addition to Mrs. Panter, consisted of Mrs. James V. Chloupek,
representing the East Bay as vice president; Mrs. Paul Springer,
treasurer; Mrs. George M. Hearst, secretary; Mrs. Eugene Bowles,
Mrs. J. E. Butterfield, Mrs. Robert Hugh Donaldson, Mrs. Hulda
McGinn, Mrs. Martin Newall, and Mrs. J. D. Roantree.

Redecorated and refurnished in soft colors and pleasing com-
binations by a San Francisco firm under the able direction of
Mrs. Panter, and with the previously exclusive Founders' section
opened to the membership, the club became one of the notable
attractions of the 1940 Exposition. More than 200 paintings and
other works of leading San Francisco artists, both men and
women, were displayed within its corridors. Under the direction
of Mrs. Howard Thomas, assisted by Mrs. Morley P. Thompson,
the gardens without and the floral and other decorative arrange-
ments within its walls presented an ever-changing beauty that
vied in popularity with more specialized horticultural exhibits.

Celebrities from all over the world were guests there and en-
joyed the restful atmosphere of the club as well as the excellent
food served in the palatial dining room. And the members them-
selves, numbering more than eleven thousand, took advantage of
these services from the day the 1940 Fair opened until it closed.

The Executive Committee began its work in January, 1940,
with no money on hand; but the receipt of immediate applica-
tions for membership made it possible to buy the building and
kitchen equipment. Then, through careful budgeting and plan-

170 THE MAGIC CITY

ning, the dues received from the ever-increasing membership
made it possible for the club not only to pay its own way but,
when the final accounting was made, to send to the Exposition
Company a sizeable check as its financial contribution to the
"Fair in Forty."

General hospitality within the Exposition, which the Wom-
en's Board still recognized as an obligation, found expression in
the Popular Hostess House, filling a long-felt need. As the
result of a generous gesture on the part of the Exposition Man-
agement, the Hawaiian Building of the 1939 Fair was assigned
to the Women's Board as a headquarters for such social and cul-
tural activities of interest to women as fell outside the province
of the Treasure Island Women's Club. Through the efforts of a
special committee of the Women's Board which included Mrs.
E. S. Heller, Mrs. Alfred McLaughlin, and Mrs. Henry Potter
Russell and the artistic aid of Mrs. Frances Elkins, the building
was transformed into a social rendezvouz of distinction and out-
standing beauty. These attractive headquarters also afforded the
Women's Board an opportunity for the expansion of a previously
developed participation by women's organizations which was
housed from early August until the close of the 1939 Exposition
in the Women's Center in International Hall. Maintenance of
this Center, under the direction of the Women's Board, was
made possible by the financial assistance and co-operation of the
California League of Women Voters, Native Daughters of the
Golden West, American Association of University Women, Cali-
fornia Federation of Women's Clubs, Council of Jewish Women
and the Soroptimists. Open house for women visitors to the
Exposition was maintained daily and a committee from one of
the sustaining organizations was always on hand to welcome
them to the attractive lounge, and to serve a cup of tea from the
tiny kitchenette. And these same organizations with other groups
were active participants in the hospitality plans of Hostess House
throughout 1940. The operation of the building was in the
hands of a Committee appointed by the Women's Board, of which
Mrs. Jesse Colman was Chairman, Mrs. Henry Dobel, Vice-

THE WOMEN'S ROLE 171

Chairman, and whose members were Mrs. Lawrence Clay Brown,
Miss Alice Burr, Mrs. Lloyd Ackermann, Mrs. Ludwig Frank,
Mrs. E. H. Heller, Mrs. Stanley Powell, and Dr. Rose Vander-
burgh. A series of rare loan exhibits, daily programs of artistic
and cultural merit and receptions for visiting celebrities were
arranged by this committee and staged in the auditorium and
in the golden-hued lounge for the pleasure of all who cared to
wander in and participate. Among the national and international
celebrities for whom informal receptions were given and whom
all visitors to the Exposition were invited to meet, were: Mrs.
Elizabeth Sprague Coolidge, Gertrude Lawrence, Lily Pons,
Andre Kostelanetz, Governor Poindexter of Hawaii and his
daughter Miss Helen Poindexter, Gladys Swarthout, Lady Brod-
erick, Marcel Grandjaney, Alec Templeton, Mr. and Mrs. Mar-
shall Dill, Nicol Smith, Oscar Levant, Grace Moore, Jan Peerce,
Miriam SoloviefF, Lauritz Melchior and Meredith Willson.

A daily information service staffed by the National League
for Woman's Service was an extra feature much appreciated by
the thousands who visited the building, and a corps of host-
esses recruited from the women's organizations of the Bay area
was on duty each day to greet and welcome all comers. Hospi-
tality at Hostess House was without formality or membership
restrictions, and typified the friendliness of the "lady next door"
who never sends out cards for her parties or requests an R.S.V.P.

Three special entertainment features of the Exposition, spon-
sored by the Women's Board, which proved to be peak events as
to attendance and general public interest, were: the Coolidge
Concerts heard during both the '39 and '40 Fairs; the two Wo-
man's Days, one in 1939, the other in 1940; and the Flower
Arrangement Exhibits presented monthly, from June to Septem-
ber, 1940, in the foyer of the Administration Building, in co-
operation with the Garden Clubs of Northern California.

Mrs. Elizabeth Sprague Coolidge, foremost patron of cham-
ber music in the world, had offered a gift-de luxe to the Expo-
sition, through the Women's Board. She wished to present the
'39 Fair with a series of nine chamber music concerts, at which

172 THE MAGIC CITY .

the finest string quartet in the country would give programs that
would make top-flight musicians tingle with anticipation. This
giving away of concerts — with a quartet complete — is what
Mrs. Coolidge herself calls her "mad career." For over twenty-
five years she has been devoting her large fortune, her time,
energy and great musical talent to an activity which has for its
sole purpose the stimulation of a nation-wide appreciation of
chamber music. And to give her work institutional character she
established the Elizabeth Coolidge Foundation, which adminis-
ters a large fund to this end, and built the Hall of Music in the
Library of Congress in Washington, D. C. She has sponsored
music festivals in all the capitals of Europe, and her gifts of
concerts by outstanding quartets have led to the establishment
of colleges and libraries throughout the United States, Mexico,
Honolulu, and Puerto Rico. But she had never given a series of
chamber music concerts to a World's Fair.

The Golden Gate International Exposition and an approach
with the Women's Board, had furnished this opportunity. The
Exposition management at the solicitation of the Women's
Board, had finally accepted her offer, but the prediction persisted
in official circles that as an entertainment feature it would prob-
ably not succeed and go down in Exposition history as a quaint
manifestation of mental aberration on the part of a group more
cultured than canny.

Chamber music at an Exposition! The idea was fantastic!
Even when heard under the standardized conditions demanded
for its enjoyment, chamber music is considered "caviar for the
general." So any expectation that an audience could be assem-
bled for a series of concerts among the promiscuous crowds
making up the attendance at a World's Fair was ridiculous. If
even a half dozen such could be found willing to subject them-
selves to the agony of a contact with Brahms, or to endure Hads's
"Lark" for half an hour at a stretch, the Women's Board would
be indeed lucky. The only thing that might be suggested as more
absurd, would be for the hot dog vendors to substitute pate de
foi gras canapes for their succulent hamburgers.

THE WOMEN'S ROLE 173

But the fact remained that the Coolidge String Quartet
ranked with the great ensemble groups of the world; that Wil-
liam Kroll, the first violinist, was perhaps without a peer as an
artist of sterling merit; that Mrs. Coolidge, the gracious donor of
a program of the finest musical quality that had ever been heard
in the West, was coming to California especially to be present;
and that the tickets to the series of concerts could be had for the
asking; and with the Exposition committed to acceptance, the
problem of putting the project across had to be faced. So Mrs.
Leonora Wood Armsby, Chairman of the Music Co-ordinating
Committee of the Exposition, and Mrs. Marshall Darrach, Pub-
licity Director of the Women's Board, took on the job of assem-
bling an audience on nine consecutive Monday afternoons, that
would at least be sufficiently large to demonstrate to Mrs. Cool-
idge that her long crusade to develop a public appreciation for
chamber music had not been in vain in the far-flung West.

The success of the concerts, both artistically and from the
point of view of attendance, was so definite, and Mrs. Coolidge
was so satisfied that her efforts to improve the public's taste in
music had not fallen on barren soil, at least in California, that
she presented another series of five chamber music concerts to
the Exposition of 1940. These were given in the large ballroom
of the California Building, again under the sponsorship of the
Women's Board, and managed in the same way by Mrs. Wood
Armsby and Mrs. Marshall Darrach. In fact, they took off where
the others had ended, seemed like a continuation of the first
series. So, in spite of all vicissitudes, an audience totaling nearly
eighteen thousand had actually listened to the finest chamber
music in the world at the Golden Gate International Exposi-
tions of '39 and '40, and, in so doing, had established a precedent
and some kind of a record in musical history.

Woman's Day at the 1939 Exposition will stand as the rank-
ing individual event sponsored by the Women's Board. It fur-
nished the highlight, not only because the program was of un-
usual interest, and a marvel of co-ordinated activity, but its box
office appeal was such that it attracted the biggest gate of any

THE MAGIC CITY

week day during the '39 Exposition. October 25 was designated
as Woman's Day, ostensibly to honor women for the service they
had rendered, and for the tremendous contribution they had
made to the success of the project known around the world as
the Pageant of the Pacific.

Unlike the Boards of Lady Managers of World's Fairs of an
earlier day, who were called in as a sort of decorative accessory
after everything was finished, the Women's Board of the Golden
Gate International Exposition had been in it since its birth as
an idea, down through the organizing, planning and building.
They had advised and worked helpfully and had furthermore
persuaded women all over the country to assist them in making
every project a success. So it seemed fitting, before the lights
went out on Treasure Island, to set a day apart for them which
would be a slight gesture of appreciation for what they and the
women of California had done in this huge co-operative venture.

But if this had been the intention when a Woman's Day
was named, such a reason was soon forgotten by the Women's
Board, who simply recognized it as one more occasion when they
might be helpful in increasing the prestige of the Exposition.
So a broad and varied program was immediately drafted for a
superlative special day which would attract women from every-
where to the Fair on October 25. And the usual signal for
assistance was wig-wagged to the 58 county committees in the
state organization, of which Mrs. Alfred McLaughlin was chair-
man, and the function of which was to develop plans projected
by the Woman's Board.

The day will be recalled as a gala occasion from 8 o'clock in
the morning till the gates closed at night in a blaze of fireworks,
with the totalizer registering over 111,000 visitors to the Island.
The events, directed by Mrs. George Cameron as chairman of
the day, followed each other with clocklike regularity. Spotlight-
ing the routine features were the two events largely responsible
for the presence of the crowds. George Stimson, the "singing
cop," was heard in the Plaza at noon, and Universal's sensational
child star, Gloria Jean, sang in the Temple Compound for a

THE WOMEN'S ROLE 175

half hour, featured with her two popular stage-fellows, seven-
year-old Kenneth Brown on the accordion, and Billy Lenhart of
eight, playing the bass violin. At the solicitation of the Women's
Board, the schools had been closed, so that every mother in San
Francisco could heed the signs "Go to the Fair" which had been
tacked up all over town. And the supposition is that most of
them did, and faithfully covered the gamut of events scheduled
for their entertainment.

Home economics editors and radio commentators assembled
by Josephine Bartlett Martin met housewives at Festival Hall,
where they discussed culinary matters and carried away food
prizes; the public wandered through the Yerba Buena Club
which kept open house for three hours; many had tea with the
ladies of the California Commission and the recreation commit-
tee in the lounges of their respective buildings; others viewed
the rare quilt display shown by the Needlework Guild of
America under Mrs. R. H. Donaldson's direction, the all-day
flower arrangement exhibit in the foyer of the Administration
Building sponsored by the Bay Area Garden Clubs, or attended
the reception for the women artists in the San Francisco build-
ing. And at 5 o'clock thousands massed at the Port of Trade
Winds to see the Pan-American Clipper take off to the Orient -
on this day to the accompaniment of an orchestra.

Woman's Day of 1939, as a climax for the activities spon-
sored by the Women's Board during the Exposition year, was
one of stellar attractions and impressive gate receipts.

Woman's Day, again sponsored by the Women's Board, was
repeated at the 1940 Fair, on September 18 — twelve days before
it closed. For the spectacular features of the first Woman's Day
was substituted a program of greater maturity and finer quality.
And while it did not register as sensationally as to attendance as
the first one, the consensus of opinion was that their recognition
of women's achievements as expressed in the entertainment at
luncheon of thirteen nationally famous California-born women
(named by popular vote as part of the Woman's Day program)
represented the high water mark of distinction.

176 THE MAGIC CITY

At the luncheon given at the Treasure Island Women's Club,
with the floral decorations reflecting the artistry of Miss Isabella
Worn at its zenith, the honored guests were Gertrude Atherton,
Anna Klumpke, Julia Morgan, Dorothy Arzner, Dr. Aurelia
Henry Reinhardt, Louise A. Boyd, Annette Abbott Adams, Kath-
leen Norris, Dr. Margaret Smythe, Maude Fay Symington, Flor-
ence Prag Kahn, Dr. Marianna Bertola and Helen Wills Roark.

As an innovation, marked by originality, each famous woman
was introduced by a prominent man, rather than by a single
toastmaster. These included Marshall Dill, Haig Patigian, Dr.
S. A. Barrett, John Francis Neylan, Joseph Thompson, Edward
O'Day, Leland Cutter, Roy Pike, Marshall Dill, Jr., Paul Speegle
and Randall Larsen. Another feature of the program in keeping
with the dignified note established at the luncheon, was a stirring
address on the "American Way of Life" by Judge Dorothy Ken-
yon, a distinguished New York jurist, who had flown to the Coast
for the occasion.

A lighter vein marked the remainder of the entertainment
features, with the movie star, Anne Rutherford, greeting youth-
ful admirers and enthusiasts from several vantage points; the
Hollywood Women's Symphony contributing a series of musical
numbers; Hostess House presenting Mrs. George Creel's "Forty
Years of Hats," a collection of headgear which had been part
of her professional wardrobe as Blanche Bates, and about which
she talked amusingly. A reception arranged through the courtesy
of the management of the Press Club was a jolly affair in recog-
nition of the contribution of California newspaper women who
had co-operated in publicizing the Exposition.

One of the most popular events of the 1939 Woman's Day
had been the flower arrangement exhibit in which the garden
clubs of Northern California had participated. So, with the open-
ing of the 1940 Fair, inquiry from these co-operating groups
had brought the decision that the Women's Board would intro-
duce them as a monthly entertainment feature for the second
Exposition. Under the chairmanship of Mrs. John Forbes, as-
sisted by 20 garden clubs from around the Bay and as far north

THE WOMEN'S ROLE 177

as Napa, a series of flower arrangement exhibits were shown
monthly from June through September in the spacious foyer
of the Administration Building. These were viewed by thou-
sands of men and women, entranced with the artistry and in-
genuity of the displays. It was a revelation to many as to what
could be actually done with a collection of flowers, shells, sea-
weed and other paraphernalia as varied as the props of a Broad-
way musical show.

The final exhibit as part of the Woman's Day program dur-
ing the Fair of '40, was an event in the life of local and visiting
floriculturists and attracted a record crowd. Among the outstand-
ing displays were a "Fifth Column" novelty arrangement show-
ing a collection of ants, snails, slugs, and other insect pests
crossing a lawn in a flower garden; one of sea-pods and forest
trivia, complete with a "Bottom the Weaver"; and another with
driftwood as a base and a colorful collection of flowers that flour-
ish on sand-dunes. The most publicized arrangement of the
entire show (the publicity department clip sheet showed over
1500 illustrations of it circulated by the Associated Press) was a
large floral fan made of baby's breath, and other tiny flowers on
a base of banana palm trunk.

CHAPTER XIV

and

A COMPLETE BOOK could be written — and possibly should be —
on the music of the Exposition. A record of its pageantry — even
a cursory record — might well fill another fat volume. This chap-
ter must need a miracle of condensation to present even flashes
of two entertainment seasons, to recall so much as a haunting
strain of melody that filled the crowded hours.

Music-lovers of San Francisco attempted early in the Exposi-
tion's history to arrange a series of symphony concerts on the
Magic Island, but the plan was to meet opposition from many
sources. The early management had its own ideas as to suitable
musical programs for a Fair. Dr. Edwin Franko Goldman had
been a prominently featured attraction of the Panama-Pacific
Exposition in 1915. Dr. Goldman and his musicians came back
to San Francisco 24 years later, similarly featured. They played
twice daily in the Court of Honor from Opening Day of '39 until
July 2, specializing in operatic and classical selections.

Not until late in the '39 season, when the management —
and with it the entire entertainment concept — had undergone
complete change, was the Magic City to have its first taste of
symphony music. Jose Iturbi, the Spanish pianist, inaugurated
the series on September 13, conducting the San Francisco Sym-
phony Orchestra. Followed, at intervals of a week, Albert Coates,
the British conductor, with Milizia Korjus as guest artist; Leo-
pold Stokowski, of the Philadelphia Symphony and more re-
cently of Hollywood. These efforts proved so popular that Lily
Pons and her conductor husband, Andre Kostelanetz, were heard
with the San Francisco Symphony in a matinee finale on October
21 that packed the California Coliseum to capacity.

180

With the experience of 1939 to guide, the 1940 management
made early provision for a symphony program to run through
the second season. Cultural music had proved itself a sound ven-
ture in showmanship. Heard during the 1940 run were:

John Charles Thomas, Pierre Monteux conducting, on June
4. (Grace Moore had been scheduled originally but came down
with a cold after her open-air appearance on International Busi-
ness Machines Day.)

Jan Peerce, tenor, and Miriam SoloviefF, violinist, Monteux
conducting, on June 18.

Gladys Swarthout, guest artist, Monteux conducting, July 2.
Alec Templeton, guest artist, Monteux conducting, July 16.
(As an encore Alec gave his famous Wagnerian opera burlesque
and all but brought down the house.)

Lily Pons and Andre Kostelanetz on July 30.
Lauritz Melchior, Bruno Walter conducting, on August 13.
Meredith Willson conducting his own Mission Symphony,
with Oscar Levant, pianist, as guest artist on August 27.

Grace Moore, Gaetano Merola conducting, in the finale of

the series on September 10.

Popular prices were established
for these concerts and thousands
took advantage of this policy to en-
joy the best in music.

Organization of a "utility band"
under the direction of Ralph Mur-
ray was announced by Director Har-
ris D. H. Connick a month before
the '39 opening. Leader Murray was
to make that "utility" designation a
masterpiece of understatement
through the months to come. The
red-uniformed Exposition bands-
men became as familiar as Pa-
cifica herself, and as much an inte-
gral part of the Exposition. Long

Junior Musicians'
Day proved treat for
all lovers of music

PAGEANTRY AND SONG

181

after virtually all other musicians of the Magic City of '39 and '40
are forgotten, Ralph Murray and his ever present troupers will
be remembered with nostalgic affection.

There was music in the air throughout the day and into the
night from the earliest days of the Magic City's existence. As the
season advanced, there was an even greater variety. Only dif-
ference was that there was a conscious effort to cater to the public
taste. Dr. Goldman's justly celebrated band was dated. So, for
that matter, were Benny Goodman, Kay Kyser, Eddy Duchin and
all the rest. But theirs was an ultra-modern dating, and therefore
of greater appeal to swing-conscious young moderns.

Early weeks of '39 found numerous musical groups function-
ing on schedule. In addition to the featured Goldman band
there were the Philippine Constabulary Band, the Sonora Ma-
rimba Band in El Salvador Court, the Brazilian orchestra, Ha-
waiian musicians in the Hawaiian building, an ever-increasing
number of visiting organizations heard in the California Build-
ing, the Hall of Western States Auditorium and Festival Hall.
Later on Jack Joy's Orchestra became an established feature in
the California Commission musical
schedule. Then there was the daily
program of recorded music sent out
over the public address system, also
sponsored by the Commission. Not
to overlook concerts on the carillon
in the Tower of the Sun and daily
offerings by the bell tower of the
Temple of Religion. Certainly no
lack of "concord of sweet sounds."
Standing high in the affections of
fair-goers from the very first, and
increasing in popularity to carry
over into 1940 as firmly established
as the Tower of the Sun, was the
Thirtieth Infantry Band, United
States Army. Models of military pre-

Diving exhibition
thrilled Aquacade
audiences each day

182 THE MAGIC CITY

cision and efficiency, ranking high in artistry, the soldier musi-
cians made a definite contribution to the enjoyment of millions.
"La Regiment de Sambre et Meuse," punctuated by the rhythm
of marching feet — the stirring strains of "Star Spangled Banner"
at the daily retreat ceremony — such moments are unforgetable.

Things musical underwent a sudden and distinct change
after Dr. Charles H. Strub assumed the managing directorship
early in June of '39. "More and better free entertainment" was
the keynote of the new program. "Name bands" were featured.
Building "G," hard by the statue of Pacifica, became "Treasure
Island Music Hall," after standing empty since opening day. The
Magic City turned to "swing" to swing attendance over the top.
And a wise move it proved to be.

Benny Goodman, the "King of Swing," was the first to bring
his band to the Island. It was something of a risk to professional
reputation, playing "for free." But Goodman took a chance. He
opened on July 2, following the termination of Dr. Goldman's
engagement, making four daily appearances in Temple Com-
pound. Twenty days later he was to receive a scroll testifying to
the unprecedented achievement of having played to a million
people in less than a month!

Kay Kyser and his "College of Musical Knowledge" opened
as an adjunct to the musical revival. He played behind a 40 cent
gate in Treasure Island Music Hall, while Goodman played the
free concerts outside. Despite such opposition, Kyser drew a
record attendance.

Kyser was followed in Music Hall by a variety troupe headed
by Betty Grable and Jack Haley, RubinofF and his violin, and
Alec Templeton, the blind pianist-composer. Goodman played
for dancing in Music Hall as well as the Temple Compound
concerts. Attendance continued to set records. Goodman was
credited with drawing 76.9 percent of total attendance to his
concerts.

Ted Lewis and his band and variety show were next, appear-
ing in both Temple Compound and Music Hall. Frequent inter-
missions had to be called in order to empty the hall! Followed, in

PAGEANTRY AND SONG 183

chronological order, the bands of Eddy Duchin, Phil Harris,
Harry Owens, George Olsen, Walt Rosener, Count Basic and his
Sepians, and Freddy Martin.

Nothing succeeds like the other fellow's success, and imita-
tion is good indication of success. The "name band" policy
adopted by the Exposition Company was eyed by the New York
Fair management. To quote the succinct professional jargon of
"Variety":

"Unappeased by the slash in admission fee to the New York
World's Fairgrounds on Saturday-Sunday from 75tf to 5(K, mid-
way concessionnaires are looking to name bands to hypo their
lagging biz. After several deals for bands had been started and
dropped for various reasons, the Fair decided to follow the lead
of San Francisco Golden Gate International Exposition and in-
stall Music Corporation of America outfits in its amusement area
starting this Saturday. S. F. Expo also used MCA crews, Kay
Kyser and Benny Goodman proving exceptional draws. . . .

"Kyser played to 60,000 persons at 40tf each at the newly
opened Treasure Island Music Hall."

"Jitterbugs," that strange breed then populating the land,
were in a seventh heaven of glory during the summer and fall
months of '39. The greatest exponents of "swing" the world
over were brought to the Magic City for their pleasure. And
they took full advantage of the opportunity to "strut their stuff."

The appearance of such added attractions as Jack Benny and
Mary Livingstone (with Phil Harris' orchestra over the Labor
Day week-end) ; Edgar Bergen and his perverse wooden imp,
Charlie McCarthy (August 7 and 8) , and finally Bing Crosby
(October 8), cannot be overlooked in any record, however brief.
Crosby drew what was undoubtedly the greatest throng ever
packed into Temple Compound.

The good grace and downright "sportsmanship" of a San
Francisco-beloved artist on a certain most embarrassing occasion
must come in for due recognition at this point.

John Charles Thomas sang in Temple Compound the night
of September 30, San Francisco Day, appearing with the San

Scenes from the spectacular pageant, "America, Cavalcade of a Nation." At the upper left is
Lincoln delivering his Gettysburg address and, below, a candid camera shot of the martyred
President in the wings where he was puzzling over a cross-word puzzle while waiting for his cue;
at the right are two of the girls who appeared in the early Colonial scenes; in the center, left, is
Columbus, sighting land from the bridge of the "Santa Maria"; at the right, the driving of the
Golden Spike which united the country in a band of steel; at the left, below, is the defense of the
Alamo and, right, Patrick Henry delivers his famous speech, "Give me liberty or give me death."

PAGEANTRY AND SONG 185

Francisco Municipal Chorus. The opening choral number was
Gounod's "Unfold Ye Portals." And the portals did — just short
of a cloudburst!

Thousands of music-lovers gathered in the open stuck it out
regardless. And John Charles, only too pleased by this attention,
kept on singing in the rain. Finally the downpour was just too
heavy, so the concert had to be called off. Next morning Mr.
Thomas went through the whole program on the same spot, re-
maining until absolute deadline for catching a plane to New
York to fill another engagement the following night.

San Franciscans will always remember this to John Charles'
everlasting credit.

To dwell upon all groups — vocal and instrumental, amateur
and professional, classical and popular — that contributed to the
Exposition's musical program during the 1939 season is obvi-
ously impossible. (A complete listing by "days" will be found
in the appendix.) However, there were certain notable contribu-
tions that must be set down.

Outstanding were the nine concerts of the Coolidge String
Quartet during June and July of 1939, made possible by the
generosity of Mrs. Elizabeth Sprague Coolidge. These master
musicians thrilled thousands in their concerts in the Hall of
Western States, and later in the California Ball Room. They
came back in 1940 for another equally popular season of five
invitational concerts.

The California Federation of Music Clubs conducted a re-
markably fine festival during the early '39 season, featuring the
efforts of bands, orchestras and choruses. Original works of
California composers were presented in a five-day series of
programs late in August of '39, sponsored by the California
Commission.

So successful was this first venture that it was repeated the
following year. Again sponsored by the California Commission
and administered by R. C. Coleson and Jack Joy of the Exposi-
tion's radio division, a five-day Festival of Music was arranged
for September 15-20. An all-woman orchestra from Hollywood,

186 THE MAGIC CITY

known as "The Symphony of Loveliness," was featured. Choral
groups provided by the California Federation of Music Clubs,
the Western Women's Band, a concert orchestra of 70 pieces
under the direction of Jack Joy and Ralph Murray's Exposition
Band participated in elaborate and excellently executed pro-
grams. One of the most popular numbers of the lot was the
Church scene from "Run Little Chillun," with the colored
chorus that had sung in the stage production.

Despite inconveniences arising out of the destruction of the
California Building by fire, the second version of the festival was
such a distinct success that plans were laid to make this an annual
event. Just another cultural heritage of the Magic City that is
no more.

Junior Musicians of America, 4800 of them, played in a mass
orchestral concert in Federal Plaza on June 25, 1939. Fifty Cali-
fornia cities were represented; twelve from Oregon, thirteen
from Washington, eight from Texas, four from Montana, four
from Utah, eight from Idaho, four from New Mexico and one
each from Colorado and Canada. Youngsters from 5 to 18 years
of age, they played their vari-sized instruments like professional
veterans under the baton of Carl Stiska, vice-president of the
organization. Dr. Edwin Franko Goldman was guest conductor
when they played a number of his composing.

These skilled youngsters — or others of their organization —
made a similar appearance during the summer of 1940. Again
their artistry thrilled thousands of enthralled listeners.

Speaking of youngsters, the Kansas City Toy Symphony,
made up of kidlets from 4 to 9 years of age, played a most suc-
cessful three-day engagement in June of '39. Their conductor
was Lloyd Frederick, aged nine!

Not to be neglected, was a concert staged by students of the
Hawaii Conservatory of Music, featuring an ensemble of 100
guitars, on June 4, 1939. The haunting melodies of those hum-
ming strings still linger in memory.

Over 1500 vocalists lifted their voices in massed chorus in
the Court of Nations on September 3, 1939, opening a three-day

_M -L LL.jMfti.aiJt- 1

--.••-.

PAGEANTRY AND SONG 189

"Eisteddfod," Welsh music festival. Some twenty Western choral
groups participated and competed for final awards. The Clare-
mont Choral Society of Berkeley won the mixed chorus award.
The Ralston Male Chorus of Seattle and the Lund-Chaminade
ladies' group of Salt Lake City took firsts in their respective
divisions.

Another choral festival that drew music lovers was that staged
by the United German Singing Societies of the Pacific Coast the
end of July that same year. Three thousand voices, with sym-
phonic accompaniment, made the three-day engagement mem-
orable.

A rather ambitious program of sports events was arranged
for 1939. Opening day found ski-jumpers competing on an artifi-
cial "hill" in Sports Field. Boxing, a six-day bicycle race, box
lacrosse, fencing, yacht regattas and other events were scheduled.
A yachting program was carried out through the summer.

Eddie Cantor, the "banjo-eyed" comedian, opened California
Auditorium the week of March 3, 1939, with the first Exposition-
sponsored "big show." Cantor used the material and technique
of his radio shows. He conducted a "discovery contest," with a
damsel of 16 being duly "found."

The first version of Clifford C. Fischer's famed "Folies Ber-
gere" opened in the California Auditorium on March 13, quickly
caught on with the customers, and carried through to a successful
nine-weeks run. The human form divine — feminine version,
that is — was duly glorified. There was graceful dancing, lilting
music, comedy both broad and subtle. The costumes and settings
were gorgeous — and the prices most reasonable.

Following a week's run of somewhat "arty" Japanese presen-
tation, the Takarazuka Ballet, the first version of the Folies was
succeeded by a show brought to the Island through Director Con-
nick's contracting \vith Jake Shubert, known as the "Ziegfield
Follies of 1939." It ran but a few weeks, being supplanted with
the Folies Bergere, with the same cast that appeared before.

Another version of the Fischer Follies opened on August 3.
It, too, enjoyed a profitable run. Its girls were as beautiful, or

190 THE MAGIC CITY

perhaps even more so, its comedy was equally sophisticated. It
ran on to the end, one of the outstanding entertainment features
of the Exposition.

In 1940 Mr. Fischer was back again with still another ver-
sion of his now-famous "Follies." Those who saw all three —
which meant a majority of the Island's permanent and transient
population — were wont to debate which of the three was the
best. Suffice to say that any one of the three was worthy of metro-
politan presentation, which was subsequently proved to Mr.
Fischer's profit.

Theme show of the Exposition in 1939 — and battling hard,
only to lose pre-eminence to Aquacade in 1940 — was "Caval-
cade." "Cavalcade of the Golden West" in 1939, "America!
Cavalcade of a Nation" in 1940. A. L. Vollman, better known
to associates and the public as "Red," was the instigator, the pro-
ducer, and father confessor of his huge troupe.

Mr. Vollman's credo of showmanship can best be summarized
in an interview which he caused to be broadcast to the public
prints. Quoting:

"The public today is beginning to demand entertainment
which portrays romance, historical adventure, sturdy humor,
patriotism, respect of God, humanness and wholesome living.

"On both the stage and screen we have proof of the chang-
ing taste of the American public. The day of the girl show has
gone — and it's now on the way out for cleaner, more wholesome
and natural entertainment.

"Shows in America today should be good enough for every
child to witness. Then over-emphasis on sex will be put on the
shelf where it belongs.

"Nakedness can not long remain the motif of the American
stage. And Cavalcade of the Golden West is proving that people
today want real, robust entertainment!"

They called him "Grass-roots" Vollman after that!

Cavalcade was a pageant presented on a huge outdoor stage,
450 feet long and 150 feet deep. Some 500 actors went through
the action of the script, but the words were read in sound-booth,

coming out on the stage through loud-speakers. "Third-dimen-
sional sound," it was called. Actually the actors appeared to be
speaking the lines, so well were the sound effects arranged. A
water curtain on which colored lights were played made the
spectacle even more beautiful at night.

Four-hundred years of the glamorous yesterdays of the West
were portrayed in the 1939 pageant. Balboa caught his first
glimpse of the Pacific from the peaks of Darien. Came Cabrillo,
Cortes, Portola, Sir Francis Drake, Father Junipero Serra.
Thomas Jefferson received the report of Lewis and Clark's expe-
dition. Kit Carson, Vallejo, the discovery of gold by Sutter and
Marshall lived again. Finale was a "Gay Nineties" scene of old
San Francisco.

Cavalcade of the Golden West was a marked success. It
grossed close to half a million dollars for the 1939 run.

Arthur Linkletter, who had written the script for "Cavalcade
of the Golden West," increased his scope for the 1940 renewal.
"America! Cavalcade of a Nation" brought in the history of the
country at large, rather than that of the West exclusively. Some
scenes were retained — notable the "Meeting of the Rails," link-
ing West and East by the first trans-continental railway, the "Gay
Nineties" finale, the cattle-driving scene and others — but in
the main it was an entirely different presentation. Washington
at Valley Forge, Washington's Inaugural, Lincoln's Gettysburg
address (never read better and never failing to thrill), Napoleon
Bonaparte in his bathtub signing away the Louisiana Territory
were some of the highlights.

"America! Cavalcade of a Nation" was as good a show as its
predecessor, quite as worthy of being the "theme show of the
Exposition." But this time, despite its appeal to the "demand
for clean, robust entertainment," it had to share honors. A man
named Billy Rose had brought has "Aquacade" to the Magic City.

As appears elsewhere, Rose wanted to be connected with the
1940 Golden Gate International Exposition in some capacity,
shrewdly estimated its possibilities. Unable to secure complete
control, as he once suggested, he finally agreed to bring his Aqua-

192

cade production intact from the 1939 New York World's Fair.

There was no little discussion and conference before Rose
signed on the dotted line. At one time it appeared as though the
Exposition might sponsor a rival water show, to be called "Treas-
ure Island Water Follies." But eventually Rose and the man-
agement came to terms.

The New York impressario was to have the building that had
been International Hall, opening on one of the main courts. He
was to excavate and construct a pool, set up his own seating ar-
rangements, make whatever structural changes were necessary.
These expenses he was to bear himself, the Exposition refraining
from exacting its percentage on gross business until he had com-
pletely amortized his original expenditure.

The Exposition started drawing its percentage by the middle
of July! That shows the drawing power of the spectacle devised
by Rose the Showman.

The San Francisco Aquacade was actually more beautiful
and more spectacular than the New York version, in that it was
held indoors and lights could be used for all performances. A
pool some 200 feet long and 60 feet wide was constructed. (Inci-
dentally, a new technique was attempted. A huge wooden
"barge" was built, the seams caulked to keep water in, rather
than out.) A stage on the side, seats around the other three sides.
A huge "dry" cast, beautifully costumed and excellently drilled,
formed background for the "wet" cast, those skilled swimmers
whose rhythmic group movements made unforgettable patterns
of grace and beauty in the clear water.

Morton (Yours for a Song) Downey — Johnny Weissmuller
— Esther Williams — the diving troupe — the male chorus — the
beauteous "Aquabelles" in concealing-yet-revealing costumes —
no wonder close to two million persons saw the spectacle.

It has been said by various persons, some in a position to
know, that the Aquacade "made" the 1940 Fair. That's taking
in a lot of territory — but it is not far from the truth!

Near the top of the "must see" list for 1940 was Salici's
Puppets, occupying Hall of Western States Auditorium for the

PAGEANTRY AND SONG 193

season. This unique entertainment quickly caught the public
fancy, and deservedly. The puppeteer's art has been handed
down in this one Italian family, from generation to generation,
for some 200 years, each generation undergoing a long appren-
ticeship in manipulating the strings on the platform behind the
proscenium. The culmination of all these decades of artistry was
a performance so life-like that spectators had little difficulty in
imagining themselves seated in a large theater, looking at real
actors on a distant stage. The puppets were larger than average
and beautifully costumed, thus adding to the effectiveness of the
illusion.

High point of the show was the appearance of a "maestro"
puppet, quickly recognized as an impersonation of Ignace Jan
Paderewski. This virtuoso seated himself at a tiny piano with
all the airs of a Paderewski and then proceeded to "play" that
composer's well-known Minuet. Synchronization of the music,
actually produced by a pianist in the pit, and the exact move-
ments of the puppet's fingers was little short of amazing. A
"coloratura artiste" joined the maestro, singing an aria to his
accompaniment, a real artiste behind the curtain furnishing
"sound effects." When the curtains were lifted at the conclusion,
revealing the puppeteers above, it was almost an anti-climax —
like breaking a spell.

Salici's Puppets drew fourth on the list of feature shows, be-
hind Aquacade, Cavalcade and Follies, and might have done
even better had a larger auditorium been available.

Major Arthur J. McChrystal, connected with the Exposition
directly in 1939, branched out as a showman on his own for the
1940 run, producing the "Treasure Island Ice Frolics" in what
had been the French Pavilion the year before. Space and costs
prevented construction of an actual ice rink, but the artificial
skating surface sufficed, and was made to look sufficiently wintry
by scenic settings. The "Ice Frolics" featured some interesting
and spectacular skating routines by skilled performers and
proved a popular drawing card.

Hollywood Show "Stage 9," was a concession occupying the

194 THE MAGIC CITY

northern half of what had been the Mines, Metals and Machin-
ery Building in 1939. Originally sponsored by F. Herrick Her-
rick, a Hollywood producer, the project passed through several
hands and finally closed before the season was over. Neil Hamil-
ton and Marian Marsh were featured stars of the show, a musical
melange which purported to depict "movies in the making." The
audience was invited to use its own cameras on the stars and
chorus, and there was an interesting gallery of old-time motion
picture favorites and museum of costumes on exhibit.

Occupying the entire north half of the same building was
"Pantheon de la Guerre," a huge diorama depicting in almost
life size the "captains and the kings" of the World War Allies.

The "free entertainment policy" which proved itself in 1939
was established virtually automatically as a guide for 1940 opera-
tions. The only difference was in media of entertainment. "Name
bands" had been featured in 1939. In '40 the specialty was "free
shows," colorful and spectacular revues, aerial performances.
Then, too, the general Exposition show program had been con-
siderably augmented by the addition of Aquacade, Salici's Pup-
pets, the Treasure Island Ice Follies, Hollywood Show "Stage 9,"
and such.

The Golden Days of Forty show which had featured the
Opening Day ceremonies was carried on, to be followed by simi-
lar revues conceived and staged by Earl Darfler, of the Depart-
ment of Special Events. Performances were twice daily, in the
afternoon and evening, the schedule arranged so as not to inter-
fere with other shows and concessions. The great stage in Federal
Plaza was the scene of activity, and literally millions were enter-
tained free of charge during the four months run.

Spectacular "thrill shows" in the Open Air Theater drew
thousands to each twice-a-day performance. Aerialists, acrobats,
various circus acts predominated. Here again the schedule main-
tained was designed to give the "pay shows" all the best of it.

Nor were the children overlooked. "Swing Wide the Golden
Gates," a kiddie revue, was first on this program. Came eventu-
ally Jo-Jo the Clown and his Candyland House. The youngsters

PAGEANTRY AND SONG 195

never would have stood for seeing him leave them, once he got
established. He was their favorite attraction, and justly so.

Underneath his painted mask, Jo-Jo is quite an erudite citi-
zen. He is an authority on child psychology, a university grad-
uate. His tender and understanding care of youngsters was a
show in itself. Jo-Jo would persuade young members of his daily
audience — he used to just about fill the Court of Honor every
afternoon — to come up on the stage and recite, dance or sing.
Lollypops and such were the reward of merit. There were some
funny incidents — weeping infants, frantic mothers, and the like.
One stands out in memory:

A precocious bub was reciting something or other, while Jo-Jo
registered ecstasy. Suddenly the young Demosthenes paused,
stammered, called out, panic-stricken:

"Mama — Maaa-maaa! How does the rest of it go?"

"You know how it goes just as well as you know your own
name!" came the indignant response from the audience below.
"Now go ahead!"

He did — and got his lollypop.

Fireworks displays were frequent but occasional during the
1939 season. (One recalls with a chuckle how one such occasional
display annoyed Leopold Stokowski, engaged at the moment in
conducting the San Francisco Symphony orchestra in the ad-
joining Coliseum.)

The 1 940 management made fireworks of practical aid as an
attendance stimulator. They arranged for a nightly display on
Sports Field, timing it for 10:30 p.m., releasing the crowds so
that they would head naturally for the Gay way. It proved a most
effective means of keeping customers on the Island at night.

Free dancing, as provided in 1939, proved a not unmixed
blessing in some details. In 1940 a "cover charge" of 25 cents a
couple enabled the management to maintain a necessary control.
The charge was willingly absorbed, and thousands danced to the
music of Paul Martin's orchestra in Festival Hall.

Perhaps it might be classed as "pageantry" for inclusion in
this chapter, but actually it was a simple gesture, and most sin-

^/K'

AMERICAN SOCIETY OF COMPO

TREASURE ISLAND

"THOSE WHO MAKE AMERICA'S Music"
Perhaps the most notable assemblage
of artists and composers ever gathered
together on one stage — members of
the American Society of Composers,
Authors and Publishers assembled in
the California Coliseum following
their never-to-be-forgotten concert the
evening of September 24, 1940. Full

identification provided by the Society's
President, Gene Buck —

Left to right, standing: Dr. Howard
Hansen, Charles Wakefield Cadman,
Harry Armstrong, Bert Kalmar, Presi-
dent Marshall Dill, Harry Ruby, Shel-
ton Brooks, George M. Cohan, Jimmy
McHugh, William C. Handy, John

«r T
f

ERS, AUTHORS & PURLISHERS

SEPTEMBER 14, 1940

Charles Thomas, Albert Von Tilzer,
Sigmund Romberg, Albert Hay Ma-
lotte, Ernie Burnett, L. Wolfe Gilbert,
Edwin McArthur (Standing over Bur-
nett and Gilbert), Julius Haug, Eugene
Pete Heyes. (Note: McArthur, Haug
and Pete Heyes — three heads standing
back of Burnett, Gilbert and Mack
Gordon — the fat felloiv). Mack Gor-

don, Harold Arlen, Jerome Kern, Gene
Buck, Leo Robin, Ralph Rainger,
Harry Warren, Dave Stamper, Jean
Schwartz, John Mercer.

Front row, kneeling: Hoagy Carmich-
ael, Walter Donaldson, Peter De Rose,
May Singhi Breen, Ann Ronell, Irving
Berlin, Deems Taylor.

198 THE MAGIC CITY

cere both in inspiration and execution. Throughout the 1940
run, every afternoon promptly at 5 o'clock an announcement
came over the public address system: "Ladies and gentlemen,
you are requested to remain silent for 60 seconds in deference to
your National Anthem." Thereupon the strains of "The Star
Spangled Banner" would be broadcast, as played by the Thir-
tieth Infantry Band during retreat ceremony on Federal Plaza.
All national colors, wherever displayed on the Island, were to
come down at that moment.

Guards and cashiers stationed in various sectors took "neigh-
borhood" pride in observing this moment of quiet attention.
At least once, a ferry crowd hastening to get off and pass through
the gates, was halted and held at attention until the "Star
Spangled Banner" was completed. Far from being resentful, the
incoming visitors were greatly impressed, most co-operative.

First big musical event of the 1940 season was the appearance
of Grace Moore and Lawrence Tibbett in an open-air concert in
connection with International Business Machines Day on May
27. The skies were overcast, the weather chill, but some 50,000
gathered in Federal Plaza to hear these stars sing with the San
Francisco Symphony and to thrill at their artistry.

One listener was thrilled past all expression — Suzanna Fos-
ter, Paramount starlet who had appeared in the opening cere-
monies. She came behind scenes for a close-up. As Miss Moore's
golden voice soared, Susie grabbed a forearm near her and all
but sobbed: "Will I ever be able to sing like that?"

One of the most significant musical contributions of the 1940
season was the Negro Music Festival staged in the Coliseum July
26-28. Orchestra and a 40-voice choir traced the development of
Negro music through six stages — jungle rhythms, plantation
age, minstrel age, ragtime age, jazz age, swing age — during the
three-day schedule. The Festival attracted critical appreciation.

A musical feature that drew thousands was the daily concert
in Federal recreational area by the Northern California W.P.A.
Symphony. Another favorite was the Hurtado Marimba band,
appearing daily in International Court.

PAGEANTRY AND SONG 199

Music lovers were given opportunity to hear favorite num-
bers on "request programs" arranged for the carillon in the
Tower of the Sun each Sunday morning. Miss Eleanor Allen,
who alternated at the keyboard with Sydney Lewis, complied
with each request to the best of her instrument's limitations. The
Thirtieth Infantry Band also asked its public to request favorite
numbers.

The Federal Theater Project was operating full force when
the Exposition opened in 1939, and Federal Theater, a pro-
ducer's dream in every respect, was one of the principal enter-
tainment centers. "Hansel and Gretel" and "The Swing Mikado"
were outstanding productions, the latter showing a notable oper-
ating profit. The Congress cut out Federal Theater appropria-
tions in the summer of '39, forcing the cessation of activities.

The Federal Theater folk lived on an old Sacramento river
steamer moored at the east end of the Island. It was a colorful
hulk, in a way, and attracted considerable attention.

The Federal area contributed numerous fine motion pictures
for the edification of Fair visitors. Memorable among them were
"Land of Liberty," a cavalcade of the North American conti-
nent, produced by Cecil B. DeMille as the motion picture in-
dustry's contribution, and Pare Lorentz' great documentary
film, "The River."

In 1940 the Fine Arts Commission provided showings of old
motion pictures, classics of their time, which attracted thousands.
The series provided visual documentary evidence of the devel-
opment of the cinematic art and were decidedly popular.

Recollection of the outstanding success of the World's Fair
International Horse Show in 1939 inspired the 1940 manage-
ment to stage another such event August 10-18. A. P. Fleming
was called in as manager, as in '39. Some of the finest stables in
the country competed for the $45,000 in stakes, offered jointly
by the Exposition and the California Commission.

A rodeo in the California Coliseum attracted outstanding
riders and ropers and a gratifying number of customers in 1939.
This feature was repeated over Labor Day in 1940.

200

THE MAGIC CITY

This chapter would be incomplete if it failed to devote a few
pages to a "pageant of song" that will live in the memories of
thousands privileged to have been present at its one and only
performance.

"There never has been a show comparable to it before —
there can never be another, in the lifetime of any of us!"

So spoke Gene Buck, president of the American Society of
Composers, Authors and Publishers, from the stage in the Coli-
seum the evening of Tuesday, September 24, 1940.

It was nearing midnight. A beyond-capacity crowd of close
to 17,000 persons moved slowly and unwillingly toward the
exits. Many of those present had been inside the building for
almost six hours. Since eight o'clock they had been listening to
"a cavalcade of American compositions devoted to operatic and
unforgettable songs of the past and present," with the composers
themselves singing, playing or conducting the huge orchestra in
their own numbers. It had been a tremendously long program,
but the audience still was not satisfied.

On the stage were gathered men and women whose names

had become a byword in the musi-
cal and theatrical world — Carrie
Jacobs Bond, John Charles Thomas,
Sigmund Romberg, Jerome Kern,
Irving Berlin, George M. Cohan
and scores of others. Autograph-
seekers sought to climb up on the
platform; Exposition guards herded
them toward the doors.

"All of you dear people get to-
gether here on the stage for a pic-
ture," Mr. Buck called out. "We
have never been together in such
number before — and we may never
meet like this again!"

They formed in a long line across
the platform — men and women who

Swimming stars in
formation spectacle
at 1940 Aquacade

PAGEANTRY AND SONG

201

had given a nation its songs. A stabbing flash of light — the click
of a camera shutter — the group broke up. "ASCAP Day" had
passed into history.

Superlatives are all too apt to become overworked and mean-
ingless from constant usage in connection with a World's Fair.
Wherefore, when need arises for a good strong descriptive phrase
to fit an epic occasion the vocabulary stammers and stutters in
futile inadequacy. Suffice to say that "ASCAP Day" was admit-
tedly the outstanding event on the entire 1940 program of song
and pageantry — and the 1939 program might well be thrown in
for good measure.

Close to 50,000 music-lovers gathered before the open-air
stage in Federal Plaza to listen to a symphonic program in the
afternoon. There the San Francisco Symphony played composi-
tions of members of the society, with the composers conducting
and the inimitable Deems Taylor offering brisk commentary
between numbers.

Realizing the mass appeal of this tremendous entertainment
feature — perhaps it should have been mentioned before this
that both the afternoon and evening
performances were staged absolutely
free of charge — the Exposition man-
agement was most desirous of hold-
ing the evening show on the same
great stage outdoors. But Mr. Buck
declined, regretfully but definitely.
His reason for insisting upon an in-
door performance came out later —
George M. Cohan, veteran artist
with literally thousands of perform-
ances behind him, got stage-fright at
the thought of appearing before so
many thousands outdoors!

So the Coliseum, the building
with the largest capacity on the Is-
land, was called into use. Somehow

Aerialists thrilled
throngs in balance
feats on high wires

or other, 17,000 persons managed to squeeze in without hanging
from the rafters. Then came the real problem of the evening —
turning away another 35,000 hopefully expectant of getting in. It
was a serious proposition. Fire Department authorities demanded
that the doors be locked and that not another man, woman or
child be admitted. This by shortly after 7 o'clock.

Police officers and guards had their hands full. Harried Fair
folk tried to explain to the milling throngs that the building
could hold only so many, and that more than that many were
inside already. But somehow or other, their explanations seemed
to lack authenticity. The customers jammed in front of the va-
rious doors kept pounding on the glass demanding admission.
People expected and awaited inside were denied entrance along
with others less favored. Exposition President Marshall Dill was
among these.

George M. Cohan fared but little better. The public address
system had to be called into action to find him and notify him
that he could get in by the stage entrance. The climax came when
Gene Buck himself, followed by several of his featured compo-
sers, found the way barred by determined police officers and Ex-
position guards.

"Okay, buddy — then there'll be no show!" declared the im-
perturbable Mr. Buck. Nor would there have been, had not the
guardians of the portals received approval from someone inside.

John Charles Thomas sang that night as he had never sung
before. "Sweet Adeline" was presented by its composer, Harry
Armstrong — and the serried thousands in the audience joined
in lusty chorus.

Joseph Howard, white-haired, but sprightly as he was in his
days of vaudeville stardom, was trembling and pale off-stage just
before his cue to go on.

"Bernie — I can't do it! I'm scared stiff! I never played be-
fore so many people in all my life!" he quavered to R. H. Burn-
side, the veteran stage manager.

"Go on out there and do your stuff, you big sissy!" snapped
Bernie, giving him a shove.

203

Joe Howard never "trouped" better in all his years. He lit-
erally "laid 'em in the aisles."

It is all but impossible to recapture the feeling and spirit of
that evening and set it down in cold type. A set of recordings of
the entire program exists, including Gene Buck's sagely senti-
mental comments between numbers. (Mr. Buck never forgot
that he was doing a job of public relations!) Some day these rec-
ords may be replayed publicly. If they were to be, a full house
could be guaranteed in any theater in the land.

But there were some things that not even a faithful recording
could reproduce. For instance —

William C. Handy, chocolate brown, bald except for a fringe
of gray hair, bowed and almost blinded by the weight of more
than seventy years — but he can still lip a trumpet! He stood be-
fore the banked orchestra, played his never-to-be-forgotten "St.
Louis Blues." The huge audience swayed its shoulders and beat
time to the inimitable rhythm of the trumpet solo. "Wa-wa-wa
waa-a-a-a-ah — wa-wa-wa- wa-aa wa-a-a-a-h!"

Eugene Heyes, better known to his friends as Peter, was on
the podium. Peter is "first sergeant of the second-violin section"
when the San Francisco Symphony is officially assembled. On
this occasion, because of his knowledge of modern tempo, he was
conducting. The orchestra, you must understand, was actually
the San Francisco Symphony, but on this occasion had to be pro-
grammed as "members of" the Symphony. A necessary distinc-
tion without a difference.

Handy really did "swing" into it on the second chorus. Peter
Heyes lifted his baton toward his own first trumpet. "Start send-
ing!" he hissed. The Symphony cornettist "sent." Then a gesture
toward the trombone section. "Give!" commanded Conductor
Heyes. The first trombonist "gave" —and how! Never let it be
said that the San Francisco Symphony, so aptly representing "The
City That Knows How," is strictly classical! Strings and wood-
winds caught the fever, the tympanni beat out the rhythm with
jazz-band abandon. The Symphony did "swing it," and the de-
lighted audience brought the house down!

204

THE MAGIC CITY

One musician managed to retain at least a thread of decorum
throughout this display. But not for long. Came George Gersh-
win's "I Got Rhythm," and the sedate lady harpist started to
"give." In the most moving rhythmatic passages she was plain
"shadow-boxing" those strings!

All in all, a never-to-be-forgotten occasion, was "ASCAP
Day." And, strange to tell, might never have happened but for
a serious mistake that was made and a wrong that was rectified.

One morning late in July the Publicity Director found on
his desk a wire from a Hollywood friend, Arthur Ungar, man-
aging editor of "Variety," the theatrical paper. Would the Fair
be interested in arranging for the appearance of such famous
composers as Irving Berlin, Sigmund Romberg, Jerome Kern,
George M. Cohan and others at a concert on Treasure Island ten
days hence? This without cost to the Exposition.

The day suggested was Sunday, August 5, a day lacking in
special attraction despite frenzied efforts of the Special Events

Stage dances and Department.
melody interlude _ ..

for Aquacadences Preliminary arrangements were concluded by telephone. A

PAGEANTRY AND SONG 205

representative of the American Society of Composers, Authors
and Publishers was to come up from Hollywood, a publicity
representative was to be dispatched from New York forthwith.
Everything was all set.

Being aware of the developing dispute between the ASCAP
people and the radio networks, the Publicity Director had more
than a general idea of the lay of the land in connection with
this offer. The National Association of Broadcasters, represent-
ing a majority of radio stations throughout the country, was to
convene in San Francisco, August 7. Obviously, the American
Society of Composers, Authors and Publishers desired to put
forth its side of the case publicly while the N.A.B. people were
present in numbers. The broadcasters were also to have theii
day at the Fair, climaxing ceremonies with an elaborate trans-
continental hook-up with the New York Fair which was to go
over all stations. If ASCAP wished to come into the picture as
well, the Exposition might benefit doubly, even though some-
what in the middle between contestants.

In any event, it seemed like a fine attendance-stimulator. So
the publicity department hastened to get out releases and ad-
vertising matter. There was but little time in which to put such
an event across with the potential customers.

Days passed. Still no representative from Hollywood, no sen-
timent stimulator from New York. Nor yet confirming word
from Gene Buck, then vacationing at Bohemian Grove. Then
came the blow. A wire from Hollywood regretted the necessity
of cancelling out!

President Dill was taking a week-end off from his presidential
duties at that same Bohemian Grove when the bad news ar-
rived. He was contacted by telephone and asked to explain to
Mr. Buck the embarrassing position in which the Exposition had
been placed. He did — and was told by the surprised Mr. Buck
that he (Buck) had not known a single detail of any such plan,
or that it had even been contemplated.

"Marshall, I promise you we will right this great wrong we
have done your Fair," Mr. Buck assured Mr. Dill. "Because we

206

have disappointed you in this instance, we will put on a show
for you the like of which has never been seen anywhere. I give
you my word you will not be disappointed again."

Seven weeks later Gene Buck and the American Society of
Composers, Authors and Publishers made good that pledge.

The programs:

MUSIC FESTIVAL

(AT THE FEDERAL PLAZA)

TUESDAY AFTERNOON, SEPTEMBER 24, 1940, 2:00 P.M.

Sponsored by the American Society of Composers, Authors and Publishers
Produced Under the Personal Direction of GENE BUCK, President

•&

SYMPHONIC CONCERT
Devoted to Compositions by Members of the Society

•fr

SAN FRANCISCO SYMPHONY ORCHESTRA
Introduction of Welcome by MARSHALL DILL

GENE BUCK

DEEMS TAYLOR, Composer, Author, Critic and Commentator, Alaster of Ceremonies

•ft

(1) "JOHNNY COMES MARCHING HOME" By Roy Harris

Conducted by DR. HOWARD HANSEN
Director, Eastman School of Music, Rochester, N. Y.

(2) THIRD SYMPHONY By Dr. Howard Hansen

Conducted by DR. HOWARD HANSEN

INTERMISSION

(3) "CAPONSACCHI" — Overture and Selections By Richard Hageman

Conducted by MR. HAGEMAN

(4) "DARK DANCERS OF THE MARDI GRAS" By Charles Wakefield Cadman

MR. CADMAN, Soloist Conducted by EDWIN MCARTHUR

(5) (a) "LA GUIABLESSE" ) „..,,
(b) G MINOR SYMPHONY-2 MOVEMENTS ['

Conducted by MR. STILL

(6) "CIRCUS DAY" By Deems Taylor

Conducted by EDWIN MCARTHUR R. H. BURNSIDE, Stage Director

(AT THE CALIFORNIA COLISEUM)
TUESDAY EVENING, SEPTEMBER 24, 1940, 8:00 P.M.

Sponsored by the American Society of Composers, Authors and Publishers
Produced Under the Personal Direction of GENE BUCK, President

EVENING CONCERT

A Cavalcade of American compositions devoted to operatic and unforgettable songs of

the past and present, written by members of the
American Society of Composers, Authors and Publishers

GENE BUCK, Master of Ceremonies

SPECIAL ORCHESTRA COMPOSED OF MEMBERS OF

SAN FRANCISCO SYMPHONY ORCHESTRA

JOHN CHARLES THOMAS, Guest Soloist

(1) "STARS AND STRIPES FOREVER" John Philip Souza

Conducted by DR. HOWARD HANSEN

207

(2) TRIBUTE TO OUR FOUNDER, the late and beloved VICTOR HERBERT

"GYPSY LOVE SONG" from "The Fortune Teller" .... Lyric by Harry B. Smith

"KISS ME AGAIN" from "Mile. Modiste" Lyric by Henry Blossom

"MARCH OF THE TOYS" from "Babes in Toyland" . . . Lyric by Glen MacDonough
Conducted by EUGENE HAYES

(3) "SMILES" Composed by Lee Roberts, Lyric by /. Will Callahan

MR. ROBERTS at the piano

(4) "LOVE IN BLOOM" By Leo Robin and Ralph Rainger

Sun by MR. ROBIN MR. RAINGER at the piano

(5) "TAKE ME OUT TO THE BALL GAME"

Composed by Albert Von Tilzer, Lyric by Jack Norworth
MR. VON TILZER at the piano

(6) "THE LAST ROUND-UP" By Billy Hill

MR. HILL at the piano

(7) "SOME OF THESE DAYS" By Shelton Brooks

MR. BROOKS at the piano

(8) "OVER THE RAINBOW". . .Composed by Harold Arlen, Lyric by £. y. Harburg

MR. ARLEN at the piano Sung by JUDY GARLAND

(9) "MELANCHOLY BABY" Composed by Ernie Burnett, Lyric by G. A. Norton

MR. BURNETT at the piano

(10) "WAITING FOR THE ROBERT E. LEE"

Composed by Louis Muir, Lyric by L. Wolfe Gilbert
Sung by MR. GILBERT

(11) "THREE LITTLE WORDS" By Bert Kalmar and Harry Ruby

Sung by MR. KALMAR and MR. RUBY

(12) (a) "MY BLUE HEAVEN". .Composed by Walter Donaldson, Lyric by G. Whiting
(b) "MY BUDDY" Composed by Walter Donaldson, Lyric by Gus Kahn

MR. DONALDSON at the piano

(13) "THE END OF A PERFECT DAY" By Carrie Jacobs Bond

MISS BOND at the piano Sung by ALLAN LINQUIST

(14) "THE FLYING FLAG" By Carrie Jacobs Bond

(Premiere Performance) Sung by ALLAN LINQUIST

(15) "WHO'S AFRAID OF THE BIG BAD WOLF"

Composed by Ann Ronell, Lyric by Frank E. Churchill
MISS RONELL at the piano

(16) "SINGING IN THE RAIN" By Ralph Freed and Nacio Herb Brown

MR. FREED at the piano

(17) "YOU MADE ME LOVE YOU"

Composed by James V. Monaco, Lyric by Joseph McCarthy
MR. MONACO at the piano

(18) (a) "I WONDER WHO'S KISSING HER NOW"

Composed by Joseph Howard, Lyric by Frank R. Adams and Will Hough

(b) "GOOD BYE, MY LADY LOVE" By Joseph Howard

Sung by MR. HOWARD

(19) "ALL THE THINGS YOU ARE"

Composed by Jerome Kern, Lyric by Oscar Hammerstein II
MR. KERN at the piano Sung by TONY MARTIN

(20) "SMOKE GETS IN YOUR EYES"

Composed by Jerome Kern, Lyric by Otto Harach
MR. KERN at the piano

(21) "SWEET ADELINE". . . .Composed by Harry Armstrong, Lyric by Richard Gerard

Sung by MR. ARMSTRONG

(22) "LOVER COME BACK TO ME"

Composed by Sigmund Romberg, Lyric by Oscar Hammerstein II
MR. ROMBERG at the piano

(23) TRIBUTE To the Late George Gershwin

"SUMMERTIME" Composed by George Gershwin, Lyric by DuBose Heyward

From "Porgy and Bess"

"I GOT RHYTHM" Composed by George Gershwin, Lyric by Ira Gershwin

EDWIN McARTHUR conducting the Orchestra

(24) "JEEPERS CREEPERS" By Harry Warren and John Mercer

MR. WARREN at the piano Sung by MR. MERCER

(25) "I CAN'T GIVE YOU ANYTHING BUT LOVE, BABY"

Composed by James McHugh, Lyric by Dorothy Fields
MR. McHUGH at the piano

208 THE MAGIC CITY

(26) "STAR DUST" Composed by Hoagy Carmichael, Lyric by Mitchell Parish

MR. CARMICHAEL at the piano

(27) (a) "DEEP PURPLE" Composed by Peter De Rose, Lyric by Mitchell Parish

MR. DE ROSE at the piano

(b) MAY SINGHI BREEN— "THE UKULELE LADY"
MEDLEY OF MR. DE ROSE'S SONGS-

(a) "WHEN YOUR HAIR HAS TURNED TO SILVER"

(b) "HAVE YOU EVER BEEN LONELY?"

(28) "DID YOU EVER SEE A DREAM WALKING?"

By Mack Gordon and Harry Revel
Sung by MR. GORDON

(29) "CHINATOWN" Composed by Jean Schwartz, Lyric by William Jerome

MR. SCHWARTZ at the piano

(30) "ST. LOUIS BLUES" Composed by William C. Handy

MR. HANDY, Cornet Solo

(31) JOHN CHARLES THOMAS, Guest Soloist

MR. EUGENE HEYES conducting the Orchestra

(a) "HOME ON THE RANGE" .By David Guion

(b) "MIGHTY LAK A ROSE" . . Composed by Elhelbert Nevin, Lyric by F. L. Stanton

MR. KERN at the piano

(d) "SALLY, WON'T YOU COME BACK" . . . . By Gene Buck and David Stamper

From the "Ziegfeld Follies" MR. STAMPER at the piano

(e) "THE LORD'S PRAYER" Composed by Albert Hay Malotte

MR. MALOTTE conducting the Orchestra

(32) GEORGE M. COHAN, Composer, Playwright and America's foremost actor

(a) "GIVE MY REGARDS TO BROADWAY"

(b) "YANKEE DOODLE BOY" (c) "GRAND OLD FLAG"

Composed, written and sung by MR. COHAN

(33) "GOD BLESS AMERICA"— The new American anthem

Written and composed by Irving Berlin

Sung by MR. BERLIN Orchestra conducted by DR. HOWARD HANSEN

The folloiuing distinguished conductors will participate in this program:

EUGENE HEYES EDWIN MCARTHUR RICHARD HAGEMAN DR. HOWARD HANSEN

General Stage Director — R. H. Burnside, Producer of the late Charles B. Dillingham's

famous productions for Montgomery & Stone; producer and author of the famous New

York Hippodrome shows, and numerous other successful American musical comedies.

CHAPTER XV

Street o the

THE GAYWAY WAS THE Street of the Barkers, the Highway of
The Bright Lights, the Fun Zone of the Exposition. It offered
amusements for all ages, thrills, oddities and assortments of fe-
male pulchritude from Sally Rand's Nude Ranch to the flood-
lighted figures in the Candid Camera booth.

There were hams and bacon to be had on the turn of a wheel;
there were glass blowers who wrought weird and wonderful
products with lungs and silica; there were babies in incubators
and sculptors in sand and Bob Ripley gathered 'em in by the
thousands to peer at the queer people he had assembled from
the far corners of the earth.

For those who remembered the Tower of Jewels and the
Zone of the Dream City of 1915, there was "Stella," the old
favorite herself, who seemed not to have suffered from the pas-
sage of time but looked down from her canvas in much the same
sophisticated fashion as of yore.

Dinosaurs of a million years ago provided plenty of material
for nightmares of memory; wild animals of today went through
their paces in a circus environment while, a short distance away,
were the tiny "prehistoric" horses, very much alive and very
popular with the juvenile visitors to the Fair.

Up and down the Street of the Barkers paraded the millions,
pausing to listen to the honeyed tongues of the gentlemen on
the platforms, to quench their thirst with a draught of Coca Cola
or assuage a rising hunger with a hot dog or a hot scone filled
with raspberry jam, while outside the gate the Hum-a-tune man,
like a modern Pied Piper, set a fast tempo for the milling throngs.

A full program of vaudeville was put on by the mighty midg-

210 THE MAGIC CITY

ets . . . flying scooters, the octopus, the roller coaster and
roll-o-plane kept the youngsters dizzy from noon until the lights
went out in the wee small hours of the morning. If you wanted
to risk a dime with the hope of a "jackpot" of prizes, there was
everything from a monkey speedway to a derby game to provide
the opportunity.

The Giant Crane lifted a group of the air-minded aloft at
intervals to look over the sea of beauty below; a diving bell
sank below the waters; great Ferris Wheels whirled and a minia-
ture railway train threaded its way over the grounds. Fun?
Barrels of it for everybody from grandpappy to the babe in arms.

A whole circus came to Treasure Island in 1940 when the
African Jungle Camp arrived. There were: three baby elephants;
200 monkeys; 50 lions, tigers and leopards; 3 honeybears; scores
of camels, zebras, deer, hyenas, donkeys, freak animals and 17
men. It was the largest animal show ever assembled under one
roof west of the Mississippi. Captain Terrell Jacobs was in
charge.

The Monster Show provided an extra-curricular activity dur-
ing its first season that had the operators worried. It was in the
matter of Cleopatra, the South American boa constrictor, and
her "bundle from heaven"

It was a case of "now that she's got 'em, what's she going to
do with 'em?"

Cleopatra calved — or whatever the technical term for a her-
petological blessed event in the mammalian group might be. It
was double-quintuplets — ten of a kind. First time on zoological
record of a lady snake becoming a mother while in durance vile.

Quite aside from its scientific value, Cleopatra's contribution
to the world was most welcome to the "Palace of Monsters." It
meant a new rush of business from all sides. But — and here was
the crux of the situation — how were these ten hungry infants
to be fed?

Though a mammal as well as a mamma, it seemed Cleopatra
lacked both desire and equipment for the purpose. Had she and
her offspring been in their natural habitat, probabilities were

STREET OF THE BARKERS 211

that the kids would have had to rustle for themselves. That part
might have been all right, too — only the rustling was a bit slim
on Treasure Island, hardly what you'd call a happy hunting
ground for juvenile boa constrictors.

Realizing in advance that they were in for something, her-
petologists in charge of the "monsters" - (They're alive —
ALIVE!) — endeavored to raise their own baby food and have
it ready when the "expecting" Cleopatra finally came through.
It seems baby mice are a highly esteemed delicacy in the some-
what limited diet of baby boa constrictors. So the herpetologists
made due arrangements.

Trouble was, Mamma Mouse refused to co-operate. She failed
to foal (or "farrow," or "litter?") . Meanwhile, Cleopatra's ba-
bies were getting hungrier and hungrier. You could hear their
pitiful moans the length of the Gayway — though unfeeling
skeptics might maintain that the noise came from a mournful
foghorn concealed somewhere about the premises.

Better Babies exhibit next door was called into consultation.
Not that the "Monster Pit" wanted to borrow an incubator, or
get a few whiffs of oxygen. Cleopatra's youngsters were not that
bad off — yet. But expert advice on feeding was needed. The
baby doctors could only suggest tube feeding — and that was out,
because the baby boas weren't much bigger than a fair-sized tube
themselves.

However, where there's a will there's a way. Anyhow, that's
how Herpetologist C. H. Fogle had it figured.

If Cleopatra's babies kept on crying for sustenance in their
sleep — which seemed most likely, since they had yet to partake
of their first meal on earth — he proposed to take steps. He
planned to mix raw egg and milk in a large bowl and then im-
merse the brood therein.

If it worked, the little Cleopatras (and/or Mark Antonies)
might live to a ripe old age. Or, at any rate, long enough to dine
on those delayed baby mice.

Came the day — and Nature took care of its own. Indeed
many of the numerous offspring survived without bothering at

On the Gayway, "The Street of the Barkers," were pitch-men of national and international renown
spilling adjectives like water over a dam. Some of the best are pictured here. At upper left barkers
dressed as cowboys told the "bare" facts of Sally Rand's Nude Ranch. The pith-helmeted man at
upper right exhorted the wonders of the Monster Pit, including Cleopatra and her brood. One of
the best sellers of feminine pulchritude in the nude was the salesman for Miss America, shown at
the left in the center of the picture. Dancers of All Nations, employed the participants in the shou<
to draw their crowds of curious, whose interest was undoubtedly more in the dancers than in their
terpsichorean efforts. Right center, the Gayway jammed with Fiesta-minded customers on opening
day. Lower right, the Hum-A-Tune Man demonstrated and sold at the entrance to the Gayway.

STREET OF THE BARKERS 213

all about diets or menus and lived to carry on through the season
of 1940.

Treasure Island of 1939 had three villages on the Gay way —
China, Estonia and Scotland. The first two were features of 1940,
as well.

When China, impoverished by the war, found it impossible to
participate officially in the Exposition, San Francisco's Chinese
went to work and raised over f 1,000,000 to create the 12-acre
Chinatown which formed one of the brightest spots on the Island.

On this acreage was built a wall, patterned after the Great
Wall of China, within which were buildings which housed the
exhibits and entertainment features. Outstanding was the seven-
story pagoda which towered above the group, with its age-old
bells to rid the village of evil spirits.

Decorations and exhibits were prepared under the guidance
of the best craftsmen of San Francisco's Chinatown, with silken
streamers and glowing lanterns against a background of vermil-
ion, tulip yellow and gold from floor to roof of the buildings.

In furnishing the village and installing its exhibits, the spon-
sors of the village secured the aid of Princess Der Ling, lady
in waiting to the Empress Dowager T'Zu Hsi, who also agreed
to lend her collection of rare art treasures.

Silks and drapes, jade, ivory, ebony, gold and curios, lamps,
statues, etchings, paintings on silk, dragons — formed a series
of displays.

Mask-makers, fortune telling birds, street entertainers, musi-
cians, dancers, stores and homes, combined to make one of the
most interesting spots at the Exposition a cross-section of life
in China.

South of the Chinese Village, fronting on the Gayway, was
Estonia village. It covered a three-acre plot, in which the high-
gabled roofs, the turrets, and the red and green color schemes
provided a most picturesque setting for the costumes and
exhibits.

Curio shops, a beer garden, costume shops in which native
craftsmanship was displayed, singers, dancers, story-tellers, com-

214 THE MAGIC CITY

bined to make up the actual picture of Estonian life. The Es-
tonian restaurant was gay with native decorations and attend-
ants in costume.

At the east end of the Gayway was a bit of Scotland trans-
planted to Treasure Island in the form of the Scotch Village,
with its thatched cottages and its reproduction of life in that
country. Here the bag-pipes skirled while Scotch lassies danced
the Highland fling. Spinning and weaving were carried on in
a thatched-roof cottage. There was a Scotch cafe and curio shops.

Included in the buildings were the Tarn O'Shanter Inn, the
Post Office, Robert Burns' home, the Sky House, the Black
House, and the Druids' Temple.

From high noon until evening, and from evening until 2
o'clock in the morning, the leather-lunged salesmen of the Gay-
way kept up their unceasing harangue. The crowds enjoyed it,
for they came back for more and more, and the promoters en-
joyed it, too, when they sat down to count the dimes and quarters
that poured into the cashier cages and piled up a nice little profit
for everybody concerned.

CHAPTER XVI

Qaia 2>ayd oj '39

"TRYING TO DESCRIBE the Exposition's beauty and scope seems as
futile as giving three cheers for a sunset!"

So wrote an enthusiastic but somewhat baffled sentiment-
accelerator in the press division "for immediate release, Febru-
ary 19, 1939."

The editors, approaching a similar task two years later, are
equally humbled. To properly evaluate the hundreds of special
days, the thousands of activities that drew millions of visitors
through the gates of the Magic City is an assignment from which
even the bravest of chroniclers might shrink.

Obviously it will be impossible to report in extenso. Set limi-
tations of this book prohibit. (A chronological listing of "days"
for both the 1939 and 1940 seasons will be found in the Appen-
dix.) Rather, the picture will be drawn in broad strokes, with
details filled in only occasionally. Otherwise, confusion ineffable.

In the tumult and shouting of Opening Day, an event of
some importance was overlooked. For the sake of the record it
should be set down at this point. Treasure Island's first accouche-
ment occurred at 4 a.m. on February 18, 1939 — an Aberdeen
Angus bull calf, by Bonito Burgess out of Pride of Welford III,
appropriately named Exposition I. Let no other come forward to
dispute this claim.

As might be gathered from the above, the National Beef
Show was on in the California Coliseum at the time. This was
the first event of an extensive and elaborate livestock exhibition
program arranged for the '39 season by California Commission.

Another "first" of more than passing interest is the report
of attendance at the Fine Arts Palace for opening day — 5,962

216 THE MAGIC CITY

patrons. Eventually Fine Arts attendance was to surpass the
drawing power of even the glamorous Sally Rand Nude Ranch,
evidence indisputable of the commercial value of a cultural
background. Remarked the staid Ladies' Home Journal on this
point:

"Out of the San Francisco Fair last summer, while Sally
Rand was going bankrupt, it seems that 1,563,785 people were
taking in the fine-arts exhibition. That's, incidentally, twice as
many as visited the two art shows at the World's Fair here,
which may be why Grover Whalen doesn't wear a gardenia in
his buttonhole any more."

Douglas (Wrong Way) Corrigan, the airman who flew a $900
"crate" to Ireland after telling New York aviation authorities
that he was leaving for Los Angeles, was an early-season attrac-
tion in the Hall of Aviation. His plane remained after he had
concluded his stay. Corrigan autographs eventually slumped on
a glutted market.

Washington's Birthday, the first holiday after opening, was
duly observed with a patriotic pageant, uniformed marchers,
massed bands. Supervisor Jesse C. Colman of San Francisco was
general chairman of the day, and Controller Harold Boyd of
the San Francisco City Hall family delivered the address. At-
tendance was a gratifying 127,739, less than a thousand under
that of Opening Day. Partially responsible for this influx was the
fact that this was the first Children's Dime Day of record.

The Netherlands Indies Pavilion was formally dedicated on
February 25, featuring a radio address from far-off Batavia by
Honorable Madame A. W. L. Tjarda van Starkenborgh Stachou-
wer, wife of His Excellency the Governor General of the Nether-
lands East Indies. It might be remarked that the lady's lengthy
name did not appear in headlines recording the event.

Elsa Maxwell, famed party-giver, threw a little luncheon for
103 in the Yerba Buena Club, honoring Mrs. George Cameron,
chairman of the Women's Board. Elsa was then rated as "vice-
chairman of the World's Fair hospitality committee," but there
appears to be no record that she ever worked further at that job.

GALA DAYS OF '39 217

Dedications of this building and that marked the latter days
of February. In the hectic drive for Opening Day, numerous for-
eign buildings were not completed, and certainly there was nei-
ther time nor opportunity for formalized ceremony. Native Sons
and Daughters took over dedication of the California Building
on Sunday, February 26. Herbert Erskine, member of the Com-
mission, represented Governor Olson and Frank W. Clark, chair-
man of the Commission, was speaker for the occasion.

Dedications of other foreign buildings followed so rapidly
that President Cutler, Mayor Rossi and Commissioner Creel
slept in their high hats and cutaway coats.

"The threat of a world war is gradually being lessened today
as Germany, Italy and Japan are beginning to suffer economically
to the point where they will be forced to accept international
trade for mutual benefit, rather than to risk war and subse-
quent chaos." So declared Dr. Henry F. Grady, chairman of the
United States Tariff Commission, in an address signalizing the
opening of the Peace Projects exhibit, adjoining the Hall of
Western States. Circumstances were such that the project did not
attempt to re-open for 1940.

The regular Exposition sports schedule was augmented by
such events as a kite-flying contest for youngsters, a rickshaw
race for the "chop chop" boys who hawked such services in
front of the Chinese Village. Eddie Cantor came to town for a
personal radio-show appearance, and was made Treasure Island's
first "mayor," an honor that very many others were to enjoy
later. At Necome, Texas, a 1753-mile Pony Express race was
started by Amon G. Carter, ultimate destination Treasure Island.
As from the first day, Tex Rankin completed his daily routine of
lops and power-dives and such for the edification of one and all.
The Magic City was trying its painstaking best to be alluring.

General Electric Company's shortwave broadcasting station,
W6XBE (soon to become internationally known as KGEI),
had its formal dedication and inaugural broadcast on March 4.
President Cutler represented the Exposition, with Major O. J.
Keatinge, Director of Foreign Participation as master of cere-

218

THE MAGIC CITY

monies. Raymond M. Alvord, General Electric vice-president,
spoke for the company and Lenox R. Lohr, president of the
National Broadcasting Company, represented the radio industry.
Consuls of Argentina, Bolivia, Brazil, Chile, Colombia, Costa
Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guate-
mala, Haiti, Honduras, Mexico, Panama, Paraguay, Peru, Uru-
guay and Venezuela broadcast messages in their native language
to their homelands.

Without the formality of dedication, creation of a "complete
maternity ward, to be available in all emergencies" was an-
nounced. Seems actuaries had estimated that such a convenience
might be called into use at least twenty times during the Expo-
sition's run by "surprised" mothers. Though incipient parents
were to request the dubious honor frequently — and there were
some rather close calls — it is not of record that this so-called
"ward" was ever put to use. Quite incidentally, the "announce-
ment" was made by the manager of the Incubator Baby Con-
cession on the Gayway.

"A Century of Service" Pageant marked Railway Express

Day on March 1. One hundred years

i previously, to the day, one W. F.

^^^^ Barnden, a former railroad conduc-

II ^^ tor, had carried a carpetbag full of

^P parcels from Boston to New York,

^* the first paid messenger service of

the sort. Descendants of the first mes-
senger and some thousands of others
observed the occasion.

The Japanese Pavilion celebrated
"Hinamatsuri," or the Doll Festival,
handing out souvenir dolls to all
little girl visitors.

Exposition officials gloated, as of
March 1, over the fact that the
weather man had provided twelve
straight days of sunshine for the Ex-

Creel and
Jim Farley enjoying
a day at the Fair

GALA DAYS OF '39

219

position. They were reported ready to give that kindly gentle-
man carte blanche from there on in. Later they were to regret
their precipitancy.

A Twin Contest drew an entry of 136 pairs. Patty and
Georgia Krieg, charming three-year-olds of San Francisco, cap-
tured first honors.

Daredevil Jimmy Godwin, the "Bat-Man," thrilled thou-
sands by plummeting out of the sky from a height of 10,000 feet.

It was announced that school children of California might
spend five "classroom days" on Treasure Island during April
and May with full attendance credit.

France and America pledged anew their fealty to Democracy
and freedom and their friendship for each other with dedicatory
ceremonies in connection with the opening of the French Pa-
vilion. United States Commissioner George Creel functioned
for America, Senator Rene Gounin, Commissioner General to
the Exposition, for France.

To say the least, the Magic City was versatile.

An imaginative author in the press division produced a tale
savoring of the believe-it-or-not. He
said that a young pig named Phil-
bert had been introduced into the
cage of Frigid Frieda, the giant py-
thon on the gayway, and that Frieda
had taken Philbert to her bosom,
rather than into her gullet. Witness
Philbert's presence, whole and un-
harmed the following morning. The
editors are inclined to doubt the re-
port in toto.

Pilsener beer and Prague ham was
served at the dedication of Czecho-
slovakia's exhibit in International
Hall. It was a day to be marked with
a red stone!

Three Exposition officials were

Vested choir sings
processional hymn
near Mission Tower

220 THE MAGIC CITY

singled out for signal honors, as of March 6. President Cutler and
George Creel were made Grand Officers of the Order of the
Dragon of Annam. Major O. J. Keatinge became privileged to
add to his rows of service and war decoration ribbons the symbol
of a Grand Officer of the Order of the Million Elephants and the
White Parasol. It was said that this was the first time this decora-
tion had ever been awarded in America. Presentation was made
by Comte Jean de Beaumont, Commissioner General of French
Indo-China, representing the Emperor of Annam. Unfortunately
for possible attendance records, the investiture was made pri-
vately at a luncheon extended by the Exposition management to
the French delegation.

Free Twilight Concerts in Hall of Western States Audito-
rium were announced by the Special Events Department as a
regular Sunday feature. More "dime days" for children were
approved by the Board of Management as an attendance stimu-
lator. The pump was being primed assiduously.

The first millionth visitor loomed over the horizon. He (or
she) was to be wined and dined, to receive a watch, furniture,
a camera, and "goodies to a fabulous amount." That welcome
personage appeared on March 15.

Italy's exhibit palace was dedicated in March with Arch-
bishop John J. Mitty, Commander Pier Guglielmo Maggini,
special delegate of Italy; Cav. Uff. Mario L. Perasso, president
of the Italian Chamber of Commerce of San Francisco, chair-
man of the day; Mayor Rossi, and President Cutler officiating.
The "Star-Spangled Banner" and "Royal March and Giovi-
nezza" were played as the respective national standards were
raised. Thousands from San Francisco's large Italian colony
were in attendance.

Mayor Fiorello H. LaGuardia of New York was an honor
guest of the Exposition management at dinner on March 13.
Despite the fact that his town was about to open its own World's
Fair, the "Little Flower" spoke in most complimentary fashion
of San Francisco's efforts in this line. Incidentally, Mayor La-
Guardia paid to get into the Magic City. "We are not going to

JR.

GALA DAYS OF '39 223

give passes to the New York Fair, so we don't expect to get them
here," he told Mayor Rossi.

A Liars' Contest was arranged. Gayway "pitchmen" and all
"press agents" were barred!

Ransohoff Day brought an extra thousand store employees
and their families to the Island and added considerably to the
festivities programmed. Similar promotions were suggested and
pushed.

A Mardi Gras and St. Patrick's Day costume celebration was
proposed. Special events folks and others charged with stimula-
tion of interest — and thus of trade — were working overtime.

But all through this period attendance figures were not up
to expectations. Gratifying enough over the week-end, on Sun-
days, particularly, but not so encouraging on week days. Weather
conditions had much to do with the situation. A much higher
figure had been confidently expected, however.

Mr. Harris D. H. Connick, then the Exposition's Director,
put his finger on what he considered the source of the trouble.
His "policies," announced in connection with the appointment
of Mel Smith as concessions chief for the Gayway, called for:

Immediate population of the Gayway; filling in of all gaps,
ending vacancies with new shows, games and rides; theatrical
lighting for all show spots on the Island, especially the Gayway;
installation and operation of attractions which would draw ca-
pacity houses at the nominal rates of 10 to 25 cents; more free,
sensational attractions throughout the Island.

All admitted the soundness of these ideas, the latter two par-
ticularly. The problem was, just how?

A special press-review of "The Life of Alexander Graham
Bell," complete with tie-ins with the modern exhibit of the
Telephone Company in the Hall of Science, glamourized by the
presence of such stars as Loretta Young, Don Ameche and Henry
Fonda, sealed and delivered by expert publicists from Twentieth
Century Fox in Hollywood, helped the general promotion set-up
considerably.

There was probably no intended significance in the designa-

224 THE MAGIC CITY

tion of April 1 as "State Legislators' Day." The program stated
that there would be "meetings of State Legislators in the Cali-
fornia Building all day, from 10 a.m. to 10 p.m." Visitors who
came to see this added attraction probably would have found
most of them gathered at the Press Club, even then famed for
its hospitable treatment of those who hungered or thirsted.

Buddhist devotees took over on Sunday, April 2, climaxing
their celebration with a service in the Temple of Religion in
the afternoon.

Dime days for children were becoming frequent, and busi-
ness at the turnstiles was increasing accordingly. April 5, a
Wednesday, produced a welcome 51,375 attendance. Army Day,
on the sixth, brought 55,316. A spectacular mimic aerial attack,
repelled by anti-aircraft artillery and a battery of searchlights,
did much to swell the total. For some reason, the clientele was
not inclined to visit the Island in any great numbers at night.
Obviously, the gorgeous lighting effects alone could not lure
them out after dark.

Easter Sunday, April 9 — another "dime day," attracted
60,257. Special free Easter concert in the California Ballroom in
the afternoon, but otherwise the regular schedule. Complete
enough, yet lacking in that intangible something which draws
attendance.

Crown Prince Frederic and Crown Princess Ingrid of Den-
mark visited the Island on April 10. An invitational concert in
Federal Theater, a decidedly invitational luncheon at the Yerba
Buena Club to follow. Hardly an attendance-stimulator. Metro-
Goldwyn-Mayer had a day on the thirteenth with an invitational
(again) showing of the popular film, "San Francisco," in Western
States Auditorium.

On the more serious side, the first Inter- American Travel
Congress, with some 400 delegates from the United States,
Canada, Mexico, Central and South America, foregathered for
a week's session in the California Ballroom. Jose Tecero, repre-
senting the Pan-American Union of Washington, sounded the
keynote: "We want it understood that we are not delegated by

GALA DAYS OF '39

225

our various countries to make treaties. There are absolutely no
economic nor political aspects to this Congress. It is merely our
job to aid the various agencies which have taken on the business
of furthering international good will through the medium of
tourist traffic."

Healdsburg and Santa Barbara County shared Sunday, April
16. The Healdsburg folk brought "two and a half tons of mer-
chandise" to the Redwood Empire Building to be given away.
The Santa Barbarans brought their First Presbyterian Church
choir for two concerts.

"Miss Two Million" arrived on Saturday, April 15. She
proved to be Miss Jean Sheriff, of Helena, Mont, a senior stu-
dent at Stanford. She enjoyed the experience no end.

Certain fortunate juveniles will remember April 18 as Ice
Cream Day, when Mayor Rossi, "Miss Ice Cream" and others
dished up a huge concoction standing four feet in height to such
as might attend. Very tasty, at that.

Some 600 singers from a dozen Northern California high Record throng in
schools lifted their voices in obedience to the baton of Charles o^'VeciT Say"

.. ,

•, * i* +

>* ' -

226 THE MAGIC CITY

M. Dennis, director of music for San Francisco public schools,
on the evening of April 21, in the California Coliseum. The
San Francisco public schools All-City band of 100 pieces accom-
panied this massed choir. Palo Alto, Hollister, Gilroy, San Jose,
Mountain View, Campbell, Los Gatos, Salinas, Hayward, Oak-
land and San Francisco high schools contributed to make this
a memorable occasion in the Exposition's music annals.

The California State Federation of Music Clubs' conven-
tion, on April 19-21, brought 1,000 musicians from all sections
of the State, with some 5,000 high school students participating
in an instrumental and choral festival. Free programs were ap-
preciated by thousands of music lovers.

Came a doughnut-dunking contest for comedy relief, a fea-
ture of Y.M.C.A. Boys' Day. Prizes were awarded — in addition
to the doughnuts. The contestants liked both.

The San Francisco County Grand Jury found cause to visit
the Magic City. Not for official business, however; merely a
"dinner meeting."

The Junior Livestock Show was hailed as "the greatest of
its kind" by experienced stockmen who had aided in its staging.

Then Knights Templar, San Francisco Central Council of
Civic Clubs, Lake County and St. Mary's College had their
"days."

Saturday, April 29, brought a full schedule — Los Angeles
Day and Japan Day, principally. His Excellency Kensuke Hori-
nuchi, Japanese Ambassador to the United States, was honor
guest for the latter celebration, receiving his due military honors
from the Treasure Island Company and reviewing a colorful
parade of his costumed countrymen, together with several beau-
tiful floats, before the Japanese Pavilion. Subsequent ceremonies
in the Federal Plaza were broadcast nationally, and by short-
wave to Japan. More parades, more broadcasting, and spectacu-
lar fireworks at night. All in all, an elaborate and colorful
occasion.

An air armada "bombed" Treasure Island with flowers, sig-
nalizing the start of Los Angeles Day, which was to culminate

GALA DAYS OF '39 227

in the dedication of the Los Angeles-San Diego County Building.
Sheriff Gene Biscailuz was Marshal of the Day, heading his fa-
mous Mounted Posse in a parade through the Island. The posse,
mounted on prancing Palomino ponies decked with heavily
silvered saddles and bridles, and wearing bright Spanish-costume
uniforms, attracted general admiration. Roger Jessup, chairman
of the Los Angeles Board of Supervisors, officials of the Los
Angeles Chamber of Commerce, and other prominent Angelenos
participated in the dedicatory ceremonies with Exposition folk.

Italian Day, Redwood City Day, Los Angeles County Day,
Western Electric Day combined to bring 56,712 to the Island on
Sunday, April 30. Redwood City brought its delegation by
ferryboat from its own harbor direct to the Island. Los Angeles
County added the famed Tournament of Roses Band to the
Magic City's musical population. San Francisco's Italian colony
staged a parade from the Italian Building to the Open Air
Theater, where a program had been arranged, running from
speeches by Mayor Rossi and Consul General Andrea Rainaldi
to ballet numbers and folk dances by talented artists of San
Francisco's "Little Italy."

The next day was May Day — also Dime Day, not to over-
look start of Better Babies Week, Northern California Junior
College Conference Choral Festival Day and other noteworthy
occasions. There was a coronation of a May Queen and dancing
about the traditional May Pole.

The Grand Army of the Republic, convening in Oakland,
was honored with a day on the Island on May 5. The aged vet-
erans present stood stiffly at attention through the retreat cere-
mony at which they were the guests of the Treasure Island
Company.

Better Babies winners were paraded on Sunday, May 7. It
was Petaluma Day, Catholic Day, a day of numerous musical
programs, Dyers and Cleaners Day, with a style show attached.
"Sunny a.m., overcast and windy p.m.," read the weather rec-
ord and the attendance was 60,251.

Week day attendance hovered around the 20,000 mark, with

228

THE MAGIC CITY

a 43,180 Saturday. Girl Scouts had their day on this date. The
famous Miners' Band of Calaveras County was also present, and
the even more famous "Jumping Frogs of the Calaveras" hopped
in competition.

May 14 — Mother's Day — Southern Pacific Day, with the
crowning of a queen, band concert and dancing — Rumanian
Day, with speeches and folk dancing in costume — San Jose Day
— Alturas and Modoc County Day — Pittsburg and Columbia
Steel Day, with 5,000 present from that source, drill teams,
bands, sea scouts and much to-do generally — a rodeo in the
Coliseum, with ace riders letting 'em buck. A full program and
a well populated Island — 73,663. The three millionth visitor
was just around the corner.

May 17, "Norway Day," celebrated "Constitution Day" of
that nation. Crown Prince Olav and Crown Princess Martha
were honor guests at a banquet attended by their countrymen
in the California Ballroom, at which Prince Olav made the
principal address.

Their Royal Highnesses had a very full program throughout
their stay both in the Magic City and in its sister city over on
the mainland. Doubtless they appreciated infrequent intervals
of rest from public appearances.

International Business Machines Day on May 18 was dedi-
cated to world peace through international friendship. Thomas
J. Watson, president of the company, delivered the principal
address, which was broadcast nationally and abroad through
short-wave facilities in Boston.

On May 19 came the three millionth visitor — Mrs. Nellie
A. Morgan, a pastry cook from Phoenix, Arizona. She came to

the Fair seeking a missing son. She
found instead gifts and completely
surprising hospitality.

Post Office Day on Sunday, May
21 — and naturally, the greatest post-
master of them all, James A. Farlev,
was the rallying-point. He received

Ferris wheeh make
ceaseless rounds at
entrance to Gayway

GALA DAYS OF '39

229

his due military honors as a cabinet officer, was entertained at
luncheon by Commissioner Creel, was introduced from the Coli-
seum arena, where a rodeo ceased activity to welcome him, and
finally addressed some thousands of his letter-carriers and other
interested parties in Federal Plaza.

Federal Building attaches will always remember Farley's visit.
He sat through and presumably consumed his fair share of a
thirteen-course luncheon. But on the way back from the Coli-
seum appearance he spotted a hamburger stand, insisted on stop-
ping off for a snack of "Fair fare." Thoroughly enjoyed it, too.

Cotton Week and Chrysler Day — Coffee Day and Mountain
View and Los Altos Day. Boy Scouts gave demonstrations of
soap carving, and instruction was offered in the making and play-
ing of bamboo flutes in the State Recreational area. School tours
and puppet shows, organ recitals and school band concerts, art
lectures and fashion shows — the program was extensive, the
choice varied.

The Maharajah of Karputhala visited the Exposition offi-
cially on May 25, receiving his 15-gun salute with impassive
Oriental dignity. He was attired in bejeweled native formal
dress, his breast glittering with decorations, carried the bag of
jewels without which no potentate of the East is completely
dressed. Flanked by his heir-apparent and two military aides, he
inspected the troops which were to escort him to the Federal
Building for further lionizing. Silk toppers and cutaways seemed
inadequate in the face of such sartorial grandeur.

Joint retreat by armed forces of the United States Army and
the Royal Navy added an impressive feature to observance of
British Empire Day on May 27. Sailors and marines from H.M.S.
Orion, together with the ship's band,
staged the British ceremony of "beat-
ing the retreat," as the Union Jack
was lowered at the Federal Building.
The Treasure Island Company of
tbe Thirtieth Infantry followed with
its traditional ceremony.

Pacific area history
made Pacific House
of great importance

230

Ford Day, Sierra and Plumas Day, Young Republicans Day,
Santa Clara City Day, Gyro Club Day — and quite incidentally,
Sunday. The 27-millionth Ford car departed for the New York
Fair with due pomp and ceremony, bearing letters from Gover-
nor Olson to Governor Lehman, from Mayor Rossi to Mayor
LaGuardia, from Leland Cutler to Grover Whelan. Total of
58,787.

Monday, Oakland Day, among other features. The east ferry
terminal was hastened along so as to be ready for the influx.
Mayor William J. McCracken of Oakland ruled as Mayor of
Treasure Island. Oakland's contribution to the day's schedule
helped bring one of the best Mondays of record — 46,788.

Memorial Day, Tuesday, May 30. Formal Army observance
in Federal Plaza at noon, services in Court of the Nations in the
afternoon, with Major General Paul B. Malone (ret.) the princi-
pal speaker. Massed colors, solemn participants from American
Legion posts and other veteran organizations. Retreat at the
regular hour climaxed observance of the day. And a fairish holi-
day assemblage of 60,873.

June 1 was "Public Wedding Day" —but of course! Twelve
couples were united in the Court of Flowers, with a reception
following in the Administration Building. Superior Judge
George Steiger read the fatal words. Twelve individual cakes,
one giant cake, presents for all.

General Don Anastasio Samoza, president of Nicaragua, was
received with military honors on June 2, followed by regular
routine of luncheon, Pacific House reception and invitational
dinner, not to overlook a nationwide broadcast in between.

Nobles of the Mystic Shrine took over on June 3, helped to
draw 35,059 with their colorful parade and ceremonial. The
next day was Sunday — Emeryville Day, Wine and Allied In-
dustries Day, a Dime Day, and a fair and warm day.

State days, city days, county days, organization davs — pa-
rades, ceremonies, special music, speeches and grand balls.

Buildings and exhibits dedicated by late-arriving officials.
Visiting governors receive their military honors. At long last

GALA DAYS OF '39 231

even Father had his day. A typical specimen, sire of seven, was
made Mayor of the Island, was wined and dined.

Dr. Charles H. Strub had taken over as Managing Director.
He believed the Magic City needed more and better free enter-
tainment in order to stimulate attendance, particularly night at-
tendance, which had been sparse from the very first.

In keeping with this concept, he announced that Building
"G," which had been empty, would be opened as a "Palace of
Swing," housing famous "name" bands — Kay Kyser, Benny
Goodman and the like. William H. Stein, vice-president of the
Music Corporation of America, joined the Exposition staff as
director of special entertainment.

Walt Rosener's band played for nightly free dancing in Festi-
val Hall. The innovation caught on with the dancing generation.

The four-millionth visitor arrived on Wednesday, June 21,
but was all but overlooked in the press of arrangements for what
was termed a "gala Summer opening" on Saturday and Sunday,
June 24 and 25. Features, in addition to new paint and fresh
lights —

The largest orchestra ever assembled anywhere in the world
— thousands of boys and girls, Junior Musicians gathered from
the west at large — under the baton of the famous conductor,
Dr. Edwin Franko Goldman; a spectacular show parade, center-
ing on Cavalcade actors, Gayway performers, glamorous damsels:
a parade of bands competing for prizes; a Sunday costume pa-
rade; strolling musicians.

The World's Fair International Horse Show, offering $45,000
in stakes and premiums, had been billed for a run from June
30 to July 9. Some in the seats of authority were inclined to
doubt its chances for success. With a troop of scarlet-coated
Royal Canadian Mounted Police as a focus of attraction, the
horse show became not only an artistic success, but a financial
success beyond most sanguine hopes. Obviously, the tide was
turning. The Magic City was reasserting its spell.

Paul V. McNutt, High Commissioner to the Philippines, en-
joyed a preview of the Island, returned next day for his official

232 THE MAGIC CITY

reception with guns and silk-topper. Civic, State and Fair offi-
cials feted him at a banquet and his reception in the Philippine
Building was a feature of the Summer Opening.

Major General Pedro Aurelia de Goes Monteiro, Chief of
Staff of the Brazilian Army, and eight high ranking officers, were
guests of the Exposition with the customary military trimmings,
afterward hosts at the Brazil Pavilion. Gold braid and striped
trousers were much in evidence on this last of June's rare days.

A bargain "package ticket" was offered — $5 value for $2.
It sold enthusiastically.

Came Sgt. Alvin C. York, designated by General John J.
Pershing as "the outstanding civilian hero of the World War,"
to participate in Tennessee Day on June 29. That day was also
celebrated as the 163rd birthday of San Francisco.

The four-day holiday period from Saturday, July 1 including
Tuesday July 4, offered a fine opportunity to test public reaction
to the reputed "renaissance" on Treasure Island. The program
was full and attractive; it offered just about everything, up to
and including the appearance of the famous Benny Goodman,
"King of Swing," and his orchestra, playing twice daily as a
free attraction.

In San Francisco Bay was the Battle Fleet of the United States
Navy, all but complete in number, awesome in its panoply of
power.

Majestic in the morning sun, the great ships steamed through
the Golden Gate on July 1 to drop anchor at their assigned
berths. Some 50,000 officers and men were aboard, all craving
shore-leave — and a pay-day had been provided, quite providen-
tially, for the visit.

Attendance figures for the four days were most satisfactory
— a total of 311,916 paid admissions, for an average of better
than 77,000 a day. This was the best average recorded up to that
time. And it must be remembered that a uniform was an ad-
mission ticket. Thousands came from the Fleet, from Army posts,
from Mare Island and Yerba Buena. Other thousands partici-
pated in the great Fourth of July celebration, admitted free.

GALA DAYS OF '39 233

Independence Day program was most impressive. One hun-
dred and sixty-nine units, Army, Navy, Marines, the Canadian
"Mounties," veterans' organizations — assembled on the Espla-
nade at the south end of the Island, and at the word of command,
took up the long line of march. Governor Olson, Mayor Rossi
and ranking officials of the Army and Navy took the salute in
the reviewing stand. Patriotic exercises took place in Federal
Plaza following the parade, with Governor Olson, Mayor Rossi
and Controller Harold Boyd of San Francisco as speakers.

Twenty-six yachts set sail from markers opposite the Golden
Gate in line with the Island on the long trek to Honolulu the
afternoon of Independence Day. It was a memorable sight which
drew many yachting enthusiasts to the Magic City.

Hawaii Day — Oregon Week — Czecho-Slovakia Day. There
was no more Czecho-Slavakia, actually, but Commissioner Creel
obtained permission from the War Department for military
honors for Colonel Vladamire Hurban, erstwhile Minister of
that country to the United States. His countrymen celebrated
the day with calisthenic drills, folk dances, flag-raising and in-
spirational talks, despite heavy hearts.

Travel was increasing, show attendance was taking a sharp
rise. For instance, Benny Goodman was playing to 60,000 a day,
divided between four shows. Cavalcade and the Folies were
drawing full houses. The horse shows were packing 'em in.

Treasure Island Talent Parade got under way. Auditions
were held in the Chrysler exhibit in Vacationland.

July 8, Navy Day, and Governor Olson presented a com-
memorative plaque to the U.S.S. California. Men of Battleship
Division Two paraded in recognition of the occasion. Landing
forces from the cruisers swept the Island in sham battle, after-
ward giving exhibitions of deep-sea diving.

Salinas Day — Stanislaus County Day — Filipino Federation
of America Day — but Benny Goodman continued to be top at-
traction. He was drawing 76.9 per cent of the total attendance!

Something new — Children's Day (13 to 18, 25 cents; 6 to 12,
a dime, as before.) Helped trade, too.

234 THE MAGIC CITY

Guest of honor at Engineers' Day, former President Herbert
Hoover was greeted with a 21 -gun salute from the Army on pa-
rade. Every minute of Mr. Hoover's stay on the Island was plan-
ned in advance — broadcast, luncheon, two receptions, banquet,
inspection of exhibits. The politic Mr. Creel engineered the ex-
president's tour of the Federal Building so that he missed seeing
the model of Boulder (once Hoover) Dam!

Tom Sharkey, beloved heavyweight fighter of the Gay Nine-
ties, appearing as an actor in "Cavalcade," had his moment of
fame. He put on the gloves with another ex-pugilist, Tille (Kid)
Herman, for a three-round bout. Tom had wanted to meet his
old rival Jim Jeffries, but the former champion asked for "more
time to get into condition." For the record: Tom "won"!

Argentina commemorated the 123rd anniversary of the
founding of the republic, with patriotic exercises attended by
ranking Federal, State, civic and military officials. A two-way
broadcast to Buenos Aires created a definite link of friendship.

Attendance for the first ten days in July averaged 59,477,
bringing the grand average since opening day up to 34,477, an
increase of over 2,000. Total receipts of all concessions amounted
to $603,648.25. "Take" at the admission gate was $173,461.35.
The Horse Show had a gross income of $93,596.75. Prosperity
appeared to be "just around the corner"- —together with the
five millionth visitor. That eagerly-awaited guest arrived on
July 12.

Governor Lloyd C. Stark of Missouri, accompanied by an
official party, was received with customary honors on Saturday,
July 15. Entertained by the City, the Exposition and the Cali-
fornia Commission, he made headquarters at the Missouri Build-
ing that day and for Homecoming Day on the morrow.

A dog show was functioning in the Coliseum. It was Lu-
theran Day, Magicians' Day, Y.M.I, and Y.L.I. Day, California
State Employees' Day, Rosicrucian Day, Bahai Day. Also Kay
Kyser and his "College of Musical Knowledge" playing three
concerts afternoon and evening, in Treasure Island Music Hall,
and packing 'em in, despite Benny Goodman playing "for free"!

GALA DAYS OF '39 235

A draft Horse Show was running in the Coliseum. No charge
-but it couldn't compete with the other Horse Show just
concluded.

Hair Stylists and Scientific Astrologers; Treasure Island
Talent Parade and Second Division Association; cities, groups,
companies, fraternal societies — all flocking to the Magic City.

Fall of the Bastille, celebrated by San Francisco's large French
colony, was marked by a colorful parade and renewed pledges
to the principles of democracy. And a year hence —

But this was the Magic City, not the war-torn world beyond
its walls.

Salvation Army Day — 4,000 delegates marching on the
Island en masse. Meeting in Festival Hall, massed band concert
at night.

General Motors Day, one long to be remembered by 8,000
employees present. "Boss" C. J. Kettering spoke to a large gath-
ering in the G. M. exhibit in Vacationland on the efforts of his
corporation to advance comfort and convenience through re-
search. Then a parade, followed by a gathering in California
Auditorium for General Motors employees exclusively. Free
show for children — clowns, tumblers and all. Music and spe-
cial performances of Cavalcade and the Folies Bersjere. Fire-
works. Quite a day for the celebrants, and a great day for Ex-
position officials — 76,000 attendance on a Saturday!

A Swine Show followed the Draft Horse Show in the Cali-
fornia Coliseum. Bacon on the hoof drew only those interested
in such matters, but the show was a distinct contribution to the
livestock program sponsored by the California Commission.

Chicago Day on July 26, with Mayor Edward J. Kelly as
honored representative of the Windy City. His day, which began
with an official welcoming in the Court of Pacifica by Mavor
Rossi, closed with His Honor driving one of the carriages in the
Gay Nineties scene of "Cavalcade."

It was "Benny Goodman Jitterbug Week," but it was also
the Sixth Pacific Science Congress Week, thereby maintaining
a balance of sorts.

236

THE MAGIC CITY

The 1 1 8th anniversary of Peruvian independence was cele-
brated on Peru Day, with Consul General Fernando Bercke-
meyer welcoming a large delegation of his countrymen. National
hero of Peru, General San Martin, was toasted in Pisco punches,
that unique and potent brandy of the Andes. Unfortunately for
the thirsting, the toasting was strictly invitational.

Lieutenant Governor James C. McManus of Rhode Island
cracked a bottle of champagne on the Rhode Island column in
the Federal Building Colonnade of States. Otherwise Rhode
Island Day passed according to set form.

The posthumous award of a Soldier's medal to the family of
a late hero was made as a feature of the retreat ceremony of July
30. Pvt. Newton Luckie, Quartermaster Corps, was the honoree.
He had been crushed to death attempting to save a civilian in a
Brooklyn subway station. In 1940 the Treasure Island Company
was to stage such citation ceremonies frequently.

An elaborate fireworks display was staged as an added attrac-
tion on Sunday night, July 30. In 1940 the fireworks show was
a nightly feature.

Swiss-Americans from all sections
of California made the celebration
of Swiss Day a notable occasion.
Youngsters of the bay district had a
perfectly swell time for themselves
participating in the "Soap Box
Derby" for home-made scooters.

Devotees of the Moral Rearma-
ment Movement invaded the Magic
City on August 1 for the first phases
of an ambitious program. They
marched with flying banners from
the Court of Pacifica down North-
and-South axis to the Administra-
tion Building. There, at a luncheon
gathering, they received messages
from their Majesties of Great Brit-

liells in the Mission
*i Trails Building
.sang of early days

GALA DAYS OF '39

237

ain, from the Premier of Japan, Admiral Richard Byrd, General-
issimo Chiang Kai-Shek, General John J. Pershing and other
world notables. Messages of peace were broadcast throughout the
world over the General Electric short-wave radio station. Key-
note of all effort was sounded by Dr. Frank N. D. Buchman,
founder of the movement: "The purpose of MRA is to build a
hate-free, fear-free and greed-free world." The devotees assem-
bled on Treasure Island strove mightily — for that matter, are
still striving.

Some 20,000 Boy Scouts took over the Island on August 3,
marching and counter-marching, blowing their bugles and beat-
ing their drums. Demonstrations of Scoutcraft, hitherto confined
to an area in Vacationland, spread to all sectors. The Scout uni-
form was an admission ticket, and many a trooper took advan-
tage of that invitation.

August 7 was U. S. Lighthouse Service Day, officially opening
Lighthouse Week, 150th anniversary of the service in the United
States. The Lightship "Relief," generally anchored outside the
Golden Gate Heads, was moored at the East end of the Island,
open for public inspection, and all
phases of the service's activities were
on display.

The six-millionth visitor arrived
on the evening of August 3. The at-
tendance cadence was definitely
quickening.

Matson Day on August 9 brought
5 1,527 through the portals, each and
every one hopeful of winning the
grand prize of the day, two round-
trip tickets to Hawaii. The huge
Matson liner "Mariposa" was an-
chored in the Port of Trade Winds,
between Treasure Island and Yerba
Buena, adding a new touch of the
spectacular. Hawaiian music, lec-

Brazil Pavilion was
center of Social life
on Treasure Island

238 THE MAGIC CITY

tures on Hawaii and "The Pageant of Matson Ports" in Open
Air Theatre highlighted the day's festivities.

The inimitable Charles McCarthy and his "stooge," Edgar
Bergen, appeared in connection with the Ted Lewis Band and
variety show in Temple Compound on August 7 and 8 and
literally "packed 'em in and laid 'em in the aisles."

Sweden Day - - Nevada Day - - Coast Guard Day - - even
Toastmaster and Toastmistress Day — the programs included
many phases. Market Week — Texas Day — Dahlia Day — there
was entertainment for all tastes.

Toy Day, when admission for youngsters was a toy that could
be repaired for use by others less privileged. Thousands were to
be made happy by these gifts.

Eddy Duchin Week succeeded Ted Lewis Week. The Duchin
band had one of the most successful engagements of the entire
musical season.

Nebraska-Union Pacific Day brought hundreds to the Island.
Alaska-Yukon Day caused many an erstwhile "Sourdough" to
"mush" over to the Magic City. Swedish-Americans staged a
colorful pageant.

The New York Fair dispatched a shipment of gardenias —
the sort Grover Whalen wore as a boutonniere — to Treasure
Island. The Hall of Flowers sent back lilies.

Leading Families Day (Smith, Johnson, Brown, Miller, An-
derson, Williams and Jones eligible) brought the clans flocking.
Prizes were awarded for largest family present, husband calling,
prettiest girl or woman, homeliest man and so on.

Ed Preston of the Olympic Club circled the Treasure Island
Marathon course (5.7 miles) in 22 minutes, 9 8/10ths seconds.
Disgruntled roller-chair boys claimed they could beat that any
time.

Former residents of Connecticut turned out in record num-
ber to welcome Governor R. D. Baldwin on Connecticut Day.

Marguerite Skliris (Miss San Francisco) was duly selected
Miss Treasure Island over pulchritudinous competition. She
went on to Atlantic City and finished high in the judging.

GALA DAYS OF '39 239

Lieutenant General Albert J. Bowley received full military
honors in recognition of his recently acquired rank.

Paul Mantz thrilled thousands with a "death defying" ter-
minal velocity dive as a feature of Aviation Day. Army and
Navy planes staged mock warfare.

Treasure Island's lakes and lagoons became "Lake Michigan"
for Michigan Day. A Norwegian peasant wedding ceremony fea-
tured Norway Day. The Pacific Coast Championship Regatta
drew both yachtsmen and yachting enthusiasts.

Winners (at long last) of the Treasure Island Talent Parade
— Paul Bohigan, boy tenor, and Miss Grace Fettes, San Fran-
cisco coloratura, gave a farewell performance before heading for
further trials in New York.

"Beaver Day" brought wondrous crops of whiskers for judg-
ing. And there was a Sheep Show on at the California Coliseum.

Malicious, popular old distance horse, was feature attrac-
tion of Arcadia Day.

Emporium friends and employees celebrated their day with
a picnic and sports.

Admiral Harry E. Yarnell, retiring commander in chief of
the United States Asiatic Fleet, found Treasure Island a pleas-
ing contrast to war-harried Shanghai.

The seven-millionth visitor arrived on August 23, just 20
days after the six-millionth. This was more like it — the shortest
interval yet between these significant occasions. An end of the
month report revealed that the Exposition was operating at a
profit of $700,000 monthly, that over ten millions of dollars had
been spent on the Island by Fair visitors.

The Labor Day week-end, always a significant date in the
carnival business, brought even greater encouragement. Three
of the best days of Exposition record brought 274,799 paid ad-
missions to the Island — 59,061 on Saturday, a startling 123,442
on Sunday, 91,756 on Labor Day itself. This was an average for
the three days of 91,599.

What drew them? Well, there was Jack Benny and Mary
Livingstone, the popular radio comedians, appearing before Phil

240 THE MAGIC CITY

Harris' orchestra, for one. And what special events? A Welsh
Eisteddfod, Master Barbers of California, Negro Day, Amador
County Day. No outstanding attraction there, one might say.
Must have been the combined attractions of the Magic City and
the holiday — that and perfect weather.

The American Federation of Labor held an observance of
its day in Festival Hall — but that could hardly account for the
presence of over 91,000. The answer was that the show was
"taking on."

Next big day was Admission Day, September 9. The Bank
of America chose this date for its celebration. Thousands of
its employees and friends came from all sections of the State.

The Treasure Island Branch, which kept most "un-banklike"
hours of from 10 a.m. to 10 p.m., was headquarters. A variety
show, with drawing for cash savings accounts, and a huge fire-
works display featured the funmaking. Over 68,000 attended.

Brazil Day, the 117th anniversary of the coffee empire's in-
dependence, was observed at the Brazilian Pavilion, with Mrs.
Getulio Vargas, wife of the president of Brazil, and her daugh-
ter and son-in-law as honor guests. Brazilian wine was opened
for visitors to toast the occasion and a short-wave broadcast en-
abled Brazilians to address their homeland.

The outbreak of the War in Europe brought announcement
of the immediate closing of the Johore Temple. Other foreign
participation that might have been expected to be affected re-
mained undisturbed for the time being. With grim irony, and
at the same time a strong sense of showmanship, the Estonian
Village management installed rubber-band boundaries around
Germany on its large map of Europe in front of the concession.
As Hitler's legions conquered, the flexible boundaries were
extended.

A truly marvelous jade exhibit was installed in the Chinese
Village. Valued at millions of dollars, it attracted tens of thou-
sands of visitors through its artistry and beauty.

A series of "Peace Days," on the theme "Keep America Out
of War" was inaugurated.

GALA DAYS OF '39 241

The management sponsored drawings for automobiles as an
attendance stimulator. Not but what the influx was fairly steady.

School tours and Contra Costa Day. Von Steuben Day and
City of Los Angeles Day. Mayor Fletcher Bowron issued a proc-
lamation calling upon Angelenos to join the delegation of visitors
which he headed. They did, in some number, and had them a
real time.

The eight-millionth visitor arrived on September 14, 22 days
after the seven-millionth.

Grand Hotel Day on September 20, sponsored by the Cali-
fornia State Hotel Association. Ten thousand employees and
executives as a nucleus, total attendance of 40,041. Rather
small house, considering the prizes drawn for — two free round
trips to Hawaii and ten days room and meals for two at the
Royal Hawaiian Hotel — a $500 fur coat — a week's vacation
for two at Del Monte, Coronado, Yosemite and San Francisco.

Autumn Festival, September 22-24. Quilts and coverlets, pies
and cakes — an old fashioned County Fair set down in the middle
of a large International Exposition. Rural Olympics, in which
contestants vied at old-fashioned sports, from horseshoe pitching
to pie-eating; a ranch-hand's pentathlon, for speed and strength
in accomplishing the common chores. Old time fiddlers, square
dance teams and bands — rock-drillers, sheep-shearers and song
contests. The "back country" came to the Fair, and the urban-
ites joined in the fun with zest.

International Day, a featured date on the Autumn Festival
calendar, brought a pageant participated in by the foreign-born
of San Francisco and the bay district. Each group of nationals
strove to outdo the other in completeness and beauty of its of-
fering. The result was an assemblage of color, song and dance
seldom equaled in Exposition history.

San Francisco Day on September 30 featured a "treasure
hunt" for patrons throughout the Island, open house in the San
Francisco Building, musical events, a parade and aerial attack
demonstration, a reception, fireworks and other features. John
Charles Thomas and the San Francisco Municipal Chorus pre-

242 THE MAGIC CITY

sented a rain-drenched night concert in Temple Compound.
Despite heavy planning and arranging by committees, atten-
dance was somewhat disappointing, 50,110.

September closed with a grand total attendance of 8,512,779.

The month of October was to see this figure increased by al-
most two millions. Announcement of an earlier closing than
scheduled, together with a concentration of entertainment fea-
tures planned for the next two months into less than one month,
must be held responsible for this remarkable influx of visitors.

Strangely enough, October was to see one of the days of low-
est attendance (Monday the 2nd, 11,776) and also the day of
greatest attendance, the latter not to be surpassed until Closing
Day of 1940. This last was Safeway Day, on Sunday, October 8,
when 187,730 persons jammed all facilities leading to and on
the Island.

Hitherto large organizations had been privileged to purchase
Exposition tickets at a reduced rate — 25 cents minimum — for
use of members or employees. A special deal enabled Safeway
Stores to pass this saving on to their customers. Some few thou-
sand additional visitors had been expected, but nothing like the
surge of humanity that ensued. Automobiles were parked along
the avenues of the Exposition for the first time on record; there
was no more room in the regular parking lot. Eating places ran
out of food; even the lowly hot dog could have sold at a premium.
No one expected such a crowd, so no advance preparations had
been made for its accommodation.

How to account for it? Might give Bing Crosby an assist on
the play. He made an appearance in Temple Compound with
the George Olson band, and was greeted by such a throng as he
never played to before or since. They even crowded the roofs
of adjoining buildings. But the real answer was the 25 cent ticket.

October 12, Columbus Day, was marked with an observance
by the Knights of Columbus. It was also Alameda County Day,
with a generous attendance from the East Bay and ceremonies
in the Alameda-Contra Costa Court.

The nine-millionth visitor had arrived on the previous day.

GALA DAYS OF '39 243

Woman's Day, on Wednesday, October 25, brought the next
over-hundred-thousand day, when 111,839 paid to enter the
gates of the Magic City. Woman's Day is described in another
chapter.

The ten-millionth visitor arrived during the course of Wom-
man's Day festivities. A goal of "one more half-million" was set
by the optimistic — and all but realized, as the crowded entertain-
ment and special events program carried through the final days.

At length the final day, Sunday, October 29th.

It started out like any other Sunday — except that the rush
of early attendance was heavier than usual. Over 17,000 had
checked in the first hour, over 35,000 the second hour. By 3 p.m.
there were 101,383 on the Island. It was beginning to look like
a repetition of "Safeway Day." But it wasn't quite. Final casting
of accounts found 147,674 registered.

Mindful of experiences on Opening Day, newspaper and
radio stations were kept appraised of the traffic situation. They
in turn notified the public that the roads were open and accom-
modations adequate. Even so, many thousands stayed away, fear-
ful of a "crush."

It was hardly what you'd call a merry crowd. Say, rather, a
reminiscent crowd. Thousands strolled through courts and gar-
dens, drinking in their beauty thirstily, as though to create a
mind picture which time might not erase. The shows drew well,
the "name band" concert (it was Count Basic and his Sepians
of Swing) attracted its usual throng.

But the crowd was waiting for something else — and waiting
with a lump in the throat, if truth be known.

Came twilight and the lights went on. The nostalgic thou-
sands reveled in the glowing beauty of the Court of the Moon
and other favored spots.

Came at last the closing hour — 11:45 p.m. Solemn and
hushed, a huge throng gathered in Federal Plaza.

President Cutler stepped to the microphone. His voice trem-
bled with understandable emotion as he bade farewell to Treas-
ure Island, presumably for all time.

244 THE MAGIC CITY

His message was brief, but telling:

"The Golden Gate International Exposition was created by
the people of the United States of America and the foreign
friends of America. This Island was a dream of many — states
and cities and counties, and boys and girls and men and women.
No one has to dream about it any more. Here it is!

"Lights are made by men in beauty, and last for just a little
while. Memories come from God and live forever. So will our
memories of this beauty live until Time's End."

From the top of the Colonnade of States an Army trumpeter
blew the first bars of "Taps"- —perhaps the most poignantly sad
and moving of all simple music. Another bugler, stationed on
the Arch of Triumph across the lagoon, answered as though in
echo. The last note was sounded. The Thirtieth Infantry Band
broke into "Star Spangled Banner." The Treasure Island Com-
pany snapped to "present arms," Slowly, lingeringly the National
colors and the Exposition standard were hauled down from their
lofty poles. The Magic City was in complete darkness as, one by
one, the glowing lights on courts and buildings faded and
flickered out.

The Treasure Island Company marched off at the quickstep
behind its band, blaring a brisk march. In the barrel of each
rifle was a tiny light, sole illumination of a Magic City that was.

The Gala Days of '39 were over!

CHAPTER XVII

THERE WAS TALK — much talk — of re-opening the Exposition
for a second year run even before plans were consummated for
its closing ahead of schedule on October 29.

Late in August, Mr. Philip H. Patchin, of the Board of Man-
agement, admitted that such a consideration was being studied
by the Board. Admitted it somewhat unwillingly, withal, since
it was felt that premature announcement of such activity might
tend to discourage currently gratifying attendance.

When Hitler's legions marched into Poland, it was felt that
"war dooms a second year." Nevertheless, newspapers — the San
Francisco News and the San Francisco Examiner in particular
— took up the matter in their editorial columns and urged se-
rious consideration. At the instigation of the late editor of the
News, William N. Burkhardt, a comprehensive report was pre-
pared which pointed out advantages and disadvantages of a pos-
sible second year run, and indicated costs and how such costs
might be financed.

At the request of the Board of Management, H. C. Bottorff
prepared a tentative estimated budget of $1,650,000, as the
amount required for rehabilitation of buildings and grounds,
expense of reselling exhibitors and concessionnaires, promotion,
publicity, and administrative costs. This tentative figure was
later revised downward to $1,418,000. It was further estimated
that operating costs for all departments for a four months' pe-
riod would be $3,340,000.

Pressed for their reaction, the members of the Board of Man-
agement stated the plan was being studied so that "if pressure is
brought on the management to stage a fair again next year, we

246 THE MAGIC CITY

will be able to say that it will cost 'X' amount of dollars." It
was their idea that attendance during the closing weeks of the
'39 season would be the final criterion as to whether there was
sufficient public demand to warrant continuance in '40.

Hotel and transportation men met at the Chamber of Com-
merce with Exposition and Chamber officials in mid-September
for further discussion of the possibilities of reopening. The Ex-
hibitors' Association held a mass meeting on the Island at the
same time, and reported they did not feel the project was
"financially sound."

Nevertheless, favorable sentiment grew, fanned by persistent
newspaper support. George D. Smith, who was to prove the ulti-
mate savior of the situation, asked appointment of a Citizens'
Survey Committee by Mayor Rossi. Mr. Smith saw four ways of
financing such a deal — aid from the Federal Government, a
City bond issue, a State bond issue or legislative appropriation,
private contributions.

The San Francisco Board of Supervisors passed a resolution
to place on the November 7 ballot a "declaration of Policy" as
to whether or not there should be a "Fair in Forty."

By the third week in September, Dan London, heading a
committee that had been delving around the monied centers,
reported that potential subscriptions were still a million dollars
short. However, hope was had in the fact that hotel men were
reported ready to toss $300,000 into the pot.

Director Charles Strub had set October 3 1 as a tentative dead-
line for raising of the $418,000 required before the Board of
Management could even consider running for a second year.

On September 27, the 1939 Board of Management cleared
its skirts of further responsibility for a second season by voting
to "suspend operations definitely and finally this year." How-
ever, the door was left open. The official announcement stated
that if a 1940 season were to be provided for, "at least $1,418,000
in new and free money must be on hand by October 15."

The San Francisco Call-Bulletin commented editorially:

"The problems of raising such a large sum for such a purpose

THE MONTHS BETWEEN 247

are very great, and while the committee itself is optimistic, those
closest to the Fair management believe that only a miracle can
produce a re-opening of our Exposition for three or four months
next year.

"The point is then: See The Fair Now!"

The Board of Management must have agreed completely
with this admonition and the psychology behind it. Within a
week came announcement of final closing on October 29!

Meanwhile, there had been another meeting of 1940 enthu-
siasts at the San Francisco Chamber of Commerce. On Septem-
ber 30, Marshall Dill, then President of the Chamber, announced
the creation of "The 1940 Exposition, Inc.," a group consisting
of Felix S. McGinnis, Vice-President of the Southern Pacific
Lines; United States Commissioner George Creel; Henry Q.
Hawes, advertising man; George D. Smith and Dan London,
hotel men. The drive for contributions to make possible the
1940 re-opening was to be conducted by Ray W. Smith, who
had been employed for the solicitation of funds in the original
subscription campaign in 1936.

The "Fair in Forty" group went to work, courageous and
optimistic. Progress was slow, results none too gratifying. Mr.
London reported, following the passing of the original October
15 "deadline," that $700,000 in cash and pledges had been
raised, that more was in sight, that the committee felt "suffi-
ciently encouraged to go on." Further time was granted, with
no deadline set.

Mayor Rossi found a way to pledge $250,000 in City funds
for the cause. It would have to be approved by the Board of
Supervisors in the 1940 budget, which meant that it could not
be provided until the following July — but the pledge was in-
vigorating to flagging enthusiasm. Commissioner Creel had con-
sulted with President Roosevelt, and the committee felt that a
Federal appropriation of $1,500,000 might be forthcoming. But
there again, arose the problem of waiting for Congressional ac-
tion. The need was current, and acute.

Gaining some slight encouragement from the persistent ef-

248 THE MAGIC CITY

forts of the Fair in Forty group, certain Exposition creditors
discussed a deal whereby $250,000 of the monies owed them and
held for them by the Exposition company might be "tossed into
the pot" for '40 as a guarantee of the contribution promised
by the City. Then word came from a meeting held on October
25 that the Forty group had only $950,000 pledged or collected,
including the City's quarter million. And that, it was pointed
out, was not a definite commitment.

The situation was becoming complicated.

While tens of thousands thronged the Magic City for what
might well have been the last time, October 29, 1939, the Board
of Management mulled over 1940 prospects once more.

It was not a pretty picture. The largest group of creditors,
including the banks, announced that it "would make no com-
mitment for 1940 until sponsors have raised $1,110,000." Ap-
proximately $950,000 had then been pledged. Exposition of-
ficials disclosed a loss of $5,000,000 between opening day,
February 18, and May 1, and a profit of some $2,000,000 from
May 1 to closing day. This meant a net loss of $3,000,000 at-
tributed to premature opening of the Exposition.

Slightly more propitious was the attitude of certain creditors
who favored "ploughing back" for 1940 about $500,000 held in
the Exposition treasury in their interest. They foresaw possi-
bility of a much larger return on their claims if the Exposition
were to run a second season with any degree of success. The
contractor creditors were particularly sold on this idea, and
called all other creditors into joint conference to consider the
possibility of re-opening. They reported that "a majority of the
creditors agreed that continuation of the Fair in 1940 will be
to their best interests."

But the so-called "lending group" -the banks and other
large creditors, who held 63 per cent of the outstanding claims
against the Exposition — could not share that optimistic view-
point. That group declared unequivocally that it would not
fall in with the other creditors and demanded assurance of
$1,100,000 "in cash or bankable equivalent."

THE MONTHS BETWEEN

249

The Exposition management had been able to pay off 20
per cent of its five million dollar debt arising out of the prema-
ture opening still retaining the wherewithal to pay approxi-
mately another 20 per cent. It was from these funds that the
creditors, who had become supporters of the Fair in Forty group,
hoped to secured the $500,000 they proposed to "plough under"
for future harvest.

Despite the attitude taken by the "lending group," the con-
tractor creditors on October 31 voted to leave the amounts due
them from the '39 Fair intact and assign them to the Fair in
Forty committee. Exhibitors and concessionnaires were standing
by, awaiting developments.

At a Fair in Forty mass meeting in the Supervisors' cham-
bers in the City Hall, some 300 civic leaders voiced enthusiasm
for re-opening. But more than mere enthusiasm was needed at
this point.

A November 14 deadline for the campaign had been set by
the Board of Management at last consideration. The day came San Francisco's host

•, ! . i -r^ • buildine was one of

and passed; an extension was requested and granted. Discourag- the finest on the isle

250 THE MAGIC CITY

ing reports were forthcoming from the Ray Smith organization.
Exhibitors and concessionaires were becoming restless.

The Bankers' Committee reported on November 22 that the
Fair in Forty fund was far short of its goal, and that the Island
would not re-open. Dan London, heading the finance committee,
dropped out of active participation in its affairs, in keeping with
a "gentleman's agreement" between himself and the Bankers'
Committee to abandon the campaign if the necessary money
could not be raised by a given date. The indefatigable George
Smith carried on, refusing to concede failure.

Then came signs of interest from an unexpected source.

Billy Rose, the New York impressario, wired that he stood
ready to put up a million dollars in cash, contingent upon being
given control of the 1940 Fair. Subsequent reports from confi-
dential agents indicated that Rose was quite ready to raise his
bid to $1,560,000 or even more. Later, the "Mighty Mite" of
the show world was to propose lending $2,000,000 to a San
Francisco committee authorized to run the Fair, with Rose to
be installed as General Manager. He was ready to fly out in per-
son, prepared to sign a check.

A little more than a week before closing day, attorneys for the
Exposition had appeared before Federal Judge Louderback, pe-
titioning that the San Francisco Bay Exposition, the sponsoring
corporation, be taken into "protective custody" by the Referee
in Bankruptcy, in order to assure "a more orderly distribution
of assets." This petition was granted, but appearance before the
referee had been postponed pending development of plans for
1940. Now that it appeared such plans had reached a stalemate,
the Board of Management and the Creditors' Committee an-
nounced an agreement that liquidation plans for the Exposition
corporation would be filed with Referee Burton J. Wyman
forthwith.

On December 1, President Cutler announced, on behalf of
the Exposition corporation: "By action of the Executive Com-
mittee of the Board of Directors, the Fair will be liquidated."
George Creel sent word from Washington to the effect "the

THE MONTHS BETWEEN 251

President favors a 1940 Fair" — but it seemed almost too late to
do anything about it, even with such support.

Contractor creditors announced that they would not oppose
liquidation, despite their enthusiasm for a 1940 season, since it
appeared "impossible to raise the necessary funds for the re-
opening." Some exhibitors began to dismantle their exhibits.
Others stood by, still hopeful.

It was at this point that Billy Rose came up with his two
million dollar offer. It was not accepted, but it was regarded as
sufficient of a trend to cause postponement of liquidation pro-
ceedings pending before the Referee in Bankruptcy.

Then George Smith pulled a rabbit out of his hat. He had
been carrying on, more or less under cover, ever since Dan Lon-
don had officially dropped out of the fund-raising campaign. On
the evening of December 9, he took the final courageous gamble.
Backed up by John Cahill, leader of the optimistic contractors'
group, he announced that more than sufficient money had been
raised to make possible a re-opening of the Exposition in May
of 1940. Newspapers of Sunday, December 10, featured this
startling news on page one — and the die was cast!

Next morning the switchboard at the Fairgrounds was fairly
swamped with calls. Scores of actors lined up in front of "Red"
Vollman's all-but-deserted "Cavalcade" office, demanding to be
put to work. Sixty-nine concessionnaires held a meeting and
voted to raise $200,000 for the cause. It was not quite that much
in the final showdown, but the amount eventually turned over
to 1 940 Exposition, Inc. was nonetheless definitely a lifesaver.

The California Toll Bridge Authority, which had profited
greatly in '39 from Exposition trade, voted to "purchase" the
Yerba Buena approach to Treasure Island as a means of giving
the Fair in Forty group a needed $100,000. The Bank of America
pulled away from others of the "lending group" and announced
that it would not attempt to liquidate its loan of $220,000 to
the '39 Fair, but would string along with the '40 project. With
this added assurance, the Bankers' Committee agreed to accept
the George Smith plan.

252

THE MAGIC CITY

Details, legal and financial, of the 1940-reopening having
been agreed upon, George Smith posted a check for $125,000,
furnished by concessionnaires, with Referee in Bankruptcy Bur-
ton J. Wyman as a guaranty of good faith. The press waxed duly
enthusiastic.

The order extending the Fair through a 1940 season was
signed on December 22 by Referee Wyman. Like an "All Clear"
signal following hours of struggle in the face of apparently in-
evitable defeat, the siren in the Ferry Building tower screamed
the glad tidings throughout the bay district.

The Executive Committee then increased its membership
from nine to fourteen members, and answering the roll-call were
Messrs. George W. Brainard, John R. Cahill, Alfred J. Cleary,
George Creel, Leland W. Cutler, Marshall Dill (ex-officio), Clar-
ence B. Eaton, John F. Forbes, Edward H. Heller, Harry Hilp,
Dan London, D. M. Messer, George D. Smith and Russell G.
Smith.

The Executive Committee named sub-committee chairmen.
The bandwagon was loading, and various citizens, who had been

advocating immediate demolition,
hastened to clamber aboard.

"Miracle Man" George Smith
spoke before the first committee
meeting of the 1 940 Fair, that of the
Promotion committee. This loyal
group had stood fast in ranks
throughout the campaign for re-
opening, and forthwith voted to
launch an aggressive promotion
campaign.

On January 3 of the new year, the
election of Marshall Dill, then presi-
dent of the Chamber of Commerce,
as President of the 1940 Golden
Gate International Exposition was
announced. Leland Cutler, who had

Workmen prepare
"Pacifica" for her
regal role in J940

THE MONTHS BETWEEN

253

served in that office from the very first, had asked to be relieved
of his exacting duties.

The next day, William W. Monahan was appointed General
Manager. Previous experience as an executive in the Exhibits
and Concessions Department during the organization period
had familiarized the new General Manager with many of the
problems he was to face during the months to come. He selected
his key staff men carefully, delegated to them authority over and
responsibility for their own departments.

Raymond C. 1'Heureux (happy as the name implies!) was
appointed Assistant to the General Manager. The "to" was in-
serted at his own insistence. He said it gave him a freer hand.

Ray's principal responsibility was to function as liaison be-
tween the Exposition Corporation and the California Commis-
sion. Whenever he appeared at the latter headquarters, one of
his cronies — Jim Smythe, Rusty Mikel, Bob Penfield or Claude
Cooper — would ostentatiously pass the word along: "Lock up
the safe — 1'Heureux is here to talk us out of some more dough!"

Only those close to the situation can realize the problems
faced by the management during
those early months of 1940. As the
average citizen saw it, the Island was
there, the buildings were there — so
why not open the gates and let the
show go on? But it was not quite that
easy. True, the physical aspects of
the Magic City were more or less in-
tact— and the buildings had come
through the winter months in much
better condition than had been an-
ticipated. But a new show had to be
created, a completely new and dif-
ferent show in most instances. Some
exhibitors had stood by, hopeful of
a 1 940 re-opening — others had aban-
doned the project and apparently

Colombia Pavilion
was located in area
for Latin America

254 THE MAGIC CITY

were not interested in renewing contracts. The Gayway conces-
sionnaires had come through with a contribution to the Fair in
Forty committee which actually turned the issue — now, quite
naturally, they expected to operate on much the same basis as
in 1939. And their shows needed refurbishing in many instances.

Was it to be Treasure Island again, or "Pleasure Island?"
Certain exhibitors and potential foreign participants resented
that latter designation, as intimating a strictly carnival or "Coney
Island" atmosphere hardly in keeping with national dignity and
higher ideals of service and salesmanship. The first duty of the
Promotion and Publicity Department was to erase that miscon-
ception from the public consciousness.

What of foreign participation? The war in Europe — San
Francisco seemed fated to have its Exposition complicated by
wars! — made necessary the withdrawal of British Empire par-
ticipation, Australia, New Zealand, British Columbia, Johore.
The Netherlands East Indies and French Indo-China were to
follow. The Philippines and Hawaii were unable to return for
a '40 showing. New emphasis had to be placed upon Latin
America. And here, in several instances, although the spirit of
neighborly co-operation might be strong, the financial structure
was weak.

What of the State of California's participation? Opposition
to spending was developing in the Legislature, and without an
appropriation from the State, the Fair in Forty could hardly
hope to carry on. "If your own State refuses to participate, how
can you ask us to join your venture?" might well have been the
logical question of foreign nations and large exhibitors ap-
proached by Exposition representatives. The State contributed
generously eventually — but it was an epic struggle for a while.

What of Federal participation? What about a new setup for
the Palace of Fine Arts, bereft of the Italian Old Masters which
had been such an outstanding attraction the year before? What
of a new entertainment plan? What of a new promotion and
publicity program to inform a none-too-interested world that
the San Francisco Fair had not ceased to exist when it closed a

257

month earlier than scheduled the previous October, when it
had placed its affairs in the hands of a Federal court, when
backers of a second year's run had failed in their original efforts,
when it was off, then on, then off again, and finally definitely
billed to re-open on May 25?

Although there was a clear enough heritage from the 1939
Exposition to the 1940 revival, there was no direct line of con-
tinuity between the two. This is a distinction that should be
borne in mind. The 1940 Fair was virtually a new venture in
the old buildings on the old site. A new plan of operations had
to be created, new attractions had to be secured, old structures
had to be given new beauty and color.

The publicity department fell back upon a hackneyed word
and called it a "Streamlined" Exposition. There was more sig-
nificance in the term than might be imagined. Where the pre-
vious management and administration had had three years in
which to complete the show, the 1940 management had to con-
ceive and build an entirely new and different show, all in the
short space of slightly more than four months. Time was the
essence of all contacts and contracts during that hectic pre-
operations period.

CHAPTER XVIII

EVENTUALLY AND INEVITABLY came The Day — May 25.

In keeping with the lighter touch typified by the "Fun in
Forty" theme, a studied informality was sought for at least the
preliminaries of the second year opening ceremonies. The pro-
gram differed materially from that of the first year, in that offi-
cial ceremonies were to start at 7:30 p.m., in order to feature
one of the chief attractions of the new "Streamlined" Fair, the
refurbished lighting system.

However, since customers were bound to come earlier in the
day — and the management saw no valid reason why their prof-
fers of admission fees at the gate should be refused — some ar-
rangements had to be made to mark the occasion.

The proverbial bombs bursting in air announced at 9 o'clock
in the morning that the Island was still there and re-opening
for business. By 10 o'clock an impressive line of automobiles
was backed up the causeway from the main gate, awaiting the
lifting of the barrier. This was accomplished with due pomp
by President Marshall Dill, in the full regimentals of silk topper
and cutaway befitting the chief executive of the Exposition.
Accompanied by Miss Lila Deane (Miss Exposition) and with
Miss United States (personified by Miss Barbara Dean) looking
on interestedly, Mr. Dill cut the silken ribbon across the road-
way and pronounced the 1940 Golden Gate International Expo-
sition officially open.

(It might be remarked in passing, strictly as a matter of rec-
ord and not with any intent to discern a mote in the neighbor's
eye, that it was not necessary to repeat this procedure several
times for the benefit of the newsreels and the unseen radio

260

THE MAGIC CITY

audience, as was the unfortunate occurrence when the New
York Fair had resumed business at Flushing Meadows some two
weeks previously! Mr. Dill snipped the ribbon clean on the
first try.)

So that clients coming by ferry from San Francisco and by
bus from the East Bay might not feel slighted, Hawaiian instru-
mentalists and dancers extended welcome at the ferry slip, and
Spanish entertainers performed a similar function at the bus
terminal on Sunset Bridge.

The Gayway folk staged their own opening ceremonies un-
der the new arch over the entrance to that sector, and at high
noon in the Court of the Seven Seas, little Miss Suzanna Foster,
the Paramount Pictures starlet, and Miss Exposition broke a
large golden paper seal of the Exposition to further indicate
that this was the day.

Troubadours and strolling players maintained the tempo
throughout the early afternoon. Then, as promptly on schedule
as heavy traffic conditions would permit, came the Golden For-
ties Fiesta parade, converging on the Island from both ends of

the San Francisco-Oakland bay
bridge.

When the parade was winding its
route along the main avenues of the
Island, the younger generation was
holding an opening ceremony of its
own in the Court of Reflections.
There a colorful little performance
entitled "Swing Wide the Golden
Gates" was staged by the active pro-
duction division of the Special
Events department, with tiny Joa-
quine Bascou of Oakland, well glam-
orized for the occasion, functioning
as "Baby Streamline." She had all
the airs and graces of her somewhat
older cohorts.

Leland W. Culler,
Mr. cir Mrs. Tihbett
and T. J. IVatsnit

COM!/

THE GOLDEN FORTIES

261

The Fiesta Parades having been duly reviewed and judged,
the colorfully costumed participants began mingling with the
ever growing throng, catching a performance of the thrill circus
which had been set up in the Open Air Theatre, inspecting the
Gayway, checking on some of the exhibit palaces, and otherwise
amusing themselves.

Long before twilight thousands of the more provident were
beginning to file into seats provided for the general public for
the main opening ceremonies, row upon row of benches stretched
the length and width of Federal Plaza. As the opening hour
neared, other thousands of latecomers overflowed into the stands
at the East Towers, flanking Temple Compound, on the far side
of the Lake of the Nations. They were much too far away to see,
but at least they might hear, since the public address system was
to carry every word spoken on the great stage to the far corners
of the Island.

Guards did their conscientious best to keep the reserved
sections set aside for the more-or-less fortunate holders of offi-
cial invitations inviolate. It was a task, and a difficult one as the
growing mob sought to surge for-
ward. But, by and large, the peace
was preserved.

The great stage had been set up in
front of the main entrance to the
Federal Building, with the Con-
course of Commonwealths kept clear
for traffic. That was a mistake, as was
to be evident later on.

At long last was evening of the
first day, and darkness was upon the
face of the waters. The show could
be staged against a fitting back-
ground of night.

As the final ceremony on Octo-
ber 29, 1939, involved lowering the
Stars and Stripes (and incidentally

President Dill in
opening ceremony
of 1940 Exposition

262

THE MAGIC CITY

the 1939 Exposition standard) to the sounding of "Taps" by
Army buglers, while the Treasure Island Company of the Thir-
tieth Infantry rigidly observed military formalities, so did the
re-opening in 1940 have its martial touch. Army authorities
broke precedent to consent to a retreat ceremony at midnight in
1939. In 1940 they further shattered tradition by participating
in a reveille and flag raising ceremony at 7:30 in the evening.

Under the able supervision of then-Major R. C. Lehman,
Fifteenth Infantry, liaison officer to the Exposition for the Ninth
Corps, and his adjutant, then-Lieutenant A. G. Elegar, Thirtieth
Infantry, the Army's participation had been timed in advance
to the split second. Captain W. L. Burbank commanding the
Treasure Island Company (this year recruited by rigid selection
from the Third Division, rather than from the Thirtieth Infan-
try exclusively) was to march his troops onto Federal Plaza as
Guard of Honor to Governor Culbert L. Olson at a certain given
cue. The first blast of the nineteen-gun gubernatorial salute to
GOV. oison at radio which His Excellency was officially entitled at his first appear-

as Dill and 1940 i i rr i r

Beauty await turns ance on the Island, was to be touched oft at the signal from an

M,i-

THE GOLDEN FORTIES

263

electric buzzer to be pressed by a Lieutenant closer to the stage
management operations.

But alas for best-laid plans of trained and co-operative tacti-
cians! Something had to go wrong — was bound to, by all the
laws of probabilities.

Through some conflict in radio network schedules, Gover-
nor Olson was called upon to broadcast from the main studio
in the California Auditorium, adjoining the scene of the eve-
ning's principal activities, prior to making his public official ap-
pearance. Lieutenant Elegar, his watch synchronized to the sec-
ond, was there to accompany the Governor to his place of honor
following the escorting troops.

The broadcast was finished "on the nose," Governor Olson
came out of the studio, his military aide greeted him with a click
of the heels and a snap of the saluting hand to the cap brim.
Almost simultaneously there was the unmistakable roar of a
blast from a 75 millimeter field piece. Then, at the proper five-
second interval, another — and another. Lieutenant Elegar all
but swooned in the enveloping folds of his dress cape. Somehow
or other the saluting battery was
going off ahead of schedule, with no
troops drawn up in receiving line,
and Governor Olson a hundred
yards away!

How it had all happened was sim-
ple enough. Some luckless wight had
an idea that the signal system should
be tested in advance, just to be sure
that it was in working order. So he
pressed the button. It was working,
right enough. The nervous young
Lieutenant in command of the artil-
lery detail lifted his saber on high
and shouted "FIRE!" in instant re-
sponse to the very first buzz. A
couple of blasts later, seeing neither

Sheriff Biscailuz in
lead of parade for
Los Angeles Day

264 THE MAGIC CITY

honor escort nor escorted honoree, he realized that something
was amiss, so hastily ordered "Cease firing!"

Finally aware of what had happened, he rushed back to Camp
Hunter Liggett, broke into the "magazine," and hastened back
"on the double" with more saluting shells. By the time Governor
Olson had been rushed to the scene of honors, the troops stood
stiffly at attention, the guns boomed out their salvo of nineteen,
and all was quite fit and proper, according to regulations made
and provided. No one knew the difference — not even the Com-
manding General, who afterward proffered deserved congratula-
tions to his officers. The superfluous explosions were charged off
to the programmed exhuberance of the Exposition's Special
Events Department.

Bugles sounded "To the Colors." Eighty-five thousand men,
women and children rose to their feet. The Thirtieth Infantry
band broke into the stirring chords of the National Anthem.
The colors rose slowly to full staff on the towering flagpoles
before the Federal Building, billowing gracefully before a gentle
evening breeze, glowing proudly in the bright beam of spotlights.

A second or two of solemn hush, then a thunder of applause.
Again Treasure Island, stronghold of peace and security, haven
of culture, of light and laughter in a war-torn, blacked-out world,
had opened its gates and its heart to its neighbors of the Pacific
Basin.

The stage lights flashed on. Came beautiful damsels in suit-
ably diaphanous attire, to carry out episodes of a Pageant of
Light — light through the ages. Miss Exposition and her attend-
ing court took their seats on throne and dias. Those near enough
to see gasped in appreciation. Governor Olson, Mayor Rossi,
President Marshall Dill and other notables were in their places
on one side of the stage.

From the ice-bound wastes of Little America a member of
the Admiral Byrd Antarctic Expedition spoke to the assembled
throng by short-wave radio. As the message came over the public
address system, the more imaginative might have interpreted the
rumble of static as the roar of a polar storm.

THE GOLDEN FORTIES 265

Antarctica signed off. The pageant narrator took up the
cue. "And now — let there be LIGHT!" he cried dramatically.

There was a stage wait — a long stage wait — an increasingly
embarrassing stage wait. Eventually there was light, according to
the script. But not as dramatic in arrival as originally conceived.

The narrator hastily turned to consideration of other mat-
ters. The show went on. A harried stage-manager excitedly de-
manded to know what-the-what.

For, according to all previous arrangement, checked and
double-checked, star-bombs, carrying enough magnesium to light
the entire bay area and enough decibels of explosive sound to
shatter the evening quiet for miles around, were to have burst
in air on the cue-word "light."

The pageant-director had pressed the electric switch as the
cue was spoken — but nothing happened. No time then to ask
the reason why. Later the mystery was explained.

Seems a stray customer had slipped under the ropes and
made his way through the Colonnade of States in the Federal
Building forecourt, seeking a more advantageous view of pro-
ceedings. A guard ordered him to halt, but he refused and took
to his heels. The guard gave chase. Between the two of them,
they managed to kick loose the wires that connected the stage-
director's switch with the bombs in question, lying ready and
waiting out on the Esplanade back of the Federal Building. No
connection — no bombs.

But then, nobody except those who had worried over the
program knew the difference. Miss Exposition and her court
smiled their prettiest, The Forty Fair Girls (count 'em — 40!)
went into their intricate terpsichorean routine. "The night shall
be full of music" had been the promise — and it was so ordered
and carried out.

The President of the Fair in Forty spoke briefly and tellingly.
The Governor of California and the Mayor of San Francisco
gave greetings from their respective seats of authority.

It had been hoped that President Roosevelt might speak di-
rectly by radio, finally pressing a key to turn on the lights. But

266

THE MAGIC CITY

the President had declined a similar chore for the New York
Fair, so found it necessary to send regrets to San Francisco. In-
stead, his representative on Treasure Island, Federal Commis-
sioner George Creel, climaxed his short address by reading a
congratulatory telegram from Mr. Roosevelt.

The Pageant of Light was nearing its finale. Languorous
beauties moved slowly toward mid-stage, posturing studiedly.
At the top of the broad terraced platforms rising from the main
level there arose a glass-like column shimmering with all the
colors of rainbow light. From this brilliant setting little Suzanna
Foster stepped forth. Her bouffant frock carried out the rainbow
theme she had just quitted. She bore herself proudly, confidently
as she stepped down-stage toward the microphone. (And not two
minutes before, trembling with quite understandable stage-
fright, nervously clenching and unclenching her fingers to curb
an almost irrepressible desire to chew her nails, the hapless Susie
had all but sobbed to confidants: "I can't do it! I just CAN'T
face all those people! I'm scared to death.")

She smiled in childishly graceful pleasure in acknowledg-
ment of welcoming applause, nod-
ded professionally to the orchestra
leader, and lifted that remarkable
young voice of hers in song. It was
Victor Herbert's familiar aria, "Kiss
Me Again."

The climactic note was to be a B-
flat above high C, a range that pos-
sibly only this youngster can achieve
truly and with clarity. That note, by
some magic accomplished through
the kind co-operation of General
Electric engineers, was to strike an
electric diaphragm, the impulses of
which were to motivate a switch
which would turn on all the remain-
ing lights of the Exposition.

Aquacade beauties
off-stage preparing
for a curtain call

THE GOLDEN FORTIES

267

(Don't ask the editors how it was to be done. Suffice to say
that it had been worked out, by logarithms and cosines, and had
been found not only possible but practicable!)

Suzanna carried on, gaining assurance and power with every
fresh young note. She was only a few bars away from the climax
of the evening. Those who had conceived and sweated over this
unique finale gripped the edges of their seats in apprehensive
anticipation. It was coming — coming in just another moment —

The piercing whine of a siren shattered the gentler sound
waves with horrid dissonance. Down the main avenue, directly
in front of the stage, rushed an ambulance. The driver stepped
on the siren once more for luck as he passed, then roared on
into the night.

Any diva, however tractable, might have been forgiven a
temperamental outburst in the face of such a raucous interrup-
tion. Some who might be mentioned probably would have torn
the microphone out by the roots and hurled it after the ambu-
lance. But not little Susie Foster! She's all trouper.

With the most natural, childlike gesture of disgust imagina-
ble, she put both hands on her hips
and stared down at the noisy "mercy
chariot," lips tightly compressed.
Then, with a toss of her head, she
picked up with the orchestra, disre-
garding the bar she had missed, and
carried on. Carried on to that start-
lingly beautiful piccolo note, the
much discussed B-flat above high C.
And the lights came on — came on
with a breath-taking flash of warm
beauty!

Whether the B-flat above high C
or the wail of the ambulance turned
the trick, deponent sayeth not!

Came brilliant fireworks — start-
ling set-pieces, flaring rockets. Came

Jacobs animal show
lion interviewed by
pretty girl reporter

268

THE MAGIC CITY

a carnival parade of mummers from the Gayway. Came dancing
in the streets to the music of strolling players, dancing in Festival
Hall and the California Ballroom to cacophony of brass and sing-
ing strings. Came the debut of Fairyland Fantasy, a nightly fea-
ture that was to attract thousands throughout the '40 run. Came
the hoarse bark of Gayway "pitchmen" on and on through the
night. Came the last ferry to San Francisco, the final bus to Oak-
land. Came at last Customer No. 123,368 home, and so to bed.

And came to Treasure Island the dawn of a new era in which
turnstiles were to hum a merry tune.

For some reason or other, special "days" seemed to register
less heavily on the public consciousness in '40 than had been
the case in '39. True, the people directly concerned were quite
as enthusiastic as before. But "days" in and of themselves, did
not, by and large, attract the bulk of those who came to the
Magic City. People came to the Island for entertainment in 1940,
as an escape from the dreary picture of war and suffering brought
Berkeley Boy Scouts them by newspapers and radio. Treasure Island's magic spell
flir brought peace and forgetfulness, if only for a few brief hours.

THE GOLDEN FORTIES

269

In order to "sell" the literary side of California to the Nation,
the California Writers' Club sponsored "Literary Talks" at the
Golden Gate International Exposition every Tuesday at 4 P. M.
Many of the speakers had won international recognition for their
literary accomplishments. Among these were Rupert Hughes, of
Los Angeles, and Harold Lamb, of Hollywood.

Dr. Suren S. Babington was chairman of the Exposition pro-
gram. Eva Louise Blum was in charge of publicity.

America's role as a peacemaker in a world harried by war
was the theme of International Business Machines Day on May
27, first special event of consequence on the schedule. Thomas
J. Watson, president of I. B. M.; Dr. Ray Lyman Wilbur, presi-
dent of Stanford University; Dr. Aurelia Henry Reinhart, presi-
dent of Mills College, and Marshall Dill, president of the Exposi-
tion, were chief speakers. Lawrence Tibbett and Grace Moore,
singing with the San Francisco Symphony, made this a memora-
ble occasion.

It rained rather heavily the morning of Memorial Day, but
the skies cleared by noon and 60,597 checked through the gates
for the day. A review of the Cali-
fornia Grays, a drill and concert by
the San Rafael Military Academy,
and a concert for War Mothers by
the Exposition band contributed to
the observation of the day.

Moral Re-Armament devotees
took over on June 1 , staging a Youth
Parade from Court of Pacifica to
Court of Honor, where a Peace
Rally was held. The day was also set
aside for Alameda County, with cer-
emonies at Alameda-Contra Costa
building and a reception and dinner
in California Building. Girl Scouts
added parade and pageantry.

Sunday, June 2, was Music Day,

Elsie Borden gets
her first glimpse of
the 1940 Exposition

270 THE MAGIC CITY

featuring the Bay Lutheran Chorus, the United Institute of
Music, San Francisco Music Teachers Association, California
Association of Teachers of Dancing and the Santa Cruz Male
Chorus in recitals in various buildings. Redwood City staged its
day at the same time, as did May wood (Los Angeles County), and
O'Connor, Moffatt and Company.

Crippled children from the Eastbay were given a most en-
joyable tour of the Fair and shows on June 3.

Hotel Day on June 6, drew hotel folk from all parts of the
State. Two free round-trip tickets to Honolulu and a week's stay
at the Royal Hawaiian Hotel were drawn by a lucky visitor.

Military ceremonies marked the opening of the Federal
Building for its 1940 run on June 8, with virtually all members
of the foreign consular corps in San Francisco as honored guests
of Commissioner George Creel. The Government was on full
dress parade for the occasion.

Hungarians from many sectors of the West celebrated Hun-
garian Day on Sunday, June 9. Ira S. Lillick, Hungarian consul,
delivered the principal address, followed by concerts in the after-
noon and evening and a ball that night.

National Flag Day, on the same date, featured the Pledge
of Allegiance by thousands gathered in Federal Plaza before
hundreds of unfurled National colors. A most impressive sight.

Bank of America took over on Saturday, June 15, bringing
thousands of employees from 495 branches throughout the State.
The Order of Sciots descended on the Island in full "regimen-
tals." Present also were Children of the American Revolution,
Martinez Chamber of Commerce. The Czechoslovakia exhibit
was dedicated.

Next day was Ford Day, with a radio interview with Edsel
Ford broadcast from New York to dealers and executives gath-
ered in the Ford Building. Incidentally, the date marked the
thirty-seventh anniversary of the founding of the Ford Motor
Company.

Portuguese nationals staged a colorful ceremony in the In-
ternational Market Court in observance of Portugal Day.

THE GOLDEN FORTIES 271

Something new was attempted — Bargain Day for Kids. Vir-
tually all Gayway rides and concessions were available to young-
sters under 18 for five cents. Proved a distinct success, such days
were repeated at frequent intervals.

Danes of the Bay district re-dedicated their allegiance to a
temporarily vanquished country at the opening of the Danish
Pavilion on June 22. A. Sporon-Fielder, consul-general of Den-
mark, received full military honors and presided at the dedica-
tory ceremonies.

Chinese Village was dedicated formally by Chih Tseng Feng,
consul-general of the Chinese Republic, on June 18, a national
radio hook-up carrying his words. (Guests present will never
forget the carving and subsequent consumption of a huge roast

Swedish residents of the community held a pageant and en-
tertainment in the California Coliseum. Salvation Army Day
was observed in Temple of Religion and Festival Hall. Sheriff
Gene Biscailuz brought his famous Mounted Posse to lead the
parade in recognition of Los Angeles County Day.

June 23 was Japan Day, among other specialties. The pro-
gram included daylight fireworks, military review, a speaking
program, a parade of colorful floats and costumed marchers.
Later, Consul-General Toshito Satow was host at an elaborate
reception in Japanese Pavilion.

California Editors were guests of the Exposition and the
California Commission for a full day on June 24. Highlight of
Allied Construction Industries Day on June 25 was a banquet
in California Ballroom. Garden lovers from California and out-
of-state participated in an interesting program of events arranged
for the National Plant, Flower and Fruit Guild on June 28.

A program of all-Finnish music, folk dancing and dramatics
marked observance of Finland Day on June 29. Proceeds of the
entertainment went to the Finnish Relief fund.

Special trains from all ten of the railroad's divisions began
delivering consignments of Southern Pacific employees for a two-
day celebration. In the Mission Trails building patio a "meri-

272

THE MAGIC CITY

enda," an old Spanish picnic, marked celebration of San Fran-
cisco's 164th birthday. According to old custom, a huge birth-
day cake was presented to the "commandante" (in this case,
Major Raymond C. Lehman, Army liaison officer of the Expo-
sition) to be cut by his sword. President Dill presided, and ad-
dresses were heard from Dr. Herbert E. Bolton and Father
Joseph Thompson of Los Angeles, representing the Mission-
founding Franciscans.

Attendance figures for the first month showed an increase
of 200,000 over the same dates for 1939. The "Fun in Forty"
theme seemed to be meeting with public approval.

A most significant and impressive ceremonial was conducted
on the great stage in Federal Plaza on the afternoon of July 1 .
One hundred and fifty aliens were sworn into United States
citizenship before Federal Judge A. F. St. Sure. The oath was
administered and responses given in mass, and afterward the new
citizens were honored by "taking the salute" of the Treasure
Island Company at retreat. This ceremonial was one of the high
points of "I Am An American Week," which was observed with

special emphasis in the evening per-
formance of "America! Cavalcade
of a Nation."

Units of the United States Army
were busily engaged with intensified
training programs; no naval vessels
could be spared from patrol and
other duties to appear over the holi-
day in San Francisco Bay. Where-
fore the July 4 celebration on Treas-
ure Island fell to veteran organiza-
tions, with the Treasure Island Com-
pany lending official background. A
48-gun salute at noon marked the
celebration, the Island troops being
reinforced for the occasion by two
companies from San Francisco Pre-

Folies Bergere girl
has back-stage peep
as the camera snaps

THE GOLDEN FORTIES

273

sidio. Allied War Veterans staged drill and drum corps competi-
tions, later participated in two big dances. The nightly fireworks
display was augmented considerably for the holiday.

France had fallen — but the French colony of San Francisco
carried on to observe July 14, "Fall of the Bastille Day." It was a
solemn occasion and a sad one, marked by uniting the national
colors of Czechoslovakia, Poland, Finland, Norway, Belgium,
and the Netherlands with the tricolor of France in massed display
on the California Coliseum stage. Singing of the indomitable
"Marseillaise" brought a lump to many a throat.

Simon Bolivar Day on July 24 was a gesture of Pan-American
unity. Eulogies to the great South American patriot and hero
were delivered by consular representatives of South American
republics.

July 25 was Ford Day, a nationwide delegation of Ford deal-
ers being welcomed to the Exposition by ranking officials of the
company, headed by Edsel Ford.

General Motors Day was observed on July 27 with a special Umbrella routine

,,.„, TUT T» M T °f Fair m Forty on

entertainment program both in General Motors Building and on Federal Plaza stage

274

THE MAGIC CITY

the Island at large — a costume parade comprising a pageant of
transportation, daylight and evening fireworks, a get-together for
thousands of G. M. employees in California auditorium.

The three-millionth visitor was checked in at just about the
half-way mark of the 1940 run. For the same number of oper-
ating days, the 1940 version had an increase of 691,769. For the
same calendar period the gain for 1940 was 300,791.

Governor Henry H. Blood and a delegation from Utah-
Governor E. P. Carville and guests from Nevada. The special
event program was proceeding according to established pattern.

Came delegates to the convention of the National Association
of Broadcasters, then just warming up for their battle with the
American Society of Composers, Authors and Publishers. Simul-
taneous ceremonies at both New York and San Francisco Fairs
were co-ordinated for an hour-long transcontinental broadcast,
one of the most ambitious undertakings of record, on August 3.
The theme of the program — speakers included Marshall Dill
BUI Monahan and for the Magic City, Harvey Gibson for New York and Neville

Marshall Dill with ArM1 • i r i -r. TI T»T i T»TI •

Ford (right) Miller, president ot the Broadcasters — was a line by Walt Whit-

276 THE MAGIC CITY

man: "The liberties of the people are safe so long as there are
tongues to speak and ears to hear." A permanent plaque was pre-
sented the Exposition by the N. A. B., and subsequently they
gathered in the California Ballroom for a banquet and a show
of their own, in which the difficulties of radio with various agen-
cies were outlined in broad humor.

Crowded days of August passed swiftly. Highlights — Ger-
trude Lawrence Day — -Temple of Religion Day — Observance
of the 150th anniversary of the founding of the United States
Coast Guard Service — Junior Musicians by the hundreds, play-
ing in massed recital — Buddhists' Day — Insurance Day-

The legendary "Paul Bunyan" came down from the redwood
lumber country up Fort Bragg way — Alta California Day —
Tennessee Day.

August 24 — the California Building burned. An unsched-
uled "special event" that the management gladly would have
avoided.

That same day Elsie the Cow, pride and joy of the Borden
company, made an appearance on the great stage in Federal Plaza
with her offspring, Little Beulah. She had a glassed-in boudoir,
her name and fame had been spread abroad, tens of thousands
came to see her — and, quite incidentally, the remains of the still-
smouldering California Building.

Clearing the Federal Plaza and Court of Nations of debris,
of rescued art treasures and furniture, of tangled hose-lines was
a herculean task. But it was accomplished on schedule. Promptly
on the dot of appointed time, Elsie the Cow was duly greeted by
President Dill. Some nineteen lines of hose were still stretched,
several engines were still pumping. But the show went on. And
continued to go on to the end, despite the handicap arising out
of loss of one of the main centers of activity on the Island.

Day succeeded day. Telephone Employees — Underprivi-
leged Children — Poland — Monterey and numerous others.

Labor Day week-end, significant period in the show business.
Total attendance for the three days, Saturday, Sunday and Mon-
day: 248,296.

THE GOLDEN FORTIES

277

The Improved Order of Red Men staged a significant pag-
eant, "Building the Heart of an Empire" on September 1, with
a large cast.

Labor Day ceremonies were held in the Temple of Religion
— a rodeo in the California Coliseum was an added entertain-
ment feature.

The next week-end, September 7-9, brought Safeway Bar-
gain Days. The year before a similar venture had produced the
record attendance of 1939. This time the attendance was spread,
but increased proportionately for a three-day total of 266,132.

The five-millionth visitor arrived on Sunday, September 8.
The six millionth was assured. And first estimates of the possi-
bilities of a 1940 run had set four-and-a-half millions as the
"must get" goal!

Alaska Day — Construction Industries Jubilee for four days.

Pacific Gas 8c Electric Company entertained thousands of
employees, friends and customers on September 14.

California Music Festival carried on, despite inconvenience Thrills and comedy

. . r , c , s-^> TC -1-11- entertained crowds

arising out or loss or the California building. at the free circus

278 THE MAGIC CITY

Sunday, September 15 was San Francisco Day and Redwood
Empire Day. A costumed parade of fraternal, civic, military and
district organizations — free shows — fireworks — aquatic events
— community singing — and finally a free Grand Ball in now-
overworked Festival Hall. Attendance was a gratifying 127,194,
far greater than that on San Francisco Day of 1939. Obviously
the City of Magic across the bay had taken the Forty Fair to its
heart.

Mexico took over on Sunday, August 18, and, in a colorful
ceremony in the Latin-American Court, Consul-General Hector
M. Escalona bestowed on William R. McWood, San Francisco
attorney and former Olympic Club swimming champion, a
Diploma of Distinguished Service from Mexico's government.

September 21 found Wendell Willkie, Republican nominee
for President of the United States, honored guest of the Exposi-
tion. He was driven through cheering throngs, delivered an ad-
dress of just the right length from the great stage in Federal
Plaza, was hustled away across the bay bridge to fill other en-
gagements in San Francisco.

On September 22, next to the last Sunday, came among other
features, Mother Lode and Old Timers' Day. Miners' Band from
Sonora, Welsh Choir from Grass Valley, rock drillers from Jack-
sonville and other mining centers. From Columbia came the
venerable "Papete," famous hand-pump fire engine, to compete
with its rival from San Andreas. "Papete" won, pumping both a
longer and steadier stream.

Contra Costa County Day and Fresno County Day helped to
make a record Sunday attendance — 134,197.

The calendar was crowded that last week, the attendance
grew daily. The six-million mark had long since been attained.
Six million and a half was certain. Attendance for the six days
preceding closing day mounted up to the amazing figure of
452,574, a daily average of 90,429!

And final day brought, fittingly enough, the greatest attend-
ance of either year, 211,020. This for a yearly total of 6,545,796
a grand total for the two years of 17,041,999.

CHAPTER XIX

tke. WoM. Gam*

DRUM-BEATING FOR THE Big Show of 1939 began as soon as its
financial foundation was secure. H. C. BottorfF was sent to Chi-
cago, Cleveland, Dallas and other cities for information regard-
ing Expositions and participants. Clyde M. Vandeberg was ap-
pointed Director of Promotion and Publicity and, two years be-
fore the Golden Gate International Exposition opened its gates,
typewriters began to click, cameras began to snap and newspaper
and magazine readers the country over began to note the spec-
tacular rise of man-made Treasure Island from the shallows of
the bay, and the birth of a "Magic City" of beauty and color
where the world might escape from the trials of the moment.

In keeping with its name, which Robert Louis Stevenson had
created a half century before, a "Pirate Girl" was selected as an
ambassador of good will to tour the country and issue the official
invitations of the West to the World's Fair of '39.

Zoe Dell Lantis, statuesque brunette, photogenic and an
accomplished dancer, was taken out of the San Francisco Opera
Ballet to be the "Theme Girl" of the Exposition. In her tat-
tered pirate garb, she toured through the states, was photo-
graphed with mayors and leading citizens as she delivered her
official message from Treasure Island. Under the guiding hand
of Carl Wallen, head of the photographic division, she became a
familiar symbol of the Golden Gate International Exposition
in the days when the Magic City was building and publicity
material of an appealing nature was not to be had.

Thousands of photographs of Zoe Dell appeared in news-
papers and magazines throughout the country even in New York,
where competition was keen with "The World of Tomorrow,"
all set for its grand premiere on Flushing Meadows.

280 THE MAGIC CITY

As the palaces and towers took form on Treasure Island and
exhibits and concessions were ready for exploitation, the Promo-
tion Department found an abundance of new material on hand
to excite the interest of prospective visitors to the World's Fair
of the West. But Zoe Dell had paved the way and the Promotion
Department discovered that editors, by and large, preferred pic-
tures of human interest to prosaic panoramas of walls and towers
and statistical rhapsodies which lacked the personal touch.

The Promotion Department was instructed to achieve three
objectives: first, to support the sale of exhibit and concession
space; second, to assist in the development of participation by
cities, counties, states and foreign nations; and, third, to promote
public interest in the Exposition and to foster this interest to
the point where it would ripen into the greatest possible attend-
ance. The third of these objectives was the main job.

There was a Press Division to issue releases to newspapers,
a Magazine Division to prepare articles for national and trade
journals, an Advertising Division to cooperate with commercial
interests in the promotion of travel to the San Francisco Bay
area and a Radio Division for the development of programs and
spot announcements to go out over the air.

Every available medium was employed to tell the world of
the treat in store. Billboards, car-cards, broadsides, lectures, films
and slides, stickers, emblems, matchbooks, news and mat services,
clip sheets, posters, folders . . . millions of words all carrying the
same inspiring message . . . "Come to the Fair!"

And the World Came —

Californians Inc. reported that 1,547,445 out-of-state visi-
tors spent a total of $212,380,000 in California during the 254
days of the 1939 Exposition. State statistics revealed that gasoline
taxes increased by nearly two million dollars over the previous
year and the bay bridge tolls gained nearly a million dollars.
Railroad and bus traffic was up 25 per cent and air-line travel
40 per cent. In the first six months of 1939 California did $376,-
000,000 more business than in the same period of 1938.

When the decision came to re-open the Exposition in 1940,

281

a new technique was inaugurated by Jack James, Director of
Publicity and Promotion. Travel tabulations revealed the areas
where the 1939 campaign had proved most successful. Compara-
tively few releases were sent out broadcast. Those sections, how-
ever, where the 1939 campaign had shown the most favorable
results, were blanketed with stories and pictures, and with peri-
odic mat releases of a definite news appeal.

Freak stories, articles of human interest, feature yarns, and
straight news coverage of daily events ... all brought tangible
results in returns of clippings that were measured in bushel bas-
kets. In the local newspapers alone, 96,640 column inches were
devoted to the Fair in Forty, the equivalent of more than 600
full pages. More than two hundred magazine articles were pub-
lished with attractive picture layouts of the streamlined Pageant
of 1940.

And radio? Ten hundred and twenty-seven programs from
the Island over the four-months period! Not a day passed by but
the message went out over the ether waves — "It's new, it's more
beautiful — Treasure Island is born again!"

And, again, the World Came —

Out-of-state tourists swelled the totals compiled by Cali-
fornians Inc. for the two-year period to 2,530,643 and the "new
money" from visitors to $328,762,470. The figures, compared
with totals for corresponding periods of 1938 which were con-
sidered as "normal," indicated increases for the Exposition pe-
riods of 586,916 or 30.2 per cent in number of tourists, and
$71,599,925 or 27.8 per cent in tourist expenditures. On this
basis of comparison the 1939 Exposition (254 days) had a net
worth to California as a tourist attraction of $43,602,051, and
the Fair in '40 (128 days), a worth of $27,997,874.

Central and Northern California were visited by 79 per cent
of the tourists in California during the Exposition periods. Num-
bering 2,022,348, they spent in this region of the state $107,006,-
454. Gains over 1938 periods were 707,308 or 53.8 per cent in
tourists, and $40,610,634, or 61.1 per cent in expenditures.

San Francisco Bay area entertained 60 per cent of the tourists

282

THE MAGIC CITY

in California or 74.5 per cent of those who came into the north-
ern region. They numbered 1,525,966, and their expenditures
in the bay area amounted to $64,711,986. Gains over 1938 pe-
riods were 585,370, or 62.2 per cent in tourists, and $34,501,461,
or 1 14.2 per cent in expenditures.

An account of exploitation of the '40 Fair would be inade-
quate if it did not include mention of one of the leading figures
in that program— "Mrs. Sinbad," the peripatetic sea-going hen.
Presumably "Mrs. Sinbad" arrived in the Port of Trade Winds
during the March floods of that year, having ridden on a log
down the Yuba and Sacramento rivers into the bay. Now it can
be told. The original subject of the first photograph recording
that historic journey was a stuffed model, borrowed from the
Federal agricultural exhibit for the occasion. "Mrs. Sinbad" her-
self was a plaintive Plymouth Rock biddy, hastily purchased in
a San Francisco market to cover up what might otherwise have
proved an embarrassing situation.

The entertainment world would have lost a great actress to
the stewpot, had another candidate been selected by chance to

fill this exacting role. Never was
there a more docile or co-operative
model. She toured the Pacific Coast
by air, by train, by high-powered
automobile. She called on mayors
and similar dignitaries, leaving
golden eggs marked, through some
inexplicable metabolism of her own
devising, "GGIE '40!" Her name
and fame and romantic origin were
transmitted by wire, by radio, by
wire-photo. She stopped traffic in
Los Angeles, Seattle and Portland
on personal appearance tours.

A kindly woman in far-off Altu-
ras sent her a mate to help wile away
the long hours between engagements

Mrs. Sinbad takes
her original pose to
boost the Fair in '40

AND THE WORLD CAME 283

— a rough-tough individual who automatically was named "Bar-
nacle Bill." They set up housekeeping and were moved to the
Alta California Building after 1940 opening, that group having
claimed the honor of exhibiting them as of right, since "Mrs.
Sinbad" presumably came from Marysville.

The two of them disappeared one night shortly thereafter.
Their fate is shrouded in mystery to this day. Chicken-in-the-
rough, or founders of a dynasty — who shall say? But "Mrs.
Sinbad" had served the cause, and served it nobly!

When the Golden Gate International Exposition closed in
1940, there were many regrets but there were also hosts of
happy memories. After all, it was a dream city, and its beauty
and color were not to last forever. Perhaps the best tribute was
that of one of the rolling chair boys who had toiled day and
night in all weathers and who knew every nook and corner of
Treasure Island. He wrote its epitaph in a letter to The
Chronicle. Here it is:

THE FAIR FROM BEHIND A ROLLER CHAIR
EDITOR, The Chronicle — Sir:

We saw a different death of the Fair yesterday than you did.
To us Treasure Island was more than it could possibly have
been to you, and more than we can ever express to you. She was
our life, our living and our home. And then she was more than
that . . . the "more" that we can't express to you. Everyone else
on Treasure Island was either a guest or an employee. The em-
ployees were stationed in one spot . . . the elephant trains wan-
dered over the island in one path . . . the guards stayed in one
court . . . we were all over the island, watching it live. The
guests were our friends and we didn't mind them trespassing
on our Island. You see, it was our Island. We were the rolling-
chair boys.

Every inch of Treasure Island was ours. We saw it all and
we knew it all. Then, not being selfish, we showed it all to our
guests. We showed it proudly, like a man showing his trophy case
and explaining each trophy. We had a lot of friends, and all
kinds of them. We had many invalids, for they found that we

284

THE MAGIC CITY

knew that they wanted to see the Fair just as much as the next
fellow; and they also found that we were willing to go through
all kinds of high water to see that they did. Then we had folks
who wanted company while they saw the Fair. We had some who
wanted information, and lots of it. Some laughed as they pre-
tended they were the "idle rich." Some were the "idle rich."
We knew them all — Eddie Cantor, the Norrisses, Joe Penner,
Johnny Weissmuller, Mr. McCardle from Fresno, and Mr. Smith
from East Oakland — and they knew us ... by our first names.
Then there was a bunch whose names we didn't know.
Those were composed mostly of the people who tapped our
shoulders and asked, "Where is the Palace of Fine Arts?" (You're
right in front of it, Madame). "Is it true that they shoot the
Clipper off those pillars up there?" (No, Ma'am, that's the Fed-
eral Building). "Why didn't they put dahlias in this court? They
would have been much more attractive." (I don't know). "Isn't
it a shame they have to tear the bridges down when the Fair is
over?" (censored), and . . . ? (You'll find one right in the end of
Vacationland there, Ma'am).

Then there was still another
group — free rides. I personally re-
call: Herb Caen, who pushed me
half way down the Gay way. I pushed
him and Jerry the rest of the way
(reason: H. Caen and J. Bundsen are
fine fellows) ; the Boy Scout who had
eaten four hot dogs, three bottles of
pop, two candy bars and some dill
pickles (reason: obvious); the little
old lady who had misplaced her wed-
ding ring while trying on souvenir
rings in one of the souvenir stands
(reason: . . .): the girl in the Federal
Plaza show who had hurt her ankle
on the stage (reason: she was a swell
person and her ankle hurt); more

Barnacle Bill and
his shouse at home
in "Alta California"

AND THE WORLD CAME 285

than one pretty girl (reason: company); and lots and lots of others
(reason: why not?)

There were all our friends, and there was our own family with
its parties and its strikes, its fights and its fun. Then there was
something else — there was a Fair asleep and a Fair awakening.
We saw the Court of Reflections when the Aquacade barker was
silent and the lights were out; we slept on Jo Jo's Candy House
stage when we missed the last bus; we saw the unlighted Tower
of the Sun in heavenly discourse with the stars; we played "Chop-
sticks" on the carillon at 7 a.m.; we saw Pacifica overlooking a
sleeping Fair, refusing to close her eyes until even we retired
for the night; she was our guardian.

Then we saw the Fair in rain and in storm. We sloshed
through the rain to deposit comparatively dry charges onto a
dripping ferryboat. We braced ourselves -against the wind and
prayed that at least one person would brave the Island and take
a ride. We pinned our coats high around our necks and still
caught colds from the penetrating San Francisco fog. And we
loved it all.

Sure we argued with customers over price. Some thought
we robbed them; that wre made piles of money every day. Some
days we did make ten or twelve dollars. And some days . . . we
lost two or three. Many customers thanked us. We liked that.
We razzed the elephant trains and filled the shows. We crashed
gates pretending to be guards and we loaned (gave) money to
kids who had spent their ferryboat money and tried to sell us
watches without minute hands to get that necessary nickel.

And that's our Fair; the one we remember. We didn't go
home with the rest of the people last night. We waited until
everyone was gone and then remembered our Fair and our
guests. We always will.

DixoN7 GAYER
San Francisco

ZOE DELL LANTIS

1939 Theme Girl of Treasure Island

CHAPTER XX

Guitain

No MAN CAN tether time. The authorities are all agreed on
this point.

Banal as the statement may appear in cold type, it is none-
the-less a fact that closing days of the Exposition were drawing
painfully near almost before anyone could realize what had hap-
pened to the crowded weeks of summer.

A sort of "whispering campaign" was undertaken by friends
and well-wishers, whether intentionally or otherwise, calling for
a continuance of the scheduled run through the month of Oc-
tober. To counteract this, the management fostered a publicity
campaign of its own, emphasizing the definite and final closing
date. "Treasure Island closes forever September 29" was the
reiterated message. Eventually the clients came to believe that
the management meant what it kept saying, and the influx of
attendance those final days was highly gratifying.

How to draw the final curtain? It was a problem that occu-
pied the best minds, from the Executive Committee down
through the General Management to the Special Events depart-
ment, the Entertainment division, the Promotion department
and all others held responsible. Should it end on a dragging
"Auld Lang Syne" note or on an "up beat?" Should there be
more pageantry and pulchritude (what, again?), or should there
be a touch of dignity, even solemnity?

It was Robert C. Coleson, director of radio and public ad-
dress, who finally came up with the prime concept. He offered
a radio show, a montage treatment that should take in the
Golden Gate International Exposition from the first thought
of its creation to the last day of is existence. He proposed that
this radio show should be produced on the great stage in Fed-

288 THE MAGIC CITY

eral Plaza, before a "studio audience" of as many thousands as
could be accommodated, the while national networks carried
the words, music and sound-effects to millions of listeners the
country over. He pointed out that visual episodes could be added
readily, to be staged while the narration proceeded. He admitted
that preparation of such a script and direction of such a per-
formance entailed both financial expense and expenditure of
much time and effort, but promised that he, his assistant Jack
Joy, and their staff would turn out the show if the management
would turn loose with a budget.

And so it came to pass. Coleson went into a research huddle
with his ace script writers, Glenn Wheaton and Janet Baird.
Joy reassembled his orchestra and whipped up musical conti-
nuity. Earl Darfler, who had resigned earlier in the month, re-
turned to stage-manage the episodic interpolations. Major Keat-
inge took charge of arrangements, including authority over the
invitation list. All who had had a part in making possible the
Golden Gate International Exposition of 1939 and 1940 were
called into consultation, and many were subsequently called to
rehearsal for the final public appearance.

Came the night of September 29, and 85,000 persons were
jammed about Federal Plaza and standing in close packed ranks
on the outskirts. The public address system carried every word
to many thousands more throughout the Island. Over the facili-
ties of the National Broadcasting Company, the Columbia
Broadcasting System, the Mutual Broadcasting System and in-
dependent stations, the development of the saga of Treasure
Island was followed by millions.

Governor Olson was present on the platform for this, the
culmination of one of the great achievements of his administra-
tion. Marshall Dill, President of the 1940 Exposition, was there
to deliver a final word even as he had sounded the first keynote
for '40 four months before. No "last act" ever played to a larger
audience, no curtain ever fell on a more complete and moving
epilogue.

How better to depict that performance, to rehearse the many

THE CURTAIN FALLS 291

and varied circumstances which led to the creation of the Magic
City — how better to catch the spirit of the Exposition that was
in '39 and that lived again for four gay months in '40 than to
print the script from which the actors, in person and as mum-
mers of the air, read their lines? Here it is, in type for the
first time —

ANNOUNCER: The Golden Gate International Exposition and the California Com-
mission present the story of Treasure Island.

MUSIC: Fanfare.

NARRATOR: (Slowly, with deep feeling) The Story of Treasure Island. Where the
tide once ruled, tonight she stands . . . and she will always stand. Not sand, not
rock and steel and stone, but stronger than all of these . . . for Treasure Island was
born in the hearts and minds and souls of men in a country so great and free. The
story of Treasure Island ... a story of those who crossed her path . . . the men who
dream and the men who toil and sweat and build. A tribute to everyone . . . great
and small . . . who gave this great adventure something of themselves.

MUSIC: Fanfare.

ANNOUNCER: February 25th, nineteen hundred and thirty-three!!!

NARRATOR: Into the office of the San Francisco News walks one Joseph Ellsmore
Dixon, native son, salesman and a man with an idea . . .

DIXON: San Francisco's building the two greatest bridges in the world . . . and the
day is not far off when a third bridge, huge Clipper ships, will link San Francisco
with the Orient and Asia. This Bay Area, I tell you, is mighty! It has grown, and
will continue to grow, and we ought to tell the whole world about it!
(Pause) I think San Francisco ought to stage a great World's Fair!

VOICES: (Pause and then slowly, musingly) Well-I-I . . . Why not? Why not? (Off
mike and louder) Why not? (Farther off mike and louder) Why not?

MUSIC: (Coming in with Agitato to build up with ensuing montage.) (Moving off
mike and lines "Why not, why not, why not?" in chorus building to musical climax.)

NARRATOR: (On cue) As every lovely flower is first a humble, tiny seed that must
take root in fertile soil, be nourished and cared for and cultivated, so did Joseph
Dixon's vision of a great World's Fair begin to grow.

VOICE: Editorial! . . .

VOICE 2: This newspaper endorses Mr. Dixon's idea to have San Francisco sponsor
a World's Fair . . . recommends city-wide consideration of the plan . . .

SOUND: Rap, rap, rap of gavel.

ANNOUNCER: 1934!

MAN: Motion made and seconded that the Sunrise Breakfast Club go on record that
San Francisco stage a World's Fair . . . (fading off mike) ... to celebrate the two
great bridges and to tell the world of western progress, industry, travel, recreation . . .

VOICES: (Shout) All in favor? ! ! (several) Aye! (Shout) No? . . . Carried!

SOUND: Rap, rap, rap of gavel.

MAN: Motion carried . . . that the South of Market Boys heartily endorse a World's
Fair to be held in San Francisco . . .

SOUND: Background rapping of gavel, not constant but spaced throughout narrator's
ensuing beginning lines, cut when music sneaks in.

NARRATOR: Meeting after meeting of San Francisco's civic, improvement, merchant

292 THE MAGIC CITY

and social groups . . . and like fire in the dry autumn, the World's Fair idea grew
hot and strong and spread across the city. Junior and Senior Chambers of Com-
merce . . . informal little groups meeting in small rooms above San Francisco's
famous streets in old North Beach, along the water front, along Market Street and
in every nook and corner of the city by the Golden Gate. Men's groups and women's
organizations.

MUSIC: (San Francisco — sneaking in.)

NARRATOR: And once again the city which men may leave but never forget, where
tradition still marches at the side of progress, stirred with the rumblings of this
new chance to bid for the spotlight of all the nations throughout the world . . .
the city proud of her people, a people proud of their city.
SAN FRANCISCO!

MUSIC: San Francisco up and to finish.

SOUND: Fade in crowd noise.

ANNOUNCER: 1934!

NARRATOR: Responding to the will of a people audacious enough to tackle the crea-
tion of the world's two greatest bridges at the same time, Angelo Joseph Rossi,
carnation-wearing mayor of San Francisco, aided by dynamic city administrator
Alfred John deary, appointed a Citizen's Committee to probe this new business of
staging a great World's Fair. Out of that Citizen's Committee came men whose
names will linger on among the memories that Treasure Island has etched in the
hearts of millions.

MUSIC: Fanfare.

ANNOUNCER: 1935!

MUSIC: Maestoso March (Fade to)

NARRATOR: (On cue) Man's greatest task is the conversion of his finest dreams into
living reality. The visions, and dreams and thoughts are great only when men use
them as inspiration, and change them, as the chemist makes the tangible from the in-
tangible, into something that all mankind can see, and touch, and use. To Architect
George William Kelhani, and to Engineer William Peyton Day, went the task of
finding a site for this World's Fair that was conceived, but as yet far from created.

MUSIC: Agitato (Sneak in)

NARRATOR: In spite of differences of opinion, engineer and architect Day and Kel-
ham patiently, methodically, carry on their work, and turn to a spot that four years
before, the San Francisco Junior Chamber of Commerce had suggested as a future
downtown airport for the Northern Pacific Coast.

VOICES: Can you imagine that!!! Surveying the Yerba Buena Shoals for a world's fair
site . . . Yeah! . . . Gonna have a floating fair! . . . (Derisive laughter) (Fade out).

MUSIC: Out.

NARRATOR: With funds allotted to the Citizens' Committee for San Francisco's
World's Fair, Kelham and Day take soundings over a mile square stretch of water off
the Yerba Buena Shoals.

SOUND: Croii'd noise, fade in.

VOICES: Why it's 30 feet deep a mile out! . . . Take you ten years to dredge her out!
. . . And then the tides wear it away again . . . We built the two greatest bridges,
didn't we? . . . Somebody's crazy to think of turnin' water into dry land . . . But
it would be a wonderful spot for a World's Fair! . . . And a marvelous airport . . .
right downtown almost! . . . How'd you get from the bridge to the Island? Huh?

SOUND: Crowd noise up, and blend with airplane fading to

NARRATOR: But San Francisco has always played stakes for millions . . . has loved

THE CURTAIN FALLS 293

the impossible, the daring, the audacious, and perhaps the thought of creating the
largest island man had ever built . . . with voices raised to say, "It can't be done"
. . . served only to give the Press this story.

NEWSBOY: Extra . . . Extra ... All about the Fair. (Fading) All about the Fair.

SOUND: (Airplane up and out.)

NARRATOR: With Mr. and Mrs. San Francisco supporting a World's Fair on an
island yet to be torn from the bottom of San Francisco Bay, two men accept the
task of touching Uncle Sam for a few million dollars to begin the mighty job.

(Strings — sustained low "G" — throughout the following sequence.)

PAGE: Mr. Cutler and Mr. Creel to see the President.

2 VOICES: Thank you.

SOUND: Close doors.

VOICES: Say, wasn't that George Creel that went in to see the President? . . . Yeah.
Handled propaganda during the World War. Who's the other fellow? . . . Lei and
Cutler, President of the San Francisco World's Fair . . . You don't mean it? When
are they going to hold that? . . . That's probably being settled behind those closed
doors right now.

SOUND: Doors open.

ROOSEVELT: (Laughs) George, you and Lee are thinking about a World's Fair, but
I'm thinking airport.

MUSIC: (Bridge).

NARRATOR: To one Leland W. Cutler, first President of the Golden Gate Interna-
tional Exposition, and to one George Creel, its United States Commissioner, who
so clung to their task that many said they became commuters between San Francisco
and the Nation's Capitol — a salute for a great day that brought to first dawn of life
an island destined to be known throughout the world as — Treasure Island.

MUSIC: (Up to finish).

ANNOUNCER: February, 1936.

CUTLER: (Fading in) And so, gentlemen, the period of negotiation has ended. Work
. . . actual work, may begin at once. From PWA and WPA, a sum in excess of six
million dollars has been granted, contingent upon the use of the Exposition site as
a San Francisco municipal air terminal . . .

MUSIC: Fanfare.

NARRATOR: Beneath the shadow of the mighty Bay Bridges . . . another mighty
task begins ... to wrest from God the mud and sand buried beneath His tides
and waves . . .

MUSIC: Maestoso — fade to

VOICES: America — her Government . . . Her Army engineers . . . Her industry . . .
Her labor . . . Dredges pumping black sand . . . Day and night . . . Day and
night . . . Day and night . . . Day and night . . . Day and night . . . Day and
night . . . (Fade) Day and night . . . Dredges working . . . Twenty million cubic
yards . . . Island getting bigger . . . Going's getting tougher . . . Mud and muck
... A mile of mud . . . Tides a-washin' ... In and out! . . . Machinery and
engineers . . . Men, men, more men . . . Dollars, millions of 'em ... A World's Fair
... An airport . . . Day by day . . . Month by month . . . A-workin' and a-
sweatin' . . . Swell view from here, ain't it? Somebody's crazy! They'll never plant
trees and flowers in this ground . . . Mud and salt . . . Raining! . . . Raining!
Raining! Raining . . . raining . . . raining . . . raining. (Fade, etc.)

VOICES: Ferry slips are nearly done . . . Digging foundations for airplane hangars!
Pan American's going to set its Clipper ships down here . . . Man, machines and

294 THE MAGIC CITY

shovels! . . . Earth torn from the ocean floor! . . . Mortar, clay, cement, fulfilling
dreams of men.

MUSIC: (Up and out.)

NARRATOR: The sun came out to dry this new Island off the Yerba Buena Shoals,
and joined the fever heat of organization to build, to sell and promote the World's
Fair of Western America.

ANNOUNCER: 1937!

NARRATOR: Long before the eighteen months' task of building the Island was done,
President Leland W. Cutler's emissaries were combing the Nation, and all the na-
tions bordering the Pacific.

MUSIC: (Latin American music.)

VOICE 1: (Spanish Accent) Si, si, Senor . . . The Government of Peru is happy to accept
the invitation of the Golden Gate International Exposition.

MUSIC: (Up and fade.)

VOICE 2: ... and sees in your World's Fair an opportunity to further human happi-
ness and the brotherhood of Nations.

MUSIC: (Up and fade.)

NARRATOR: (On cue) The land of the gaucho . . . Argentina accepts . . . we'll build
a great pavilion of glass and steel . . .

MUSIC: (Up and fade.)

Colombia . . . Chile . . . Ecuador.

VOICE 1: Mighty Brazil will build a pavilion . . . will serve her coffee and play her
famous music . . .

MUSIC: (Up and fade.)

NARRATOR: Guatemala and Panama ... El Salvador . . . Mexico.

MUSIC: (Up and fade.)

NARRATOR: Plans forged ahead ... for palaces that would sparkle like stars that
line the milky way . . . houses of industry, of science, of medicine . . . palaces to show
the great farm products of all the West . . . plans for beauty that would live beyond
its death . . . magic carpets of flowers and lights that would do man's bidding, as
did Aladdin's Lamp. Month after month, more of the Nations throughout the
\Vorld sent word that when the great day came they would be a vivid, living part
of the spectacle on San Francisco Bay.

MUSIC: (International cue.)

VOICES: France and Italy . . . Japan . . . Norway . . . Johore . . . Netherlands-East
Indies . . . Australia and Indo-China . . . New Zealand . . . our own Hawaii . . . The
Philippines . . .

MUSIC: (Full and out.)

NARRATOR: The World had heard and had replied.

MUSIC: Fanfare.

NARRATOR: Governor Merriam sets up the California Commission. Five million dol-
lars are allotted to place the Golden State in the spotlight of the \Vorld ... to
show her fabulous counties . . . her history . . . her agriculture, livestock, travel, and
recreation, to play a vital, leading role in this daring venture on San Francisco Bay.

MUSIC: "California Here I Come" — Segue Allegro Cue.

NARRATOR: One forgotten day, Clyde M. Vandebere. young, curlv-haired director
of publicity, sits with other young men, who are his right hands of press, maga-
zines, radio, photography . . .

SOUND: (Small crowd noise.)

VOICE: It's a name the whole world knows already . . . People will say we stole it

THE CURTAIN FALLS 295

from Robert Louis Stevenson . . . But it's perfect — describes the Island and the Fair
. . . (thoughfully) Hmmmmmmm . . . Treasure Island . . . (Slightly louder) Treasure
Island . . . boys . . . that's it ... Treasure Island!

MUSIC: (Up and out.) — Segue Agitato — Fade to

NARRATOR: Often in this Twentieth Century, the problem of advertising real estate,
oranges, and ocean playgrounds is best solved by lovely girls, and so it was with
Treasure Island. In the same little publicity office, cluttered with typewriters, blue
pencils and black coffee came, where the name Treasure Island was born the second
time, a brain-storm caused a beautiful young woman, Zoe Dell Lantis, to listen to
instruction from Publicity Man Vandeberg . . .

LANTIS: I'm to wear this? Why ... it hardly covers me.

VANDEBERG: All you have to do Miss Lantis, is wear that pirate costume and sell
Treasure Island to every city in the Nation. Travel and see the country . . . You
don't like it, huh?

LANTIS: Like it ... I love it ... when do I leave?

MUSIC: Agitato up and fade to

SOUND: Train, airplane, automobile, etc.

Fade to Narrator, on cue: Zoe Dell Lantis, photogenic in her tattered buccaneer's cos-
tume, became Treasure Island's Pirate Girl in a thousand American cities. Amazing,
uncanny, was the fact that wherever went the Pirate Girl, there was a camera and
flash bulb waiting.

ANNOUNCER: Oregon.

NARRATOR: Pirate Girl rolls logs in a lumber mill pond.

ANNOUNCER: Wyoming.

NARRATOR: Treasure Island's Pirate Girl stunt rides in rodeo.

ANNOUNCER: New York City.

NARRATOR: Pirate Girl poses with Fiorella LaGuardia.

LaGUARDIA: Zoe Dell, you tell that Mayor of yours, Rossi, to think up some excuse
for me to take a trip out there to Treasure Island.

VOICE 1: Fifty thousand pictures . . . seventy-five . . . (Music fades out) . . . thousand
miles . . . Treasure Island's Pirate Girl became the Nation's most photographed
young beauty.

NARRATOR: Meanwhile Publicity Dynamo Vandeberg was hammering on the office
doors of Governors' offices in all the Western States, and getting acceptances.

ANNOUNCER: 1938!

NARRATOR: Treasure Island's huge Administration Building, stone and steel heart
of the future West's mightiest airport is completed, and before a banquet of a
thousand civic leaders from all the West, America's number one citizen makes a
famous statement . . .

ROOSEVELT: When you people out here in the West do a thing you seem to do it
better than anyone else in the world.

SOUND: Roar of applause.

MUSIC: National Emblem March.

NARRATOR: Hectic months were those of 1938. To hundreds of Treasure Island
officials, to thousands of sweating workmen — builders, painters, electricians, gar-
deners, work became a sleepless nightmare, ruled over by the deadline day, February
18th, 1939. As that day approached, a meeting was held in the office of the individual
who as much as any one man helped to mould an idea into a gigantic city of pleasure
on the world's greatest man-made Island . . . President Leland W. Cutler.

VOICE 1: Major O. F. J. Keatinge, reporting on foreign participation.

296 THE MAGIC CITY

KEATINGE: Since November, 1936, when President Roosevelt issued the proclama-
tion inviting the Nations of the earth to participate in America's official 1939 World's
Fair of the Pacific, the Governments of foreign countries have looked forward with
increasing interest to participating in the Golden Gate International Exposition. So
great has been the response to invitations ... so thorough are the displays these
nations have sent here, that I am satisfied, more than satisfied, that Treasure Island's
four hundred acres can provide every man with a tour of the World . . . that this
Exposition will be an international exposition where each nation offers its good
works, and its friendship, to all nations.

CUTLER: Thank you, Major Keatinge . . . yours was a big job . . . and you did it as
we knew you would . . .

VOICE 1: Mr. F. M. Sandusky, reporting on exhibits.

SANDUSKY: Gentlemen, more than 350 outstanding American industries are exhibit-
ing at the Exposition, either in their own building, or with splendid displays in the
great exhibit halls that radiate from the Tower of the Sun. All who may doubt
the progress that industry and labor have created in these United States may see,
at this Exposition, the material benefits of living and of working in a free democracy.

VOICE 1: Mr. William Day, director of public works.

DAY: Treasure Island will be physically complete on opening day, February 18th. The
six great blocks of exhibit palaces, one million square feet, are ready. And, with
Julius Girod and the beloved John McLaren, we have actually given Treasure Island
a bath, pumping millions of gallons of fresh water through the soil to remove the
salt. Treasure Island will be a paradise of flowers.

VOICE 1: Vandeberg and publicity.

VANDEBERG: We believe that through wonderful cooperation from the Press, the
magazines and radio, and from industry and its advertising, Treasure Island is
better publicized than the Forty-Nine Gold Rush.

VOICE: Executive Secretary H. C. Bottorff on finance.

BOTTORFF: You already know the story of the splendid Federal participation. To
that vital beginning has been added over six million, four hundred fifty thousand
dollars raised by business and industrial interests in the Bay Area; five million dollars
from the State of California; one million dollars from the Western States; two million
dollars more for exhibits of the United States Government, and approximately six
million dollars advance revenue received from Foreign Governments, exhibitors, con-
cessionnaires, ticket sales and so forth. Our financial structure is sound and assures
the opening of the Exposition.

MUSIC: Fanfare.

NARRATOR: From every city, state and county in America, and all over the world
. . . proving the amazing interest in this, the ninth world fair in six years ... a half
million people submit names for Treasure Island's amusement zone . . .

RADIO ANNOUNCER: (Fading in) Good evening listeners everywhere in the West . . .
from this microphone in the headquarters of the Golden Gate International Exposi-
tion we are going to bring you, in just a second, a thousand dollar name that twentv
million Americans will be speaking during 1939. Remember the Pike at the 1906
St. Louis Exposition . . . The Zone at our own 1915 Fair . . .

VOICE 1: One moment, please . . .

ANNOUNCER: The name is ... "THE GAYWAY!"

MUSIC: Gayway music.

SOUND: Sirens, whistles, bells and stuff.

ANNOUNCER: Februarv 18th, 1939.

THE CURTAIN FALLS 297

MUSIC: Fanfare (16 bar fanfare, 1939.)

ANNOUNCER: High noon on Treasure Island, and by radio to all the Nation, and
to the countries around the World, we bring you the official opening ceremonies of
the Golden Gate International Exposition . . .

NARRATOR: And here is your host, Mr. Leland W. Cutler, President of this World's
Fair of Western America . . .

SOUND: Applause.

CUTLER: (with feeling) I have waited four years for this moment, waited as a mother
waits for her child's first step . . . waited as a man who builds an ocean-going ship
. . . and with bated breath, watches it slide down into the water. Today our Expo-
sition which we have been building, becomes your Exposition. Treasure Island is
offered today, upon the altar of greater peace, and greater good will, among all the
nations, among all the races.

MUSIC: Male chorus "The Bells of Treasure Island."

NARRATOR: And to Treasure Island where thousands pack this Federal Plaza, came
another message on California's greatest day of '39 ... this message from far-off
Florida, in a tiny broadcasting room aboard a titan of the United States Navy . . .

ROOSEVELT: As the boundaries of human intercourse are widened by giant strides
of trade and travel, it is of vital import that the bonds of human understanding
be maintained, enlarged and strengthened rapidly. Unity of the Pacific nations is
America's concern and responsibility . . . their onward progress deserves now a rec-
ognition that will be a stimulus as well. May this, America's World's Fair on the
Pacific, in 1939, truly serve all nations in symbolizing their achievements of all the
ages past . . . and in amalgamating their destinies . . . one with every other — through
all the ages to come.

NARRATOR: (Powerfully) You remember that day, February 18th, 1939? The dream
of a few men, now the possession of all men! Treasure Island's moment had come!
It now belonged to the world.

VOICE: Culbert L. Olson, Governor of the Golden State . . .

GOVERNOR: As Governor of the State of California, it is much more than an honor
to invite you, the nation, to visit with us here on Treasure Island. Somehow, we of
California and the West look upon this Exposition as our opportunity to repay the
people of an entire nation for what they have given to us ... for our West is not
mighty merely because of its mountains, its limitless desert, its great valleys which
send food to the whole world . . . but rather because it is a great melting pot into
which this free land has poured thousands of souls, who believed that America's
frontiers can ever be expanded. Today, proud of Treasure Island, another great
Western achievement, we also give thanks, to this nation, for our heritage.

VOICE: The Mayor of San Francisco . . . the Honorable Angelo J. Rossi!

ROSSI: (Measured) The West has given to San Francisco the honor and responsibility
of forging the beginnings of the Golden Gate International Exposition, and to act
as host city in welcoming the world to participate in a celebration dedicated to the
future of the Pacific Empire. As Chief Executive of "The City That Knows How," I
assure you that your journey to Treasure Island will be worth while, your visit filled
with hours of entertainment and interest and your memory stored with pleasure.

NARRATOR: That day, February 18th, 1939 ... a man's voice went to his native land
which he had not seen in many a day. Dean of the Consular Corps in San Francisco,
handsome son of golden Peru — Senor Fernando Berckemeyer's message of good will
between North and South America, flashed by short-wave radio to North and South
America .

298 THE MAGIC CITY

CONSUL: In the life of every man there comes one great moment. / have met that
moment today. Treasure Island is good proof that dreams are not in vain . . . and
perhaps what we find here — many nations, all races and colors and creeds of man-
kind— may mean that another dream may some day be not in vain ... a world
fashioned from the lovely picture of Treasure Island.

MUSIC: Fanfare.

NARRATOR: The world that was Treasure Island, on February 18th, 1939, saw these
nations in review.

MUSIC: Grand March. (At this point girls representing the different governments par-
ticipating pass in review and are identified as they present themselves.)

NARRATOR: In this parade of nations, as in Treasure Island's countless parades in
'39 and '40 ... parades of civic, fraternal and social groups . . . cities and counties
and states . . . the trim, brightly clad Treasure Island Band under the direction of
Ralph Murray, played a colorful, leading role. And so came to a close the opening
day of ceremonies of Treasure Island — an island dedicated to peace and good will
among the Nations of the World.

MUSIC: "America" — fade to

MINISTER: Our Father, who art in Heaven, bless this day . . . bless this Island, symbol
of peace and good will among all men . . . watch over, and preserve this Nation . . .
grant us always the privilege of great dreams . . . (fade) . . . give us always, as we
have today, the strength and the courage to strive for progress and achievement . . .

MUSIC: America — Up to finish (Chorus Sings.)

NARRATOR: Following that momentous day in 1939, the people began to poke into
every nook and corner of Treasure Island ... to see the flowers, to walch the magic
lights, the beaver in the Oregon exhibit, the baby kangaroo from Australia ... to
listen as lucky folks won free long distance calls; chatting with polile soldiers ex-
plaining bombers and national defense. And there:

MUSIC: (Sanborn specialty.)

VOICE: Do you remember . . .

NARRATOR: Cavalcade of the Golden West.

CAVALCADE NARRATOR: 1862 — and the cry of "Westward Ho!" again is heard
from Coast to Coast . . . but now the cry is for stronger ties, for bands of steel to
bridge the wilderness, joining East with West for the nation of tomorrow. From the
East in Council Bluffs starts the Union Pacific, and from the Pacific Coast in Sacra-
mento, the strong men of the Central Pacific, Stanford, Huntington, Hopkins, and
the Crockers, begin with Engineer Judah, the incredible task of scaling the High
Sierra. Finally, on May 10th, 1869, at Promontory Point in Utah, the rival roads
come together, as the nation stops to watch . . .

VOICE: And here, ladies and gentlemen, is the President of the Central Pacific Rail-
road, with a spike of pure gold, which he will drive into the last tie, made of Cali-
fornia laurel. I present Governor Leland Stanford of California.

SOUND: Applause.

STANFORD: ... we should tender thanks to God for tlie completion of this great
work, and pray that the way is now made ready for the next chapter in the glowing
history of the West. Following these rails of steel will come the pioneers of the
industrial frontier . . . the builders who will create America's new Empire in the
Golden West.

SOUND: Tapping of spike.

SOUND: Locomotive whistles.

SOUND: Big crowd noise.

THE CURTAIN FALLS 299

CAVALCADE NARRATOR: Thus, the meeting of the rails, May 10th, 1869, and the
bridging of our own industrial age with the romantic days of the trappers, the mis-
sionaries, the covered wagons, and the Pony Express. Thus — the CAVALCADE OF
THE GOLDEN WEST!

MUSIC: Fanfare — Segue to classical selection.

NARRATOR: (Cue) One of the greatest exhibits on Treasure Island was the Palace of
Fine and Decorative Arts, guided by Dorothy Wright Liebes, Dr. Langdon Warner,
Dr. Walter Heil, and Roland J. McKinney. Paintings that heretofore had been only
legends and tiny reprints in cultural magazines, were now on Treasure Island . . .
Botticelli's "Birth of Venus" . . . Raphael's "Madonna of the Chair" . . . the works of
Michelangelo . . . Titian, Tintoretto and Donatello. The finest arts of the 48 states
. . . Cothic tapestries, Renaissance sculptures ... a Palace more priceless than the
palaces of a hundred kings. Another invaluable contribution to the beauty and joy
of this Exposition has been that of the Women's Board, under the chairmanship of
Mrs. George T. Cameron, working faithfully from the difficult days of 1936 . . . the
building of the Yerba Buena club . . . assuming the leadership in entertainment, in
social affairs that made this Treasure Island more friendly, more human, more real.

MUSIC: Up to full and finish — segue — drums.

NARRATOR: As Treasure Island and 1939 rolled on, summertime's gala new re-
opening ushered in a new General Manager, Doctor Charles Henry Strub . . .

VOICE: Flying today from Southern California to spend this last night upon Treasure
Island . . . Doctor Charley Strub . . .

STRUB: Many men have served Treasure Island. I was among that fortunate group.
Each of us was proud to serve in his own humble way . . . and as I look back, tonight,
I realize that we felt a privilege in serving . . . for we served something bigger than
the biggest of men . . . something more than men. The contribution to Treasure
Island which I was able to make will be lived over again at this moment . . . and
I deeply appreciate having Time turned back, to let me live those days over once
again . . .

NARRATOR: Dr. Charles Henry Strub brought with him brilliant new entertainment
to serve youth and to serve the old, with young ideas. A parade of stars . . . Edgar
Bergen and Charlie McCarthy, Bing Crosby, Jack Benny, Jack Haley and Rubinoff ,
and a parade of music. The greatest parade of name bands ever assembled in one
season. A parade that was lead by the King of Swing, Benny Goodman.

MUSIC: One Chorus of a Benny Goodman number.

NARRATOR: Second in the line of march in this great parade of America's name
bands came another. Who was it? Don't you know? Students? . . .

EVERYBODY SAY: Kay Kyser.

MUSIC: Kay Kyser Chorus— fade to

VOICES: What will be the darkest place on San Francisco Bay the night of September
30th? . . . Uh-huh . . . Students . . . ? Treasure Island ! ! !

MUSIC: Kyser Chorus — up to finish.

NARRATOR: Temple Compound saw bands to suit the taste of everyone. Hot . .
sweet . . . rhythmic . . . and smart ... the last of which was perhaps best exemplified
by that king of the ivories . . . Eddie Duchin.

MUSIC: Chorus Duchin number.

NARRATOR: An old timer was not to be denied . . . with his clarinet and his hat with
a silver lining, he was there to ask:

VOICE: Is everybody happy?

MUSIC: Chorus of Ted Lewis number.

300 THE MAGIC CITY

NARRATOR: And on they came . . . George Olsen, Smilin' Phil Hams, Hariy Owens
and his Royal Hawaiian*, and that juggler of jive, Count Basic . . .

MUSIC: Count Rasie number.

NARRATOR: American music for an American era, on America's newest city of
pleasure, with rhythm that set the feet a-tapping and brought smiles into the
hearts of those who came to this land of Aladdin to find the dreams of their youth.

ANNOUNCER: October 29th, 1939!

NARRATOR: Treasure Island on this date turned down its light in a world growing
darker hour by hour. Somehow the scene from San Francisco's seven hills had sad-
dened. At night the mighty bridges still decked the bay with golden necklaces of
light, and the skyline glowed with warmth . . . but many a man could not subdue
the feeling that something had died on San Francisco Bay . . . something that
should not have died . . . but along the city streets a jew men chose to say . . .
Treasure Island has not died . . . it's just a blackout.

VOICE 1: (Well off mike) Black-out!

SOUND: Airplane effects . . . air raids . . . bombing, etc.

VOICE 2: Czechoslovakia! Remember?

NARRATOR: Yes . . . yes, we do remember . . . Her lovely exhibit out there on
Treasure Island.

VOICE 1: Blackout!

SOUND: Air raid effects ill).

VOICE 2: Little Holland ... Do you remember? SOUND: Up and fade to

NARRATOR: Remember little Holland? Yes ... on a day when 40,000 tulip bulbs
came to Treasure Island ... a gift from little Holland.

SOUND: Add muffled thunder of guns to air raid sounds.

VOICE 3: And what gift for Holland now . . . will tulips lie rotting upon graves that
bombs will dig to swallow up a new generation?

VOICE 1: Remember the words . . .

SOUND: Gradually fading out with following speech:

VOICE 2: (Slow fade on entire speech) That this Exposition will be an international
Exposition, where each nation offers its good works and its friendship to all other
nations . . .

VOICE 1: There were other words from Washington.

ROOSEVELT: May this Fair serve all Nations, in symbolizing their achievements . . .
in amalgamating their destinies, one with every other . . . through all the ages to
come.

NARRATOR: Through all the ages to come.

SOUND: Cannonading of guns and screaming of bombs up and blend with "Maestoso
March." Fade down and music to narrator.

NARRATOR: It is American to feel the sharp pangs of sorrow and sympathy for all
those lands where the power lines of freedom have been cut ... it is also American
to be strong, to keep strong by the preservation of our great achievements, and so
it was that in a famed hotel atop historic Nob Hill in San Francisco one George D.
Smith pledged himself that Treasure Island would come to life again.

VOICES: Board of Directors votes to liquidate . . . Let's take a gamble and open again
. . . The travel agencies will back it ... The contractors say "Yes" . . . George Smith,
Dan London . . . the hotels . . . All right . . . raise one million, four hundred and
fifty thousand dollars . . . and open Treasure Island for 1940 . . . Activities started
and rosey reports showed that all was well . . . But on October 19th, another voice,
"the jig was up." The quota set — had failed.

THE CURTAIN FALLS 301

SOUND: Ticking of telegraph.

NARRATOR: Trump playing George Smith, played a last ace ... sent telegrams to
one hundred and eight concessionnaires of the '39 Fair and, in a long, sweaty meeting
with these men, big tycoons and little hot-dog men, the first chapter in a NEW
Treasure Island was written. MUSIC: Fanfare.

ANNOUNCER: On May 25th, 1940, the Fair will open!

NARRATOR: Electric words.

VOICES: The Fair will open! . . . The Fair will open! . . . The Fair will open!

MUSIC: As "The fair Will Open" line begins, enter music softly, with a fast agitato.

NARRATOR: Aided by the great names who conceived and built the '39 spectacle on
Treasure Island . . . eminent San Franciscan, Marshall Dill, accepted the presidency
of a new and streamlined Treasure Island and to the vital post of general manager,
came young University of California graduate manager, and Chamber of Commerce
executive, William W. Monahan.

MUSIC: Fanfare — Direct to segue to rlnintba, fade to

ANNOUNCER: And then— FIESTA.

SOUND: Celebration noises, horns, ratchets, etc.

NARRATOR: Yes, fiesta. Fiesta in San Francisco, and throughout all the Bay Area.
Into this ama/ing scene of amazing people, costumed in the glorious colors of the
old West, singing on the city streets, went the energies of bank president Parker S.
Maddux, and public relations man Donald V. Nicholson. But greater than Fiesta —
the fever of a population that had grown to love its Treasure Island — and so
throughout the entire week preceding May the 25th, work nearly stopped as men
and women and children caught the spirit of the Fair in '40.

MUSIC: Up and finish.

ANNOUNCER: May 25th, 1940.

NARRATOR: May the 25th, nineteen hundred and forty! Around the world a trumpet
call.

MUSIC: Fanfare.

NARRATOR: And the 1940 World Premiere of Treasure Island is on.

MUSIC: "Waltz of the Flowers" — fade to

NARRATOR: (On cue) \Vhere the great Pacific meets the sky, a flush of gold remains.
The silver stars are out, and San Francisco wears her evening gems. In semi-darkness
sits a mighty crowd awaiting that moment when the night will be drenched with
the splendor of the magic lights of a new and streamlined Treasure Island.

MUSIC: Fanfare over waltz — fade to

VOICE 1: Here in the Court of the Nations, across a giant stage will flow a pageant
of this Exposition city, enchanting and lovely tonight in her 1940 makeup. Young
and gay and vivacious . . .

VOICE 2: (Dramatic interruption) Ladies and gentlemen . . . We have just established
contact with the Admiral Byrd Expedition in Little America in the Antarctic. It is
our privilege to ask Little America to send a word of greeting to "The Fair in
Forty" which will turn on the fabulous illumination system. Come in, Little America.

MUSIC: Out abruptly.

VOICE 1: (Short wave effect) Greetings to Treasure Island . . . Greetings filled with
regret that we are not with you there tonight. It is cold and lonely here . . . but we
are with you by radio . . . close to your music and laughter. And here in Little
America, we are grateful for the honor of sending an electrical impulse across the
thousands of miles — to turn on your magic lights. And as we say good-bye, we say
"Let there be light on Treasure Island."

302 THE MAGIC CITY

SOUND: Bursting bomb.

MUSIC: Fanfare.

VOICE 1: And there was light again on Treasure Island.

NARRATOR: Light and music and action.

VOICES: The Fair in Forty, with its Forty Fair Girls . . . Miss San Francisco . . . Miss
California . . . Miss Treasure Island . . . Miss U. S. A.

GIRL: (Close to mike) Hello there, America.

SOUND: Fade in airplane in distance.

NARRATOR: And at that moment, up in the sky, that like the land and the sea man
has conquered, a girl and a boy look down upon this new Treasure Island.

SOUND: Airplane up trifle.

BAIRD: If only everyone could see Treasure Island from up here in the sky.

VENTER: The Tower of the Sun, like a dagger of white fire . . .

BAIRD: It's like flying over a giant fire opal ... an opal lying on a rippling black
velvet. It's like the Arabian Nights come true. There just couldn't be anything more
beautiful . . . will you look at the light in the Court of the Moon.

VENTER: And those silver pictures on the Pool of Reflections.

BAIRD: Palace walls blazing . . . courtyards washed in blue . . . and fountains tumbling
like bubbling gold.

VENTER: It's amazing, a few short minutes ago, everything lost in the darkness of
the night, and then suddenly all this light and color. It just doesn't seem real.

BAIRD: It's lovely — this lovely Treasure Island. Let's hurry back and see it close to.

SOUND: Airplane up and out.

NARRATOR: (Cued in before airplane entirely out) And as nearly 125,000 people on
Treasure Island, and millions throughout the world listen, dignified Exposition
President, Marshall W. Dill, spoke words that came from the hearts of many men,
that glamorous night of May 25th, 1940:

DILL: We have not come to this day without much labor and some sacrifice. To re-
create an "Evanescent City" has been our task. We of the 1940 Fair pay tribute
to those who dredged this "City Beautiful" out of the silt of the Bay. They laid the
sills upon which we have re-built. We are the grateful heirs of their faith and their
dreaming, and in this world of tumult and strife abroad, we hope we have done
something here on Treasure Island to lift the sadness from a weary day ... a little
island where peace, beauty and humanity abound. We have lighted a lamp of the
spirit and we can only fervently hope that some of its rays may light the dark places.

MUSIC: Musical comedy selection — fade to

VOICE: And from Hollywood . . .

NARRATOR: From the cinema capital of the world, a gift to Treasure Island. A gift
of loveliness, wrapped in youth and presented in song. Seventeen-year-old Suzanna
Foster, outstanding discovery in the land where discovery is the rule, and not the
exception.

MUSIC: "Kiss Me Again" — Suzanna Foster.

NARRATOR: That night on May the 25th, nineteen hundred and forty, all who felt
the spirit of this NEW Treasure Island, knew as men know that day and night will
come, that it filled a need in nervous times . . . and as midnight came, that world
premiere on San Francisco Bay rose to its finish . . .

MUSIC: "Valse Triste"—fade to

VOICE: (Venter) Beneath the white stars that tonight look down upon a world whose
minutes drag themselves through a sea of blood and horror and hatred, we speak a
humble prayer on a lovely Island in San Francisco Bay — Treasure Island. May God

THE CURTAIN FALLS 303

grant that those of us who may, come to this Island to reassure themselves that
America is yet a Nation capable of constant peace, of lasting happiness. May God
giant that all of us draw upon the spirit which created this Golden Gate Interna-
tional Exposition ... the same spirit which gave it re-birth . . . and that moments
like this, will be ours to treasure — always.

MUSIC "Omnipotence" by Male Chorus.

ANNOUNCER: June 15th.

MUSIC: Fanfare.

NARRATOR: But twenty days after the world premiere of 1940 streamlined Treasure
Island, the word "success" hardened into reality.

SOUND: Crowd noise . . . large crowds, millions of people.

VOICE 1: The one millionth visitor.

MUSIC: Fanfare.

ANNOUNCER: July 30th.

VOICE 1 : Three million visitors have come to Treasure Island.

SOUND: Crowd noise . . . fades to, and behind

NARRATOR: (On cue) One million visitors every twenty days! Hundreds of thousands
ahead of the most optimistic hopes. The spark-plug who kept this explosive record
hitting on all sixteen cylinders . . . was modest general manager, William W. Mona-
han. Each Tuesday night, by the medium of radio, he kept his public interested and
informed . . .

RADIO ANNOUNCER: We are speaking to you from our studios in San Francisco,
and it is now time for the weekly program, "The Exposition Speaks," which origi-
nates in the offices of VV. W. Monahan. We take you now to Treasure Island.

MONAHAN: Good evening, ladies and gentlemen. With three million people having
already visited us here on Treasure Island, we are cautiously beginning to feel
that we have quite a Fair on our hands. This is really no miracle. The miracle of
Treasure Island happened long ago ... in its creation and its building. The credit
for our 1940 record, which we modestly admit is amazing, can go to no one man or
woman. Rather, it's the old business of working like a family (and by the way, we
notice lots of their families here) .

Tonight, however, I'd like to throw a few orchids in the general direction of a few
of the favorite sons in this Exposition family of ours. To one, H. C. BottorfF, a
tribute . . . for his talent in keeping the complex machinery of Treasure Island well
oiled. And a bouquet to Major Keatinge, our strong man holding down two im-
portant posts, governmental participation and special events. In the latter depart-
ment, the thrill circus in the open air theater . . . the big variety shows on the
Federal Plaza . . . and the daily fireworks spectacle detailed to the hands of a blind
man, charming and capable personality, Charles Duffield. I want to pay tribute, too,
to F. M. Sandusky, our director of exhibits and concessions for his efficient handling
of this difficult and important assignment; to Emil Bondeson, director of music and
shows, who arranged the outstanding events of our musical season; and to H. C.
Vensano, our director of works, who is responsible for the beautiful setting in which
this great pageant has been held; and to Jack James, our director of promotion
whose voice extolling the wonders of Treasure Island and the West has, indeed, been
heard all around the world. And I would also like to pay tribute to all those who
entered so enthusiastically into our streamlined plan of 1940, exhibitors, large and
small, concessionnaires, and the whole personnel of the Exposition who have toiled
faithfully and long to make the Fair in Forty go down in history as an unqualified
success, a pleasant memory of beauty and pageantry and fun.

304 THE iMAGIC CITY

MUSIC: Introduction to "High On A Windy Hill" fade to

NARRATOR: 1940 Treasure Island rumor had it ... had it that one Billy Rose, New
York and points north, south, east and west, had surveyed the Pacific Ocean up and
down the Coast of California for a gigantic aquacade . . . had thought twice, and
signed a contract with his new friend, Bill Monahan. As the ink dried on this co-
lossal bit of paper, to Treasure Island with a fanfare, came barrel-chested Johnny
Weissmuller, iron-man Marshall Wayne, and lovely Esther Williams, trailed by a
gorgeous horde of Aquabelles and amid millions of gallons of water, great publicity,
and great music, the show of shows wa son . . . Billy Rose's Aquacade! Remember?

VOICE 1: Morton Downey.

MUSIC: "Yours For A Song" — Morion Downey.

ANNOUNCER: America! Cavalcade of a Nation!

MUSIC: "Star Spangled Banner" fanfare — tytnpani roll under narrator.

NARRATOR: Like twigs and leaves and scraps of paper upon a stream, the "River
of Time" has washed each great episode in American history out into the Ocean of
the Past. The land, the sea, the hills remain . . . but the human clay has crumbled
to dust under the destructive force of Time. Yet Time will never erase the romantic
memory of this Nation's four hundred vibrant years. "America! Cavalcade of a
Nation" re-lived those tour hundred years, in another show of shows on Treasure
Island . . . re-lived one moment in our history as vivid today as it was on the day
a tall lean American stepped awkwardly before a handful of our ancestors . . .

LINCOLN: "Gettysburg Address."

MUSIC: Fanfare.

ANNOUNCER: The Folies Bergere.

MUSIC: "Orpheus Overture"- — fade to

NARRATOR: Paris in the spring was Treasure Island in 1940 . . . for as each sunset
came, men talked to their wives of business and important meetings, and sped by
their offices enrou te to the California Auditorium on Treasure Island . . . where
famed showman, Clifford Fischer, had set up one of the world's loveliest collections
of blondes and brunettes. And was any man disappointed? Of course not. From
front row to last row, the answer was the same. Television, ladies and gentlemen,
is unfortunately just around the corner ... so tonight, just one last glimpse of the
Folies Bergere. Petite Michel.

MUSIC: "Michel" specialty.

MUSIC: "Angelus" — fade to

NARRATOR: Like a few of those who rushed west in '49, and found their pot of
gold, so did many who browsed around on 1940 Treasure Island, discover new de-
lights in "Art in Action." Harvard and Groton men, and those who carve meat and
drive trucks — found pleasure in this priceless Palace of Fine and Decorative Arts.
The masters of the past . . . and the masters of the present, fitted into the theme
of this new Treasure Island . . . life, and action. And in this new-found phase of
Treasure Island, the leading name was Timothy Pflueger. What better man to tell
the story?

PFLUEGER: The idea of Art in Action came from my own enjoyment in watching the
development of art projects. The thanks of the Exposition are due to one hundred
artists who contributed their time in the interest of all artists, in making these
demonstrations. On the other hand the thanks of the artists are due the Exposition
for making available to them this opportunity. The WPA art project also con-
tributed in accenting the Palace of Fine Arts! Several projects have been sponsored
by the San Francisco Board of Education. The public was very deeply interested

THE CURTAIN FALLS 305

and I look for this form of art activity to take a permanent place not only in Exposi-
tions, but in regular established museums.

MUSIC: Fanfare.

NARRATOR: Memorable words of '39.

ROOSEVELT: May this, America's World's Fair of the Pacific, truly serve all nations in
symbolizing their achievements of all the ages past . . . and in amalgamating their
destinies, one with every other, through all the ages to come . . .

MUSIC: "Peking Street Suite"— fade to

NARRATOR: Will you ever forget — Pacific House . . . heart of the family of nations
on Treasure Island. Serene and proud. In her halls, many languages, many ideals
and heritages, differing in detail, but not in fundamentals . . . scenes that were the
crossroads of the earth . . . her pictorial maps by the great Covarrubias . . . the
ceramic reliefs by Sotomayor . . . glass maps by Taylor ... a picture of this earth
on which we try to live and work in peace. Pacific House! . . . her flags of all
nations, her lectures, her music from all the world . . . and her symbolism of a
closer unity among those nations across whose shores roll the waves of the mighty
Pacific.

MUSIC: Up and finish.

NARRATOR: It is but a lovely step across the lagoon from Pacific House to Inter-
national Court. The many thousands who visited this area found therein the essence
of all the charm of the foreign nations who shared in this Exposition; nations which
showed in graphic beauty lands of the tropics and of the north. The foreign par-
ticipation was an integral part of this Exposition; they made it theirs. For those
nations, the Dean of the San Francisco Consular Corps, Dr. Casas-Briceno, Consul-
General of Venezuela, speaks.

CONSUL: Elevating our reason and lending dignity to our will, this San Francisco
Fair, gentlemen, has covered in all its aspects the transcendency of one sole purpose:
to encourage confidence and peace between all people. And I am proud to pro-
claim that Pan America received from this Exposition a permanent promise of con-
tinental solidarity. The Golden Gate Exposition, and the gentlemen who directed
it, leave with us a promising lesson of unity, and a deep reciprocal sentiment of
intercontinental friendship, as well as a mutual understanding. This Exposition has
revived history, and at the same time, the feeling of security for all of us— that
individual liberty cannot be maintained in surroundings of international insecurity.

NARRATOR: Folies Bergere, Cavalcade, Aquacade and the other great shows on
Treasure Island caused General Manager Bill Monahan every twenty days to say . . .

VOICE: (for Monahan) The Fourth Million . . . The Fifth Million . . . The Sixth
Million . . .

NARRATOR: And still they come . . . riding herd on the day and night job of telling
the millions of what to see on Treasure Island, informing, interpreting, selling,
promoting and still finding time to make himself thoroughly liked wherever he
went — long, lanky, genial, straight-talking Jack James, 1940 Treasure Island's Direc-
tor of Publicity and Promotion.

NARRATOR: As 1940 Treasure Island took in the hearts of all kinds of men it pre-
sented a great panorama of the music all men will love always. The San Franicsco
Symphony Orchestra, conducted by beloved Pierre Monteux, guest conductors Koste-
lanetz, Bruno Walter, Meredith Wilson and Gaetano Merola . . . and voices which
have carved themselves in America's Album of Music . . . John Charles Thomas,
Grace Moore, Jan Peerce, Gladys Swarthout, Lily Pons and Lauritz Melchoir, Oscar
Levant . . . the blind genius, Alec Templeton.

THE MAGIC CITY

MUSIC: Herod Overture — fade to

NARRATOR: On the foundations of '39 the Forty Fair was built . . . and in the pano-
rama of great music, there was no break between the years. In '39 the series "Cali-
fornia Composers," and to the Golden State's pride of climate and material achieve-
ments was added the new-found pride in the discovery and realization that it had
made, was making, a major contribution to the realm of fine music. To the Cali-
fornia Commission went a man with an idea, and thereafter, week after week, the
west and all of Canada heard the music of California's own composers.

MUSIC: Up and fade.

NARRATOR: The outgrowth of California Composers was a greater, wider venture
on 1940 Treasure Island. An idea had grown, and in the height of Treasure Island's
summer glory, the California Music Festival took the spotlight. Invitations to great
and small musical organizations were extended to come and play and sing their
music ... to give expression and to receive acclaim . . . the accomplished and the
beginners . . . professional and the amateur. The movement met success. Among
the gifts that Treasure Island leaves behind is the powerful impetus to the California
Music Festival. As that movement is destined to live on into the future of California,
so it is our privilege to bring its music back for this one night . . . directed as it was
in '39 and '40 by Jack Joy.

MUSIC: Up and finish "Herod Overture" — segue drum and march — fade to

NARRATOR: Momentous indeed are these days roaring across the American scene.
Headlines, and holocaust, and opinions and wishes and fears . . . and a nation mo-
bilizing materially and spiritually to be faithful unto freedom no matter the cost . .
We bring you now the man, who, during the birth of this great World's Fair of
Western America, was chosen by the President as United States Commissioner to
the Golden Gate International Exposition, George Creel. No one is better fitted to
describe Federal participation than this man whose dreams and ideas became a
reality. Mr. Creel . . .

CREEL: Here on Treasure Island, the Federal Exhibits Building has towering above
it the forty -eight Golden Colonnades representing our 48 states. Behind its muraled
walls depicting the conquering of the West by water . . . and by land ... is our
Federal "Government in Action" . . . and in the cast, the Army, the Navy, the Marine
Corps . . . and the dramatic, rough-and-ready Coast Guard. Here, too, we have the
intricate machinery to keep abreast of 1940's social economic change and problems,
Social Security, WPA, Housing, Slum-Clearance, Reclamation projects, reforestation,
electrification, highways . . . the Department of Agriculture. (Cue, Treasure Island
Company marches in front of stage) (very slight pause). One display of the might of
this free nation of America made hearts beat faster each Treasure Island evening in
this great Federal Plaza.

ANNOUNCER: This is the Voice of the Exposition. Ladies and gentlemen . . . there
will be a colorful and patriotic ceremony in front of the Federal Building . . . car-
ried out by the Treasure Island Company, United States Army, and the Thirtieth
Infantry Band. . . . The members of the Company were selected from the regular
Army regiments in the Ninth Corps Area, and are permanently quartered at Camp
Hunter Liggett on the Exposition grounds. The ritual of lowering and folding the
American flag is one of the greatest importance. Our care of the flag is symbolic of
the esteem in which we hold our country. The flag must never touch the ground,
and great care is taken in folding it upon its being lowered. The red and white is
always folded into the blue of the night. This ceremony, called Retreat, will at this
moment give way to the lowering of the flag. It is a proper mark of respect for ALL

THE CURTAIN FALLS 307

of us to stand as the flag is lowered ... to observe silence, the men removing their
hats and holding hat or hand over their hearts. Flag Lowering Ceremony . . .

MUSIC: Treasure Island Company Band . . . Troops march off.

NARRATOR: Eyes clear, figures stiff and strong and straight . . . hearts and bodies
moulded into one unswerving unity by the greatest love of all — the love of this
country of America. Marching off into the nighttime shadows created by the blazing
lights of this farewell Story of Treasure Island in humanity-packed Federal Plaza —
the Treasure Island Company of the Regular Army .... under the leadership of
Lt. Col. Raymond Godfrey Lehman.

MUSIC: Drum roll — March.

NARRATOR: Symbolic, too, of the strength of this Nation, the works of one of its 48
states . . . the Golden State of California, represented by the California Commission,
guided and directed by Frank W. Clark . . . and assisting Mr. Clark in the adminis-
tration of the California Commission activities were Bob Penfield, James Smyth,
Rusty Mikel, Phil Van Dusen, Fred Grey, and Claude Cooper.

VOICE: Magnificent California .... Empire of beauty in which man has achieved, not
perfection, but a record of progress through agriculture, shipping, industry, recrea-
tion and climate that is a bright spot in the annals of this nation's history.

NARRATOR: Grouped on Treasure Island — 18 lovely buildings, representing the
limitless resources of California.

VOICES: Redwood Empire . . . man-made counterpart of the oldest living things . . .
Alameda-Contra Costa Building . . . recreation and sunshine and good living . . .
San Joaquin Valley Building . . . the richness of the Earth stretched forth between
the mountains . . . Sacramento-Tahoe Building . . . Capital of the Golden State . . .
mountain retreats and historic border towns . . . Southern Counties Building . . .
family of great producers of the nation's finest food . . . San Francisco Building . . .
the fabulous history of a fabulous city . . .

VOICE: The California Building!

SOUND: Fire siren.

VOICES: (Repeat) Fire, Fire, Fire, Fire!

MUSIC: "Orgy of Spirits."

NARRATOR: Saturday, August 24th ... a burst of flame and fire clawed at the tim-
bers and walls and very foundation of the lovely California Building. The host
building of Treasure Island . . . home of western hospitality . . . open house for a
fun-seeking nation . . . burning ... an inferno.

SOUND: Up sirens.

SOUND: Crackle of fire.

VOICE: There's a breeze!

VOICE 2: There's a fortune in art treasures in there!

VOICE 3: And a pipe-organ.

VOICE 4: (Shouts) Here come the soldiers . . .

NARRATOR: As the fire caught huge curtains and jumped hungrily for the bright
dry wood, scores of our soldiers from the Treasure Island Company dashed into the
blazing symbol of California, began removing every priceless painting and object of
art. Through their courageous work, an unreplaceable record of California's past
was saved from black ashes. Not heroes, said they . . . only soldiers functioning in
the routine of duty. And we say — in peace as in war, they are beside us.

VOICE: As though incensed at the removal of those things of greatest value, the fire
howled on to reduce the California Building to ruins, and even as it burned, radio,
. . . fast, mobile radio, was on the scene from coast to coast . . .

308 THE MAGIC CITY

RADIO ANNOUNCER: (Excited) Ladies and gentlemen, we are standing beside the
blazing California Building on Treasure Island, not blazing in beauty, but in fire . . .

VOICE: There's Frank Clark and Bob Penfield of the California Commission.

RADIO ANNOUNCER: Mr. Clark . . . over here, please. You're Chairman of the Cali-
fornia Commission, which erected this lovely building. No need to ask you how you
must feel at this moment . . .

CLARK: Well ... I feel like any good Californian. This is terrible . . . terrible. But
this won't stop a thing here on Treasure Island. The show goes on ... and the
California Commission will be right in there giving the public everything on
schedule!

MUSIC: Up and finish.

NARRATOR: (Softly) Beside mountain lakes in the still of night . . . where the Mis-
sissippi meets the full moon and the darkies and the cotton ... in pent-house
cabarets above 42nd street ... in little farm-house living rooms ... all who are
American have felt the spirit of a now fragile and white-haired woman who many
years ago poured out her heart in music as ageless as love. She is Carrie Jacobs
Bond and she is here tonight — on Treasure Island. If this be Treasure Island's end
... it is the end of a perfect day. The past gave to Carrie Jacobs Bond her inspira-
tion for that song . . . and tonight I see in her face, and in her eyes, that this moment
of 1940 is as great as that day so many years ago. End of a Perfect Day . . .

CARRIE JACOBS BOND: Piano. "End Of A Perfect Day."

ORCHESTRA: Builds into number. Solo and duet.

NARRATOR: (Cue) To you, Treasure Island, farewell. Much you have given us. The
beauty of dawn and the beauty of sunset. Joy of abandon and forgetfulness. Tonight
we find that joy is sorrow, and sorrow joy . . . and both are sweet. Here, in your
lovely, wordless way, you have taught us friendship. The good and the bad have
come to you and you have had gifts for all who would receive them. As the world
has lived, your life was all too short. It seems but yesterday you lay beneath the
sea . . . but who are we to reckon Time . . . for today, tonight are but our future
memories, and we will have them each new day. We will — we promise you.

MUSIC: "Taps" — segue to cymbal and tympani roll.

NARRATOR: (Change of pace throughout) The end of a perfect day is but the
dawn of a greater day. Each good life that passes from this earth leaves behind it
material for the betterment of life to come. Treasur Island's perfect day is ending
. . . but it is not Death for Treasure Island; it is just — new life. The flowers may fade,
the palaces may fall to earth, the music and laughter stilled . . . the face may change
but the soul never ... for the dreams of men are never stifled, never crushed.
Closer to a greater destiny!
Ready for a greater task!

As God measures Time, it is but tomorrow that huge airplanes will glide down
through the air which tonight is ruled by the Tower of the Sun . . . will roll across
the ground where Pacific House now stands. Let there be no sadness tonight . . .
for remember, sorrow is of the past and joy is of the future. And so it is we say to
Treasure Island ... a salute to a greater future that starts — tonight!

MUSIC: "Glory" by Cadman.

MUSIC: Trumpet "Reveille."

SIGNOFF

ANNOUNCER: Ladies and gentlemen, "The Story of Treasure Island" was written
by Glenn A. Wheaton and produced by Robert C. Coleson, with music directed by
Jack Joy. Narrators were John B. Hughes, Arthur Linkletter, Mel Venter and

THE CURTAIN FALLS

309

Don Thompson. The voice of the President of the United States was imitated by
Fred McKaye. Suzannah Foster, from the new film,. "There's Magic in Music,"
appeared through the courtesy of Paramount Pictures. "The Story of Treasure
Island," presented by the California Commission of the Golden Gate International
Exposition, came from the great stage in the Federal Plaza, through the radio fa-
cilities of the California Commission.
We return you to your local studios.

APPENDIX

EXECUTIVE COMMITTEE

JAMES B. BLACK 1939

G. W. BRAINARD 1 94O

JOHN R. CAHILL 1 94O

A. J. CLEARY 1939-4O

COLBERT CDLDWELL 1939

GEORGE CREEL 1939-4D

LELAND W. CUTLER 1 939-4O

MARSHALL DILL . . Ex-OFFlciD 1 94O

CLARENCE B. EATON 1 94O

MILTDN H. ESBERG 1939

JOHN F. FDRBES 1939-4O

E. H. HELLER . . 1 94O

HARRY H. HILP 1 94O

B. W. LETCHER 1939

DAN LONDON 1 94D

J. W. MAILLIARD, JR 1939

ATHDLL McBEAN 1939

D. M. MESSER 1 94O

PHILIP H. PATCHIN 1 939

GEORGE D. SMITH 1939-4O

RUSSELL G. SMITH 1 94D

MAYOR ANGELO J. ROSSI,

HONORARY MEMBER. , . 1 939-4D

BOARD OF MANAGEMENT — 1939

JAMES B. BLACK COLBERT COLDWELL PHILIP H. PATCHIN

LELAND W. CUTLER CEx-OFFICID] J. W. MAILLIARD, JR.

LIQUIDATING COMMITTEE — 1940-41

G. W. BRAINARD, CHAIRMAN

CLARENCE B. EATON
HARRY H. HILP
DAN LONDON

D. M. MESSER
RUSSELL G. SMITH
GEORGE D. SMITH

OFFICERS

CHAIRMAN OF THE BOARD 1939 ATHOLL McBEAN

PRESIDENT 1 939 LELAND W. CUTLER

PRESIDENT 1 94D MARSHALL DILL

VICE PRESIDENT CHARLES KENDRICK

VICE PRESIDENT GEORGE D. SMITH

VICE PRESIDENT RICHARD M. TOBIN

VICE PRESIDENT AND DIRECTOR OF WORKS 1939 W. P. DAY

TREASURER JOHN F. FDRBES

EXECUTIVE SECRETARY AND ASSISTANT TREASURER 1 939 |

ASSISTANT GENERAL MANAGER AND ASSISTANT TREASURER 1 94D j
SECRETARY AND GENERAL COUNSEL. . COL ALLEN G. WRIGHT

H. C. BOTTORFF

EXECUTIVE OFFICERS

EXECUTIVE VICE PRESIDENT 1 93B COL. J. FRANKLIN BELL

CHIEF DIRECTOR 1939 H. D. H. CONNICK

MANAGING DIRECTOR 1939 CHARLES H. STRUB

EXECUTIVE VICE PRESIDENT AND GENERAL MANAGER 1 94D W. W. MONAHAN

EXECUTIVE VICE PRESIDENT AND GEN. MGR. CPosr PERIOD] 194D-41 . . . H. C. BDTTDRFF

MEMBERS OF THE CALIFORNIA COMMISSION

EDWARD H. HELLER
ALEXANDER WATCHMAN
J. C. BERENDSEN
L. E. BONTZ*
A. M. BOWLES
FRANCIS CARR
MICHAEL COSTELLD
LEO A. CUNNINGHAM

'DECEASED

HON. FRANK W. CLARK, CHAIRM
MRS. HENRY E. ERDMAN
HERBERT ERSKINE
JOHN ANSON FORD
EUGENE N. FRITZ
R. V. GARROD
A. P. GIANNINI
GORDON F. IRVINE
DR. EDWARD E. JOHNSON
MRS. GEORGE J. KNOX

WILLIAM M. MALDNE
C. T. MERCHANT
HAROLD J. McCURRY
FREDERICK PETERSON
C. M. REDSTED
KERNAN RDBSON
PAUL C. SMITH
J. C. YOUNGBERG

XVI 11

THE MAGIC CITY

BOARD OF DIRECTORS

GEORGE H. ALLEN
RAYMOND M. ALVORD
G. CHESLEY ANDERSON

E. N. AYER
GEORGE W. BAKER
WAKEFIELD BAKER
CAPTAIN FRANK M. BARTLETT
HENRY BECKER

FRANK G. BELCHER

F. N. BELGRANO, JR.
S. BELITHER
ALBERT M. BENDER
HAROLD BERLINER
LEO M. BIANCO
REGINALD H. BIGGS
LOUI5 BLDCH
JACOB BLUMLEIN
JOHN M. BONNER

A. M. BOWLES

G. W. BRAINARD

H. R. BREAKENRIDGE
LOUIS J. BREUNER
DR. LEROY H. BRIGG5
JOSEPH A. BROWN
E. H. BROWNSTONE
HUGH W. BRUNK
FRANK E. BUCK
HENRY F. BUDDE

C. A. BULLWINKEL
LEWIS F. BYINGTON
CHARLES M. CADMAN
JOHN R. CAHILL

J. F. CALVERLEY

GEORGE T. CAMERON

RICHARD A. CARRINGTON, JR.

THOMAS 0. CARTER

ANTHONY CASTELLINO

W. W. CHAPIN

ALLEN L. CHICKERING

DR. J. FREDERIC CHING

CHARLES A. CHRISTIN

HON. ALFRED J. CLEARY

THOMAS I. COAKLEY

R. B. COONS

R. W. COSTELLD

HON. GEORGE CREEL

TEMPLETON CROCKER

W. W. CROCKER

LELAND W. CUTLER

D. G. DAVIS
HAROLD R. DEAL
ALEXANDER DE BRETTEVILLE
MARSHALL DILL

R. STANLEY DOLLAR
DOUGLAS DORN
FLORENCE DOUGLAS
FRANK P. DDYLE
PORTER DUNLAP
GEORGE B. DUNSCOMB
A. W. EAMES
CLARENCE B. EATON
SIDNEY R. EHRMAN
HENRY EICKHOFF, JR.
CHARLES T. ELSEY
ALFRED I. ESBERG
PHILIP J. FAY

A. R. FENNIMORE
WILLIAM P. FILMER
VINING T. FISHER
WILLIAM FITZMAURICE
HERBERT FLEISHHACKER
JOHN F. FORBES

J. E. FRENCH

R. D. FRISSELLE

FRANK W. FULLER, JR.

B. R. FUNSTEN
FRANK S. GAINES
H. R. GAITHER

A. P. GIANNINI

L. M. GIANNINI

DON E. GILMAN

DR. H. T. GDODSPEED

J. D. GRANT

B. I. GRAVES

A. CRAWFORD GREENE

W. K. GROESBECK

WALTER A. HAAS

GERALD H. HAGAR

MARSHAL HALE

R. B. HALE

GEORGE J. HARNEY

MAURICE E. HARRISON

HON. JOHN F. HASSLER

HON. FRANCK R. HAVENNER

HENRY O- HAWES

JOHN R. HAYDEN

WILLIAM RANDOLPH HEARST

EDWARD H. HELLER

EUGENE HERZDG

ELMER L. HICKS

H. R. HIGGINS

E. E. HILLS

HARRY H. HILP

ROBERT P. HOLLIDAY

CLIFFORD E. HOLMBDE

C. S. HOWARD
J. W. HOWELL
WILLIAM L. HUGHSON
WILLIAM F. HUMPHREY
FRANK JACKSON

A. P. JACOBS
SAMUEL KAHN
M. J. KELLY
A. N. KEMP
GEORGE W. KEMPER
CHARLES KENDRICK
EUGENE F. KERN
JOSEPH H. KING
J. R. KNOWLAND
FREDERICK J. KOSTER
GUS LACHMAN
R. D. LAPHAM
J. B. LEVISON
JOY LICHENSTEIN

E. C. LIPMAN

N. B. LIVERMDRE
JAMES K. LDCHEAD
DAN E. LONDON
BARON LONG
ALFRED J. LUNDBERG

JAMES w. MCALLISTER

F. M. McAULIFFE
JAMES H. McCABE

HON. WILLIAM H. MCCARTHY
HON. W. J. McCRACKEN

A. D. MCDONALD

FELIX S. McGINNIS
CHARLES K. MclNTOSH
WESLEY McKENZIE

GEORGE A. MCQUEEN
PARKER S. MADDUX
DAN P. MAHER
STEPHEN MALATESTA
CARL L. MARITZEN
SAM M. MARKOWITZ
MAURICE M. MARSHALL
WILLIAM MARSHALL
M. S. MAXWELL
THOMAS C. MEAGHER
DWIGHTL. MERRIMAN

D. M. MESSER
WILSON MEYER
GRANT D. MILLER
ROBERT WATT MILLER
HAL MILLS

H. B. MILLS

JAMES K. MDFFITT

J. ELMER MDRRISH

WILL F. MORRISH

S. F. B. MORSE

A. J. MOUNT

PAUL E. MUDGETT

A. STANWOOD MURPHY

D. J. MURPHY

MRS. MARTIN C. NEWALL

HENRY D. NICHOLS

APPENDIX

xix

BOARD OF DIRECTORS (Continued)

HENRY NORTH

R. H. NORTON

JOHN A. O'CONNELL

ROBERT B. ODELL

LOUIS O'NEAL

W. H. ORRICK

JOSEPH OSTERLOH

W. F. OSTRANDER

CURTIS O'SULLIVAN

HON. JOHN J. O'TOOLE

FRED PABST

CHARLES R. PAGE

SILAS H. PALMER

R. P. PAOLI

PHILIP H. PATCHIN

J. H. PATRICK

MORRIS E. PENTER

ADOLPH PETRY

F. ELLIS PIERCE

JAMES E. POWER, JR.

N. R. POWLEY

ARCHIBALD H. PRICE

HERMAN QUAST

JAMES H. QUINN

STUART L. RAWLINGS

MORRIS READ

PHIL RILEY

M. H. RDBBINS

HARRISON S. ROBINSON

HON. ANGELD J. ROSSI

W. P. ROTH

CASS RUNNING

L. P. ST. CLAIR

ANNA SCANLON

RAY SCHILLER

NAT SCHMULOWITZ

CARL SCHUSTER

ALBERT E. SCHWABACHER

CHARLES R. SCHWANENBERG

HARVEY C. SCOTT

PORTER B. 5E5NDN

R. S. SHAINWALD

HON. WARREN SHANNON

HON. JOHN F. SHELLEY

PAUL SHOUP

JUDGE M. C. SLOSS

GEORGE D. SMITH

PAUL C. SMITH

DR. ALDO SOAVE

MAX SOBEL

ALLEN 5PIVOCK

DR. ROBERT GORDON SPROUL

W. H. STEWART

CHARLES STRUB

WALTER GAINES SWANSON

HOLDS R. THOMPSON

JOSEPH S. THOMPSON

W. H. THOMSON

RICHARD M. TOBIN

DR. DON B. TRESSIDER

NION R. TUCKER

EDWARD D. VANDELEUR

W. J. VARLEY

FREDERICK WAGNER

CARLTON H. WALL

EMMETT F. WALT

HON. EARL WARREN

L. A. WARREN

ALEXANDER WATCHMAN

JAMES F. WATERS

T. J. WATSON

HAROLD D. WEBER

WALTER A. WEBER

DR. ALANSON WEEKS

HENRY A. WEICHHART

BUD WEISER

HON. RICHARD J. WELCH

FREDERICK CROCKER WH ITMAN

STANLEY D. WHITNEY

DR. RAY LYMAN WILBUR

HARRY G. WILLIAMS

A. EMORY WISHON

LEONARD E. WOOD

CLEVELAND R. WRIGHT

TRUMAN R. YOUNG

TREASURY DEPARTMENT

JOHN F. FORBES, TREASURER

H. C. BDTTORFF, ASSISTANT TREASURER C. J. HASSON, CONTROLLER

SEE APPENDIX: PAGE 67

SERVICE DEPARTMENT

H. C. BOTTDRFF, DIRECTOR OF OPERATIONS
SEE APPENDIX: PAGE 67

LEGAL DEPARTMENT

COL. ALLEN G. WRIGHT, SECRETARY AND GENERAL COUNSEL
RANDELL LARSON, ASSISTANT COUNSEL

DEPARTMENT OF WORKS

DIRECTOR 1 939 W. P. DAY

DIRECTOR 1 94O H. C. VENSAND

CHIEF OF CONSTRUCTION 1939-4O LLOYD J. BROWN

CHIEF OF STRUCTURAL ENGINEERING 1939 JOHN J. GOULD

CHIEF OF HORTICULTURE 1939 JULIUS J. GIROD

CHIEF OF HORTICULTURE 1 94O ELMER GOULD

CHIEF OF ELECTRICITY 1939 W. R. VAN BOKKELYN

CHIEF OF ELECTRICITY 1 94D GILBERT WOOD

CHIEF OF ARCHITECTURE 1 939 EDWARD L. FRICK

CHIEF OF COLOR 1939. . . . J. E. STANTON

xx THE MAGIC CITY

DEPARTMENT OF WORKS (Continued)

CHIEF OF SPECIFICATIONS 1 939 A. J. EVER5

CHIEF OF TRANSPORTATION 1939 I. B. SHATTLJCK

EXPEDITING OFFICER 1 939 H. V. GRANT

CHIEF OF ROADS AND BRIDGES 1 939 JOHN B. LEONARD

CHIEF OF WATER SUPPLY AND SANITATION 1939 CHARLES H. LEE

CHIEF OF MECHANICAL ENGINEERING 1939 WILLIAM E. LELAND

CHIEF DF RECLAMATION 1 939 JAMES J. WALSH

CHIEF OF JANITORIAL DIVISION 1 94D DON L. GEISERT

DEPARTMENT OF EXHIBITS AND CONCESSIONS

DIRECTOR F. M. SANDUSKY

CHIEF OF CONCESSIONS 1939 FREDERICK WEDDLETON

CHIEF OF CONCESSIONS 1 94O RAY MAXWELL

GOVERNMENTAL PARTICIPATION, EVENTS, CEREMONIES

DIRECTOR 1939 BRIG. GEN. WILLIAM E. GILLMORE

DIRECTOR 1 94O MAJ. D. J. KEATINGE

CHIEF OF STATE PARTICIPATION 1939 KEITH SOUTHARD

DIRECTOR OF SPECIAL EVENTS 1937-3B WALTER REIMERS

CHIEF OF SPECIAL EVENTS 1 939 R. G. CONGDON

CHIEF OF SPECIAL EVENTS 1 94O EARL DARFLER

EXPLOITATION, PROMOTION AND PUBLICITY

DIRECTOR 1 939 C. M. VANDEBURG

ASSISTANT DIRECTOR 1939 CROMPTON BANGS, JR.

DIRECTOR 1 94D JACK JAMES

ASSISTANT DIRECTOR 1 94O GORDON E. CLAYCOMBE

MANAGER PRESS DIVISION 1 939 LYN FOX

MANAGER PRESS DIVISION 1 94D J. A. COOK

MANAGER MAGAZINE DIVISION 1 939 BILL WRIGHT

MANAGER MAGAZINE DIVISION 1 94D EARLE V. WELLER

MANAGER PUBLICATIONS AND PROMOTION DIVISION 1939 FRANK FELIZ

MANAGER PUBLICATIONS AND PROMOTIONS DIVISION 1 94O LEE BLAIR

MANAGER RADIO DIVISION 1939 ARTHUR E. ROWE

MANAGER RADIO DIVISION 1 94D ROBERT COLESON

MANAGER PHOTO DIVISION 1939-4O CARL WALLEN

MANAGER LECTURE DIVISION 1 939 FRANK PETERSON

MANAGER TRAVEL DIVISION 1939 NEWMAN TUCKER

MANAGER ART DIVISION 1939 KEN SAWYER

MANAGER ART DIVISION 1 94O NEIL SAMPSON

DEPARTMENT OF THE PACIFIC AREA

CONSULTANT 1 939 PHILIP N. YOUTZ

DIRECTOR 1 94D DR. GRACE L. McCANN MORLEY

DEPARTMENT OF FINE ARTS

VICE CHAIRMAN 1 94O TIMOTHY L. PFLUEGER

SECRETARY 1939-194D KENNETH SLAUGHTER

CHIEF FINE ARTS DIVISION DR. LANGDDN WARNER

CHIEF DECORATIVE ARTS DIVISION DOROTHY WRIGHT LIEBES

LIVESTOCK DEPARTMENT

E. J. FJELDSTED, DIRECTOR 1939

MUSIC AND SHOWS DIRECTORS

E. D. BONDESON . .1 939- 1 94O PAUL POSZ 1 939

APPENDIX

xxi

COMMITTEE CHAIRMEN

ARCHITECTURAL COMMISSION ARTHUR BRDWN, JR.

AVIATION COMMITTEE FRANK W. FULLER, JR.

COMMITTEE ON CONCESSIONS AND AMUSEMENTS J 1 ^39 MILTON H. ESBERG

1 i94n — N. L. MCLAREN
COMMITTEE ON SPECIAL EVENTS, CEREMONIES AND SOCIAL AFFAIRS . . . W. P. F. BRAWNER

EXHIBITS COMMITTEE A. EMORY WISHDN

FINANCE COMMITTEE J 1 93B — KENNETH R. KINGSBURY

< 1939 JAMES B. BLACK

FINE ARTS COMMITTEE } ^39 HERBERT FLEISHHACKER

< 1 94O RICHARD M. TOBIN

VICE-CHAIRMAN T. L. PFLUEGER

COMMITTEE ON GOVERNMENTAL PARTICIPATION S. F. B. MORSE

COMMITTEE ON LIVESTOCK AFFAIRS j. SHELDON POTTER

MARINE EVENTS COMMITTEE PHILIP FINNELL

Music COORDINATING COMMITTEE MRS. LENORA WOOD ARMSBY

COORDINATING COMMITTEE FDR THE PACIFIC AREA DR. RAY LYMAN WILBUR

PROMOTION COMMITTEE TED HUGGINS

TRANSPORTATION COMMITTEE H. R. HIGGINS

WELFARE COMMITTEE MORTIMER FLEISHHACKER, JR.

WOMEN'S BOARD MRS. GEORGE T. CAMERON

WORKS COMMITTEE SILAS PALMER

ADVISORY PLANNING COMMITTEE

ALLEN, R. F.
BDNNER, JOHN M.
BRUNNIER, H. J.
BUTLER, HARMON S.
COFFMAN, WM. M.
CDDNS, ROBERT B.
CUDDY, JOHN
GUMMING, JOSEPH M.
DERLETH, CHARLES, JR.
DIXON, J. E.
EDMONDSON, CLYDE
GILMAN, DON
HAMMAN, K. L.
HICKEY, JOSEPH R.
KING, JOSEPH H.
KLAWANS, J. RUFUS
LATHROP, FRANK C.

McCRACKEN, HON. W. J.
MAILLAIRD, J. W. JR.
MERCHANT, W. G.
MEYER, FREDERICK H.
MILLER, CHESTER H.
OPPENHEIMER, SELBY
PABST, FREDERICK W.
POWEROY, HUGH R.
REINHART, R. W.
ROSSI, HON. ANGELO J.
SHATTUCK, IRA S.
SHEA, JOHN F.
THOMPSON, JOSEPH S.
WALES, JAMES E.
WELLER, EARLE V.
WOODFIELD, WM. H., JR.

ARCHITECTURAL COMMISSION

ARTHUR BROWN JR. LEWIS P. HDBART ERNEST E. WEIHE

WILLIAM G. MERCHANT TIMOTHY L. PFLUEGER

RICHARD BRADLEY
W. P. F. BRAWNER
ARTHUR CONDVER
HENRY EICKHOFF

AVIATION COMMITTEE

FRANK W. FULLER, JR., CHAIRMAN

GEN. W. E. GILLMORE
TED HUGGINS
GEORGE NORTH
A. EMORY WISHON

BRIDGE CELEBRATION FOUNDING COMMITTEE

ADAMS, CHARLES C.
ALLEN, R. F.

AMENT, HON. EDWARD N.
ANDERSON, FRANK B.
BAEN, CLARENCE E.
BIEBRACH, W. L.
BDGGS, LEE S.
BONNER, JOHN M.
BROWN, CHARLES R.
BRUNER, A. W.
BULL, E. B.
BURKHARDT, W. N.

CAMERON, GEORGE C.

CAMPBELL, GEORGE B.

CARR, HON. OSSIAN E.

CARRINGTON, R. A.

CASEY, MICHAEL

CLEARY, HON. A. J.

CONNOLLY, ROBERT E.

COOMBS, NATHAN

COONS, NEWELL

COOPER, CLARENCE N.

CRAIG, MAJOR GENERAL MALIN B.

CUMMING, JOSEPH M.

XX11

THE MAGIC CITY

BRIDGE CELEBRATION FOUNDING COMMITTEE (Continued)

CURTIS, E. N.
CUTLER, LELANDW.
DAVIS, M. R.
DIXDN, DAWSDN
DDHRMANN, FRED W.
DDYLE, FRANK P.
EDMDNDSDN, CLYDE
EDWARDS, L. P.
ELLSWORTH, HON. OLIVER
FENNIMORE, W. D.
FILMER, WM. P.
FINLEY, ERNEST
FISHER, H. P.
FISHER, R. E.
FORBES, J. F.
FUN5TEN, B. R.
DIBERSON, J. R.
GILMAN, DON
HALE, MARSHAL
HALE, R. B.
HAMILTON, WM. J.
HOLLIDAY, ROBERT P.
HAYDEN, J. EMMET
HAYDEN, J. R.
HUGHSON. WILLIAM L.
JENSEN, LEX
JONES, F. V.
KEESLING, FRANCIS V.
KING, JOSEPH H.
KNOWLAND, JOSEPH R.
LAVERS, C. N.
LAWS, ADMIRAL GEORGE
LINDNER, CLARENCE
LUTGENS, HARRY
MAXWELL, THOMAS

McCRACKEN, HON. WM. J.

MCDONALD, ANGUS

MAILLAIRD, J. W.f JR.
MEEK. B. B.
MEYER, WILSON
MYERS. MAJ. GEN. JOHN T.
MORRISH, WILL F.
MURRAY, HON. WILLIAM F.
NORRIS. T. W.
D'CDNNELL, JOHN A.
O'HARA, T. J.
DLMSTED, J. E.
PABST, FREDERICK W.
PARKER, JOSEPH M.
PARSONS, I. B.
PATCHIN, PHILIP H.
PDWLEY, N. R.
PRESLEY, GEORGE J.
REICHEL, WILLIAM F.
ROBINSON, HARRISONS.
ROSSI, HON. ANGELD J.
RYDER, E. G.
SANFORD, P. M.
SILVEY, J. M.
SMITH, H. H.
STEIN, DR. J. L.
THOMPSON, FRED
THOMPSON, HON. HOLLI5 R.
THOMPSON, JOSEPH S.
TREADWELL, EDWARD F.
TRUMBULL, ROBERT
WILLIAMS, GEORGE W.
WOOD, HOWARD I.
WDDDFIELD, WILLIAM, JR.

COMMITTEE ON CONCESSIONS AND AMUSEMENTS

MILTON H. ESBERG, CHAIRMAN

WALTER H. SULLIVAN, VICE CHAIRMAN
DON GILMAN
SAM G. BLYTHE
CHARLES H. STRUB

J. PAUL ST. SURE
GENE BUCK
N. L. MCLAREN

SUB-COMMITTEE TO THE COMMITTEE ON CONCESSIONS AND AMUSEMENTS

LEWIS A. LAPHAM
KENETH MONTEAGLE
MILTON H. ESBERG, JR.

JOHN M. MENZIE5
PORTER SESNON

COMMITTEE ON SPECIAL EVENTS, CEREMONIES
AND SOCIAL AFFAIRS

Music:

PAUL A. BISSINGER

SPORTS:

RENWICK G. CONGDON

ARTHUR CONOVER

W. P. F. BRAWNER, CHAIRMAN

STATES & CITIES;
DWIGHT L. MERRIMAN

MISCELLANEOUS:
CLIFTON MAYNE
FRANK W. TEASDEL

BUSINESS & PROFESSIONAL:

W. K. DYSON

FOREIGN:
HAIGHT STANTON

FRATERNAL:
G. M. NEUMAN

STAFF MEMBERS:
STANLEY BEAUBAIRE
WALTER REIMERS, SECRETARY

BUSINESS AND PROFESSIONAL (Sub-Committee)

ARDEN R. DAVIDSON
GEORGE D. GAVIN
JOHN J. HASTER

L. E. TOWNSEND
CARL ZACHRISSON

A PPENDI X

xxm

SPORTS COMMITTEE (Sub-Committee)

GERALD M. NAUMAN, CHAIRMAN

J. A. ADDLEMAN
HARRY B. ALTEN
FAY BOWMAN
D. W. BRDBST
EDWARD CHANDLER
ROBERT A. CHISHDLM
WALTER M. CHRISTIE
W. J. CLASSEN
JOHN S. COATES
WM. M. COFFMAN
J. J. CONDON
JAMES J. CRONIN
JOHN P. CLJNEO
GEORGE DAVIS
LLOYD DINKELSPIEL
SAM DUNNE
KY EBRIGHT
PHIL FINNELL
FRANK E. R. GEIS
CAPTAIN CHAS. GOFF
WALTER D. HELLER
A. T. HEUER
JOSEPH R. HICKEY
MORRIS HUDSON

CHAS. F. HUNTER
ELMER W. IRWIN
L. V. JOHNSON
HENRY KANTER
HOWARD KINSEY
JAMES LANG
DOUGLAS B. LEWIS
C. W. LINDEMANN
E. P. MADIGAN
HARRY MALONEY
ALFRED M. MASTERS
PAUL G. MCDONALD
R. A. MCGUIRE
PHIL PATTERSON
FATHER LEO POWELSON
KENNETH PRIESTLEY
CAPT. L. E. ROGERS
AL SANDELL
R. C. SCHWERIN

L. T. SHAW
JOS. SPRINGER
GERALD STRATFORD
RUSSELL WISLER
HARRY WOLTER

FENCING

FERARD LEICESTER, CHAIRMAN

ELWYN BUGGE, SECRETARY
ERICH FUNKE
JAMES N. HOWELL
MARY GARD JAMISON
HELEN MAYER
HARRY MALONEY

MALCOLM MCDONALD
BRYAN H. SMITH
JACK THOMPSON
HARRY UYTTENHOVE
EDWARD H. VISCONTI

INTER-COLLEGIATE BOXING

W. E. ACKERMAN
HARRY MALONEY
ALFRED R. MASTERS
JOSEPH NIDEROST

J. B. RICE
MYRON SCHMALL
I. F. TOOMEY

FAY BOWMAN
ERNST BRANSTEN
DR. A. DE FERRARI
HAROLD DITTMORE
RAY DOUGHERTY
E. C. LA MONTAGNE

SWIMMING

PHILIP PATTERSON, CHAIRMAN

GUS RISSMAN
L. V. JOHNSON

DISTANT SWIMMING:
HARRY CORBETT, CHAIRMAN

FRAZIER BAILEY
JACOB BLUMLEIN
AMBROSE DIEHL
HERBERT FLEISHHACKER

EXHIBITS COMMITTEE

A. EMORY WISHON, CHAIRMAN

REED FUNSTEN
CARL HEISE
EDWIN OLIVER
ALMON E. ROTH

FINANCE COMMITTEE

JAMES B. BLACK, CHAIRMAN

HENRY Q. HAWES

RAY W. SMITH

WALLACE M. ALEXANDER

W. H. BERG

CHARLES R. BLYTH

CHARLES M. CADMAN
W. W. CROCKER
BARTLEY C. CRUM
PERRY T. CUMBERSON

XXIV

THE MAGIC CITY

FINANCE COMMITTEE (Continued)

MILTON H. ESBERG
HERBERT FLE ISH HACKER
J. E. FRENCH

A. P. GIANNINI

B. I. GRAVES
SAMUEL KAHN

J. R. KNDWLAND
FREDERICK J. KOSTER
ROGER D. LAPHAM
J. B. LEVISON
ALFRED J. LUNDBERG

J. W. MAILLIARD, JR.
A. D. MCDONALD

A. H. MEYER
GEORGE D. SMITH
J. H. THRELKELD
L. A. WARREN
MICHEL D. WEILL
EX-DFFICIO:

ATHOLL McBEAN
LELAND W. CUTLER
JOHN F. FORBES

COMMITTEE FOR THE DEPARTMENT OF
GOVERNMENTAL PARTICIPATION

S. F. B. MORSE, CHAIRMAN

WALLACE ALEXANDER
SYLVESTER ANDRIANO
ETTORE AVENALI
S. BELITHER
J. B. BLAIR
CHARLES R. BLYTH
PHILIP BRADLEY
WM. H. BURKHARDT
H. B. COLLIER
J. S. CURRAN
PAUL DIETRICH
MARSHALL DILL
STANLEY DOLLAR

D. PORTER DUNLAP
ALFRED EHRMAN
PAUL I. FAGAN
PHILIP J. FAY

E. T. FORD
TIREY L. FORD
L. M. GIANNINI
DON GILMAN
STANFORD GWIN
H. H. HAIGHT
FRED G. HARPER
MAURICE E. HARRISON
CHARLES KENDRICK

P. A. KINNOCH
JOSEPH KNDWLAND
FRED T. KOSTER
CLIFTON KROLL

ROGER LAPHAM

JOY LICHTENSTEIN

IRA S. LILLICK

CLARENCE LINDNER

N. B. LIVERMORE

HUGH MACKENZIE

FRANCIS B. LOOMIS

ELLIOT MCALLISTER, JR.

RENE A. MAY

WILSON MEYER

CLAY MILLER

GEORGE MONTGOMERY

GENERAL THORNWELL MULLALLY

WILLIAM OLIN

W. R. PHILLIPS

JEROME POLITZER

THOMAS ROLPH

W. P. ROTH

ALBERT E. SCHWABACHER

ROBERT SIBLEY

PAUL SMITH

NION R. TUCKER

RICHARD TURNER

PAUL VERDIER

FREDERICK WAGNER

EARL WARREN

MICHEL WEILL

BRAYTON WILBUR

COL. C. H. YOUNG

COMMITTEE ON LIVESTOCK COMMITTEE

W. H. BABER
ERWIN C. EASTDN
SAMUEL H. GREENE
ROBERT P. HDLLIDAY
FRED KLEPPE

J. SHELDON POTTER, CHAIRMAN

JOHN P. LAWLOR

CHARLES R. PAGE

A. T. SPENCER

J. W. MAILLIARD, JR. CEx-DFFICID]

MUSIC COORDINATING COMMITTEE

MRS. LENORA WOOD ARMSBY, CHAIRMAN

DON E. GILMAN HOWARD K. SKI NNER

ROBERT W. MILLER R I CHARD M. TOBI N

GUIDO MUSTO MILTON ESBERG CEx-DFFICID]

MRS. MARJDRIE PETRAY W. P. F. BRAWNER CEx-OFFICIOD

DONALD THORNBURG

COORDINATING COMMITTEE FOR THE PACIFIC AREA

DOCTOR RAY LYMAN WILBUR, CHAIRMAN

MRS. DUNCAN McDUFFIE
DOCTOR CARL ALSBERG
MRS. WILLIAM DENMAN
MRS. ALFRED MCLAUGHLIN
HERMAN PFLEGER
JUDGE M. C. SLOSS
DR. R. G. SPROUL
ROGER LAPHAM
WALLACE ALEXANDER
ALBERT BENDER
SIDNEY M. EHRMAN

A. CRAWFORD GREENE

HDN. HERBERT HOOVER

JEROME POLITZER

DR. HOWARD NAFFZIGER

RICHARD M. TOBIN

R. S. TURNER

DR. W. W. BDARDMAN

JUDGE WILLIAM DENMAN

EDWIN DICKINSON

GALEN M. FISHER

APPENDIX

XXV

COORDINATING COMMITTEE FOR THE PACIFIC AREA

(Continued)

MISS MABEL GILLI5

MRS. ARTURD G. DRENA

RT. REV. E. L. PARSONS

STUART RAWLINGS

DR. AURELIA H. REINHARDT

MRS. LENDRA WDDD ARMSBY

RAYMOND ARMSBY

MRS. GEORGE CREEL

BARTLEY DRUM

MRS. WILLIAM DENMAN

MRS. MILTON ESBERG

MARSHALL MADISON

RICHARD ODDIE

DR. ROBERT CALKINS

TEMPLETON CROCKER

DR. HERBERT EVANS

DR. HERBERT E. GREGORY

DR. A. L. KROEBER

DR. F. M. McFARLAND

DR. JOHN C. MERRIAM

DR. CARL SAUER

DR. ROBERT E. SWAYNE

PROMOTION COMMITTEE

TED MUGGINS, CHAIRMAN

CLAY BERNARD, VICE CHAIRMAN

WINSTON C. BLACK

J. L. BOSSEMEYER

HAROLD J. BDYD

W. A. BROWN

RALPH BRUNTON

J. E. CARPENTER

CHARLES D. CARROLL

CARLTON S. CONNOLLY

PASCAL COWAN

GEORGE CREEL

JOHN CUDDY

JOSEPH M. GUMMING

HAROLD R. DEAL

R. W. DOE

DENIS DONDHOE

CARL J. EASTMAN

CLYDE EDMONDSON

L. R. EVERETT

P. T. FARNSWORTH

WALTER A. FOLGER

MISS JULIE GOSS

HOWARD G. HANVEY

GENE HOFFMAN

HARRY H. HOLLISTER

WALLACE I. HUTCHINSON

A. C. JOY

CHRIS LYKKE

W. H. MOLJLTHROP

D. V. NICHOLSON

GEORGE L. NORTH

EDWARD F. O'DAY

JOHN W. PETTIT

J. H. QUIRE

BURCK SMITH

WM. ST. SURE

WALTER G. SWANSON

I. 5. TERRELL

F. q. TREDWAY

HARRY TROUPE

FRANCIS WALTON

JOSEPH C. WHITNAH

HAL WILTERMOOD

MISS ZELIA ZIGLER

MISS ELIZABETH HARRIS

JOHN B. LONG

DWIGHT O'DELL

MAJOR ERNIE SMITH

AVIATION:

5. A. STIMPSON

TRANSPORTATION COMMITTEE

H. R. HIGGINS, CHAIRMAN

F. S. McGINNIS

INDUSTRY:

I. F. LYONS

R. N. SLINGERLAND

RAILWAYS:
J. R. HAYDEN

J. F. HOGAN

STEAMSOIP LINES:
L. E. ARCHER
DREW CHIDESTER

J. E. RYAN

TRAVEL AGENCIES:
B. A. LECHNER
A. L. HAMMELL

SUB-COMMITTEES OF THE TRANSPORTATION COMMITTEE:

RAIL PASSENGER TRAFFIC:
F. S. McGINNIS, CHAIRMAN

J. R. HAYDEN
J. F. HOGAN

RAIL FREIGHT TRAFFIC:

J. F. HOGAN, CHAIRMAN

J. R. HAYDEN

IRVING F. LYONS

WATER PASSENGER TRAFFIC:

LEO E. ARCHER, CHAIRMAN

F. A. BAILEY
DREW CHIDESTER

WATER FREIGHT TRAFFIC:

DREW CHIDESTER, CHAIRMAN

F. A. BAILEY

IRVING F. LYONS

INTRA-FAIR AND AUTO TRAFFIC:

R. N. SLINGERLAND, CHAIRMAN

J. R. HAYDEN

J. F. HOGAN

AIR TRAFFIC:

S. A. STIMPSON, CHAIRMAN

B. A. LECHNER

R. N. SLINGERLAND

WELFARE COMMITTEE

MORTIMER FLEISHHACKER, JR., CHAIRMAN

MISS HELEN H. BRIDGE B. W. LETCHER

JOHN H. McCALLUM MRS ELIZABETH LOSSING

MRS. MILTON H. ESBERG EMERY EDWARD STONE

MISS ALICE GRIFFITH MRS. F. BURCKHALTER

MISS ANNIE CLD WATSON RABBI WM. M. STERN

JOHN C. NEUBAUER MRS. WM. L. HYMAN

XXVI

THE MAGIC CITY

WOMEN'S BOARD

MRS. GED. T. CAMERON, CHAIRMAN
MRS. HAZEL P. FAULKNER, SECRETARY

MRS. GEORGE CREEL MRS. E. S. HELLER

MRS. WILLIAM DENMAN MRS. DUNCAN McDUFFIE

MRS. JOHN F. FORBES MRS. ALFRED MCLAUGHLIN

MRS. WALTER HAAS MRS. HENRY POTTER RUSSELL

RAYMOND ALVDRD
CARL G. BROWN
A. B. CAHILL

E. B. DEGDLIA

MARSHALL DILL
WM. H. HARRELSON
N. B. LIVERMORE

WORKS COMMITTEE

SILAS PALMER, CHAIRMAN

ARTHUR H. MARKWART
ALBERT C. MATTEI
WARREN H. McBRYDE
DWIGHT L. MERRIMAN
STUART L. RAWLINGS
COL. JOHN H. SKEGGS

1939 EXHIBITS

ACME EXHIBITS

CACME BREWING CO. 3

ADDRESSaDRAPH -MULTI GRAPH CORP.
AETNA CASUALTY & SURETY CO.

AETNA LIFE INSURANCE CO.

THE AUTOMOBILE INS. CO.

THE STANDARD FIRE INS. CO.
AMERICAN BIBLE SOCIETY
AMERICAN DENTAL ASSN.
AMERICAN EXPRESS CO.
AMERICAN LEGION
AMERICAN MEDICAL ASSN.
AMERICAN NATIONAL RED CROSS
AMERICAN POTASH & CHEMICAL CORP.
AMER. RADIATOR & STAND. SAN. CORP.
ARMOUR & COMPANY
ATCHISON TOPEKA & SANTA FE RY.
BALDWIN PIANO COMPANY
BANK OF AMERICA N. T. & S. ASSN.
BARKER BROTHERS
BASALT ROCK CO., INC.
BETHLEHEM STEEL CO.
THE BOOKHOUSE FOR CHILDREN
BOWIE SWITCH COMPANY
BOY SCOUTS OF AMERICA, INC.
BRITO-CANADIAN MACHINE CO.
CALIF. ACADEMY OF SCIENCE
CALIF. ASSN. OF ICE INDUSTRIES
CALIF. COMMISSION FOR G. G. I. E.

AGRICULTURE CSEC. BD

CALIFORNIA MEDICAL ASSN.

DEPT. OF INSTITUTIONS

DEPT. OF MOTOR VEHICLES

DEPT. OF PENOLOGY

CDiv. OF NARCOTIC ENFORCEMENT}

DEPT. OF SOCIAL WELFARE

EDUCATIONAL PROGRAM

INDUSTRIAL ACCIDENT COMMISSION

STATE BOARD OF EDUCATION

STATE DEPT. OF PUBLIC HEALTH

TREASURE MOUNTAIN

UNIVERSITY OF CALIFORNIA
CALIF. -NEVADA RAILROAD
CALIFORNIA COTTON MILLS CO.
CALIF. FRUIT GROWERS EXCHANGE
CALIFORNIA NURSERY COMPANY
CALIFORNIA PACKING COMPANY
CALIF. TUBERCULOSIS ASSN. INC.
CALIF. WALNUT GROWERS ASSN.
CAMEL-BELL, INC.

CHICAGO & NORTHWESTERN RY. CO.
CHRISTIAN BUSINESS MEN'S COM.
CHRISTIAN SCIENCE ACTIVITIES AT G.

G. I. E., INC.
CHURCH OF JESUS CHRIST OF LATTER

DAY SAINTS
CHRYSLER SALES CORPORATION

AIRTEMP, INC.

AMPLEX CORP.

DE SOTO MOTOR CORP.

DODGE BROS. CORP.

FARGO MOTOR CORP.

PLYMOUTH MOTOR CORP.
CIBA PHARMACEUTICAL PROD. INC.
CITY OF PARIS DRYGOODS CO.
COCA COLA BOTTLING CO. OF CALIF.
THE COLEMAN LAMP & STOVE CO. OF

CALIFORNIA

COMPTON METAL HOMES
CONSTRUCTION INDUSTRIES SECTION

S. F. CHAMBER OF COMMERCE
THOS. COOK & SONS-WAGON-LITS INC.
CRANE COMPANY
A. CROSETTI BROS. & CO.
CROWN -ZELLERB AC H CORP.
DAGGETT & RAMSDELL
DAHL MANUFACTURING CO.
DENVER & RIO GRANDE WESTERN RY.
DESERT DATE SHOP
M. H. DEYOUNG MEMORIAL MUSEUM
DIAMOND SAVILIFT CO.
DOSS ENAMELING CO. & WESTERN

STOVE CO.

THE DORR COMPANY, INC.
DOUGLAS FIR PLYWOOD ASSN.
THE DOW CHEMICAL COMPANY
AUGUST E. DRUCKER CO.
DUTROW & JOHNSON

EDISON GENERAL ELEC. APPLIANCE
ELECTRIC HOUSEHOLD UTILITIES

HURLEY MACHINE DIV.
ELGIN NATIONAL WATCH CO.
ENCYCLOPEDIA AMERICANA
EVINRUDE MOTORS
E. I. DU PONT DE NEMOURS & CO.

DU PONT FILM MFG. CORP.
EXHIBITORS ART & DESIGN SERV., INC.
EXPOSITION MODEL TOURS, INC.
FEDERAL ART PROJECT
FEDERAL HOUSING ADMINISTRATION
FEDERAL THEATER PROJECT
FORD MOTOR COMPANY

THE AMERICAN BRASS CO.

CHAMPION SPARK PLUG CO.

FIRESTONE TIRE & RUBBER CO.
ROBERT FOWLER
W. P. FULLER & CO.
THE FULLER BRUSH COMPANY
GENERAL CABLE CORPORATION
GENERAL ELECTRIC CO.
GENERAL MOTORS CORP.

BUICK MOTOR DIV.

CADILLAC MOTOR CAR DIV.

CHEVROLET MOTOR DIV.

DIESEL ENGINE DIV.

LA SALLE MOTOR CAR DIV.

XXV11

1939 EXHIBITS (Continued)

DLDSMDBILE DIV.

PDNTIAC MOTOR DIV.
GENERAL TIME INSTRUMENTS CORP.

BETH THOMAS DIV.

5TRDMBERG ELECTRIC CO.

WESTCLDX DIV.

WESTERN CLOCK CO., LTD.
W. W. GIBSON
GIRL SCOUTS
MRS. MORTON R. GIBBONS

A. GIURLANI & BRO.
GLADDING McBEAN & CO.
GOODYEAR TIRE & RUBBER CO.

B. F. GOODRICH CO.
MILLER

HOOD
DIAMOND
BRUNSWICK

GOLDEN GATE EXPOSITION PETROLEUM
EXHIBITORS, INC.
ETHYL GASOLINE CORP.
GEN. PETROLEUM CORP. OF CALIF.
GILMORE OIL CORP.
RICHFIELD OIL CORP.
RID GRANDE OIL CD.
SEASIDE OIL CO.
SHELL OIL CO.
SIGNAL OIL CO.
SUNSET OIL CO.

STANDARD OIL CD. OF CALIF.
THE TEXAS CO. OF CALIF.
TIDEWATER ASSOCIATED OIL CO.

CASSDCIATED DIVISIDN3

UNION OIL CO. OF CALIF.
THE GRAYLINE, INC.

GREAT WESTERN ELECTRO CHEM. CO.
DAVID DRAY, JR.
TED GRISWOLD
THE GROLIER SOCIETY, INC.
H. J. HEINZ CO.
HILLS BROS.
CHAS. HOLTZ
THE HOOVER CO.
FATHER HUBBARD ARCTIC EXPEDITION

CLOANJ

JOHN B. HUGHES
IMPERIAL PEARL SYNDICATE
INDEPENDENT ORDER OF FORESTERS
INGLESIDE PUBLIC GOLF COURSE
INTERNAT'L BUSINESS MACHINES CORP.
INTERNAT'L CORRES. SCHOOLS
ITALIAN SWISS COLONY
JOHNS-MANVILLE SALES CORP.
JOHNSON MOTORS
JOSHUA HENDY IRON WORKS
THE JUNKET FOLKS
KERR GLASS MFD. CO.
KEYSTONE BROTHERS
LAKE ELSINORE CLUBS
LA SALLE EXTENSION UNIV.
LEDERLE LABORATORIES, INC.
LESLIE SALT COMPANY
LEVI STRAUSS & CO.
LIBERTY ORCHARDS CO.
LIBBY McNEILL & LIBBY
LIBBEY-OWENS-FORD GLASS CO
ELI LILLY & COMPANY
LIONS INTERNATIONAL
LITTLE CHURCH IN THE WILDWOOD
LOGAN KNITTING MILLS
LOS ANGELES KNITTING MILLS, INC
LUTHERAN CHURCH CMissaum SYNOD}
LYONS-MAGNUS INC.
MARCHANT VALVE CORP.
C. W. MARWEDEL

AETNA BALL BEARING CO.

AMERICAN SWISS FILE & TOOL CO

BOSTON GEAR WORKS, INC

CINCINNATI TOOL CO.

DIAMOND EXPANSION BELT CO

EAGLE MANUFACTURING CO.

EASTMAN MANUFACTURING CO.

EGYPTIAN LACQUER CO.
FAULTLESS CASTER CO.
EDWIN H. FITLER
HANSON CLUTCH & MFG. CO.
IMPERIAL BRASS MFG. CO.
JOHNSON BRONZE CO.
JOYCE-GRIDLAND CO.
LINCOLN BRASS WORKS
OSBORN MFG. CD.
WM. H. OTTEMILLER CO.
PARKER-KALAN CORP.
REED MFG. COMPANY.
STANDARD PRESSED STEEL CO.
STANLEY ELECTRIC TOOL DIV.
L. 5. STARRETT CO.
N. A. STRAND & CO.
D. A. STUART & CO.
U. S. GAUGE CD.

UTICA DROP FORGE & TOOL CO.
J. H. WILLIAMS & CO.
MASONITE CORP.
HENRY B. MAAS
MAYO FOUNDATION
G. & C. MERRIAM CO.
THE MERRILL CO.
METROPOLITAN LIFE INS. CO.
LEO J. MEYBERG CO.
MILLS COLLEGE

McGRAW HILL PUBLISHING CO.
THE MINE & SMELTER SUPPLY CO.
MISSION SWEATER SHOPS
MONSANTO CHEMICAL CO.
GABRIEL MOULIN STUDIO
MYSTOPLANE CO., INC.
NATIONAL AUTOMOBILE CLUB
NATIONAL AUTOMOBILE FIBRES, INC.
NATIONAL BISCUIT CO.
NATIONAL-STANDARD CO.
THE NAT'L CASH REGISTER CO.
NEPTUNE METER COMPANY
NEVADA-MASSACHUSETTS CD.
OAKLAND CHAMBER OF COMMERCE
THE OKONITE COMPANY
OLIVER UNITED FILTERS, INC.
THE ORIGINAL UTAH WOOLEN MILLS
OWENS-ILLINOIS PAC. COAST CO.
PACIFIC COAST GAS ASSN.
AMERICAN BRASS CD.
AMERICAN METER CO.
AMERICAN STOVE CO.
ART CONCRETE WORKS
ATLAS HEATING & VENTIL. CO., LTD.
H. R. BASFORD CO.
CALIF.-PACIFIC UTILITIES CO.
CENTRAL ARIZ. LIGHT & POWER CD.
COAST COUNTIES GAS & ELEC. CO.
CONTINENTAL WATER HTR. CO. LTD.
CRIBBIN & SEXTON CO.
DAY & NIGHT WATER HTR. CO. LTD.
S. R. DRESSER MFG. CO.
EL PASO NATURAL GAS CO.
FRASER FURNACE CO., INC.
GAFFERS & SATTLER
GENERAL WATER HEATER CORP.
JAMES GRAHAM MFG. CO.
GRAYSON HEAT CONTROL LTD.
HAMMER-BRAY CO.
HONOLULU GAS COMPANY
HOYT HEATER CO. OF NO. CALIF.
IRONRITE IRONER CO.
MERCO NORDSTROM VALVE CO.
MERIT WATER HEATER CO. LTD.
LEO J. MEYBERG CO.
MISSION WATER HEATER CO.
NORGE DIV. BERG WARNER CORP.
THE MUELLER COMPANY
PACIFIC GAS & ELECTRIC CO.
PACIFIC GAS RADIATOR CD.
PAYNE FURNACE & SUPPLY CD.
PITTSBURGH EQUITABLE METER CD.
PORTLAND GAS & COKE CO.
RELIANCE REGULATOR CORP.
REPUBLIC ELEC. POWER CORP.

XXV111

THE MAGIC CITY

1939 EXHIBITS (Continued)

GEO. D. RDPER CORP.

RUDD MANUFACTURING CD.

SANTA MARIA GAS CD.

SAN JOAQUIN LIGHT & POWER CORP.

SEATTLE GAS COMPANY

SERVEL, INC.

SIERRA PACIFIC POWER CD.

SO. CALIF. GAS CO.

SO. COUNTIES GAS CD.

SPRAGUE METER CD.

WARD HEATER CD., LTD.

WELSBACH COMPANY
PACIFIC ELECTRIC MFG. CO.
PACIFIC GAS & ELECTRIC CD.
PACIFIC GREYHOUND LINES
PAC. INTERCLUB YACHTING ASSN.
PACIFIC RDENTGEN CLUB
THE PACIFIC TEL. & TEL. CD.
PAN AMERICAN AIRWAYS INC.
THE PARAFFINE CDS., INC.
PEACE PROJECTS, INC.
THE PIONEER FLINTKOTE CD.
PIPER AIRCRAFT CORP.
THE PULLMAN COMPANY
PEFFER MUSIC COMPANY
PENNSYLVANIA RAILROAD CO.
FRANCOIS & HENRI PERROSET
PITTSBURGH PLATE GLASS CD.
PLANTERS NUT & CHOC. CO.
POSTAL TELEGRAPH CD.
THE QUARRIE CORP.

RADIO CORPORATION OF AMERICA
RAILWAY EXPRESS AGENCY, INC.
RAILWAY & LOCOMOTIVE HIST. SOC.
REMINGTON-RAND INC.
REFRESHMENT, INC.
REX IMPORT CD.
RHEEM MFG. CO.
JOHN A. ROEBLING'S SONS CO.
ROMA WINE CO.
ROYCE INDUSTRIES, INC.
ST. FRANCIS HOSPITAL PROP'S. INC
THE SALVATION ARMY
SANDOZ CHEMICAL CD.
SANGAMD ELECTRIC CO.
SAVE -THE -REDWOODS- LEAGUE
SCHERING CORP.
A. SCHILLING & CO.
SCHLAGE LOCK CO.
SCHUCKL & CO., INC.
SEE'S CANDY SHOPS, INC.
A. SENSENBRENNER SONS
S. F. AQUARIUM SOCIETY
S. F. ASSOCIATION FOR THE BLIND
S. F. ELECTRICAL DEVELOPMENT

LEAGUE

S. F. GAS MODEL CLUB

S. F. JUNIOR CHAMBER OF COMMERCE
SIMON MATTRESS MFD. CO.
SINGER SEWING MACHINE CO.
SLEEPER, INC.

ADAM WUEST, INC.

ALEXANDRIA BEDDING CO.

ARROW BEDDING CO.

AUGUSTA BEDDING CO.

CAPITAL BEDDING CD.

CHATTANOOGA MATTRESS CO.

L. C. DOUP

ENTERPRISE MATTRESS CO.

ENTERPRISE MOAKLER CO.

FLORIDA SPRING MFG. CO.

GLDBE BEDDING CD.

GORDON-CHAPMAN CO.

HANDCRAFT BEDDING CORP.

F. S. HARMON MFD. DO.

HERR MFD. CO.

J. C. HIRSCHMAN CO.

HONORBILT PRODUCTS, INC.

INDRAHAM MATTRESS & MFG. CO.

JAMISON-ANCHOR BEDDING CD.

KENTUCKY SANITARY BEDDING CD.

MARQUARDT BEDDING CO.

McENTIRE BROTHERS

NAT'L ROSE SPRING & MATTRESS CO.

PERFECTION MATTRESS & SPRG. CD.

RE-LY-DN PRODUCTS CO.

ROYAL BEDDING CD.

SALT LAKE MATTRESS MFG. CO.

SIMDN MATTRESS MFG. CD.

SLEEPER INC. OF CHICAGO
SOULE STEEL CO.
SOUTHERN PACIFIC CD.

SPIRITUAL ASSEMBLY OF BAHAI OF S.F.
SPERRY GYROSCOPE CD., INC.
J. D. & A. B. SPRECKELS CO.
STAMP CLUBS OF NORTHERN CALIF.
STANDARD BRANDS OF CALIF.
STANDARD SANITARY MFG. CO.
TEA GARDEN PRODUCTS CD.
THERMADDR ELEC. MFG. CD.
TIEN CHU VE-TSIN MFG. CD., LTD.
TIMKEN ROLLER BEARING CD.
TUBBS CORDAGE CO.
UNION PACIFIC RAILROAD CO.
UNITED AIRCRAFT CORP.
UNITED AIR LINES TRANSPORT CORP.
UNITED STATES STEEL CORP.

AMERICAN BRIDGE CO.

AMERICAN STEEL & WIRE CD.

CARNEGIE-ILLINOIS STEEL CORP.

COLUMBIA STEEL COMPANY

FEDERAL SHIPBLDG. & DRYDDCK CO.

NATIONAL TUBE CD.

OIL WELL SUPPLY CD.

TENNESSEE COAL, IRON & R. R. CO.

U. S. STEEL PRODUCTS CO.

UNIVERSAL ATLAS CEMENT CO.

VIRGINIA BRIDGE CD.
VANCOUVER BREWING CO.
VITICULTURAL INDUSTRIES, INC.

BEAULIEU VINEYARD

BERINGER BROS., INC.

CALIF. GRAPE PRODUCTS CO.

CRESTA BLANCA WINE CO.

B. CRIBARI & SONS INC.

EAST-SIDE WINERY

FRUIT INDUSTRIES, LTD.

FOUNTAINGRDVE VINEYARD

WM. HDELSCHER & CD.

INGLENOOK VINEYARD CO.

ITALIAN SWISS COLONY

MONTEBELLD WINE CO. OF CALIF.

F. KORBEL & BROS., INC.

MONT LA SALLE VINEYARDS

MUTHER WINE CD.

NAPA & SONOMA WINE CD.

NOVITIATE DF LOS GATDS

PETRI WINE CO.

ROMA WINE CO., INC.

F. SALMINA & CD.

SANTA ROSA WINERY

SHEWAN-JDNES, INC.

SDLAND WINERY, INC.

SWEET WINE PRODUCERS ASSN.

WENTE BROTHERS

WINE INSTITUTE
COMMANDER P. H. W. WEEMS
WEST COAST LUMBERMEN'S ASSN.
WEST DISINFECTING CD.
WESTERN PACIFIC RAILWAY CD.
WESTERN PINE ASSOCIATION
WESTERN SUGAR REFINERY
J. D. & A. B. SPRECKELS CD.
WESTERN UNION TELEGRAPH CO.
WESTINGHOUSE ELEC. & MFG. CO.

THE BRYANT ELECTRIC CO.

WESTINGHOUSE ELEC. ELEVATOR CO.

WESTINGHOUSE ELEC. & MFG. CD.

WESTINGHDUSE ELEC. INTERN'L CO.

WESTINGHDUSE ELEC. SUPPLY CD.
WESTINGHOUSE X-RAY CO., INC.
LUCILLE WHEELER
WHITE SEWING MACHINE CO.
WINTHROP CHEMICAL CD.
THE RUDOLPH WURLITZER CD.

APPENDIX

XXIX

STATE AND TERRITORIAL PARTICIPATION 1939

ARIZONA

CALIFORNIA

COLORADO

IDAHO

ILLINOIS

MISSOURI
MONTANA
NEVADA
NEW MEXICO
OREGON

UTAH

WASHINGTON
WYOMING
TERRITORY OF HAWAI I

FOREIGN PARTICIPATION 1939

ARGENTINE REPUBLIC

AUSTRALIA

BRAZIL

REPUBLIC OF CHILE

BRITISH COLUMBIA

REPUBLIC OF COLOMBIA

CZECHOSLOVAKIA

DENMARK

ECUADOR

EL SALVADOR

FRANCE

FRENCH INDO-CHINA

GUATEMALA

ITALY

JAPAN

JOHORE

MEXICO

NETHERLANDS

NETHERLANDS EAST INDIES

NEW ZEALAND

NORWAY

PANAMA

PERU

PHILIPPINES

PORTUGAL

SWEDEN

1940 EXHIBITS

AIRCRAFT ASSOCIATES

C. ALBRIGHT

AMERICAN BUILDING MTNCE. CO.

AMERICAN EXPRESS COMPANY

AMERICAN NAT'L RED CROSS

AMERICAN PHYSICIANS' ART ASSN.

AMERICAN RADIATOR & STD. SANITARY

AMERICAN RED CROSS

AMERICAN UROLOGICAL ASSN.

ASSO. GEN'L CONTRACTORS OF AMER.

ATCHISON, TOPEKA & SANTA FE RY.

AWFUL FRESH McFARLANE CANDIES

EDWARD R. BACON COMPANY

BALDWIN PIANO COMPANY

BANK OF AMERICA

THE BARRY PINOCCHIO

BOY SCOUTS OF AMERICA, INC.

BRITISH WAR RELIEF ASSN.

BRITO-CANADIAN MACHINE CO.

HELEN BURTON

CALIFORNIA ACADEMY OF SCIENCE

CALIFORNIA ASSN. OF ICE INDUSTRIES

CALIF. COLLEGE OF ARTS & CRAFTS

CALIFORNIA COMMISSION

CALIFORNIA HEART ASSOCIATION

CALIF. MEDICAL ASSOCIATION

CALIFORNIA NURSERY CO.

CALIF. STATE ASSN. OF CHIROPODISTS

CALIFORNIA REDWOOD ASSOCIATION

CALIF. TUBERCULOSIS ASSN., INC.

CHAMBERLIN METAL WEATHER STRIP

CO., INC.

CHICAGO & NORTHWESTERN RY.
THE CHILDREN'S GUILD
CHINESE ART DISPLAY
CHRISTIAN BUS. MEN'S COM. OF 5. F.

BAY REGION
CHRIS. SCIENCE ACTIVITIES AT THE

1940 G.G.I.E., INC.
CHURCH OF JESUS CHRIST OF LATTER

DAY SAINTS

CLIPPER YACHT COMPANY
J. V. CLODS

COCA COLA BOTTLING CO.
CONSOLIDATED REALTY CO.
CONSTRUCTION INDUSTRIES EXHIBIT
CRANE COMPANY
A. CROSETTI BRO. & CO.
CROWLEY LAUNCH & TUGBOAT CO.
CROWN ZELLERBACH CORP.
DALMO MANUFACTURING CO.
DENVER & RIO GRANDE WESTERN RY.
DESERT DATE SHOP

DEWALT ELECTRIC SAW & TOOL CO.
DOANE MOTOR TRUCK CO.
DOHRMANN COMMERCIAL CO. D. B. A.
DONNER TRAIL SKI EXHIBIT
DOSS ENAMELING COMPANY

DOW CHEMICAL COMPANY, THE

EQUITABLE LIFE ASSUR. SOC. OF U. S.

FORD MOTOR COMPANY

FRESH-OMATIC COFFEE ROASTING
SYSTEM, INC.

FULLER & CO., W. P.

GEDDES, S. R. CNAT'L HOBBY SHOW]

GENERAL ELECTRIC CO.

GENERAL MOTORS CORP.

GLADDING McBEAN & CO.

GOLDEN GATE BRIDGE & HIGHWAY
DISTRICT PAINTINGS

GOLDEN GATE EXPOSITION PETROLEUM
EXHIBITORS, INC.

GOLDEN STATE TRANSPORTATION HIS-
TORICAL SOCIETY

GOODRICH CO., THE B. F.

GRAYLINE INC., THE

GROLIER SOCIETY, INC., THE

HAROLD R. HANEFELD

HARRAN RICKARD & McCDNE CO.

HEATING & PIPING CONTRACTOR

HILLS BROS. COFFEE INC.

HORN PRODUCTS COMPANY

FR. HUBBARD ARCTIC EXPEDITION

IMPERIAL PEARL SYNDICATE

INCANDESCENT SUPPLY CO.

INTERNATIONAL BUS. MACHINES CORP.

ISLAND CATERING CO.

ISLAND SERVICE COMPANY

ITALIAN SWISS COLONY WINE CO.

JOHNS-MANVILLE SALES CORP.

JOHNSON PRODUCTS, INC.

KEYSTON BROTHERS

EDNA KIRBY'S GLASS HOUSE

KOREAN EXHIBIT

GEO. F. KREMKAU & SONS AND STAR
MARINE ENGINE CO.

LESLIE SALT COMPANY

LEV! STRAUSS & CO.

LIBBY McNEILL & LIBBY

LIBBEY-OWENS-FORD GLASS PROD.

LIBERTY ORCHARDS CO.

ELI LILLY & COMPANY

LITTLE CHURCH OF WILDWOOD

LONGSTREET MEMORIAL ASSN.

LOMA LINDA FOOD CO.

LOS ANGELES COUNTY MEDICAL ASSN.

LUCKY STORES, INC.

M-A-P CHEMICAL CO.

MARCHANT PLUMBING SUPPLY CO.

MARITIME EXHIBITION COMMITTEE

MASONITE CORPORATION

MAXWELL HARDWARE CO.

MRS. ANN MCCONNELL

WENDELL McMALULL

MERRILL CO., THE

XXX

THE MAGIC CITY

1940 EXHIBITS (Continued)

METROPOLITAN LIFE INS. CO.

LEO J. MEYBERG CO. BENDIX

MIRAMONTE BEACH & COUNTRY CLUB

MICHEL & PFEFFER IRON WORKS, INC.

MYSTOPLANE CO., INC.

R. M. NASON COMPANY

NATHAN DOHRMANN

NATIONAL BISCUIT CO.

NATIONAL BROADCASTING CO.

NAT'L CASH REGISTER CO.

NATIONAL PRESSURE COOKER CO.

NATIONAL WOMEN'S PARTY

MRS. V. NEALE

NEPTUNE METER COMPANY

H. D. NEWHOUSE

NICROMETAL MARINE HARDWARE CO.

NUNES BROTHERS

NU-WAY COUPLING CO.

PACIFIC GAS & ELECTRIC CO.

PACIFIC GREYHOUND LINES

PACIFIC PUMPING CO.

PACIFIC ROENTGEN CLUB

PACIFIC TEL. & TEL. CO.

PACIFIC TRANSIT BUS SALES CO.

PALACE HARDWARE CO.

PALACE TRAVEL COACH CORP.

PAN AMERICAN AIRWAYS

PARAFFINE COMPANIES, INC., THE

PENNSYLVANIA RAILWAY CO.

PERROSET, FRANCOIS & HENRI

PICARD, MICHEL A.

PITCHER SLIDING DOOR CO.

PLANTERS NUT & CHOCOLATE CO.

PORT OF OAKLAND

POSTAL TELEGRAPH CO.

PYRENE MANUFACTURING CO.

QUARRIE CORP., THE

JOHN G. RAPP CO.

R. C. A. MANUFACTURING CO., INC.

RAIROADIANS OF AMERICA Cs. F. SECTION]

RAILWAY EXPRESS COMPANY

REFRESHMENT INC. CCOCA COLA]

REX IMPORT COMPANY

RHEEM MANUFACTURING CO.

ROMA WINE CO., INC.

GEORGE D. ROPER CORP.

RY-LOCK CO., LTD.

ST. FRANCIS HOSPITAL ASSN.

S. F. ASSN. FOR THE BLIND, THE

SAN FRANCISCO BANK, THE

S. F. GLASS COMPANY

5. F. JUNIOR CHAMBER OF COMMERCE

SCHLAGE LOCK COMPANY

SCHUCKL & CO.

SEE'S CANDY SHOPS, INC.

SINGER SEWING MACHINE CO.

SOUTHERN PACIFIC COMPANY

SPIRITUAL ASSEMBLY OF THE BAHAI

OF SAN FRANCISCO
S. SPRINGER

STAMP CLUBS OF NORTHERN CALIF.
MRS. MARY STANLEY
STAR MARINE ENGINE COMPANY
STENOTYPE COMPANY OF CALIFORNIA
SUN-MAID RAISIN GROWERS ASSN.
SUNNYVALE PACKING COMPANY
SWISS SNACK

TIEDEMANN & HARRIS, INC.
TIMBER ENGINEERING CO. OF CALIF.
TRUSCON STEEL CO.
UNION PACIFIC RAILROAD CO.
UNITED AIRLNIE TRANSPORT CORP.
UTAH WOOLEN MILLS
RUSSEL J. VARSI
VERMONT MARBLE CO.
EDWARD B. WARD & CO.
WEEKS-HOWE-EMERSON CO.
WESTERN PACIFIC RAILROAD CO.
WESTERN UNION TELEGRAPH CO.
WESTINGHOUSE ELECTRIC & MFG. CO.
WIERK DRAFT ELIMINATOR CO.
W. P. A. NURSERY SCHOOL

STATE AND TERRITORIAL PARTICIPATION 1940

ARIZONA

CALIFORNIA

ILLINOIS

MISSOURI
NEVADA
OREGON
UTAH

WASHINGTON
TERRITORY OF HAWAII
ALASKA

FOREIGN PARTICIPATION 1940

BELGIUM

BRAZIL*

BRITISH INDIA

BRITISH WEST INDIES

COLOMBIA*

CZECHOSLOVAKIA*

DENMARK*

ECUADOR*

FRANCE

FRENCH INDO CHINA

GREAT BRITAIN

HOLLAND

HUNGARY

ITALY*

JAPAN*

MALAYSIA*

MEXICO

NETHERLANDS EAST INDIES

*DFFICIAL PARTICIPATION

NORWAY*

PERSIA

PERU*

PHILIPPINES

PORTUGAL*

RUSSIA

TURKEY

SWITZERLAND

1939 CONCESSIONS

AMUSEMENT GAME, R. MABRY
AMUSEMENT GAME, R. SECKEL
AN CLACHAN, HAMILTON, BARRDW, WADE,

GUTHRIE & CO.

ANIMAL SHOW, AETNA AMUSEMENT CD.
ANTI-MIST, INC., ALLEN ELLIS
ARGENTINE, JUAN A. DE MARVEL
ART COLORS & LAVENDER,

H. O. STRIKER & JACK RUSHIN
ATELIER D'ART, E. E. LDCKWDOD
AUTO PARKING, MAURICE KATLEMAN
AUTO SCOOTERS

AUTOMAT PHOTOGRAPHS, W. OSWALD
AUTOMOBILE EMBLEM, E. M. SUMMERS

BABY TURTLES, S. GORDON
BAGUIO GIFT SHOP, U. V. CARILLO
BALLOON GAME, R. SECKEL
BALLOON GAME, SDL GRANT
BARBECUE, DNG AUR LUNE
BARBER SHOP, JACK LA VINE
BEAN POTS, R. MABRY
BELLEVUE SHOP, DOROTHEA J. BEHNE
BEST SANDWICHES, JAMES A. GRAY
BINOCULARS, CLARENCE JOHNSON
BINOCULARS, G. F. McNAlR
BINOCULARS, TOWER OPTICAL CO.
BLACKSMITH SHOP, D. MACRURY
BLANKET & RADIO WHEEL,
B. HYMAN & HARRY BERMAN

APPENDIX

XXXI

1939 CONCESSIONS (Continued)

BLANKET WHEEL & AMUSEMENT GAME,

M. LlCHTMAN
BOAT CDNCESSIDN, CRDWLEY LAUNCH AND

TUBBDAT CD.
BOWERY MUSIC HALL, RAY SMITH AND

ASSOCIATES
BRAZILIAN HANDICRAFTS,

SlLVAND DE SlLVA & WALDO HERNANDEZ
BUILDING "I" RESTAURANT,

C. L. CAMERDN

BURL BOWL, LUCILLE & V. WHEELER
ROBERT BURNS' COTTAGE, M. GARRICK
CACTUS SHOP, C. E. PRENTICE
CAFE RAT MONTE, GLOVER & HARTLEY
CALIF. GOLD COINS, PHIL SCHUMAN
CANDIED APPLES, JOHN GENTLES
CANDID CAMERA, MAX SCHWARTZ
CANDY CORN, J. A. HARVEY, JR.
CANDY & TOY SHOP, MRS. E. PERSON
CANDY SHOP, SID WOLFE

CARD & COIN DECK DISPLAY, H. BARRETT
CASA MEXICANA, BOARD OF TRADE
CENTRAL COURT CAFETERIA,

C. L. CAMERON
CERTIFICATE OF ATTENDANCE,

H. G. WALTERS
CHECK STAND, SHEA & DAY
CHECKING STAND, J. A. GRAY & F. BERLIN
CHET ART, CHET ART Co.
THE CHICKEN, H. COBB

CHILDRENS' VILLAGE, THORNTON HOWELL
CHILI BOWL, F. & N. WOOLLEY
CHINA NAT'L TEA CORP.

CHINESE VILLAGE, CHINESE FACTORS, INC.
CHINESE CANDY & NUT STAND, M. CHUNG
CHINESE CANDY & NUTS, W. LlNDROOTH
CHUCK WAGON, C. S. PEFLEY
CIGAR STANDS, TED STILL

CIGARETTE WHEEL GAME, MORTON &5TILL
CITY ICE DELIVERY COMPANY
CANDY BUTCHER SHOP, STEINBERG AND

SPENCER

CANDY FLOSS, ANTHONY TREMP
CANDY SHOP, W. & M. STOCKLEY
CANDY SHOP, STEINBERG & SPENCER
CANDY STORE, McGRATH BROS.
CZECHO-SLOVAK EXHIBIT, A. RUSKA
CLICKER CAMERAS,

KNOWLES BLAIR & RAWSON HOLMES
COCA COLA, FRANK BERLIN
COHN'S JEWELRY SHOP, AL COHN
COIN OPERATED SCALES, MR. TARTAR
CONKLE'S COSTUME JEWELRY, A. CONKLE
CONSTITUTION OF THE UNITED STATES,

C. ROSE

CONTINENTAL CAFE, J. G. KRUTZLER
COOKIE CUTTER,

H. O. STRIKER & JACK RUSHIN

CORNER OF PARIS, A. CHOURAGUI
CORN ON THE COB, JOE ARCHER
CRILLO'S SPECIALTY KITCHEN,

Louis CRILLD
CUBOID FOOT COMFORT SHOP, E. BUSH

& F. Koss
CUP DISPENSING MACHINE

BLAKE, MOFFAT & TDWNE
CURIOS, LOK HlNG Co.
CUT FAST STEEL, J. R. ANDERSON
DAIRYLAND, SAM GREENE
DANCE PAVILION, T. Y. TANG
DANCERS OF THE WORLD,

Louis A. STUTZ
DAY DREAMS, R. SECKEL
DART GAME, R. SECKEL
DEEP SEA DIVER, J. T. BRANSON
DENMARK, AXEL ZACHD
PRINCESS DER LING
DICTIONARIES, S. SPRINGER
DIVING BELL, EDMOND S. MARTINE
THE DOLL HOUSE, H. A. DEVAUX
DOUGHNUT TOWER, ELMER BdSE

DRINKING WATER,

NATIONAL PURE DRINKING WATER

DRINKING WATER, ALHAMBRA WATER
DUCK SAMBO, R. SECKEL
DUTCH WINDMILL,

MRS. S. MENGES DE HARTOG
EGYPTIAN ART BAZAAR, L. ZERAH
ELEC. PRESSER SHOP, R. W. STORMER
ELYSIUM THEATER, ARTHUR ALLEN
ESTONIAN CAFE, GEORGE D. SMITH
ESTONIAN PANCAKE SHOP, B. F. STEACY
ESTONIAN VILLAGE, ESTONIAN CULTURAL

COMMITTEE

EXPO. CATERING SERVICE, GEO. SMITH
EXPOSITION ICE CO. INC., W. B. WDLKEN
EXPO. ICE CREAM CO. INC., W. B. WOLKEN
EXPO. PETROLEUM CO., E. A. HUGILL
EXPOSITION TELESCOPE CO., C. LYKKE
FEATURE ANALYSIS, B. & J. & B. CHAM-
BERLIN

FERRIS WHEEL, MR. BlTTLE
FERRY TERMINAL NOVELTIES,

JAMES A. GRAY

FILM STAND NO. 1 & 2, MAX SCHWARTZ
FISHERMAN'S GROTTO, A. W. BELCHER
FLASHER GAME, ARNOLD HERSCHFIELD
FLEUR CELO NOVELTIES,

H. C. SWEARINGEN & A. L. PAULSEN
FLEUR DE LUXE, F. S. & J. WOODINGTON
FLOWER STANDS, J. VARSI COMPANY

FLYING SCOOTER, EVERETT HINZ

FOOT OSCILLATORS, W. BERCOVICH
FOOT OSCILLATORS, JAMES ZANCKER
FOUNTAIN LUNCH, JAMES A. GRAY
FRANKFURTER STANDS

FRENCH FRIES, SOL ABRAMS & J. ADAMS
FRENCH INDD CHINA SHOP,

C. H. BONFILS

FRENCH PASTRY, LE MOULIN DE LA GALLET
FRESH FRUITS, SAM WEINER
FROZEN CUSTARD, J. B. LANE
FRUIT & VEGETABLE JUICES, C. B. BOYD
FRUIT & VEGETABLE STANDS, MCLAUGH-
LIN & BERING

GAY PAREE, PIONEER PALACE DPER. CO.

GHIRARDELLI'S, D. GHIRARDELLI Co.
GIANT CRANE, HANS SCHAPIRA
GIANT OCTOPUS, D. C. CROSS
GILBERT'S PERFUME, B. & G. GILBERT
GIRL FROZEN IN ICE, D. W. NICHOLSON
GLASS BLOWERS OF THE WORLD,
TOM WOLFE

GLOBE-A-DROME, J. F. BRANSON
GOLDEN BOOK, FLORINDO NANNINI
GOVT. OF BRAZIL, EURICO PENTRADO
GRAYLINE TOUR AND GUIDE SERVICE,

THE GRAYLINE, INC.

GREAT ACE CARD TRICK, BRUCE BROOKS
GREENWICH VILLAGE, SIEBER & CASTLE
GUESS YOUR AGE, HAMILTON & GUSTAFSON
GUESS YOUR WEIGHT,

GUSTAFSON & HAMILTON
GUIDE SERVICE, JOHN A. BOYD
HAM & BACON FLASHER, L. H. DRIVER
HAMLET, S. M. SAROYAN & L. YACDUBIAN
HANDWRITING ANALYSIS, SID WOLFE
HANSEN TELESCOPES, S. A. HANSEN
HAPPY VALLEY RANCHO, C. L. CAMERON
HAT SHOP, E. BYBEE
HAWAIIAN NOVELTIES & PERFUME,

MR. C. Q. PANG

HEADLESS GIRL SHOW, D. W. NICHOLSON
HENSON'S RESTAURANT, S. A. HENSON
HINDUSTAN TEMPLE, J. L. MATHUR
HI STRIKER, CLARENCE GUMP
HOLE-IN-ONE, F. C. BLAKE
HOLLYWOOD BATHING BEAUTIES,
HONEY CHOC-MALT, DALMO MFG. CD.
HOUSE OF FOOK LOOK, JOE TANG
HUM-A-TUNE, MORRIS GOLDSTEIN
WALTER OSWALD

THE MAGIC CITY

1939 CONCESSIONS (Continued)

HYDROSPHERE, ALEX D. DANDIN1
INCUBATOR BABIES, BETTER BABIES, INC.
INTERNATIONAL GIFT SHOP,

WDLF & LEVY

INTERNATIONAL MOVIE FLASH
INTRA-MURAL KEY SYSTEM,

WM. P. ST. SURE
ISLAND CLUB,

BARTLEY C. CRUM, WM. B. WDLKEN
ISLAND RETREAT, MABDAMD, YOTOKO AND

ZEIBAK
ITALIAN SANDWICH SHOP, JOSEPH AR-

CARO AND MARID FASTA
IVORY, WAH MINE FACTORY
JAPAN PAVILION, TOSHITO SATDW
JAVANESE RESTAURANT, JOE VAN BUSSEL
JERUSALEM, THE HOLYLAND, T. A. WOLF
JEWELRY SHOP, H. SWEET
JOHNSON'S COSTUME JEWELRY,

HARRY LEE JOHNSON
JOHNSON'S PRODUCTS,

DUTROW & JOHNSON
JOHORE GUIDE BOOK,

INCHE ONN BIN JA'AFAR

JOLLY ROGER, MR. BENDER

BUCK JONES

JUNIPER WOOD NOVELTIES,

VEARL LOHRMAN

KITCHEN UTENSILS, JACK RUSHIN
KOSHER SANDWICHES, M. KATLEMAN
LACQUER SHOP, SHEN SHAD AND Au LANG

KEE

LAFFLAND, CHAS. F. KELLER, JR.
LAGOON BOATS, GEO. C. BDARDMAN, JR.
LA MISE EN BOITE, H. DELAVEAUX
LANDSCAPE SKETCHINGS, YANG LlNG-Fu
LAVENDER & ROSE BEANS, J. RUSHIN
LAVENDER & SACHETS, SlD WOLFE
LICENSE PLATES, KINDEL & GRAHAM
LIFE SHOW, RDBT. CURTIS
LINDY LOOP, H. ILLIONS
LINEN SHOP, T. DETO

LIVESTOCK RESTAURANT, C. L. CAMERON
LUNCH ROOM & SERVICE BAR, CLARDNE

CORPORATION

LUX THEATER, J. A. HARVEY, JR.
MAGIC PICTURES, GUY A. MEEK
MAGIKITCHEN, R. F. TlLLMANS
MAJOLICA WARE, WM. & AL. NERLI
MARCO POLO RESTAURANT, CAMPANELLI

& FERRARIS
MARQUISE LE POMPADOURE,

DANA & LILA

MARK TWAIN'S TERRITORIAL ENTER-
PRISE, A. M. BLAKE
McFADDEN'S COSTUME JEWELRY,

FRED J. MCFADDEN
MENTAL ACT, BEN LEXEL
MERRY-GO-ROUND, WHITNEY BROS.
MIDGET AUTO RACE, CHAS. F. KELLER
MIDGET CITY, LED SINGER
MILK BOTTLE GAME, SOL GRANT
THE MILL, W. B. ROBERTSON
MINIATURE RAILWAY, J. M. ANDERSON

MISS AMERICA, JAKE EHRLICH

MEXICAN ARTS & CRAFTS, J. H. ARIAS
METAL AUTO EMBLEMS,

Miss E. M. SUMMERS
MILK, TREASURE ISLAND MILK Co.
MILK BOTTLE GAME, WALTER STUTZ
MINIATURE CURIOSITIES, J. CHARBNEAU
MONKEY SPEEDWAY, A. HYNES
MONTE CARLO SECRETS, H. E. DRAKE
MONTE CRISTO GLASS CLEANER,

E. VORGANG

MOVIE FLASH, L. T. SEVAN
MOVIE-OF-U, ALFRED LAMB
MT. PALOMAR TELESCOPE,

DRLDFF & ORKIN
MUSEE MECHANIQUE, WOLFE & MULLIGAN

NATIONAL BAZAAR

R. SILVERMAN & R. BELGRADE

NETHERLANDS EXHIBIT,

HOLLAND-AMER. CHAMBER OF COMMERCE
NOVELTIES, DICKSDN & DAVIS
NOVELTY CAROUSEL, H. DELAVEAU
NOVELTY SHOP, VICTORIA ARDITTI
OAKWOOD BARBECUE, C. L. CAMERON
OFFICIAL PHOTOGRAPHER,

GABRIEL MOULIN STUDID
OFFICIAL PUBLICATIONS,

H. S. CROCKER & Co.
ORIENTAL BAZAAR, SlD WOLFE
OWL DRUG CO., H. W. HUDDLESON
PALACE OF ELEGANCE, DON EARLY
PALACE OF ILLUSIONS, MYSTERY, INC.
PARFUM, M. ZIMMERMAN

PASTOR'S BEAUTY SALON, A. A. PASTOR
PEANUTS & POPCORN,

TREASURE ISLAND CATERING CD.
PENGRAPH HANDWRITING, DR. E. F. BELL
PENCILMANIAC, A. L. PAULSON
PENNY ARCADE, HERMAN ZAPF
PENNY CRUSHERS, BERNARD DAVIS
PERFUME, ROYAL HAWAIIAN DISTRIB. Co.
PHILIPPINE PAVILION, ARSENID LUZ
PHOTOSTRIP MACHINES,

H. L. CUNNINGHAM

PIG-N-BLANKET, EWING & GlBSDN
PIRATE'S CHEST, ADOREE BERRY
PLASTIC NOVELTIES, E. G. FARRINDTON
PLAY SCHOOL NURSERY, INC., M. BURCH
POST CARD,

STANFORD CONVALESCENT HOME
PORTRAIT ARTIST, A. E. MDHR
THE "POST OFFICE", DOUGLAS ARCHER
POTTERY SHOPPE, R. BELGRADE
PUNCH & JUDY SHOW, F. J. BAKER
RECORD AMUSEMENT GAME, M. KLEIN
REDWOOD NOVELTIES,

REDWOOD BURL SALES Co.
REDWOOD NOVELTIES, JESS I. LUBIN
REDWOOD NOVELTIES, C. D. MOLANDER
REDWOOD PLAQUES, E. B. MODNEY
RESTAURANT, TDM WIND KONG
RICKSHAS, TOY MQN SING
RING-A-PIN, HARRY TAYLDR
RIPLEY'S BELIEVE IT OR NOT,

FRANK ZAMBRENE

ROLLER COASTER, CHAS. KELLER
ROLL-O-PLANE, D. C. CROSS
RUDICK'S GIFT SHOP, HERMANN RUDICK
SACHET AND LAVENDER, SlD WOLFE
SALLY RAND'S NUDE RANCH,

HENRY C. CLAUSEN

SAND SCULPTOR, CLAUD K. BELL
SANDWICH SLIDE, JESSE A. MUELLER
SANDWICH STANDS,

WARREN J. & BEN F. STEACY, JR.
SEA FOOD COCKTAILS, A. W. BELCHER
SEA PLANE RIDES, A. PAUL MANTZ

SEA SHELLS, MARIANO PRISINZANO

SHEET MUSIC, P. F. PHELPS

SHOOTING GALLERIES, F. M. McFALL

SHOWBOAT, P. A. PFEIFFER

SIGRID HEMATITE SHOP, S. M. ANDERSON

SILHOUETTE ARTIST, DON AUSLEY

SKETCH ARTIST, A. H. GHENT

SKETCH ARTIST, BROOKS HUNT

THE SNACK, J. D. WRIGHT

SNAKE SHOW, CLIF WILSON

SNOKO, A. R. WALTERS

SOCIAL SECURITY PLATES, BERT STEVENS

SOUVENIR PLATES, STANFORDS, INC.

SOUVENIR PLATES, L. H. DRIVER

SOUVENIR QUARTZ, TURNER & BATES

SOUVENIR SPOONS,

EXHIBITORS ART & DESIGN SERVICE, INC.
SPEED & EXCURSION BOATS,

A. B. CROWLEY

SPORTSMEN'S EXHIBIT, HARRY WoLPA
SPORT & TRAVEL MAGAZINES,

W. W. BROWN

SPORTLAND, WALTER OSWALD

XXX111

1939 CONCESSIONS (Continued)

STARLAND, IVY LANE AND NATE STEIN
STEAK SANDWICH, RUDOLPH TlLLMANS
STELLA, G. G. COMMERCIAL Co.
STOP SNQR, DUISTGARD & WAITE

STRATDSHIP, H. E. HANEY

STROMBERG CONDENSER, H. D. STRIKER

SUN GLASSES, BEN SILVERMAN

SWING-IT, HARRY ILLIONS

SWISS VILLAGE, SID WOLFE & A. MULLIGAN

STREETS OF ALL NATIONS

TAM O'SHANTER INN, P. C. KATZ

TEA GARDEN, PHILIP FONG

TELEVISION OPERA HOUSE, W. McMAHILL

TEMPLE OF RELIGION, R. I. COFFEE

THRELKELD'S SCONES, J. P. CARBTENSEN

TILT-A-WHIRL, TEX CDRDELL

TIN TYPE OPERATOR, MAX SCHWARTZ

TREASURE ISLAND CATERING CO.

TREASURE SEA SHELLS, M. PRISINZANO

TOWER OF JEWELS, A. F. SANFORD

TOY COW, H. A. DEVAUX

TRICK CARDS & COINS, HENRY BARRETT

TROPICAL SKIES, ALFRED DAVIS

TRUE BLUE CAFETERIA, L. SVENSGAARD
UNIQUE STAMP SHOP, REV. A. BUCCI
VAN CATERING CO., H. S. ANDERSON
VENDING MACHINES, WALTER OSWALD
VOICE RECORDING, 5. M. WRIGHT
WEST INDIAN JEWELRY, L. CARDOZA
WESTERN UNION IN INFO. BOOTHS,

A. E. LITTLER

WHEEL CHAIRS, G. A. WAHLGREEN
WHITE STAR CAFE, JACK SPRINGER
WDLD, w. VON TRUTZSCHLER
WOMEN'S CLUB HOUSE,

MRS. M. W. FULLER, MRS. W. HAAS
WONDER MOUSE, DUTROW & JOHNSON
WONDERS OF SAND ART, C. K. BELL
WORLD IN MOTION,

J. A. HARVEY, JR.
WORLD'S LARGEST HORSE,

R. M. FOGELMAN

YAR CRUSSIAN RESTAURANT] E. BERNADSKY
YELLOW CABS

ZIRCONS, BENJAMIN HECKER

1940 CONCESSIONS

ACME EXHIBIT, C. L. CAMERON
ADMINISTRATION BLDG. CAFE,

GEO. D. SMITH
AIRPLANE RIDE, P. BlLLMER
ALASKAN TRADING POST, JAKE SANDUSKY
ALHAMBRA WATER COMPANY,

E. D. SELLERS

ALPINE VILLAGE, SlD WOLFE
AMUSEMENT GAME, C. L. CAMERON
ANIMAL SHOW, J. A. HARVEY, JR.
ART COLORS & LAVENDER, JACK RUSHIN
ART PRINTS, IRVIN SINCLAIR
ARTISTS AND MODELS, MAX SCHWARTZ
AUTOMAT PHOTOGRAPHS,

WALTER OSWALD

AUTO PARKING, MAURICE KATLEMAN
AUTO SCOOTER, NATE MILLER
BABY DOLLS, KlNDEL & GRAHAM
BALL GAME, WALTER B. STUTZ
BALLOON DART GAME, J. A. HARVEY, JR.
BALLOON GAME, ELMER C. SMITH
BARBER SHOP, JACK LAVlNE
BEAN POTS, C. L. CAMERON
BEER GARDEN, M. C. BARULICH
BEST SANDWICH SHOPS, JAMES A. GRAY
BLANKET & RADIO WHEEL,

BARNETT HYMAN

BOAT CONCESSION. THOS. B. CROWLEY
BUILDING I RESTAURANT, C. L. CAMERON
BURL BOWL, LUCILE WHEELER
BUTTERMILK, ALEX TUMMERS
CACTUS NOVELTIES, CHAB. DAVIS
CALIF. GOLD COINS, PHIL SCHUMAN
CANDID CAMERA, MAX SCHWARTZ
CANDY FLOSS, HENRY BARRETT
CAR-BO-TET, E. A. NEECH

CARD AND COIN DISPLAY, HENRY BARRETT
CENTRAL COURT CAFETERIA,

C. L. CAMERON

CHECKING STANDS, A. W. NATHANBDN
CHECKING STANDS, JAMES A. GRAY
CHICKEN HOUSE, C. E. JONES
CHINATOWN, CHINESE FACTORS INC.
CIGAR STANDS, MORTON & STILL
CIGARETTE WHEEL, MORTON & STILL
CITY ICE DELIVERY CO., A. M. STOKER
CLUB HOUSE RESTAURANT AND BAR,

W. W. NAYLDR

CUP DISPENSING MACHINES, L. CONNOR
CUT FAST STEEL, JOHN R. ANDERSON
CRAFTS OF WORLD, J. R. MAYORCAS
CZECHOSLOVAK GIFT SHOP,

VLASTA K. PETRANKOVA

CRILLO'S RESTAURANT, WILLIAM LEE
COCA COLA, FRANK J. BERLIN
COHEN JEWELRY SHOP, AL COHEN
COLISEUM RESTAURANT, C. L. CAMERON
CONTINENTAL CAFE, JOHN KRUTZLER
COOKIE CUTTER, JOHN KRUTZLER
CORNER OF PARIS, A. CHOURAOUI
CORN ON THE COB,

SOL A. ABRADE & JAMES ADAM
COZY SANDWICH SHOP,

MARIO & MARIE TESTA
DARKEST AFRICA,

ISLAND CONCESSIONS INC.
DAIRYLAND, J. A. HARVEY, JR.
DERBY RACE GAME AND ANTI-AIRCRAFT

MACHINES, WALTER OSWALD
DINTY'S, RAY W. SMITH
DIVING BELL, EDMUND S. MARTINE
DOLLS OF ALL NATIONS,
THE DOLL HOUSE, ROBERT TUCK
DO-NUT TOWER, ELMER BOSE
DRINKING WATER, ALHAMBRA WATER Co.
DRINKING WATER, NAT'L PURE WATER Co.
ELECTRIC PRESSER SHOP, E. F. GROGAN
EL PATIO RESTAURANT, H. W. WHITLEY
ENGLISH SHOPPE, C. VANDERSTEEN
ESTONIAN CAFE, A. J. KUPER
ESTONIAN VILLAGE, DR. ELIZABETH JUDAS
EXPO. PETROLEUM, E. A. HUGILL, JR.
FILM STANDS, MAX SCHWARTZ
FLOWER STAND, RUSSELL J. VARSI
FLYING SCOOTER, EVERETT HlNZ
FOOT OSCILLATORS, J. C. ZANCKER
FOUNTAIN PENS, CYRUS RAPOPDRT
FOUNTAIN OF YOUTH, D. W. NICHOLSON
FOUNTAIN PENS,

EDWARD ARNHEIM & WM. BROWN
FRENCH FRIES, SOL ABRAMS & JAMES ADAM
FRIEDMAN BINOCULARS, JERRY FRIEDMAN
FROZEN CUSTARD NO. 1, J. B. LANE
FRUIT JUICE, WESLEY W. BERCOVICH
FUN HOUSE, WALTER R. STUTZ

GHIRARDELLI'S, ALFRED GHIRARDELLI

GIANT CRANE, HANS SCHAPIRA
GLASS BLOWERS, T. A. WOLFE
GOAT RIDE, H. EWALD
GOLD WIRE CONCESSION,

M. L. GLASS & L. DANA
GOV'T OF BRAZIL, SILVANO DE SILVA
GUESS YOUR WEIGHT, GUESS YOUR AGE,

JOHN A. PDLLITT

XXXIV

THE MAGIC CITY

1940 CONCESSIONS (Continued)

HANDWRITING ANALYSIS, SlD WOLFE
HAM AND BACON, STAMFORDS, INC.
HAMLET, S. M. SAROYAN

HAPPY VALLEY RANCHD. C. L. CAMERON
HAWAIIAN SHOP, EVELYN YAMAMOTD
HINDUSTAN TEMPLE,

MRS. MOHAN DEVI MATHUR
HOLLAND HOUSE, C. VANDERSTEEN
HOLLAND-JAVA-BALINESE BAZAAR,

CHARLES V. Ross

HOLLYWOOD SHOW, F. HERRICK HERRICK
HOLLYWOOD STAR ROOM, C. S. WHITE
HOLLYWOOD WALKIES, TED GRISWDLD
HOLE IN ONE, F. C. BLAKE
HOSTESS HOUSE, J. A. HARVEY, JR.
HOT DOG CONCESSION,

ISLAND CATERING Co., INC.
HUM-A-TUNE, MORRIS GOLDSTEIN
ICE CREAM CONCESSION, JULIAN HARVEY

ICE SHOW, A. J. McCHRYSTAL
INCUBATOR BABIES, BETTER BABIES INC.
INDIA BAZAAR, G. R. CHANNON
INTRA-MURAL TRANSPORTATION,

NATIONAL SERVICE Co.

INTERNATIONAL GIFT SHOP, LEWIS LEAVY
INT'L TREASURE HOUSE, M. H. ATIKIAN
ISLAND CLUB, BARTLEY C. CRUM
JADE EXHIBIT, CHINESE FACTORS, INC.

JAPAN TEMPURA STAND, T. SATOW

JAPAN TEA ROOM, T. SATOW,

JAVANESE RESTAURANT, JOE VAN BUSSEL
JERUSALEM, T. A. WOLFE
JEWELRY SHOP, N. F. COLIN
JOHNSON'S COSTUME JEWELRY,

JOHN G. DDRWARD, SR.
JOHNSON PRODS., A. H. JOHNSON
JOLLY ROGER RESTAURANT, E. S. BENDER
KIDDIES AUTO RIDE, A. TREMP
KIDDIES MERRY-GO-ROUND, A. TREMP
KOSHER SANDWICHES, MICHEL KATLEMAN
LAFAYETTE CAFE, DON EARLY
LAGOON BOATS, GEO. C. BoARDMAN, JR.
LATIN AMERICAN CENTER, V. P. DEXTRE
LAVENDER & ROSE BEANS, JACK RUSHIN
LE PETIT PARIS, ARMAND CHOURAQUI
LICENSE TAG KEY RINGS, J. W. KRANDON

PAUL SCHMERGEL

LIFE SHOW, DUFOUR & ROGERS Co.
LINEN SHOP, V. ARDITTI
LITE-A-LINE, MAX SCHWARTZ
LITTLE GIFT SHOP, DOROTHEA J. BEHNE
LITTLE HUNGARIA, PAUL SCHMERGEL
LITTLE WILD HORSES & DIXI INN,

J. A. HARVEY, JR.

MAGIKITCH'N NO. 1, R. F. TlLLMANNS
MANILA INN, 5. A. HENSON
McFADDEN'S JEWELRY, FRED J. McFADDEN
MEN'S CLUBHOUSE RESTAURANT AND

BAR, W. W. NAYLDR
MENTAL ACT NO. 1, BEN LEXEL
MENTAL ACT NO. 2, BEN LEXEL
MERRY-GO-ROUND, GEO. K. WHITNEY
MEXICAN ARTS & CRAFTS, L. H. ARIAS
MEXICAN SHOP, F. C. CUELLER
MIDGET AUTO RACES, TRABAK OPERATORS
MINIATURE CURIOSITIES,

JULES CHARBNEAU

MINIATURE RAILWAY, J. M. ANDERSON
MINIATURE SAZAPHONES, M. GOLDSTEIN
MISS AMERICA, SALLY RAND ENT. INC.
MONKEY SPEEDWAY, A. J. HYNES
MONTE CRISTO GLASS CLEANER,

ROBERT VORGANG
MOVIE FLASH, MAX SCHWARTZ
MOVIE OF YOU, ALFRED LAMB
MUSEE MECHANIQUE, SlD WOLFE
NAIL GAME, SlD WOLF

NATIONAL GARDEN SHOW, T. R. EWART
NIPPON BAZAAR, A. KANZAKI
NORWAY, P. R. POULSSON
NOVELTIES, CHAS. G. DAVIS
NOVELTY PHOTOGRAPHY, MAX SCHWARTZ

NUDE RANCH, SALLY RAND,

W. KEN DAILEY

OAKWOOD BARBECUE, C. L. CAMERON
OCTOPUS, DANIEL C. CROSS
OFFICIAL PHOTOGRAPHER,

RAYMOND MOULIN
OFFICIAL PUBLICATIONS,

H. S. CROCKER Co. INC.
OLD BUDAPEST, NICHOLAS KRAUSZ
OLD SOUTHERN CANDY KITCHEN,

J. A. HARVEY, JR.
ORANGE BLOSSOMS & LAVENDER,

JACK RUSHIN

ORIENTAL BAZAAR, SIDNEY WOLFE
OWL DRUG STORE, J. W. PORTER
PANCAKE SHOP, B. F. STEACY
PANTHEON DE LA GUERRE,

ISLAND CONCESSIONS INC.
PAVILION OF PORTUGAL,

E. GOULARD DA COSTA
PEANUTS & POPCORN,

ISLAND CATERING Co.
PEGGY'S SHOW, PEGGY COFFIN
PENGRAPH HANDWRITING ANALYSIS,

DR. E. F. BELL

PENNY ARCADE, HERMAN R. ZAPF
PENNY CRUSHERS, BERNARD DAVIS
PENNY WEIGHING SCALES,

PEERLESS W. & V. MACHINES
PERFUME CONCESSION, SlD WOLFE
PHILIPPINE SHOP, GORMAN R. SILEN
PHOTO-STRIP MACH., H. L. CUNNINGHAM
PIG'N WHISTLE, B. J. CROMBIE
PLASTIC NOVELTIES, ELIOT G. FARRINGTDN
PLASTIC & WOOD NAMES, JACK RUSHIN
PLAYLAND, E. MOLINEUX
PONY RIDE, J. A. BANKS
POSTAL TELEGRAPH, L. J. MILLER
PUPPET SHOW CSALICI'SD, MR. BONDESDN

REDWOOD NOVELTIES, C. D. MDLANDER
REDWOOD PLAQUES, MODNEY ART Co.
RIPLEY'S BELIEVE IT OR NOT,

FRANK ZAMBRENO
ROLLER COASTER, CYCLONE COASTER CO.

ROLLO-PLANE, DANIEL C. CROSS
RONDAVOO RESTAURANT & BAR,

GEORGE HALEY

RUDICK'S GIFT SHOPS, HERMAN RUDICK
RUMANIA SHOP, ANGELA JONESCU
RUSHIN LINEN, JACK RUSHIN
RUSHIN GADGETS, JACK RUSHIN
RUSHIN LEATHER GOODS, JACK RUSHIN
RUSSIAN RESTAURANT, E. BORNADSKY
RUSSIAN ARTS & CRAFTS, ROSE ISAAK
SALIH ENTERPRISES, FRED M. SALIH
SALLY RAND NUDE RANCH,
SALLY RAND ENTERPRISES
SANDWICH SLIDE, JOHN L. Co.
SEA PLANE, A. P. MANTZ
SHEA AND DAY CHECKING STANDS,
FRANK SHEA

SHOOTING GALLERY, F. M. McFALLS

SIGRID HEMATITE SHOP,
SIGRID M. ANDERSON

SO-REAL FLOWERS, T. J. O'DWYER

SNAKE SHOW, CLIF WlLSDN

5NOKO, WALTERS & MUHLMAN

SOUTH OF THE BORDER, AMDS CENDALLI

SOUVENIR PLATES, M. SELLER & Co.

SOUVENIR TURTLES, S. GORDON

SPILL THE MILK, J. A. HARVEY, JR.

SPORTLAND, WALTER OSWALD

STARLAND, BUD CARPENTER

STEACY SERVICE CO., D. F. STEACY

STRATOSHIP, NATE MILLER

STROMBERG CONDENSER, JACK RUSHIN

SWISS-BELGIUM-ITALY SHOP,
BERTHA SOLY

SWISS SALES EXHIBIT, HANS STALDER

TEMPLE OF RELIGION AND TOWER OF
PEACE, DR. R. E. SHIELDS

THRELKELD'S SCONES, J. H. THRELKELD

APPENDIX

XXXV

1940 CONCESSIONS (Continued)

TIN TYPE OPERATORS, MAX SCHWARTZ
TOILET LOCKS, COIN OPTD., G. W. DICKSDN
TOWER OF JEWELS, A. F. SANFORD
TOWER OPTICAL CO. INC., C. R. JOHNSON
TOY SHOP, PHIL SCHUMAN
TREASURE ISLAND MILK CO.,

THOMAS E. FOSTER
TRUE BLUE CAFETERIA,

LARS SVENDSGAARD
UNIQUE NOVELTY AND GIFT SHOP,

KINDEL & GRAHAM
VATICINATION, L. WILSON
VENDING MACHINES, WALTER OSWALD
VOICE RECORDING MACHINE,

S. M. WRIGHT

WATCHLA, GEORGE HALEY

WESTERN UNION, A. E. LITTLER

WEST FERRY BLDG. FOUNTAIN LUNCH

AND NOVELTIES, JAMES A. GRAY
WEST INDIES HUT, C. VANDERSTEEN
WEST INDIAN JEWELRY, LEO CARDOZO
WHEEL CHAIRS H. A. WAHLGREEN
WHITE STAR CAFE,

THRELKELD COMMISSARY
WINE GARDEN, W. GOLDMAN
WOMEN'S CLUB HSE., MRS. GEO. HEARST
WONDERS OF SAND ART, CLAUDE K. BELL
WORLD OF A MILLION YEARS AGO,

ISLAND CONCESSIONS INC.

YELLOW CAB CO., W. LANCING ROTHCHILD

1939 SPECIAL DAYS PROGRAM

SATURDAY, FEBRUARY IB

OPENING CEREMONIES, NATIONAL BEEF
SHOW, BEAUTY CONTEST, COSSACK CHOR-
US, SKI JUMP.

SUNDAY, FEBRUARY 19
BEEF SHOW, SKI JUMP.

MONDAY, FEBRUARY ZO

BEEF SHOW, FORD LUNCHEON, GERTRUDE
ATHERTON, SKI JUMP.

TUESDAY, FEBRUARY 21

SKI JUMP, RICHMOND LODGE DANCE.

WEDNESDAY, FEBRUARY 22

CHILDREN'S DAY, FEDERAL CHORUS, HIS-
TORICAL PAGEANT, FEDERAL CHOIR AND
BAND, POST CONTROL OPERATORS' DIN-
NER.

THURSDAY, FEBRUARY 23

BANK OF AMERICA DINNER, AUCTION OF
STEERS.

FRIDAY, MARCH 1O

NATIONAL STATE AND COUNTY PARK SER-
VICE, COUNTY AND MUNICIPAL HIGHWAY
OFFICIALS.

SATURDAY, MARCH 11

W. P. FULLER DAY, ARCHITECT'S AND EN-
GINEER'S DAY, RECREATIONAL CAMPING
AND WILDLIFE DAY.

SUNDAY, MARCH 12
RANSOHOFF'S DAY.

MONDAY, MARCH 13

WESTERN MAYORS' DAY.

TUESDAY, MARCH 14

DINNER FOR MAYOR LAGUARDIA.

WEDNESDAY, MARCH 15

SAN FRANCISCO ARCHITECTURAL CLUB
[ARTHUR BROWN, SPEAKER}, MLLE. EVE
CURIE DINNER.

THURSDAY, MARCH 16

SAN FRANCISCO MUSICAL CLUB, TEA AND
MUSICAL.

FRIDAY, MARCH 17

IRELAND DAY, 6- DAY BIKE RACE.

SATURDAY, MARCH IB

SHERIFF'S DAY, CHAPMAN COLLEGE DAY,
UNIVERSITY OF MICHIGAN DAY, WELLS
FARGO DAY.

SUNDAY, MARCH 19

CHILDREN'S DAY, NEWSPAPER BOY'S DAY.

MONDAY, MARCH 2O

MRS. ELEANOR ROOSEVELT DAY, ORDER
OF MOOSE DINNER.

TUESDAY, MARCH 21

NATIONAL COLLEGIATE ATHLETIC ASS'N.,
CHAMPIONSHIP BASKETBALL, BAND CON-
CERT, EDWIN FRANKO GOLDMAN.

WEDNESDAY, MARCH 22

PAN AMERICAN AIRWAY DAY, EXPOSITION
BAND CONCERT.

THURSDAY, MARCH 23

AMERICAN INSTITUTE OF DECORATORS
DAY, CARILLON RECITAL.

FRIDAY, MARCH 24

CALIFORNIA DAIRY COUNCIL DAY, FRESNO

CITY, COUNTY & FRESNO STATE COLLEGE
DAY.

SATURDAY, MARCH 25

OSTEOPATHIC DAY, Los ANGELES EX-
AMINER DAY, UNIVERSITY OF CALIFORNIA
GROUP, BRUNO LASKER SPEAKER.

SUNDAY, MARCH 26

CONCERT, DR. EDWIN FRANKO GOLDMAN,
CONDUCTOR.

MONDAY, MARCH 27

FIRESTONE DAY, PACIFIC MANIFOLDING
BOOK DAY, SYMPHONY ORCHESTRA, RICH-
ARD CROOKS.

TUESDAY, MARCH 2B

CONCERT, PHILIPPINE CONSTABULARY
BAND.

WEDNESDAY, MARCH 29
FEDERAL BUILDING OPEN.

THURSDAY, MARCH 3O

POPPY DAY, CITY AND COUNTY FEDERA-
TION OF WOMEN'S CLUBS.

FRIDAY, MARCH 31

SACRAMENTO JUNIOR COLLEGE DAY. MET-
ALCRAFT DEMONSTRATION.

SATURDAY, APRIL 1

AMERICAN LEGION DAY, STATE LEGISLA-
TORS DAY, SAN JOSE STATE COLLEGE
DAY, ALPHA GAMMA SIGMA DAY.

SUNDAY, APRIL 2

BUDDHIST DAY. LAUREL CLUB DAY.

MONDAY, APRIL 3

SANTA CLARA UNIVERSITY ENGINEERS,
CHILDREN'S DAY.

TUESDAY, APRIL 4

UNIVERSITY OF REDLANDS, PACIFIC ARTS
ASSOCIATION, L. A. EXAMINER NEWSBOYS.

WEDNESDAY, APRIL 5

CHILDREN'S DAY, YOUTH DAY, ROYAL
NEIGHBORS.

TUESDAY, APRIL 6

ARMY DAY, AMERICAN ASSN. DF HEALTH,
PHYSICAL EDUCATION & RECREATION DAY.

FRIDAY, APRIL 7
CHILDREN'S DAY.

SATURDAY, APRIL B

AMERICAN ACADEMY OF PEDIATRICS,
CROWN ZELLERBACH DAY.

SUNDAY, APRIL 9
CHILDREN'S DAY.

MONDAY, APRIL ID

VISIT OF CROWN PRINCE FREDERIC AND
CROWN PRINCESS INGRID OF DENMARK.

TUESDAY, APRIL 11

PUBLIC BROADCAST, EDUCATIONAL EX-
HIBIT, SAN FRANCISCO BUILDING, BALBOA
HIGH DRAMA STUDENTS.

WEDNESDAY, APRIL 12

APARTMENT HOUSE INDUSTRY DAY.

THURSDAY, APRIL 13

M-G-M DAY, CONCERT, BRAZILIAN OR-
CHESTRA.

FRIDAY, APRIL 14

OPENING OF INTER-AMERICAN TRAVEL

XXXVI

THE MAGIC CITY

1939 SPECIAL DAYS PROGRAM (Continued)

CONGRESS WEEK. LOCOMOTIVE ENGINEERS
DAY, CHICD STATE COLLEGE, PAN AMERI-
CAN DAY.

SATURDAY, APRIL 15

CONCERT, EDWIN FRANKO GOLDMAN
BAND, BCIQTS CEREMONIAL AND PAG-
EANT, CIVITAN INTERNATIONAL, [PACIFIC
HOUSED, BUCK JONES AT CHILDREN'S
VILLAGE, CHILDREN'S DAY, Los ANGELES
TIMES, CALIFORNIA SCHOLARSHIP FED-
ERATION, POMONA COLLEGE, I.A.T. C.
DAY.

SUNDAY, APRIL 16

SANTA BARBARA COUNTY, HEALDSBURG
DAY, INTER-AMERICAN TRAVEL CONGRESS,
NATIONAL GARDEN WEEK.

MONDAY, APRIL 17

AUTOMOBILE DAY, DAUGHTERS OF CALI-
FORNIA PIONEERS, SAFEWAY EMPLOYEES
ASSOCIATION OF OFFICERS DAY.

TUESDAY, APRIL IB
JOHN MUIR DAY.

WEDNESDAY, APRIL 19

SONS OF AMERICAN REVOLUTION DAY.

THURSDAY, APRIL 2D

SONOMA COUNTY, FEDERATION OF CON-
GREGATIONAL WOMEN OF CALIFORNIA DAY.

FRIDAY, APRIL 21

SAN FRANCISCO ADVERTISING CLUB DAY.

SATURDAY, APRIL 22

CHILDREN'S DAY, ST. MARY'S COLLEGE,
Y.M.C.A. BOYS, JOHN MUIR DAY, NA-
TIONAL RESTAURANT ASSOCIATION.

SUNDAY, APRIL 23

LAKE COUNTY, COLLEGE OF HOLY NAMES,
KNIGHTS TEMPLAR, SAN FRANCISCO CEN-
TRAL COUNCIL OF Civic CLUBS DAY.

MONDAY, APRIL 24

NATIONAL WILDFLDWER PROTECTION DAY.

TUESDAY, APRIL 25

EDWIN MARKHAM DAY, NATIONAL INSTI-
TUTE OF Music AND ARTS, GOLD STAR
MOTHERS DAY.

WEDNESDAY, APRIL 26

OPENING CALIFORNIA STATE FEDERATION
OF Music CLUBS CONVENTION OF TREAS-
URE ISLAND.

THURSDAY, APRIL 27

CALIFORNIA HIGH SCHOOL Music FESTI-
VAL.

FRIDAY, APRIL 2B

STATE HIGH SCHOOL BAND, ORCHESTRA
AND CHORUS, FESTIVAL CALIFORNIA FED-
ERATION OF Music CLUBS.

SATURDAY, APRIL 29

Los ANGELES DAY, JAPAN DAY, CHIL-
DREN'S DAY, CALIFORNIA HIGH SCHOOL
BAND FESTIVAL, ROUND TABLE INTERNA-
TIONAL, CALIFORNIA STATE ECLECTIC MED-
ICAL SOCIETY, SIXTH WESTERN SHADE
TREE CONFERENCE DAY.

SUNDAY, APRIL 3D

ITALY DAY, Los ANGELES COUNTY, RED-
WOOD CITY, WESTERN ELECTRIC Co.,
RAINBOW GIRLS DAY.

MONDAY, MAY 1

MAY DAY, BETTER BABIES WEEK, CHIL-
DREN'S DAY, CERTIFIED BOILER ELEVATOR
AND PRESSURE VESSEL INSPECTORS DAY.

TUESDAY, MAY 2

BETTER BABIES DAY.

WEDNESDAY, MAY 3
PORTOLA MOTHERS.

THURSDAY, MAY 4

PRESIDIO HIGH SCHOOL P.T.A. DAY.

FRIDAY, MAY 5

GRAND ARMY OF THE REPUBLIC, MADERA
COUNTY, PACIFIC NATIONAL BANK, HUM-
BOLDT COUNTY DAY.

SATURDAY, MAY 6

SMITH DAY, CHILDREN'S DAY, SAN FRAN-

CISCO STATE COLLEGE, SAN FRANCISCO
COLLEGE FDR WOMEN DAY.

SUNDAY, MAY 7

CLEANERS AND DYERS, SANTA CLARA
COUNTY, CATHOLIC DAY, PETALUMA DAY,
CALIFORNIA FEDERATION OF LEGAL SEC-
RETARIES, LAMBDA SIGMA PHI DAY.

MONDAY, MAY B

EDWIN FRANKO GOLDMAN BAND, FASH-
ION SHOW AT CAFE LAFAYETTE.

TUESDAY, MAY 9

CALIFORNIA GRAYS, UNITED DAUGHTERS
OF THE CONFEDERACY DAY.

WEDNESDAY, MAY ID

JEWISH DAY, MISSION GRAMMAR SCHOOL,
PRODUCERS COUNCIL ARCHITECTS DAY.

THURSDAY, MAY 11

ODD FELLOWS DAY, CANDY DAY, FIFTH
REGIONAL Music FESTIVAL, CHILDREN'S
DAY.

FRIDAY, MAY 12

HOSPITAL DAY, FIFTH REGIONAL Music
FESTIVAL, PALO ALTO SCHOOLS, SAN
FERNANDO VALLEY, WEST SIDE, OPTIMIST
INTERNATIONAL, PACIFIC STUDENT BODY
PRESIDENTS' DAY.

SATURDAY, MAY 13

TRIPLET DAY, CALAVERAS COUNTY, Mu
PHI EPSILON DAY, CHILDREN'S DAY, GIRL
SCOUTS, SAN FRANCISCO CONSERVATORY
OF Music, WEDGEWDOD DAY.

SUNDAY, MAY 14

MOTHERS' DAY, SOUTHERN PACIFIC, RO-
MANIA, SAN JOSE, PITTSBURG AND CO-
LUMBIA STEEL Co., ALTURAS AND MDDOC
COUNTY DAY.

MONDAY, MAY 15

HAYWARD DAY, CALIFORNIA CONSERVING
Co., FRANCONIA DAY.

TUESDAY, MAY 16

NATIVE SONS, CALIFORNIA CONFERENCE
OF SOCIAL WORKERS DAY.

WEDNESDAY, MAY 17

NORWAY DAY, SAN FRANCISCO ARCHITEC-
TURAL CLUB, ST. DOMINIC'S BOYS CHOIR.

THURSDAY, MAY IB

WORLD PEACE DAY, AMERICAN WAR MOTH-
ERS' DAY, INTERNATIONAL BUSINESS MA-
CHINES DAY.

FRIDAY, MAY 19

SCHOOL TRAFFIC PATROL, BERKELEY DAY,
SAN BENITO AND HOLISTER COUNTY,
KNIGHTS OF PYTHIAS, SAN FRANCISCO
SAFE DEPOSIT ASSOCIATION DAY.

SATURDAY, MAY 2O

SAN Luis OBISPO COUNTY, RUSSIAN
RIVER RECREATIONAL AREA, DON LEE,
SUPREME FOREST WOODMAN'S CIRCLE
DAY.

SUNDAY, MAY 21

POST OFFICE, LIVERMQRE, VALLEY OF THE
MOON, UNITED GROCERS, LTD., CIGAR
AND TOBACCO PRODS., NEVADA COUNTY
DAY.

MONDAY, MAY 22

COTTON WEEK, CHRYSLER DAY.

TUESDAY, MAY 23

Los GATOS AND SARATOGA, NATIONAL
ASSOCIATION OF PURCHASING AGENTS
DAY.

WEDNESDAY, MAY 24

COFFEE DAY, MOUNTAIN VIEW AND Los
GATDS DAY.

THURSDAY, MAY 25

CATHOLIC DAUGHTERS OF AMERICA, IN-
TERNATIONAL ASSOCIATION FDR IDENTIFI-
CATION, FOOD INDUSTRY DAY.

FRIDAY, MAY 26

ALAMEDA CITY, PULP AND PAPER MILL
EMPLOYEES, NATIONAL SOJOURNERS' DAY.

SATURDAY, MAY 27

BRITISH EMPIRE, MENDDCINO COUNTY,

APPENDIX

XXX Vll

1939 SPECIAL DAYS PROGRAM (Continued)

JUNKET FOOD PRODUCTS, AMERICAN AS-
SOCIATION OF UNIVERSITY WOMEN'S DAY.

SUNDAY, MAY 28

CHILDREN'S DAY, SANTA CLARA CITY,
FORD DAY, SIERRA AND PLUMAS COUNTY,
YOUNG REPUBLICANS, CITY OF PARIS,
GYRO CLUB DAY.

MONDAY, MAY 29

OAKLAND DAY, CHILDREN'S DAY, CHIRO-
PRACTORS, UNITED COMMERCIAL TRAVEL-
ERS DAY.

TUESDAY, MAY 3D

MEMORIAL DAY, SAN RAFAEL MILITARY
ACADEMY DAY.

WEDNESDAY, MAY 31

ORGAN RECITAL, JAMES MCMILLAM OF
MONTEZUMA SCHOOL, DEDICATION DF NA-
TIONAL GUARD STATUE IN CALIFORNIA
BUILDING.

THURSDAY, JUNE 1

PUBLIC WEDDING DAY.

FRIDAY, JUNE 2

PRESIDENT SAMOZA DAY, SAN LEANDRO
SCHOOLS' DAY.

SATURDAY, JUNE 3

SHRINE DAY, CALIFORNIA STATE FRA-
TERNAL CONGRESS, CHILDREN'S DAY.

SUNDAY, JUNE 4

MODESTO, POLK GULCH, HONOLULU CON-
SERVATORY OF Music, APPLE DAY.

MONDAY, JUNE 5

EMERYVILLE, DIME DAY, WINE AND AL-
LIED INDUSTRIES DAY.

TUESDAY, JUNE 6

CALIFORNIA WRITERS' CLUB DAY.

WEDNESDAY, JUNE 7

ARMY BAND CONCERT, ORGAN RECITAL BY
MARGUERITE Dix.

THURSDAY, JUNE 8

OREGON STATE COLLEGE DAY.

FRIDAY, JUNE 9

HOOVER CLEANER, SOCIETY OF AUTOMO-
TIVE ENGINEERS' DAY.

SATURDAY, JUNE ID

MILLS COLLEGE, JAPAN TOURIST DAY,
SCHMIDT LITHOGRAPH, CATHOLIC PRO-
FESSIONAL WOMEN, PRINTING INDUSTRIES
DAY.
SUNDAY, JUNE 11

ARMOUR AND COMPANY, MASSACHUSETTS,
SAN RAFAEL, SAN MATED COUNTY,
CROCKER FIRST NATIONAL BANK DAY.

MONDAY, JUNE 12

CHILDREN'S DAY, CATHOLIC LADIES AID
SOCIETY, CALIFORNIA REAL ESTATE AS-
SOCIATION DAY.

TUESDAY, JUNE 13

NEIGHBORS OF WOODCRAFT DAY.

WEDNESDAY, JUNE 14

UTAH, FLAG DAY, AMERICAN SEED TRADE
ASSOCIATION DAY.

THURSDAY, JUNE 15

RECEPTION AND TEA, HONORING WIVES OF
WESTERN FARM ECONOMICS ASSN., WASH-
INGTON STATE GOLDEN JUBILEE CHOIR
FROM LUTHERAN COLLEGE.

FRIDAY, JUNE 16

GRADUATION EXERCISES, CALIF. NAUTI-
CAL SCHOOL.

SATURDAY, JUNE 17

DENMARK, ARIZONA, SAN DIEGO CITY AND
COUNTY, YOLD COUNTY, KERN COUNTY,
OREGON CAVEMEN, STATE ASSOCIATION
OF COUNTY TREASURERS, MOTHER GOOSE
DAY.

SUNDAY, JUNE 18

ELKS FLAG DAY, BURBANK, BEAR PHOTO
SERVICE, FATHER'S DAY.

MONDAY, JUNE 19

CHILDREN'S DAY, Miss KLO DAY, PA-
CIFIC COAST DPHTHALMOLOGICAL SOCIETY
DAY.

TUESDAY, JUNE 2O

Pi BETA Mu, AMERICAN LIBRARY ASSO-
CIATION DAY.

WEDNESDAY, JUNE 21

NATIONAL CREDIT, ASSOCIATION OF IN-
SURANCE COMMISSIONERS, NEW HAMP-
SHIRE DAY.

THURSDAY, JUNE 22

AMERICAN LIBRARY ASSOCIATION, AGRI-
CULTURAL COUNCIL DAY.

FRIDAY, JUNE 23

DRUIDS', NATIONAL ASSOCIATION OF
BUILDING OWNERS AND MANAGER, AL-
LIED AUTOMOTIVE INDUSTRIES DAY.

SATURDAY, JUNE 24

FINNISH DAY, RAINBOW, 42ND DIVISION,
BOYS' DAY, INSURANCE DAY, ADVERTIS-
ING WEEK, DISTRICT ATTORNEYS DAY.

SUNDAY, JUNE 25

VALLEJO TIMES- HERALD, VIRGINIA CITY,
JUNIOR MUSICIANS, PACIFIC ADVERTISING
CLUBS, CALIFORNIA NEWSPAPER PUBLISH-
ERS ASSOCIATION DAY, GAS MODEL HY-
DROPLANE MEET, LUTHERAN DAY.

MONDAY, JUNE 26

JUNIOR STATESMEN OF AMERICA DAY,
COOLIDGE QUARTET.

TUESDAY, JUNE 27

DELAWARE, NATIONAL ASSOCIATION OF
MUSEUMS DAY, FENCING CHAMPIONSHIPS,
SHOPPING NEWS CARRIERS, CALIFORNIA
SHOPPING NEWS CARRIERS, JUN. STATES-
MEN, Music TEACHERS, CALIF. WRITERS'
CLUB.

WEDNESDAY, JUNE 28

RETAIL DRY GOODS ASSN. OF SAN FRAN-
CISCO, INSTITUTE OF RADIO ENGINEERS
DAY, FENCING CHAMPIONSHIPS.

THURSDAY, JUNE 29

TENNESSEE, THETA DELTA CHI, ASSOCIA-
TED TRAFFIC CLUBS OF AMERICA.

FRIDAY, JUNE 3O

CALIFORNIA ARTISTS, WASHINGTON, HIGH
TWELVE DAY.

SATURDAY, JULY 1

BRITISH COLUMBIA AND DOMINION OF
CANADA, NATIONAL RETAIL DRY GOODS
ASSN., OPTOMETRISTS, PACIFIC SLOPE
TYPOGRAPHICAL, LINCOLN HIGHWAY, UNI-
VERSITY OF CALIFORNIA SUMMER SESSION,
NATIONAL EDITORS ASSOCIATION DAY.

SUNDAY, JULY 2

PACIFIC DIVISION OF AMERICAN SOCIETY
FOR ADVANCEMENT OF SCIENCE, DPTOM-
ETRY, SANTA CRUZ, JUGOSLAV, SANTA FE
DAY, BENNY GOODMAN BAND, EXPOSITION
REGATTA.

MONDAY, JULY 3

NILES, UNIVERSITY OF OREGON DAY,
COOLIDGE QUARTET, GLDBE, ARIZONA
DAY, CHILDREN'S DAY, FRECKLE FACE
DAY, INTERNATIONAL HORSE SHOW WEEK,
OREGON WEEK, NAVY WEEK.

TUESDAY, JULY 4

FOURTH OF JULY CELEBRATIONS, ALLIED
VETERANS, FICTION DAY.

WEDNESDAY, JULY 5

SIGMA KAPPA SORORITY, NATIONAL AMA-
TEUR PRESS ASSOCIATION, TREASURE IS-
LAND TALENT PARADE.

THURSDAY, JULY 6

INTERNATIONAL HORSE SHOW, ASTORIA,
OREGON DAY, NATIONAL ORGANIZATION
HIGH SCHOOL JOURNALISM DIRECTORS.

FRIDAY, JULY 7

HAWAII, NATIONAL EDUCATION DAY, RED
HEAD CONTEST, SIGMA KAPPA SORORITY
CALUMNI], PASADENA JUNIOR COLLEGE,
AUNT MARY DAY.

SATURDAY, JULY 8

CALIFORNIA RACE RELATIONS, CZECHO-
SLOVOKIA, INTERSTATE COMMISSION ON

XXXV111

THE MAGIC CITY

1939 SPECIAL DAYS PROGRAM (Continued)

CRIME, SOUTHERN MONTEREY COUNTY
AND KING CITY DAY, NAVY DANCES.
SUNDAY, JULY 9

ASHLAND, DREGON DAY, SALINAS DAY,
STANISLAUS COUNTY, FILIPINO FEDERA-
TION OF AMERICA, ARGENTINA DAY.
MONDAY, JULY ID

AMERICAN SOCIETY MECHANICAL ENGI-
NEERS WEEK, COOLIDGE QUARTET, CHIL-
DREN'S DAY, NAVY MOTHERS' DAY,
TREASURE ISLAND JAPANESE STAR FESTI-
VAL DAY.
TUESDAY, JULY 11

CALIFORNIA WRITERS' CLUB, MARYLAND,
SALINAS OUTDOOR GIRL, ALPHA DMI-
CRON Pi SORORITY DAY.
WEDNESDAY, JULY 12

ORPHANS' DAY.
THURSDAY, JULY 13

ENGINEERS' DAY, CALIF. SCHOOL EM-
PLOYEES ASSOCIATION.
FRIDAY, JULY 14

KAY KYSER WEEK, FRANCE DAY, LIONS
INTERNATIONAL DAY.
SATURDAY, JULY 15

TREASURE ISLAND DOG SHOW, MISSOURI
GOVERNOR'S, AMERICAN BAR ASSOCIA-
TION, DOLL DAY, POETRY DAY, IOTA TAU
TAU DAY.
SUNDAY, JULY 16

MAGICIANS' DAY, CALIF. STATE EMPLOY-
MISSOURI HOMECOMING, LUTHERAN DAY,
EES, ROSICRUCIANS, BAHAI DAY.
MONDAY, JULY 17

DRAFT HORSE SHOW, CDOLIDGE QUAR-
TET, JITTERBUG CONTEST, CHILDREN'S
DAY.
TUESDAY, JULY 18

Y.M.I. AND Y.L.I. DAY, INTERNATIONAL
STEREDTYPERS AND ELECTRDTYPERS UN-
ION CONVENTION, CALIFORNIA NURSERY-
MAN'S DAY.
WEDNESDAY, JULY 19

HAIR STYLISTS, SCIENTIFIC ASTROLOGERS,
S. F. STATE COLLEGE SUMMER SESSION
DAY.
THURSDAY, JULY 2d

UTAH DAY, B'NAI BRITH DAY.
FRIDAY, JULY 21

Music HALL VARIETIES WEEK, PA-
CIFIC GROVE, PHI DELTA CHI, SECOND
DIVISION ASSOCIATION DAY, REXALL
GOLDEN GATE JUBILEE CONVENTION.
SATURDAY, JULY 22

GENERAL MOTORS DAY, SALVATION ARMY,
IDAHO, PACIFIC MANIFOLDING BOOK COM-
PANY, EMPLOYEES DAY, TRAVELERS' PRO-
TECTIVE ASSOCIATION DAY, Music HALL
VARIETIES WEEK.
SUNDAY, JULY 23

RECREATION WEEK, VALLEJO EVENING
CHRONICLE DAY, LOYAL DRDER OF MOOSE.
MONDAY, JULY 24

COOLIDGE QUARTET, PRESBYTERIAN CON-
FERENCE, CHILDREN'S DAY.
TUESDAY, JULY 25

LITERARY LANDMARKS DAY.
WEDNESDAY, JULY 26

CHICAGO, AMERICAN INSTITUTE OF HOME-
OPATH ics DAY.
THURSDAY, JULY 27

SIXTH PACIFIC SCIENCE CONGRESS WEEK,
CIVIL ENGINEERS, RHODE ISLAND, CHIR-
OPODISTS' DAY.
FRIDAY, JULY 28

TED LEWIS VARIETY SHOW, JITTERBUG
CONTEST.
SATURDAY, JULY 29

SIXTH PACIFIC SCIENCE CONGRESS, CATH-
OLIC CENTRAL VERIN, DERRICK LEHMER,
CAN'T BUST 'EM, LEAGUE OF WESTERN
WRITERS' DAY.

SUNDAY, JULY 3D

Swiss DAY, SOAP Box DERBY, SWINE
SHOW WEEK, OAKLAND BIG SISTER HOME
VISIT, SHASTA TRINITY COUNTY REUNION
PICNIC.
MONDAY, JULY 31

COOLIDGE QUARTET, UNITED GERMAN
SANGERFEST, CHILDREN'S DAY.
TUESDAY, AUGUST 1

MORAL REARMAMENT DAY.
WEDNESDAY, AUGUST 2

CULVER MILITARY ACADEMY ALUMNI,
HONG KONG CLIPPER DAY.
THURSDAY, AUGUST 3

OPENING NEW FOLIES BERGERE, BASE-
BALL, BOY SCOUT, WESTERN PINE ASSO-
CIATION, CHILDREN'S DAY.
FRIDAY, AUGUST 4

U. S. COAST GUARD DAY.
SATURDAY, AUGUST 5

AMERICAN HAWAIIAN STEAMSHIP, NEVADA,
SWEDEN, PACIFIC NATIONAL FIRE INSUR-
ANCE DAY.
SUNDAY, AUGUST 6

AUTO RACES, MARVELOUS MARIN, WOMEN
OF THE MOOSE, GIDEON, FOOD INDUSTRY,
GALLUP, NEW MEXICO DAY, CACTUS DAY.
MONDAY, AUGUST 7

MARKET WEEK, CHARLIE MCCARTHY DAY,
CERAMICS, CHILDREN'S DAY.
TUESDAY, AUGUST 8

CALIFORNIA WRITERS' CLUB DAY, NA-
TIONAL DUNKING, CHILDREN'S DAY.
WEDNESDAY, AUGUST 9
MATSON, CLIPPER DAY.
THURSDAY, AUGUST ID

MILITARY ORDER OF PURPLE HEART,
TOASTMASTER AND TDASTM I STRESS, PENN-
SYLVANIA STATE TEACHERS COLLEGE DAY.
FRIDAY, AUGUST 11

POSTAL SUPERVISORS DAY.
SATURDAY, AUGUST 12

AMERICAN LEGION, TEXAS, SISKIYDU
COUNTY, FIESTA PLAZA, DAHLIA, AMERI-
CAN BUILDING MAINTENANCE DAY.
SUNDAY, AUGUST 13

PHILIPPINE VETERANS, FOURTH DIVISION
DAY, TREASURE ISLAND MARATHON.
MONDAY, AUGUST 14

CONNECTICUT, TOY DAY, CHILDREN'S DAY.
TUESDAY, AUGUST 15

EDDY DUCHIN VARIETY WEEK, ELECTRI-
CAL INSPECTORS, CALIFORNIA WRITERS'
CLUB DAY.
WEDNESDAY, AUGUST 16

REGISTERED NURSES, AMERICAN TRANSIT
ASSOCIATION, NEBRASKA- UNION PACIFIC,
CLIPPER DAY.
THURSDAY, AUGUST 17

ALASKA-YUKON, YUBA-SUTTER DAY.
FRIDAY, AUGUST 18

ROTARY, METROPOLITAN LIFE INSURANCE,
INTERNATIONAL HARVESTER DAY.
SATURDAY, AUGUST 19

AMERICAN INSTITUTE OF BANKING, AVIA-
TION, LONG BEACH, WOMEN'S CHAMBER
OF COMMERCE, ORDER OF JOB'S DAUGH-
TERS, LESLIE SALT, PHI SIGMI CHI DAY.
SUNDAY, AUGUST 2D

TEHAMA COUNTY, HUNGARY, IMPROVED
ORDER OF REDMEN, VETERANS 3lsT RAIL-
WAY ENGINEERS, FORT BRAGG, SUISUN-
FAIRFIELD, OAKLAND WHOLESALE GRO-
CERS, SMITH, JOHNSON, BROWN, MILLER,
ANDERSON, WILLIAMS AND JONES DAY.
MONDAY, AUGUST 21

STAR BOAT CHAMPIONSHIP REGATTA WEEK,
INTERNATIONAL PHOTO -ENGRAVERS, ILLU-
MINATING ENGINEERS SOCIETY, ILLUMINA-
TION NIGHT, OAKDALE CHILDREN'S DAY.
TUESDAY, AUGUST 22

WRITERS AND COMPOSERS WEEK, STAR

XXXIX

1939 SPECIAL DAYS PROGRAM (Continued)

BOAT CHAMPIONSHIP REGATTA WEEK,
CALIFORNIA MRA, ADMIRAL YARNELL,
AMERICAN TITLE ASSOCIATION.

WEDNESDAY, AUGUST 23

CLIPPER DAY, MERKLEY'S MUSICAL MAIDS.

THURSDAY, AUGUST 24

UNITARIAN, NATIONAL ASSOCIATION OF
CREDIT MEN'S DAY.

FRIDAY, AUGUST 25

AMERICAN DIETETIC ASSOCIATION, CALI-
FORNIA WILD FLOWER DAY.

SATURDAY, AUGUST 26

POWER CRUISER RACES, MICHIGAN, ALA-
BAMA, ARCADIA, SCOTTISH, SYNTONIC,
SIGMA CHI, PACIFIC COAST ASSOCIATION
OF PORT AUTHORITIES DAY.

SUNDAY, AUGUST 27

POWER CRUISER RACES, NORWAY, EAGLES,
SEBASTOPOL, NORTH DAKOTA STATE SO-
CIETY, EMPORIUM, BETA SIGMA PHI, CON-
TRA COSTA OIL WORKERS, SANTA CATA-
LINA ISLAND DAY, HUMBOLDT COUNTY
PICNIC.

MONDAY, AUGUST 28

REGATTA, BEAVER, CHILDREN'S DAY,
NORTH DAKOTA DAY.

TUESDAY, AUGUST 29

PHIL HARRIS WEEK, ORDER OF EASTERN
STAR, ASSOCIATED PRESS DAY.

WEDNESDAY, AUGUST 3D

CLIPPER DAY, FREE PLYMOUTH DAY,
GOLDEN WEDDING DAY.

THURSDAY, AUGUST 31

NETHERLANDS, CANDID CAMERA, LAMBDA
CHI ALPHA, CHI Psi DAY.

FRIDAY, SEPTEMBER 1

CHRISTIAN BUSINESS MEN'S COMMITTEE
DAY, WELSH EISTEDDFOD AND Music
FESTIVAL, TWENTY-THIRTY CLUB DAY.

SATURDAY, SEPTEMBER 2

JACK BENNY, MARY LIVINGSTONE AND
PHIL HARRIS MUSICAL VARIETY SHOW,
GOOD TEMPLARS, SEA SCOUT REGATTA,
WAUKEGAN, AMATEUR RADIO RELAY
LEAGUE DAY.

SUNDAY, SEPTEMBER 3

MASTER BARBERS, MCMAHAN FURNITURE
COMPANY, 141ST AREO SQUADRON A. E. F.,
NEGRO DAY, NAVY COMMUNICATION RE-
SERVE, AMADOR COUNTY DAY.

MONDAY, SEPTEMBER 4

LABOR DAY, ALPHA KAPPA LAMBDA, WAL-
THER LEAGUE LUTHERAN CHURCH, CON-
SUMER CO-OPERATIVES, ASSOCIATION OF
BUSINESS OFFICERS OF COLLEGES AND
UNIVERSITIES OF THE WESTERN STATES,
BEN BARD PLAYERS DAY.

TUESDAY, SEPTEMBER 5

SIGMA PHI EPSILDN, NATIONAL FEDERA-
TION OF FEDERAL EMPLOYEES DAY.

WEDNESDAY, SEPTEMBER 6
PORTUGAL DAY, CLIPPER DAY.

THURSDAY, SEPTEMBER 7

BRAZIL DAY, 4-H CLUB, CHEVROLET,
OUTDOOR SHOWMEN, CLIPPER DAY.

FRIDAY, SEPTEMBER S

ILLINOIS, PIONEER WOMEN OF CALIFOR-
NIA. LODI DAY.

SATURDAY, SEPTEMBER 9

ADMISSION DAY, WINE DAY, WEST COAST
LIFE INSURANCE, GAS APPLIANCE, BANK
OF AMERICA DAY.

SUNDAY, SEPTEMBER TO

••KEEP AMERICA OUT OF WAR" DAY, DELTA
PHI EPSILDN, HOT Music SOCIETY, CARD
ROMA, SONS OF ITALY DAY.

MONDAY, SEPTEMBER 11
PHI DELTA THETA DAY.

TUESDAY, SEPTEMBER 12

HARRY OWENS AND HIS ROYAL HAWAIIANS
MUSICAL VARIETY WEEK, BIGGS DAY.

WEDNESDAY, SEPTEMBER 13

JOSE ITURBI AND SAN FRANCISCO SYM-
PHONY CONCERT, NATIONAL CUSTOMS
SERVICE ASSOCIATION.

THURSDAY, SEPTEMBER 14

FREE FOOD DAY, NATIONAL COUNCIL OF
CATHOLIC WOMEN'S DAY.

FRIDAY, SEPTEMBER 15

SAN LEANDRO, MUTUAL LIFE INSURANCE
COMPANY, PACIFIC COAST HARDWARE
DEALERS ASSOCIATION, CENTRAL AMERI-
CAN DAY.

SATURDAY, SEPTEMBER 16

CITY OF Los ANGELES, STEUBEN DAY,
KEY SYSTEM, ELECTRICAL INDUSTRIES,
MONTANA DAY.

SUNDAY, SEPTEMBER 17

TUOLUMNE COUNTY, DELTA CHI SIGMA
SORORITY, SACRAMENTO BREUNER, DEL
NORTE COUNTY, CALIFORNIA JUNIOR
CHAMBER OF COMMERCE DAY.

MONDAY, SEPTEMBER IB
CHILE, HIBERNIA DAY.

TUESDAY, SEPTEMBER 19

LEAGUE OF CALIFORNIA MUNICIPALITIES,
CALIFORNIA SEWAGE WORKS ASSOCIATION,
ANAHEIM DAY.

WEDNESDAY, SEPTEMBER 2O

TREASURE ISLAND SYMPHONY CONCERT,
GRAND HOTEL, PENNSYLVANIA, ACCOUNT-
ANTS DAY.

THURSDAY, SEPTEMBER 21
FREE PLYMOUTH DAY.

FRIDAY, SEPTEMBER 22

GEORGE OLSEN MUSICAL VARIETY WEEK,
AUTUMN FESTIVAL, FIRE CHIEFS', CALI-
FORNIA APARTMENT HOUSE ASSOCIATION
DAY.

SATURDAY, SEPTEMBER 23

LEOPOLD STOKOWSKI SYMPHONY CON-
CERT, GOVERNOR OLSON, BAKERSFIELD,
CALIFORNIA STATE BUILDERS EXCHANGE,
LADIES AUXILIARY INTERNATIONAL ASSO-
CIATION OF MACHINISTS, CALIFORNIA
BIRD DAY, SHEEP SHOW, NATIONAL
GUARD, PIONEER PHILATELIC AND TOUR-
ISTS' ASSOCIATION DAY.

SUNDAY, SEPTEMBER 24

ALBANY, GOLD STAR MOTHERS, SOUTH
OF MARKET BOYS AND GIRLS, SUNRISE
BREAKFAST CLUB, INTERNATIONAL, SAN
FRANCISCO SHUT-IN ASSOCIATION DAY.

MONDAY, SEPTEMBER 25

EXPOSITION STYLE CLINIC AND FASHION
FESTIVAL.

TUESDAY, SEPTEMBER 26

CALIFORNIA WRITERS' CLUB, CHILDREN'S
DAY.

WEDNESDAY, SEPTEMBER 27

NATIONAL REHABILITATION ASSOCIATION,
CLIPPER DAY.

THURSDAY, SEPTEMBER 2B

CARRILLO, GOLDEN GATE DENTAL CON-
GRESS DAY.

FRIDAY, SEPTEMBER 29

COUNTY PLANNING COMMISSIONERS, SUN-
KIST, DIXON, STOCKTON AND COLLEGE
OF PACIFIC DAY.

SATURDAY, SEPTEMBER 3O

HARBDR DAY, SOUTHERN COUNCIL DF
Civic CLUBS, PACIFIC ASSOCIATION OF
RAILWAY SURGEONS, RETAIL FURNITURE
DAY, SAN FRANCISCO, CALIF. SCHOOL
TRUSTEES ASSOCIATION.

SUNDAY, OCTOBER 1

DE MOLAY, GUADALUPE PARLOR NATIVE
SONS AND DAUGHTERS, ELDERBLOOM DAY.

MONDAY, OCTOBER 2

GONZAGA UNIVERSITY DAY.

TUESDAY, OCTOBER 3

SOUTH SAN FRANCISCO GRAMMAR SCHOOL
TOUR DAY.

THE MAGIC CITY

1939 SPECIAL DAYS PROGRAM (Continued)

WEDNESDAY, OCTOBER 4

CLIPPER DAY, AUTOMOTIVE ELECTRIC AS-
SOCIATION.

THURSDAY, OCTOBER 5

GEORGE OLSEN MUSICAL VARIETY WEEK,
BUILDING OFFICIALS DAY.

FRIDAY, OCTOBER 6

MOTOR COURTS DAY, ST. IGNATIUS HIGH
SCHOOL TOUR, SANTA CLARA UNIVER-
SITY, SAN FRANCISCO GIRLS HIGH SCHOOL
TOUR DAY.

SATURDAY, OCTOBER 7

GENERAL ELECTRIC, SAN FRANCISCO
BOYS' CLUB, SAN FRANCISCO LINCOLN
GRAMMAR SCHOOL ASSOCIATION, SHASTA
UNION ELEMENTARY SCHOOL TOUR, PO-
LAND, SAFEWAY STORES '-CUSTOMERS
DAY," STOCKTON JUNIOR COLLEGE, Es-
CALON GRAMMAR SCHOOL TOUR DAY.

SUNDAY, OCTOBER 8

COMMUNITY CHEST DAY, ALL-BREEDS
CHAMPIONSHIP CAT SHOW, REDWOOD
EMPIRE WEEK, UNITED INSTITUTE OF Mu-
sic, UKIAH ORPHANS DAY.

MONDAY, OCTOBER 9

Music WEEK, REDWOOD EMPIRE WEEK.

TUESDAY, OCTOBER TO

SANGER DAY, INTERNATIONAL ASSOCIA-
TION OF CHIEFS OF POLICE DAY.

WEDNESDAY, OCTOBER 11

SUNSWEET, ARCHITECTS, MASONIC, NA-
TIONAL ASSOCIATION INDEPENDENT TIRE
DEALERS DAY.

THURSDAY, OCTOBER 12

ALAMEDA COUNTY DAY, NOKOMIS INDIAN
TOUR, KNIGHTS OF COLUMBUS DAY.

FRIDAY, OCTOBER 13

NATIONAL ASSOCIATION OF ASSESSORS
DAY.

SATURDAY, OCTOBER 14

UNIVERSITY OF SAN FRANCISCO, CALIFOR-
NIA SCHOLARSHIP FEDERATION DAY, CATH-
OLIC ORPHANS TOUR, CAMPFIRE GIRLS
DAY, UNIVERSITY OF CALIFORNIA AT Los
ANGELES WEEK-END.

SUNDAY, OCTOBER 15

PETROLEUM DAY, VALLEJO DAY, JEWISH
FOLK FESTIVAL.

MONDAY, OCTOBER 16

COUNT BASIE DAY, Los ANGELES
SCHOOLS' TOUR, NATIONAL TAX ASSO-
CIATION DAY.

TUESDAY, OCTOBER 17

NATIONAL ASSN. OF MASTER BREWERS
DAY, JEFFERSON ELEMENTARY SCHOOL
TOUR, CANYON ELEMENTARY SCHOOL
TOUR.

WEDNESDAY, OCTOBER IB

CIVIL SERVICE ASSEMBLY, HALL OF
FLOWERS WEEK, SAN JOSE THEODORE
ROOSEVELT JR. HIGH SCHOOL TOUR.

THURSDAY, OCTOBER 19

BAKERS, WOMEN'S CHRISTIAN TEMPER-
ANCE UNION, MUNICIPAL FINANCE OFFI-
CERS DAY.

FRIDAY, OCTOBER 2O

TENDER LEAF TEA, JOAQUIN MILLER,
JULES CHARBNEAU DAY.

SATURDAY, OCTOBER 21

LILY PONS DAY, DAIRY SHOW, TEX RAN-
KIN AERIAL STUNTS, PAC. GAS & ELEC-
TRIC, PHILIPPINE, CHALLENGE BUTTER
DAY, CALIFORNIA ALMOND WEEK.

SUNDAY, OCTOBER 22

DALY CITY, SORDPTIMIST CLUB, WATSON-
VILLE, D. N. & E. WALTER COMPANY DAY,
RAILROAD FANS DAY.

MONDAY, OCTOBER 23

S. F. SOCIETY FOR HARD OF HEARING
WEEK.

TUESDAY, OCTOBER 24

CALIFORNIA WRITERS' CLUB DAY.

WEDNESDAY, OCTOBER 25

GLORIA JEAN, WOMEN'S DAY, CLIPPER
DAY, DAIRY INDUSTRIES SUPPLY CORP.
DAY.

THURSDAY, OCTOBER 26

EAST BAY DISABLED FOLKS DAY, GRID-
LEY UNION HIGH SCHOOL TOUR.

FRIDAY, OCTOBER 27

PLEASANTON, REEDLEY, YDUNTVILLE VET-
ERANS HOME DAY, NATIONAL GLASS DIS-
TRIBUTORS.

SATURDAY, OCTOBER 28

CALIFORNIA GRAYS' BALL, UNIVERSITY
OF CALIF. DAY, SANTA BARBARA STATE
COLLEGE DAY.

SUNDAY, OCTOBER 29

FREDDY MARTIN & ORCHESTRA, MILL VAL-
LEY, OWL DRUG COMPANY EMPLOYEES,
AMERICAN BOTTLERS OF CARBONATED
BEVERAGES ASSOCIATION DAY.

1940 SPECIAL DAYS PROGRAM

SATURDAY, MAY 25

OPENING DAY FIESTA, PAGEANT OF LIGHT,
GAYWAY FIESTA, MAJORETTE CONTEST,
FLORISTS' TELEGRAPH DELIVERY DAY.

SUNDAY, MAY 26

THRILL AERIAL CIRCUS, NATIONAL GAR-
DEN SHOW, BARBERS' DAY, WHISKERINO
CONTEST, ROBERT RIPLEY DAY, YOUNG
CARTOONISTS' CONTEST.

MONDAY, MAY 27

Los ANGELES CHAMBER OF COMMERCE
GOODWILL VISIT, INTERNATIONAL BUSI-
NESS MACHINES DAY WITH GRACE MOORE,
LAWRENCE TIBBETT CONCERT, G. G. I.E.
PROMOTION COMMITTEE DAY.

TUESDAY, MAY 2B

S. F. R.O.T. C. DAY.

WEDNESDAY, MAY 29

SCHOOL SAFETY PATROL DAY.

THURSDAY, MAY 3O

MEMORIAL DAY CELEBRATION.

FRIDAY, MAY 31

FOREIGN PAVILIONS OPEN.

SATURDAY, JUNE 1

S. F. SCHOOL REGATTA, ALAMEDA COUNTY,
HIGH TWELVE CLUBS, JUNIOR STATES-

MEN OF AMERICA, GIRL SCOUTS, MORAL
RE-ARMAMENT DAY.

SUNDAY, JUNE 2

SECOND MRA, O'CONNOR MOFFATT & Co.,
REDWOOD CITY, GRANDMOTHERS, MAY-
WOOD CL.A. COUNTY], Music DAY.

MONDAY, JUNE 3

EAST BAY CRIPPLED CHILDREN'S DAY.

TUESDAY, JUNE 4

SAN FRANCISCO SYMPHONY CONCERT,
CALIFORNIA WRITERS CLUB, CLIPPER DAY.

WEDNESDAY, JUNE 5

MOTHERS OF AMERICA, AD. CLUB DAY,
S. F. WOMEN'S CHAMBER OF COMMERCE
MEETING.

THURSDAY, JUNE 6

HOTELS, BETTER SPEECH, AMERICAN PEN
WOMEN'S DAY.

FRIDAY, JUNE 7

FEDERAL BUILDING OPENING CEREMONIES,
COMMENCEMENT DAY, FEDERATION OF
WOMEN'S CLUBS MEETING.

SATURDAY, JUNE B

FEDERAL BUILDING DEDICATION, KINGS
DAUGHTERS, SCHMIDT LITHOGRAPH Co.,
MILLS COLLEGE, Y.M.C.A., S. F. CON-

APPENDIX

XLl

1940 SPECIAL DAYS PROGRAM (Continued)

SERVATDRY DF MUSIC, LOYAL WORKERS
SOCIETY, NATIONAL NEGRO LEAGUE DAY,
JUNIOR BRIDGE TOURNAMENT, AMERICAN
WAR MOTHERS, CALIF. Soc. OF SPEECH
THERAPY DAY.
SUNDAY, JUNE 9

HUNGARY DAY, NATIONAL FLAG, SIERRA-
PLUMAS DAY, TEMPLE OF RELIGION PAG-
EANT.
MONDAY, JUNE Id

COOLIDGE QUARTET DAY.
TUESDAY, JUNE 11

CLIPPER DAY.
WEDNESDAY, JUNE 12

WASHINGTON HIGH SCHOOL BAND CON-
CERT.
THURSDAY, JUNE 13

TRAVELLARIAN NIGHT.
FRIDAY, JUNE 14

THRILL AERIAL SHOW, MOVIES, "ALL
QUIET ON THE WESTERN FRONT," SYM-
PHONY ORCHESTRA CONCERT BY NORTH-
ERN CALIFORNIA Music PROJECT, PLAY
OPERA GROUP RECITALS, SAN MATED
JUNIOR COLLEGE, SOPHOMORE DANCE.
SATURDAY, JUNE 15

BANK OF AMERICA, MARTINEZ CHAMBER
OF COMMERCE, CHILDREN OF AMERICAN
REVOLUTION, DANCE STUDIOS, SCIOTS
DAY, CZECHOSLOVAKIA EXHIBIT DEDICA-
TION, OUTDOOR GIRL CONTEST.
SUNDAY, JUNE 16

FORD DAY, PORTUGAL DAY, CLEANERS
& DYERS, VALLEJO TIMES-HERALD, FA-
THERS, CIGAR & TOBACCO PRODUCTS
DAY, BRUNCH ARTS CLUB MEETING,
MOTHERSINGERS CONCERT.
MONDAY, JUNE 17

DAUGHTERS OF CALIFORNIA PIONEERS,
SHOPPING NEWS CARRIERS DAY.
TUESDAY, JUNE IS

TREASURE ISLAND SYMPHONY CONCERT.
WEDNESDAY, JUNE 19

WESTERN WOMEN'S CLUB, CHIURA OBATA,
JAPANESE ARTIST, "ATTITUDES OF OR-
IENTAL PAINTING", PAUL MARTIN'S Music.
THURSDAY, JUNE 2O

CALIF. STATE SUPERVISORS & COUNTY
ENGINEERS' DAY, PAN AMERICAN LEAGUE
MEETING.
FRIDAY, JUNE 21

WINE INDUSTRIES DAY, JADE EXHIBITION,
OAKLAND NEGRO CHORUS.
SATURDAY, JUNE 22

SWEDEN, DENMARK, Los ANGELES COUN-
TY, KERN COUNTY HERALD, ANGLO-CALIF.
BANK, SALVATION ARMY, ALPHA CHI SIG-
MA, KAPPA GAMMA Pi, LIONS CLUB STU-
DENT SPEAKERS DAY.
SUNDAY, JUNE 23

CALIFORNIA STATE EMPLOYEES WEEKEND,
AMERICAN LEGION PILGRIMAGE, JAPAN,
ESTONIA, TWINS, LUTHERAN CHURCH DAY.
MONDAY, JUNE 24

CALIFORNIA EDITORS DAY.
TUESDAY, JUNE 25

ALLIED CONSTRUCTION INDUSTRIES, CALI-
FORNIA PHARMACEUTICAL ASS'N, SOROP-
TDMIST CLUB DAY.
WEDNESDAY, JUNE 26

SOCIETY FOR PROMOTION OF ENGINEER-
ING, EDUCATION DAY.
THURSDAY, JUNE 27

TALKS "LIFE AROUND THE PACIFIC,"
"TRAVELING WITH THE CHINESE ARMIES,"
PRESENTED BY MAJOR EVANS F. CARLSON.

FRIDAY, JUNE 28

CALIFORNIA REALTORS, NATIONAL PLANT,
FLOWER AND FRUIT GUILD DAY.
SATURDAY, JUNE 29

FINLAND DAY, S. F. 164TH BIRTHDAY
PARTY, SOUTHERN PACIFIC WEEKEND.

SUNDAY, JUNE 3D

KNIGHTS OF COLUMBUS, ALASKA-YUKON,
S.P.R.S. I., SAN FERNANDO VALLEY, CALI-
FORNIA PIONEERS DAY.
MONDAY, JULY 1

NATURALIZATION DAY, INDIAN EXHIBIT,
GLADYS SWARTHOUT RECEPTION.

TUESDAY, JULY 2

SYMPHONY CONCERT.

WEDNESDAY, JULY 3

AMERICAN SOCIETY FOR HARD OF HEAR-
ING.

THURSDAY, JULY 4

INDEPENDENCE DAY CELEBRATION, ALLIED
VETERANS DAY, LUM AND ABNER SHOW,
GREAT AMERICAN BARN DANCE.

FRIDAY, JULY 5

HAWAII DAY, PAUL MANTZ, FAMED STUNT
FLYER BOMBARDS TREASURE ISLAND WITH
HAWAIIAN LEIS .

SATURDAY, JULY 6

CZECHO-SLOVAKIA, BOY SCOUTS DAY.

SUNDAY, JULY 7

MARINE CORPS LEAGUE DAY, CALIF. AS-
SOCIATION TEACHERS OF DANCING PRO-
GRAM.

MONDAY, JULY 8

EDUCATIONAL FILM "KINDERGARTEN TO
COLLEGE," RECEPTION FDR Miss GRACE
PARKER OF NEW YORK, ORGANIZER NA-
TIONAL LEAGUE OF WOMEN'S SERVICE.

TUESDAY, JULY 9

ROOSEVELT DELEGATION, NATIONAL ASSN.
OF HOUSING OFFICIALS, NATIONAL CON-
FERENCE OF PLANNING DAY.

WEDNESDAY, JULY ID

PASADENA TOURNAMENT OF ROSES BAND,
STATE BOARD OF EDUCATION DINNER.

THURSDAY, JULY 11

TREASURE ISLAND GARDEN PARTY, AMER-
ICAN PENWDMEN'S PROGRAM.

FRIDAY, JULY 12

DISTRICT OF COLUMBIA DAY, EAST BAY
GLADIOLUS SHOW, INAUGURAL FLIGHT,
AMERICAN CLIPPER TO NEW ZEALAND.

SATURDAY, JULY 13

AMERICAN ART FEDERATION DAY.

SUNDAY, JULY 14

FRENCH, SALINAS, VIRGINIA CITY, Rosi-
CRUCIAN, ZETA Psi FRATERNITY, COWBOY
DAY, WILD FLOWER WEEK RECEPTION.

MONDAY, JULY 15

CALIFORNIA WILD FLOWER WEEK, ALEC
TEMPLETON RECEPTION.

TUESDAY, JULY 16

SYMPHONY NIGHT CMDNTEUX-TEMPLE-
TONJ", SALINAS OUTDOOR GIRL DAY.

WEDNESDAY, JULY 17

WILD FLOWER RECEPTION, HALL OF AG-
RICULTURE.

THURSDAY, JULY IB

THRILL AERIAL SHOW FEATURING THE SEN-
SATIONAL MARIONS, THE FOUR MONARCHS
AND THE FOUR JAYS. OPEN AlR THEATRE.

FRIDAY, JULY 19

JAPAN TOURISTS NIGHT, ANTARCTIC DAY.

SATURDAY, JULY 2O

JOBS DAUGHTERS, COLUMBIA INDEPEND-
ENCE, MISSISSIPPI, TRAVELERS PROTEC-
TIVE ASS'N DAY.

SUNDAY, JULY 21

STANISLAUS COUNTY, ALPHA IOTA SO-
RORITY, MCLAREN PARK BOYS CLUB DAY,
NAVAL RESERVE, FLIGHT OVER TREASURE
ISLAND.

MONDAY, JULY 22

NATIONAL GARDEN SHOW, HOSTESS HOUSE
OPEN.

TUESDAY, JULY 23

ADELPHIAN CLUB DAY.

XL11

THE MAGIC CITY

1940 SPECIAL DAYS PROGRAM (Continued)

WEDNESDAY, JULY 24

SIMON BOLIVAR, CHILDREN'S BARGAIN,
BAKERS' DAY.

THURSDAY, JULY 25

NEGRO DAY, FORD DAY.

FRIDAY, JULY 26

NEGRO Music FESTIVAL, JANET DYER
SPENCER PRESENTS: WOMEN ARTISTS WHO
HELPED MAKE THE EXPOSITION.

SATURDAY, JULY 27

GENERAL MOTORS DAY, NEGRO MOVIE
BALL, WESTERN AMATEUR CAMERA CON-
CLAVE, JOSEPH LEE DAY, IDAHO, TWIN
PEAKS DISTRICT BOY SCOUTS, JEWISH
WAR VETERANS DAY.

SUNDAY, JULY 2B

NORWAY, LILY PONS, BENNY WALKER,
YOUNG LADIES INSTITUTE, VALLEJO
CHRONICLE DAY, SOAP Box DERBY.

MONDAY, JULY 29

DEMOCRATIC WOMEN'S CLUB DAY.

TUESDAY, JULY 3D

LILY PONS, ANDRE KDSTELANETZ SYM-
PHONY CONCERT, PAUL GALLICO DAY.

WEDNESDAY, JULY 31

UTAH, KIT CARSON DAY, TREASURE ISL-
AND ICE FOLLIES, THOMAS J. WATSON
DAY.

THURSDAY, AUGUST 1

NATIONAL FOREIGN TRADE COUNCIL DAY.

FRIDAY, AUGUST 2
Music DAY.

SATURDAY, AUGUST 3

NEVADA, RADIO, UNITED COMMERCIAL
TRAVELERS, STATE APARTMENT HOUSE,
MOTHER SHERWOOD DAY.

SUNDAY, AUGUST 4

GERTRUDE LAWRENCE, NATIONAL ASS'N
OF DEAF, TEMPLE OF RELIGION, COAST
GUARD DAY.

MONDAY, AUGUST 5

DRY GOODS AND APPAREL DAY.

TUESDAY, AUGUST 6

Music AUDITION, YOUNG ARTISTS CON-
TEST.

WEDNESDAY, AUGUST 7

CHILDREN'S FIVE CENT DAY, TOYLAND,
NATIONAL ASS'N OF BROADCASTERS DAY,
FESTIVAL HALL DANCE.

THURSDAY, AUGUST 8

PIANO CONCERT BY RAYMOND FOOTE,
AMERICAN BIBLE SOCIETY PROGRAM.

FRIDAY, AUGUST 9

ARMY AND NAVY UNION DAY.

SATURDAY, AUGUST 1O

INTERNATIONAL HORSE SHOW, S.5. WASH-
INGTON, Los ANGELES, ECUADOR, FARM-
ERS & TRUCK INSURANCE EXCHANGE,
YOUNG BUDDHISTS, PHILIPPINE, SOUTH-
ERN Civic COUNCIL, KANSAS UNIVERSITY
ALUMNI DAY, ALAMEDA COUNTY DAHLIA
SHOW.

SUNDAY, AUGUST 11

DENMARK, D. N. & E. WALTER COMPANY,
JUNIOR MUSICIANS, TRIPLETS, POET LAU-
REATE DAY.

MONDAY, AUGUST 12

SEE A SHOW DAY, PIONEER WOMEN OF
CALIFORNIA DAY.

TUESDAY, AUGUST 13

SAN FRANCISCO SYMPHONY CONCERT
WITH LAURITZ MELCHIOR, BRUNO WALTER
CONDUCTING, MORGAN HILL DAY.

WEDNESDAY, AUGUST 14

SUNSWEET DAY, FESTIVAL HALL DANCE.

THURSDAY, AUGUST 15

ST. VINCENT'S SCHOOL FOR BOYS, IN-
SURANCE, OUTDOOR SPORTS DAY.

FRIDAY, AUGUST 16

CONGREGATIONAL CHURCH DAY.

SATURDAY, AUGUST 17

COMMONWEALTH INSTITUTE, OKLAHOMA
DAY.

SUNDAY, AUGUST IB

RAILWAY EXPRESS, MAGICIANS, MEXICO,
ALTA CALIFORNIA, SPORTSMEN'S, Civic
CLUBS, PAUL BUNYAN DAY.

MONDAY, AUGUST 19

Coos BAY PIRATES DAY, KEY SYSTEM
EMPLOYEES BALL, DISABLED CITIZENS,
TRAFFIC SAFETY DAY, PROMOTION COM-
MITTEE NIGHT.

TUESDAY, AUGUST 2O

ALAMEDA COUNTY FEDERATION OF WOM-
EN'S CLUBS, STATE GRANGE DAY.

WEDNESDAY, AUGUST 21

NATIONAL EXCHANGE CLUBS DAY.

THURSDAY, AUGUST 22

AMERICAN RED CROSS DAY, FENCING
CHAMPIONSHIPS.

FRIDAY, AUGUST 23

CHILDREN'S DAY, TENNESSEE DAY.

SATURDAY, AUGUST 24

HARBOR, TDWNSEND CLUBS, UNION Now,
CHRISTIAN YOUTH, CASA HISPANA, "ELSIE
THE Cow," S.S. MANHATTAN, NEW ZEA-
LAND CLIPPER DAY, OAKLAND WELDON-
IANS CONCERT.

SUNDAY, AUGUST 25

TELEPHONE EMPLOYEES, EMPORIUM &
CAPWELL, YOUNG MEN'S INSTITUTE, HON-
OLULU CONSERVATORY OF Music DAY.

MONDAY, AUGUST 26

WOMEN'S SUFFRAGE DAY.

TUESDAY, AUGUST 27

OSCAR LEVANT, MEREDITH WILSON AND
SAN FRANCISCO SYMPHONY ORCHESTRA,
CALIFORNIA WRITERS' CLUB, BARTENDERS
DAY.

WEDNESDAY, AUGUST 2B
FAVORITE Music DAY.

THURSDAY, AUGUST 29

CARMEL, RALPH MURRAY DAY.

FRIDAY, AUGUST 3D

GOLDEN WEDDING, PACIFIC GROVE DAY.

SATURDAY, AUGUST 31

TREASURE ISLAND RODEO, POLAND,
DAUGHTERS OF SCOTIA, UNDERPRIVILEGED
CHILDREN, MONTEREY, PHI BETA KAPPA
DAY, VETERANS OF FOREIGN WARS, PENN-
SYLVANIA DAY.

SUNDAY, SEPTEMBER 1

RED MEN, DEL NORTE COUNTY, LITTLE
FLOWER PARISH DAY, SPECIAL HOLLY-
WOOD SHOW.

MONDAY, SEPTEMBER 2

2O-3O CLUB DAY, LABOR DAY.

TUESDAY, SEPTEMBER 3

INDUSTRIAL BRIDGE TOURNAMENT.

WEDNESDAY, SEPTEMBER 4

FLEET RESERVE DAY, FREE MOVIES DAY.

THURSDAY, SEPTEMBER 5

AMERICAN PEN WOMEN DAY, CARILLON
DAY.

FRIDAY, SEPTEMBER 6

JAPAN TEACHERS, MARIMBA Music DAY.

SATURDAY, SEPTEMBER 7

SAFEWAY, BRAZIL, NEW ENGLAND DAY,
GENERAL ELECTRIC COMPANY LUNCHEON,
CIVITAN, ORDER OF AMARANTH, LINCOLN
GRAMMAR SCHOOL, ASS'N, DR. LEE DE
FORREST DAY.

SUNDAY, SEPTEMBER S

WELSH, KNIGHTS TEMPLAR, SAN Luis
OBISPO COUNTY, SIGMA PHI EPSILON,
EASTBAY CELEBRITIES, HARDY PEAR, RED-
DING DAY.

MONDAY, SEPTEMBER 9

ADMISSION DAY, CALIFORNIA WINE DAY.

TUESDAY, SEPTEMBER ID

SAN FRANCISCO SYMPHONY CONCERT,

APPENDIX

XLlll

1940 SPECIAL DAYS PROGRAM (Continued)

BRACE MDDRE, GAETANO MERDLA, DRGAN
Music DAY.

WEDNESDAY, SEPTEMBER 11

CALIFORNIA LEAGUE OF WOMEN VOTERS,
FEDERATION OF WOMEN'S CLUBS DAY.

THURSDAY, SEPTEMBER 12

CONSTRUCTION INDUSTRIES JUBILEE DP-
ENS, PALACE OF FINE ARTS DAY.

FRIDAY, SEPTEMBER 13

SAN FRANCISCO GIRL SCOUTS' DAY.

SATURDAY, SEPTEMBER 14

LUMBER DAY, CENTRAL VALLEY PROJECT,
F.H.A., ELDERBLOOM, CAMPFIRE GIRLS,
SIENA ALUMNI, PACIFIC DAS & ELECTRIC
Co., ASSOCIATION HOME BUILDERS, SPE-
CIALTY CONTRACTORS, PLUMBERS, AMERI-
CAN FEDERATION OF LABOR, BUILDERS
EXCHANGE DAY.

SUNDAY, SEPTEMBER 15

SAN FRANCISCO, REDWOOD EMPIRE, CEN-
TRAL AMERICAN INDEPENDENCE, KPO-
KGD, GOLDEN GATE BRIDGE, SALESIAN
BOYS CLUB, COLUMBIA PARK BOYS CLUB,
ROYAL NEIGHBORS OF AMERICA, BARBER
SHOP QUARTETTE, UNITED INSTITUTE OF
Music, JEWISH FOLK CHORUS, LARSKE
DANCERS DAY.

MONDAY, SEPTEMBER 16

OAKLAND WOMEN'S CITY CLUB, PUPPET
SHOWS, JANITORIAL EMPLOYEES DAY.

TUESDAY, SEPTEMBER 17

CALIFORNIA FEDERATION OF Music CLUB,
CALIFORNIA COMPOSERS SOCIETY, STATE
ASS'N OF PERSONNEL DIRECTORS, CON-
STITUTION DAY.

WEDNESDAY, SEPTEMBER IB

WOMEN'S DAY, PORTUGUESE WINE, S.D. E.
LAST ROUND-UP DAY.

THURSDAY, SEPTEMBER 19

DRDER OF EASTERN STAR, SPECIAL LI-
BRARY ASS'N, RICHEY EVANGELIST AS-
SOCIATION DAY.

FRIDAY, SEPTEMBER ZD

ALMOND, CALIFORNIA Music FESTIVAL
FINAL, "BALLAD FOR AMERICANS," SAN
FRANCISCO SCHOOLS PHYSICAL EDUCA-
TION, SAN FRANCISCO BAY AREA COUR-
TESY COMMITTEE DAY, COLOR CAMERA
NIGHT.

SATURDAY, SEPTEMBER 21

"NEXT-TO-CLOSING" WEEK-END, WEN-

DELL L. WILLKIE DAY, OAKLAND, UNI-
VERSITY OF SAN FRANCISCO, CAMPING,
SAN FRANCISCO BOYS CLUB, NATIONAL
WOMAN'S PARTY, MANTLE CLUB, GENERAL
LONGSTREET DAY.

SUNDAY, SEPTEMBER 22

OLD TIMERS, CONTRA COSTA COUNTY,
UNIVERSITY OF CALIFORNIA STUDENTS,
RAINBOW GIRLS, FRESNO COUNTY, UNITED
INSTITUTE OF Music, JUNIOR COIN COL-
LECTORS, VALLEJO-NAPA EXCURSION,
GUSTINE, TUOLUMNE COUNTY ASS'N RE-
UNION, SAN FRANCISCO ORATORIO SO-
CIETY DAY.

MONDAY, SEPTEMBER 23

CONTRA COSTA COUNTY CRIPPLED CHIL-
DREN'S DAY.

TUESDAY, SEPTEMBER 24

AMERICAN SOCIETY OF COMPOSERS, AU-
THORS AND PUBLISHERS DAY GUEST

STARS, JOHN CHARLES THOMAS, JUDY
GARLAND AND OTHERS; SONG WRITERS,
IRVING BERLIN, GEORGE M. COHAN, JER-
OME KERN AND OTHERS.

WEDNESDAY, SEPTEMBER 25

INSURANCE, REEDLEY, FLOWER DAY.

THURSDAY, SEPTEMBER 26

SAN FRANCISCO MUNICIPAL EMPLOYEES,
"GREAT AMERICAN COMPOSERS OF PAST"
DAY, "THE VOICE OF THE EXPOSITION"
DAY, DANISH CEREMONY NIGHT.

FRIDAY, SEPTEMBER 27

CALIFORNIA GRAYS, TREASURE ISLAND
COMPANY, U.S.A., STATE EMPLOYEES
CAMERA CLUB DAY, TREASURE ISLAND
WOMEN'S CLUB NIGHT, DAILY MENU
PRINTING COMPANY, Los ANGELES CHAM-
BER OF COMMERCE DAY.

SATURDAY, SEPTEMBER 28

CALIFORNIA ALUMNI JAMBOREE, CAB-
RILLO, SAN FRANCISCO APARTMENT HOUSE
INDUSTRY, GONZAGA UNIVERSITY, MICHI-
GAN ALUMNI, DR. NATHANIEL COULSON
DAY.

SUNDAY, SEPTEMBER 29

CLOSING DAY CEREMONIES: CEREMONIES
WITH SPECTACULAR PAGEANT DEPICTING
THE HISTORY OF THE '39 AND '4O FAIRS,
FEDERAL PLAZA.

1939 ATTENDANCE RECORD

FEB. 1 B

1 28,697

" 1 5

27,81 8

" 9

60,257

" 4

25,BO7

" 1 9

93,91 2

" 1 6

2B.O31

" 1 O

20,849

" 5

1 B.O21

" 2D

27,373

" 1 7

28, 1 44

" 1 1

1 8,947

49,72O

" 21

31 ,34B

" 1 8

52,739

" 1 2

1 9,414

6D,521

• ' 22

1 27,739

" 1 9

73,71 7

" 1 3

1 7,1 86

1 3,629

" 23

21,559

" 2O

1 9,460

" 14

22,568

20,339

" 24

21,765

" 21

17,2O9

" 1 5

46,827

" 1 O

2D,594

" 25

51 ,443

" 22

1 5,357

" 16

57,684

" 1 1

21 ,285

" 26

64,937

" 23

1 6,446

" 17

1 4,5O3

" 1 2

24,924

" 27

1 6.42O

" 24

1 9,656

" 1 8

1 7,291

" 1 3

43, 1 BO

" 2B

17,424

" 25

33,81 4

" 1 9

17,939

" 1 4

73,663

MAR. 1

1 9,6B6

" 26

30,266

" 20

1 7,672

" 1 5

1 6,953

1 6,743

•' 27

17,572

" 21

2D.243

" 1 6

1 7,3BO

1 6.B73

" 28

1 5,1 33

" 22

41 ,61 5

" 17

21 ,54D

" 4

53,951

" 29

20,072

" 23

5D, 1 86

" i a

23,659

72,1 1 6

" 3D

22,6O3

" 24

1 4,D46

" 1 9

39,74B

12,961

" 31

24,648

•• 25

1 B,76O

" 20

32,344

17,708

APR. 1

46,924

" 26

1 7,826

" 21

43,682

1 0,259

75,748

" 27

1 7,BO4

" 22

1 3,942

14,739

27,71 5

" 28

1 8,734

" 23

21,984

" ID

20,297

" 4

37,670

" 29

54,1 86

" 24

21 ,36D

" 1 1

43,898

" 5

51 ,375

" 3D

56,71 2

" 25

18,622

" 12

54,354

53,31 6

MAY 1

21,518

" 26

1 8,9DD

" 13

14,965

36,789

1 4,692

" 27

35.2D4

,, 14

21,259

42,474

" 3

23,96O

" 28

58,787

XL1V

THE MAGIC CITY

1939 ATTENDANCE RECORD (Continued)

" 29

46.7BB

" 7

43,646

" 1 5

45.D44

" 23

43,81 6

" 3D

6O.BB3

62,735

•• 16

48,21 5

" 24

48,660

" 31

1 5,055

74,517

,, 17

4B.93D

" 25

1 1,720

JUNE 1

15,723

" 1 D

32, 146

" IB

44.D75

" 26

1 7,855

1 6,553

" 1 1

36,1 26

•• 1 9

60,833

•• 27

17,578

35.D59

" 1 2

36,B9D

" 2D

7B,DB5

" 28

1 5,851

3B.B76

" 1 3

36.DB9

" 21

43,B94

" 29

1 6,574

" 5

17.DB2

" 14

42,794

" 22

44.7B5

" 3D

5O,O1 O

1 B,96D

" 1 5

56,296

" 23

45,294

OCT. 1

41,545

22, 1 36

" 1 6

79,843

" 24

46, 1 76

1 1 ,776

21,437

•• 17

36.7B2

" 25

40,974

14,647

2D, 1 63

" IB

41 ,D26

" 26

56,41 2

" 4

1 6.9B2

•• 1 D

34,924

" 1 9

45,362

" 27

78,644

" 5

1 5,6DD

" 1 1

49,1 1 3

" 2D

43,71 B

" 28

35,3B5

1 9,670

" 12

21,116

" 21

36, 1 64

" 29

3B,449

86,629

•• 1 3

25.B17

• 22

76,DD9

" 3D

35,700

" B

1 87,73O

" 14

26,869

' 23

59,714

" 31

3D, 846

24,377

" 1 5

23,927

' 24

35,525

SEPT. 1

29,742

" 1 O

32,358

" 16

24.2D4

' 25

36,546

59,601

" 1 1

42,951

" 17

43,759

• 26

39,054

1 23,442

" 1 2

76,921

" 1 B

53,565

• 27

33,922

91,756

" 1 3

35,5D9

" 1 9

3D.6BB

' 2B

33,896

" 5

24,745

' 14

86,217

" 2D

32,1 3D

• 29

45,294

" 6

35,718

• 1 5

1 39,DB6

" 21

37.72D

' 3D

63,444

31,587

' 1 6

37,549

" 22

32,967

• 31

31,74D

27,347

1 17

42,1 79

" 23

32,61 7

AUG. 1

34,620

" 9

68,449

' 1 B

45,667

" 24

53, 1 B9

34,252

" 1 D

56,031

' 1 9

49.4B5

" 25

69,1 9D

41 ,36B

•• 1 1

18,759

' 2D

56,491

" 26

31 ,D4D

" 4

35,493

" 1 2

22,877

• 21

142,072

" 27

31,2D2

57,592

" 1 3

2O,945

• 22

1 24,948

" 2B

3D,321

69.3BD

" 1 4

28,677

• 23

53,491

" 29

28,766

45, 1 21

" 1 5

23,B33

' 24

54, 1 46

•• 3D

29,301

53,897

" 1 6

43,81 1

• 25

1 1 1 ,B39

JULY 1

41 ,69D

" 9

51,527

,, 17

75,731

• 26

85,661

B3,D1 1

" 1 D

41 , 1 46

•• 1 B

1 9,D25

' 27

91 ,B53

64,636

" 1 1

37,635

" 1 9

18,925

' 28

1 OB,42B

1 22,579

" 12

57,65D

• • 2D

4D,O41

• 29

147,674

29,61 9

" 1 3

71,666

•• 21

20,691

" 6

4D, 1 94

" 14

4D,379

" 22

1 8,983

1940 ATTENDANCE RECORD

MAY 25 1 23,36B

•• 26 35,713

" 28 71.46B

" 29 3D.B77

" 26 B3,O24

" 27 3O,779

" 29 26,285

" 3D 31,416

" 27 4D.672

" 2B 29, 1 1 6

" 3D 39,320

" 31 57,635

" 2B 23,253

" 29 55,725

•• 31 33,968

SEPT. 1 1 1 3,B95

" 29 32,3B9

" 3D B1.5D3

AUG. 1 31,777

2 76,766

" 3D 6D.597

JULY 1 25,952

" 2 3D.243

3 22,607

" 31 44,049

2 32.B29

3 47,831

" 4 28,892

JUNE 1 65,146

3 31,754

4 69,158

5 27,253

2 80,991

" 4 13D.641

" 5 37,153

•• 6 26,654

3 19,932

5 44,745

6 35,OB4

7 65,194

4 2B.56B

6 56,027

' 7 41,965

B 1 1 B.B63

5 27,868

7 59,461

' B 35,758

9 B2.O75

6 34,362

B 25,513

9 33,399

• ID 32,437

7 27,819

9 32,918

• 1 D 62, 1 34

' 1 1 3D.763

B 59,B67

' 1O 34,833

1 1 1 96,1 06

' 12 31,607

9 74.D4D

' 1 1 32,259

' 12 33,354

• 13 34,701

" ID 22,465

• 12 31,2DO

• 13 45,065

' 14 87,704

" 1 1 25,157

' 13 44,310

' 1 4 42, 1 66

•15 1 27, 1 94

" 12 27,512

' 14 66,562

' 15 42,187

' 16 26,143

" 13 28,547

• 15 26,271

' 1 6 43,1 17

' 17 29,451

" 14 27,433

• 16 37,556

' 17 63,910

' IB 58,433

" 15 56,914

' 17 34,435

' IB 1 DO, 677

. 19 44,910

" 16 73.D72

' IB 34,569

1 19 34,274

' 20 45,236

" 17 37.B72

• 19 32,956

" 2D 41,165

' 21 101,127

" IB 33,606

• 2D 52.BB9

' 21 40,759

• 22 134,197

" 19 34.OB7

' 21 68,156

' 22 41,795

• 23 36,598

" 2O 34,175

' 22 2B.422

• 23 4D,O59

' 24 67.D4B

" 21 3D.71B

• 23 35,459

• 24 61,172

' 25 73,312

" 22 57,165

• 24 43.6DD

' 25 1 14, 1 23

' 26 65,129

" 23 B1,9OD

' 25 35, BSD

• 26 2B.4DB

• 27 82,209

" 24 26, 15D

' 26 31,303

• 27 42.5BO

' 28 128,278

" 25 29,458

" 27 BO, 156

" 28 34,D94

'29 211 ,O2O

APPENDIX

XLV

1939-1940 EMPLOYEES

AABEL, AUSTIN
AABEL, IDA MAE
ABER, DOFF
ABBOTT, C. C.
ABBOTT, JOSEPH
ABEL, WILLIAM
ABKIN, IRVING A.
ABRAM, WILLIAM R.
ABRAMS, HERMAN
ABROTT, L. E.
ACKERMANN. HERBERT B.
ACKERMAN, IRVING C.
ABBOTT, CHARLES CLARK
ACKERMAN. LIONEL
ACQUISTAPACE, AGNES
ACDSTA, E.
ADAIR, ANTOINETTE
ADAIR, GEORGE D.
ADAIR. TFO
ADAMS, BEN
ADAMS, DE WITT
ADAMS, JAMES E.
ADAMS, LEE H.
ADAMS, OMAR LEROY
ADAMS, WM. AARON
ADAMS, WILLIAM F.
ADAMS, W. W.
AFINOFF, MARY
AFTERGOOD, SHIRLEY H.
AGNEW, PHYLLIS
AGUILAR, ALBERT
AHERN, VEGA
AHLRORN. MARTIN F.
AHRENS, ELWOOD V.
AH TYE. HOWARD
AINSLIE, KENNETH D.
AKEY, EVELYN
ALBERS. JOHN H.
ALBERTUS, CARL G.
ALBRECHT, WILLIAM
ALCH, MATHILDA
ALCORN, CHEROKEE
ALCUTT, CLEMINTINE
ALDERSON, MARIAN
ALEXANDER, E.
ALEXANDER, J. C.
ALEXANDER, RUTH
ALGAR, PHILIP M.
ALGFR, ROY
ALICE, ROBERT
ALKALAY, EVELYN
ALKALAY. LEOPOLD J.
AKEY, EVELYN MARIE
ALLAN, DONALD B.
ALLAN, GERALDINE
ALLAN, LAURA
ALLARI, VIRGINIA D.
ALLEN, ARTHURTAYRES
ALLEN, ELEANOR K.
ALLEN, BARBARA J.
ALLEN, GEORGE ELDON
ALLEN, HAMILTON
ALLEN, IDA M.
ALLEN, LES
ALLEN, R. F.
ALLEN. WOODWORTH B.
ALLSTRUM. MILDRED
ALPI. BERNICE
ALTSHULER. JOHN D.
ALVORD, DONALD ROY
AMADIO. JOE
AMATI, BETTINA
AMERY, JULIA LOUISE
AMES, ROBERT H.
AMES, WILLIAM
ANDERSON, CEDRIC H.
ANDERSON, ARDENE L.
ANDERSON, ARDINE
ANDERSON, ELSIE LENORA
ANDERSON, AUGUST L.

ANDERSON, AUGUST
ANDERSON, GEORGE
ANDERSON, GEO. S.
ANDERSON, LARRY E.
ANDERSON, MARGARET F.
ANDERSON, MARTHA L.
ANDERSON, MIGNDNNE
ANDERSON, PRESTON R.
ANDERSON, ROBERT H.
ANDERSON, THEODORE F.
ANDERSON, WALTER W.
ANDRADE, ETHYL
ANDRE, ROSEMARY
ANDREWS, CHARLES S.
ANDREWS, JERNE P.
ANGEL, CLARENCE M.
ANGELL, FRANK M.
ANSELMI, CARMELA
ANWILER, J. H.
APPENWODT, EARL FELIS
APPLEGATE, RALPH G.
ARATA, ANGELD E.
ARCHER, JANE
ARDEN, LILLIAN
ARELLANO, RUDOLPH
ARGALL, GEORGE B.
ARMITAGE, JOHN M.
ARMITAGE, M. J.
ARMSBY, NEWELL
ARMSTRONG, ELMER
ARMSTRONG, GAINE5M.
ARMSTRONG, HAROLD F.
ARMSTRONG, HELEN
ARMSTRONG, IRVING
ARMSTRONG, LEAH B.
ARMSTRONG, PAUL S.
ARNAUD, ALFRED
ARNOLD, HAROLD
ARNOLD, MARIAN
ARNOLD, WALTER N.
ASAY, RALPH N.
ASHBY, PEGGY GERTRUDE
ASHCRAFT. DAVID L.
A5HWELL, ELIZABETH B.
ASTRELIA, J.
ASVITT. LEROY R.
ATCHLEY, THOMAS J.
ATHERTON, D.
ATKINSON, ARTHUR G.
ATKINSON, BETTY
ALTRDP, W. M.
ATTEL, GILBERT
AUDSLEY, RICHARD E.
AUSTIN, BEVINS
AUSTIN, JACK B.
AUSTIN, OTIS
AUSTIN. R. R.
AVEILHE, FRANK
AVERY, VINCENT R. C.
AVERY, WILLIAM J.
AYER, MASON W.
AYLWARD, T. P.
AYRAULT, MARIE
AYRE5, TOM J.

BACH, FRED

BACHMAN. ROYAL WILLS
BACKLAND, MAXINE
BACKOFEN, A. L.
BACKAS, THOMAS JAMES
BACON, GEORGE K. JR.
BADOUIN, ROY
BADOUIN, WALTER E.
BAGLEY, LUCILLE
BAGLINI, JULIUS
BAHNSEN, LOUISE M.
BAILEY, BETTY
BAILEY, B. A.
BAILEY, DORIS
BAILEY, ED
BAILEY, HARDEN J.

BAILEY, HENRYS. JR.
BAILEY, J. L.
BAILEY, MIRIAM J.
BAILEY, N. T.
BAILEY, WALTER
BAILEY, WM. F.
BAILLY, EDWARD G.
BAIN, ARCHIE A.
BAIRD, JAMES
BAIRD, JANET H.
BAIROS, ELLEN
BAIRDS, JEANNE S.
BAISH, A. R.
BAISINGER, RDBT. J.
BAKER, CHARLES A.
BAKER, CHARLES E.
BAKER, HARRY
BAKER, H. H.
BAKER, H. R.
BAKER, JANE C.
BAKER, JOS. J.
BAKER, LEAVITT
BAKER, M. W.
BAKER, MAURICE
BAKER, NED D.
BAKER, PHOEBE ANN
BAKER, STANLEY
BALDARAMOS, BERNICE A.
BALDWIN, ALBERT H.
BALDWIN, GEORGE F.
BALDWIN, H. L.
BALDWIN, JAMES J.
BALICE, G.
BALL, ADA E.
BALL, CARL S.
BALL, VIRGINIA
BALLARD, ALBERT
BANDONI, RUTH L.
BANDY, L. S.
BANDY, LOIS FERN
BANGS, CROMPTON JR.
BARBARIA, FRANK
BARBER, JOE
BARBER, JOSEPH D.
BARBERA, EDNA
BARBIERI, JACK
BARBARACK. WILLIAM K.
BARDIN, HENRY L.
BARDO, L.
BARDUE, DOROTHY
BARHAM, ED
BARIDN, HERBERT
BARKAN, BENJAMIN
BARKER, ANITA
BARKER, D. E.
BARKSDALE, LISLE FRANK
BARLOW, WALTER
BARNACLE, J.
BARNES, CHA5. D.
BARNES, MATTHEW
BARNES, VELMA K.
BARNETT, EVELYN
BARNETT, WILMA
BARNHART. CLARENCE
BARNUM, JOHN CORBINE
BARNEY, BOND
BARON, JOHN
BARRETT, BETTY
BARRETT, JANE
BARRETT, URSULA
BARRETT, WILLIAM
BARRIENTOS, DON X.
BARRINGER, A. H.
BARRIOS, ISABEL
BARROWS, HAROLD
BARRY, JEFFERSON
BARTHELS, LAWRENCE
BARTON, LELAND S.
BARTRAM, JOHN
BARTRAM, RAY
BASHAM, MERLE
BASS, JAMES E.

XLV1

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

BASSETT, ROWENA DLENE
BATCHELDR, RDBT. L.
BATEMAN, JOHN A.
BATES, ELIZABETH P.
BATES, ROBERT C.
BATELLE, SHERMAN
BATTESTINI, ALBERT J.
BAUER, HARRY
BAUER, HUGO E.
BAUER, ROLAND J.
BAUGHAN, BETTY
BAUM, WILLIAM JAMES
BAUMAN, E. FRANCES
BAUMER, WM. H. JR.
BAUMBERGER, LUCILLE B.
BAUWENS, VIOLET
BAXTER, V. B.
BAYLISS, GEORGE
BEACH, JACK H.
BEACH, ROBERT P.
BEACDM, NELDINEV.
BEALS, RIXFORDA.
BEAMAN, H.
BEAN, WM. JACK
BEARD, ANNE E.
BEARD, MORRIS L.
BEARDSLEY, H. C.
BEATTY, RUBY P.
BEAUBAIRE, STANLEY
BEAZLEY, HAZEL
BECKER, BERNARD O.
BECKER, GEORGE E.
BECKER, HOWARD S.
BECKER, JOHN W.
BECKER, MARGUERITE J.
BECKEY, R. L.
BECKMAN, DOROTHY
BECKMAN, ROY C.
BECKMANN, DOROTHY J.
BECKWITH, FRED
BEEBE, ALVIN
BEED, ROBERTA
BEEDE, ALBERT J.
BEEGHLEY, ALICE
BEGY, JOSEPH E.
BEHR, STANLEY
BELARMINO, WILLIAM
BEHRENOT, BERNICE
BELCHER, RICHARD
BELIC, GEORGE N.
BELIVEAU, KERMIT
BELL, DEWITT LUDLOW
BELL, J. FRANKLIN
BELL, RALPH
BELL, RAY

BELL, ROBERT WALLACE
BELL, T. RAY
BELLAMY, HARRIET B.
BELLAMY, JOHN BENTON
BELLI, TERESA
BELSHAW, MARY
BENAROJO, MAX
BENAS, J.
BENS, JULIAN N.
BENEDICT, DONALD E.
BENGSTON, CARL RODNEY
BENMAN, HERBERT
BENNARDO, LOUIS
BENNETT, BARBARA
BENETT, DEL A. JR.
BENNETT, EDWIN C.
BENNETT, JEANNE L.
BENNETT, PAUL
BENNETT, RUSSELL
BENNETT, THEODORE D.
BENSON, BERNARD
BENSON, CARL E.
BENSON, RICHARD T.
BENT, CLEAON S.
BENTLEY, MARK
BEOMAN, HAROLD
BERBERICH, PAUL

BERDEJA, JOHN
BERG, ALCU V.
BERG, CHARLES FRANCIS
BERG, NORMAN F.
BERGEMANN, WM. T.
BERGEN, MAURICE
BERGER, CHARLOTTE
BERGER, EVELYN
BERGER, RALPH
SERGES, MILDRED M.
BERGGRUEN, HEINZ
BERGMARK, CARL
BERKDWITZ, MORRIS
BERLINER, MARVIN
BERNASCONI, BRUNO E.
BERNZOTT, EDWARD
BERRY, CHARLES F.
BERSDN, JEANNE
BERTRAM, ROBERT
BETTENCOURT, EDWARD
BETTENCDURT, GEORGE J.
BETTENCOURT, TONY
BETTENCOURT, WILLIAM G.
BETTS, KARYLL F.
BETTY, PEGE
BEYFUSS, EVELYN I.
BEZARD, ELWOOD G.
BIANCHI, A.
BIANCHI, RITA
BIASETTD, LOUIS
BIBBINS, F. C.
BICE, LISLE
BIDAMON, CHARLES A.
BIDWELL, GEORGE F.
BIEHL, JOSEPH PARK
BIERNE, S.
BERNIE, JOHN
BIGELDW, DAN
BIGGERSTAFF, W. E.
BIGGS, JOHN F.
BIGGS, WILLIAM A.
BILKIE, HELEN S.
BILLE, HELEN
BILLETT, E. R. JR.
BILLICK, JOHN J.
BILLINGS, CLYDE V.
BILLINGS, EARL C.
BILLINGS, EILEEN
BILLINGS, L. F.
BILUND, ALEX
BINKLEY, ROBERT P.
BIONAZ, JOHN
BIRCHENALL, JOHN B.
BIRDWELL, EARL
BIRDWELL, OSCAR
BIRDWELL, OTIS
BIRDWELL, RALPH
BIRDWELL, TOM
BIRNIE, HANS F.
BISHOP, BENEDICT LOGAN
BISHOP, LED
BISHOP, THOMAS B.
BISSELL, NINA L.
EITHER, TOM S.
BITTING, A. W.
BITTMAN, H.
BITTMAN, JOHN
BIZZO, JAMES
BLACK, HUDSON
BLACK, WILLIAM S.
BLACKIET, LUCKY
BLACKBURN, WILLIAM
BLACKWELL, ARTHUR L.
BLACKWELL, THOMAS
BLADDN, KATHLEEN
BLAGG, DONALD H.
BLAIR, FRANK E.
BLAIR, LELAND BOYD
BLAIR, TED F.
BLAIR, WILLIAM
BLAKE, JIM
BLANCHARD, N. E.

BLANCK, GEORGES.
BLANFORD, ELLEN S.
BLAU, SANFDRD JACK
BLESSMAN, LLOYD
BLDNSKI, WESLEY V.
BLOODWORTH, HARRY
BLODDWDRTH, LUCILE
BLOOM, JASON
BLOOM, MARCIA
BLUNELL, MARCELLA B.
BLYTHE, S. Q.
BODE, EDWIN W.
BODE, FREDERICK A JR.
BDDEN, E. W.
BDDEN, JAMES E.
BDDEN, KATHLEEN
BDDINSON, WILLIAM M.
BODLEY, PHIL
BOGART, HARRY C.
BDGGS, CHARLES
BOGGS, WM.

BOGLE, MARJORIE ADDIE
BOGUE, HARRIS D.
BOHIGIAN, PAUL
BOHIER, WM. DIETRICH
BOHLER, WILLIAM D.
BO LAND, J. J.
BOLGER, FRANK
BDLTON, EUGENE
BON, JEANNE
BDNDESON, E. O.
BONHAM, VALERE
BONSACK, DANIEL M. JR.
BODE, FLDYDE ENID
BOOGAERT, HARRY W.
BOONOS, GEORGE M.
BOOTH, A. E.
BOOTH, CHAS. W. JR.
BOOTH, CECLE
BOOTH, C. W.
BOOTH, KINGDON WAYNE
BOOTH, WILLIAM E.
BOOTH, WILLIAM J.
BORDEN, ALEC
BDRGEL, CHARLES
BORGEL, HELEN
BORN, ERNEST
BORREGD, DOROTHY
BDSE, MARTIN
BOSCHE, W. E.
BDTELHO, WALTER
BDTTDRFF, H. C.
BOTSFORD, MILDRED
BOTTARINI, CHARLIE A.
BOUCHER, DOROTHY Q.
BOULLARD, EMILE R.
BOURDET, ROBERT
BOURNE, CHARLES P.
BORQUE, J. LOUIS
BOWDEN, AUGUSTUS R.
BOUTON, JEANNE
BOVEE, DONALD L.
BOWE, G. L.
BOWEN, IRVING B.
BOWEN, JAMES
BOWERMAN, FREDERICK
BOWES, TIMOTHY W.
BOWES, T. W.
BOWMAN, ANN
BOWMAN, CHARLES W.
BOWMAN, JOHN
BOWMAN, W. L.
BOX, ELEANOR
BDYACK, CLIFTON D.
BDYCE, CHARLES R.
BOYCE, R. W.
BOYCE, WILLIS
BOYCHUK, WALTER
BOYER, JEAN
BOYERS, JAMES S.
BOYES, GORDON M.
BOYNTON, MARY

A PPENDIX

XLVll

1939-1940 EMPLOYEES (Continued)

BDYSEN, VERNDN H.
BRACE, F. RICHARD
BRADLEY, CECILE V.
BRADLEY, GEDRGE A.
BRADLEY, HENRIETTA
BRADLEY, WINIFRED
BRAD5HAW, CHARLES JR.
BRADSTREET, C. B.
BRADY, MICHAEL R.
BRADY, MUSA RUTH
BRADY, OWEN JOSEPH
BRAGDNIER. RUTH
BRALEY, WAYNE M.
BRAMS, RICHARD
BRAMS, WALLACE
BRAMSDN, LYLE ALBERT
BRAND, GEORGIA H.
BRANDON, J. W.
BRANSON, LAURA
BRANDT, ELBERT E.
BRASFIELD, WM. EDWARD
BRASHEAR, VERA O.
BRAUNER, WILLIAM HENRY
BRAY, HARRY WALRAD
BRAYTDN, HAROLD
BRAYTON, TOLY MARIE
BRECK, RAYMOND A.
BREEDEN, TDM
BREGER, SAMUEL
BREILING. J. J.
BRELSFDRD, LUCILLE
BREMMER, ROGER
BRENK, KURT

BRENNAN, JAMES PATRICK
BRENNAN, P. J.
BREUER, GUSTAV PETER
BREAUX, SAMUEL L.
BREWSTER, ROBERT
BRIARE, CLARENCE R.
BRICKLEY, HAROLD T.
BRIDGES, WILLIAM
BRIERLY, JIMMIE
BRIESE, LOIS
BRIGGS, CARROLLWDOD
BRIGHT, STDDDARD
BRIGNOLE, T. J.
BRINKERKOFF, J.
BRISEBDIS, THYRA D.
BRISTOL, GLADYS M.
BRITTDN, JACK
BRITTAN, JOHN E.
BROADWELL, DON HAROLD
BROADWELL, DONALD H.
BROCK, R. L.
BRODIE, ALLAN
BROME, LLOYD G.
BROOK, PAUL
BROOKMAN, MURRAY JR.
BROOKS, HENRY
BROOKS, MERRILL T.
BROOKS, PETER
BROWN, A. R.
BROPHY, ALICIA
BROPHY, JOHN T.
BROSCHAT, RUTH
BROTHER, ALVIN R.
BROWN, ALBERT A.
BROWN, ARCHIE
BROWN, BARTLETT K.
BROWN, BETTY LU
BROWN, CARLOS ED.
BROWN, C. W.
BROWN, DOUGLAS J.
BROWN, EVERETT S.
BROWN, IRVING F.
BROWN, JEAN GERTRUDE
BROWN, JOHN W.
BROWN, JOSE PEREZ
BROWN, LEAH D.
BROWN, LLOYD J.
BROWN, LOUISE M.
BROWN, RICHARD D.

BROWN, ROBERT EDGAR
BROWN, RDLO F.
BROWN, ROY
BROWN, S. W.
BROWN. THOMAS P.
BROWN, V. T.
BROWN, WALTER J.
BROWNLEE, STEPHEN
BROWNING, LOUISE
BROWNING
BRUBAKER, PHILIPS.
BUCK, J. ED.
BRUCE, ALFRED
BRUDER, LILLIAN
BRUNEAU, WILFRED
BRUTDN, HELEN
BRUSS, W. E.
BRYSON, ROY H.
BRYSON, THOMAS
BUBB, CHARLES
BRYHAN, ELDON J.
BUCK, CHAS.
BUCK, HORACE C.
BUCK, DSBORNE T.
BUCKLER, GEOFFREY W.
BUCKLEY, GEORGE W.
BUCKLEY, JOHN J.
BUDD, CLIFFORD J.
BUCKMAN, PHYLLIS
BUEHRE, J. M.
BUELL, STEPHEN D.
BUETTNER, HAROLD A.
BULOTTI, CHARLES JR.
BUNDSCHU, CHARLES
BUNICH, MARY P.
BUNYARD, CHESTER EARL
BUNCH, MILDRED
BUNTING, L. D. JR.
BURBERICK, STANFORD V.
BURCH, L. E.
BURKE, EMERSON B.
SURGE, LESTER
BURGESS, VINCENT L.
BURGOYNE, MARY L.
BURGUNDER, BOB
BURK, JACKSON O.
BURKARD, DONALD
BURKARD, WALTER E.
BURKE, BARBARA
BURKE, CHARLES B.
BURKE, ROBERT L.
BURKE, TERESA VERONICA
BURLING, WILLIAM S.
BURNETT, GLENYS
BURNETT, WAYNE C.
BURNETT, WILLIAM W. JR.
BURNHAM, F. R.
BURNS, ALEX
BURNS, EDWARD J.
BURNS, HOWARD C.
BURNS, NETTIE M.
BURR, HOWARD L.
BURR, M. A.
BURRELL, MRS. G. F.
BURRELL, JOE
BURROUGHS, CLAYTON M.
BURROUGHS, PAUL J.
BURT, NONA J.
BURTON, BETTY
BURTON, FRANCES MAE
BUSH, CHARLES J.
BUSH, DAVID
BUSH, H. E.
BUSH, J. R.
BUSH, N. J.
BUSHNELL, HELEN L.
BUSHNELL, VALERIE E.
BUSSENIUS, WILLIAM R.
BUTLER, G. L.
BUTTGENBACH, ALBERT
BYRD, WILLIAM W.
BYRNE, JOSEPH

CABALLERO, MIKE
CABRAL, LOUIS
CADDEL, HAROLD O.
CADJEW, DOROTHY
CADY, BEATRICE H.
CAGE, DOROTHY D.
CAGWIN, E. F.
CAHILL, PERCY
CAHILL, TED
CAHILL, WILLIAM J.
CAHN, LEONARD
CAIRNS, WILLA JEAN
CALANI, EDYTHE
CALBREATH, IRA
CALDER, EDDIE
CALDWALADER, GED. G.
CALDWELL, KATHERINE F.
CALL, E. H.
CALL, HARRY
CALVERT, ROGER H.
CALVIG, DAVID
CALVIN, E. W.
CALVIN, W.

CAMARENA, VICTOR M.
CAMERON, JACK W.
CAMERON, MRS. R. K.
CAMERON, WILLIAM
CAMP, HAZEL
CAMP, M. M.
CAMP, WILSON B.
CAMPBELL, CLAIRE A.
CAMPBELL, DAVE
CAMPBELL, DON
CAMPBELL, DOUGLAS S.
CAMPBELL, E. D.
CAMPBELL, JACK
CAMPBELL, MISS JO
CAMPBELL, J. J.
CAMPBELL, LOIS MAXINE
CAMPBELL, LOUIS
CAMPBELL, MARY E.
CAMPINI, EARL
CAMPINI, FRANK A.
CANAAN, CARL I.
CANAVAN, ALMA
CANAVESIO, JOSEPH J.
CANDLISH, EMILY
CANFIELD, MARION
CANNON, LAWRENCE
CANTILLON, GERTRUDE
CANTROWITH, MARTIN J.
CAPELL, W. H.
CAPDNE, RALPH
CANTRELL, DONALD C.
CAPPS, MAURICE H.
CAPUTD, NICHOLAS
CARATTO, ROBERT
CAREY, J. F.
CAREY, J. J.

CARLBERG, WOLFGANG
CARLTON, CHARLES M.
CARLETDN, J. G.
CARLIN, C. K.
CARLISLE, HARRISON
CARLSON, EVA MARIE
CARLSON, HAZEL R.
CARLSON, LESTER E.
CARLTDN, ANNA A.
CARMASSI, JOE
CARMEN, BILL
CARMODY, DOAN M.
CARPENTER, MRS. ELIZ.
CARPENTER, JOHN R.
CARPENTER, MARGARET
CARR, ALBERT B.
CARR, RAYMOND V.
CARR, SIDNEY ROY
CARRETTA, TONY
CARRIEL, HOWARD
CARRIGAN, EDWARD

XLV111

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

CARROLL, DAGLEY E.
CARROLL, DON
CARROLL, JOHN W.
CARSON, AMOR
CARSON, SIDNEY
CARSSDW, EDNA E.
CARTER, BETTY
CARTER, C. B.
CARTER, MARIANNE
CARTER, NEDRA
CARTER, NEILS.
CARTIER, FRANCIS A.
CARTMELL, CHARLES
CARVER, FAYE
CASADY, MURIEL
CASASSA, HOWARD
CASE, KENTON
CASEY, DONALD
CASEY, WILLIAM R.
CASH, FRANK S.
CASH, WILLIAM F.
CASDNE, CARMEL
CASSEDY, JOHN C.
CASSELL, VIRGINIA L.
CASSIDY, F. J.
CASSIDAY, JAMES
CASSINA, DARIO
CASSDN, EDWIN J.
CASTANEDA, FREDERIC
CASTLE, DUNLAP
CASTLE, KIT
CASTLE, RICHARD
CASTRO, CLAUDE
CASTRO, CHARLES T.
CASTRO, DORIS
CASTRO, EDWARD F.
CASTRO, ELANDRI
GATES, HERBERT L.
CATTERLIN, GRANT
CAULK INS, C. V.
CAVAGNARD, DAVID
CAVAGNARO, MILTON
CAVALLI, VICTOR
CAVANAUGH, JACK
CAVENEY, ELDRED J.
CAYLOR, ALLEN A.
CECCARELLI, VIOLA
CEDER, MELVIN E.
CELID, GOVE C.
CELLE, EUGENE
CENTER, JEAN
CERIDONO, HELEN E.
CERLES, THEO. A.
CESANA, BRUNO
CHADENEAU, ERLE M.
CHADWICH, HOPE
CHALMAN, FRANK E.
CHAMBERLAIN, JACK S.
CHAMBERS, MIKE
CHAMBERLIN, W. D.
CHAMBERS, HAL
CHAPIDN, E. F.
CHAN, EDWIN H.
CHANCE, GEORGE
CHANDLER, C. J.
CHANDLER, HAROLD B.
CHANDLER, R. T.
CHANEY, JACK E.
CHAPELLE, CECIL H.
CHAPIN, SUZETTE
CHAPLIN, JACK
CHAPMAN, FRED
CHAPMAN, GARRETT
CHAPMAN, JAMES R.
CHAPMAN, PHOEBE
CHAMAN, ZILLA
CHAPPELL, THELMA B.
CHARD, HALLENE F.
CHARMAK, LOUIS
CHASE, BOYD
CHASE, LAURA E.
CHENEY, CHARLES

CHENEY, JAMES G.
CHENEY, JOSEPH
CHERKES, VERA
CHERNO, JOHN
CHESTERFIELD, D. K.
CHICKERING, DOROTHY
CHICAZOLA, MELVIN A.
CHILDS, JOHN K.
CHILDS, MONROE
CHILDS, WINSTON L.
CHILDRESS, CHAS. W.
CHISHOLM, R. B.
CHONG, MAYBELLE
CHRISTENSEN, C. W.
CHRISTENSEN, EDWIN L.
CHRISTENSEN, VIVIAN D.
CHRISTERN, EVERETT A.
CHRISTIAN, RITA
CHRISTIANSEN, EVELYN
CHRISTY, WALTER
CHRYSLER, EVERETT N.
CHUCK, SARAH L.
CHURCH, F. L.
CHURCH, JAMES A.
CHURCHILL, HENRY C.
CIMA, VIOLET
CIMINO, V.

CIVAROLO, RAYMOND P.
CIVILLE, LEWIS A.
CLARK, CHARLES H.
CLARKE, DUDLEY R.
CLARK, GLADYS V.
CLARK, HAROLD W.
CLARK, J. H.
CLARK, J. M.
CLARK, REGINA
CLARK, ROBERT J.
CLARK, TED
CLARKE, ALAN
CLARK, WILLIAM G.
CLARKE, RALPH E.
CLARKSON, JACK
CLAUDON, PAULV.
CLAY, WILLIE
CLAYCOMBE, GORDON E.
CLEAR, CHARLES G.
CLEARY, ALFRED J.
CLEARY, G. H.
CLEARY, PAT H.
CLEMENS, DICK
CLEMENS, MICHAEL
CLEMENSDN, CAMILLE C.
CLEMENTS, BETH
CLEVELAND, BAKER V.
CLINCH, MARION
CLINE, LAURA H.
CLOW, RAY
CLYDE, WILLIAM J.
COAN, GLADYS J.
CDBB, SAMUEL L.
COBURN, PAT
COCHRAN, WILLIAM F.
COFFEE, RUSSELL L.
COFFIS, JIMMY T.
CDFFMAN, DONNIE F.
COFFMAN, DURHAM
COFFMAN, VIRGINIA E.
CDGGINS, RAY
CDGLIATI, JAMES S.
COHAN, CHARLES C.
COHEN, HAROLD A.
COHEN, JOE C.
COHEN, NAT C.
CDHICK, W. A.
CDHN, ELEANOR
CDHN, ROBERT J.
COLBERT, DEAN W.
COLBERT, RALPH
COLE, CLARENCE
COLE, DAVID W.
COLE, JOE S.
COLEMAN, CHRISTINE D.

COLEMAN, EMILY
COLEMAN, H. S.
COLEMAN, MDR
CDLEMAN, ROBERT
CDLEMAN, W. J.
COLESON, ROBERT C.
COLL, J. W.
COLLIER, HELEN
COLLIER, PATRICIA
COLLINS, FRANK M.
COLLINS, HENRY C.
COLLINS, GENE
COLLINS, JOHN S.
COLLINS, KENNETH L.
COLLINS, MARTHA D.
COLLINS, MAXINEA.
COLLINS, R. L.
COLLINS, WILLIAM
CDLTHURST, S. E.
COLTDN, JACK
COLTON, S. A.
CDLVIG, DAVID
CDLVIN, OSCAR J.
COMBIS, SALLY
COMISKY, JOHN
CDMPTDN, J. T.
CONANT, PAUL
CONDON, ALBERTA D.
CONDON, E. W.
CONE, D. S.
CONE, ROBERT
CDNGDON, RENWICK G.
CONKLIN, ROBERTS.
CDNLAN, E. G.
CONLAN, P.
CDNLAN, W. E.
CONLEY, H. V.
CDNLEY, PETER D.
CONLEY, RUTH
CDNLEY, WILLIAM
CONN, S.

CONNELLEY, E. T.
CONNOLLY, E. H.
CONNOLLY, GRACE M.
CDNNOLY, JOHN
CONNOLLY, JOHN J.
CDNNDLLY, JOHN M.
CDNNOLLY, PAULA.
CONNELLY, ROSCOE
CONNER, MALCOLM
CONNIFF, PAMILLA
CONNOR, JOHN
CONNOR, THOMAS F.
CONWAY, WALTER A.
CONRAD, HAROLD L.
CONRAD, LAURA A.
CDNRY, W. L.
CDNZELMAN. JOHN
COOK, ALYCE M.
COOK, MRS. ELEANOR
COOK, C. J.
COOK, FRED
COOK, GIFFORD A.
COOK, HARRY L.
COOK, HYMAN
COOK, ILA MAE
COOK, JACK
COOK, LARRY
COOK, RAY
COOK, WALLACE
COOK, GEORGE R.
CDOKE, RAYMOND
CODKSDN, ROBERTA.
COONEY, LEO B.
COONTZ. VIRGINIA
COOPER, ELDISE
COOPER, JACKIE
COOPER, HORACE N.
COPE, FRANK W.
COPE, FOSTER
COPE, WILLIAM
COPELAND, EDWARD F.

APPENDIX

XL1X

1939-1940 EMPLOYEES (Continued)

COREL-TON, JUNE
CDRBETT, MURIEL J.
CDRBY, EDNA ST. JDHN
CORCORRAN, NDRMA F.
CDRDEAL, FRANCES M.
CDREY, CATHERINE A.
CDREY, GEDRGE H.
CDRKE, HENRY
CDRRISH, MARIAN
CDRTELLASSI, D.
CORTS, THELMA M.
CDDK, JOSEPH
CDRUM, ROBERT A.
COSGRIFF, H. H.
CD5TELLO, JUANITA
COSTELLO, THOMAS E.
COTE, BUD
COTE, BEVERLY L.
COUGHLIN, THOMAS D.
COURTIER, HARRY
COUNTRYMAN, ETHEL L.
COURTRIGHT, GLENDORA
COVE, ROBERT W.
CDVELL, C. M.
COVERDALE, CHARLES R.
COVEY, I. M.
COTTRELL, A. J.
COWAN, BESSIE
COWIE, ANDREW
COX, LEONARD E.
COX, NESBERT W.
COX, RAYMOND J.
COX, SARAH
CDYE, P. W.
CRAFTS, JDHN D.
CRAIG, HARRY B.
CRAIG, LESLIE F.
CRAIG, THOMAS
CRAIG, ROBERT H.
CRAIG, WESLEY
CRAMER, B. F.
CRAMPTON, JACK J.
CRANDELL, B. T.
CRANER, GERALD
CRANE, JAMES B.
CRANNA, JOHN
CRANKSHAW, EDWARD
CRAVERO, AURORA
CRAWFORD, C. L.
CRAWFORD, EDITY L.
CRAWFORD, GRANT M.
CRAWFORD, LEWIS
CREE, MRS. KATHRYN
CREEL, G. BATES
CREEDON, JDHN
CREEKMORE, LLOYD J.
CREIGHTON, ROBERT E.
CREIGHTON, ROBERT
CRENSHAW, ALLEN E.
CREWS, M. C.
CRIDDLE, HOWARD
CRIGLAR, W. L.
CRIMMINS, PHILIP H.
CRIMMINS, ALYCE
CRIST, ROBB POTTER
CRISTIANI, LAWRENCE
CROCKER, EARL C.
CRAFTS, EDITH
CRDNIN, J. P.
CRONIN, ROBERTA.
CRONIN, STELLA
CROPLEY, CARSON C.
CROSBY, JAMES A.
CDS5, DLLIE

CROTTOGINI, AMERIGO F.
CROW, SAMUEL M.
CRDWELL, C. S.
CROWLEY, FRED J.
CROWLEY, CECELIA P.
CROWLEY, CHARLES P.
CROWLEY, JOHN J.
CRDWLEY, JOHN T.

CROWLEY, JOHN L.
CRUM, ANNA L.
CRUMMEY, WILLIAM F. •
CUDDIHY, STELMA
CULBERTSON, RUSSELL
CULLENWARD, W. S.
CULBY, WILLIAM H.
CULVERWELL, F. E.
CUMMING, ETHEL A.
CUMMINGS, J. E.
CUNNINGHAM, ALICE M.
CUNNINGHAM, ARTHUR
CUNNINGHAM, CARL
CUNNINGHAM, JOHN H.
CUNNINGHAM, JOHN
CUNNINGHAM, LORRAINE
CUNNINGHAM, LDRAINE
CUNNINGHAM, RUTH B.
CUPP5, W. H.
CURCIO, ROBERT P.
CURCIO, ROCCO V.
CURLEY, JOSEPH
CURRALL, CYNTHIA
CURRAN, MATTHEW T.
CURRIER, DONALD D.
CURRIGAN, MARY
CURRY, ELIZABETH W.
CURRY, FRANK
CURTIN, JAMES P.
CURTIS, DAVIS F.
CURTIS, FRED E.
CURTIS, GEDRGE
CURTIS, G. R.
CURTIS, JOSEPH
HURTIS, MYRON
CURTIS, ROBERT R.
CURTIS, RUBE
CUSH, JOE
CUSICK, T. P.
CUTHBERT, ELIZABETH
CUTLER, DENZIL A.
CUTLER, HARRISON
CUTLER, LELANDW. JR.
CZIZEK, JAY A.

DAGLEY, ALICE
DAGLEY, J. WESLEY
DAHLGREN, JEAN N.
DAIBER, C. H.
DAIKER, LOUIS D.
DAILEY, RUDOLPH J.
DAILEY, TDNEY B.
DALE, MARION
DALEY, HARRY H.
DALMAN, WILSON
DALTD, GEORGIA
DALTON, ARTHUR
DALY, DORIS I.
DALY, NED
DAM, A. MARGARET
DANEKE, CARL H.
DANFORD, LOIS
DANIEL, JOHN
DANIELS, GORDON F.
DANIELS, MARK
DARFLER, EARL
DARLING, FRANKIE
DARLING, FREDERICK L.
DARR, ANTHONY V.
DARRACH, MRS. MARSHALL
DART, ROBERT PAUL
DATE, HARRY
DAUGHERTY, ELDON
DAUGHERTY, FENTON
DAUGHERTY, HERMON
DAVENPORT, DOROTHY
DAVENPORT, JDHN F.
DAVEY, HELENE
DAVIDSON, ARDEN R.
DAVIDSON, ROBERT

DAVIDSON, WILLIAM
DAVIES, ALVIN
DAVIS, A.
DAVIS, AINSLIE E.
DAVIS, BARBARA
DAVIS, BUCK
DAVIS, CLAUDIA
DAVIS, DEXTER D.
DAVIS, DONALD J.
DAVIS, ELIZABETH R.
DAVIS, GEORGE R.
DAVIS, HAROLD
DAVIS, HAROLD R.
DAVIS, HELEN
DAVIS, HERBERT D.
DAVIS, JULIAN C.
DAVIS, M.

DAVIS, MADELINE
DAVIS, MARK
DAVIS, ROBERT
DAVIS, RUSSELL G.
DAVIS, WILLIAM H.
DAVY, JAMES
DAWSDN, ANN
DAWSDN, OLIVER L.
DAWSDN, ROBERT
DAWSON, TED
DAWSON, UNA W.
DAWSON, URSULA D.
DAY, DIXIE
DAY, FRED G.
DAY, LAURENCE
DAYKIN, JACK
DEAGON, WILLIAM
DEAN, BARBARA
DEAN, HELEN M.
DEAN, JACK
DEAN, LILA
DEATSCH, JOSEPH
DEBLOIS, J. B.
DEBRESTJEAN, R.
DEBRUNN, FRANK
DECKER, BOB
DECKER, GRACE
DEEDAN, WILLIAM
DEELLAS, EUGENE
DEFDRREST, FRANK A.
DEFRANCO, KAY
DEGENKOLB, HENRY
DEGRASSI, ANTONIO
DEHR, ALBERT
DEHRER, L. G.
DEIL, JERRY
DEKIRBY.IVOR
DELACROIX, HO RST
DE LA MARE, ALBERT
DELARA, L.
DELEUZE, RENE
DELL'ACOUA, INEZ .
DELLING, HAROLD N.
DELLWIG, ROBERT C.
DELNO, IDALI
DELONG, R. p.
DEL TURCO, FLORENCE
DELUCA, PAULA
DEL MONTE, EUGENE A.
DEMAILLY, ROBERT
DEMANDEL, DIANE
DEMARCD, FILOMINA
DEMARS, VERNON A.
DEMELLO, WILLIAM
DEMESS, LEO
DEMOSS, EDWIN
DENEND, MARIA
DENNEY, G. E.
DENNIS, HAZEL
DENNIS, RICHARD W.
DENNY, ANTHONY D.
DEPETRILLO, WILLIAM
DERING, B. A.
DERNBERGER, ROBERTJ.
DERNING, G. ROBERT

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

DERZDFF, MAGDALENA
DETERING, WILLIAM R.
DEUEL, PHILLIP D.
DEVEREUX, GEORGE
DEVERT, FRED
DEVINE, JOHN J.
DEVLIN, MADISDN
DEWEY, DLIVE
DEWEY, WINIFRED C.
DEWEY, W. G.

DEWDLF, THEODORE T.

DlBRANCO, VINCENT
DICKMAN, BERNARD W.
DICKSON, CATHERINE
DICTEROW, HAROLD
DIEBELS, PAUL C.
DIEDERICH, JOHN R.
DIERNI5SE, FRED
DIETRICH, DAN L.
DILL, ADELAIDE M.
DILL, MAX M.
DILLON, ALICE
DIMARCO, GEORGANNE
DINSMORE, RUTH
DINWDODEY, K.
DITTMAN, F. J.
DIVER, FRED
DIVANOVICH, D.
DIXON, C. T.
DIXON, CONSTANCE
DIXON, E. A.
DIXDN, JIMMIE
DIXON, MARIE
DDANE, CHARLES W.
DOBBIE, DONALD V.
DOBBINS, W. R.
DOCK, SIGURD C.
DDCKENDDRFF, BERTA
DODGE, SUMMER D.
DDDWORTH, WILFRED
DOEPFNER, BERT O.
DDERR, ELMER
DOHERTY, JOSEPH P.
DOLAN, J. W.
DDLIN, MAX
DOLL, EUGENE
DOLL, CARLTON E.
DOLL, VINCENT B.
DOLLIVER, EMERSON
DONALDSON, GEORGE W.
DONAHUE, STEVE
DONDHOE, EARLS.
DONOHOE, WILLIAM A.
DDNNAN, ROBERT J.
DDNNAN, WILLIAM G.
DOONEY, ARTHUR J.
DOPHNA, FRANK R.
DORAN, NINA P.
DDRIUS, MERLE
DORSKOFF, JOHN
DDSTAL, GEORGE O.
DOTY, AUDREY M.
DOUGHERTY, C. E.
DOUGHERTY, FRANKLIN
DOUGHERTY FRANKLIN
DOUGHERTY, LEWIS
DOUGHTY, ROBERT C.
DOUGLAS, CECILY
DOUGLASS, FRED C.
DOVE, MARGARET L.
DOVE, R. C.
DOVER, ROLAND E.
DOWNEY, M. W.
DOWNIE, J. D.
DOYLE, JOHN
DOYLE, RICHARDS.
DOYLE, T. J.
DRAGIO, HAYLE E.
DRAKE, EDWIN
DRAKE, JOHN W.
DRAPER, RAY
DRAYCOTT, W. R.

DRECHSLER, JACK
DRENNING, EARL C.
DREVER, RONALD E.
DREW, ELIOT
DRISCOLL, EDWIN G.
DRISCOLL, JOHN R.
DRUMMOND, ALLAN A.
DRISCOLL, ROBERT E.
DRUM, R. A.
DRURY, DORIS
DUANE, RICHARD B.
DUART, CHARLES
DuBRUTZ, VICTOR
DUBUOUE, CHARLES
DUCKETT, CALVIN
DUCKWORTH, H. R.
DUCKETT, RALPH
DUFFY, D. E.
DUFFY, JAMES
DUFFY, LED B.
DUFFY, PEGGY
DUFFY, WILLIAM
DuFRANE, J.
DUGAS, H. STANLEY
DUKE, CHARLES N.
DUMAS, MARY A.
DUMMEL, DOROTHY
DUNCAN, GEORGE B.
DUNBAR, STUART
DUNCAN, MAXINE N.
DUNDDN, MARGARET M.
DUNKLEY, PALMER
DUNN, HARRY J.
DUNN, ARTHUR J.
DUNN, JOHN F.
DUNN, T. E.
DUNN, W. H.
DUNN, W. L.
DUNNIGAN, T. P.
DUNWELL, FRANK B.
DUPUIS, ANDRE
DUENSING, J. H.
DURCKEL, PAUL
DURLING, ETHEL
DUSEL, MURIEL J.
DUSOLD, ANDREW J.
DUTRA, WILLIAM E.
DYE, BILLIE
DYKES, ADA J.

EARLY, FRANK J.
EAST, JUNE M.
EASTMAN, KENNETH G.
EASTWDLD, MARK B.
EATON, ARTHUR
EATON, EDNA BEHRENS
EBBERT, EVELYN
EBELING, ELEANOR
EBERLINE, ANNABELLE
EBERTZ, 5.
EBLEN, GENE
ECKARD, SCOTT W.
EDEN, GERALDINE
EDGAR, ANDREW
EDGAR, M.
EDGAR, PAULINE A.
EDGARTDN, WALTER L.
EDELER, WALTER
EDIE, WILLIAM H.
EDINGER, GERTRUDE
EDISON, RITA
EDMONDSDN, NEAL
EDMDN5TDN, ZOE
EDMUNDS, ELFIE
EDMUNDS, LOVETTA
EDWARDS, B. H.
EDWARDS, BEATRICE MAY
EDWARDS, GENE
EDWARDS, HOWARD H.
EDWARDS, INEZ

EDWARDS, JACK SR.

EDWARDS, KLYDE P.

EDWARDS, LENORE

EDWARDS, THOMAS

EDWARDS, WM. R.

EDWARDS, WILLIS G.

EGAN, ALPHA K.

EGAN, LUCILLE A.

EGERT, SARA

EHRENPFORT, BURNETTS.

EHRGOTT, GEORGE M. JR.

EIMERS, LELAND F.

EITEL, EDMUND WARN

EISELE, STRETCH

ELDER, CHRISTINE E.

ELKINS, FRANCIS

ELLEBY, FREDERIC W.

ELLERMAN, WILLIAM H.

ELLERY, ORA L.

ELLGDDD, LEWIS F.

ELLINGSEN, JOHN B.

ELLIOTT, PEARL

ELLIOTT, VIOLET

ELLIOTT, VIRGINIA

ELLIOTT, WINIFRED

ELLIS, A. S.

ELLIS, BOB

ELLIS, GEORGE M.

ELLIS, WARDEN E.

ELLISON, M.

ELLSMERE, EDNA

ELWELL, MARIE E.

EMERY, CHAS. B. JR.

EMERY, RALPH D.

ENDER, FRANK

ENGEL, ELIZABETH

ENGL, JOHN

ENGLER, MARY

ENGLIS, EARL
ENGLISH, EDGAR F.
ENGLISH, PETER F.
ENGLISH, PHYLLIS
ENGSTRUM, THOMAS G.
ENNI5, JOSEPH C.
ENTLER, N. L.
ENTRUP, MELVIN
EPPING, NDRBERT I.
EPSTEIN, EDWIN H.
ERB, EVELYN
ERB, FRED A.
ERDELATZ, EDWARD J.
ERDEVIG, J. C.
ERLENHEIM, HOWARD J.
ERNST, WILLIAM R.
ERVIN, G. J.
ERWIN, HUGH ERLE
ESPEY, JOHN E. JR.
ESPEY, ROBERT C.
ESPINAL, MARTIN F.
ESPINO5A, ARTHUR
ESPINOSA, RAYMOND
ESTES, HERBERT
E5TES, TODD SCOTT
ETHEN, ROBT. WILLIAM
ETHERINGTON, W. H.
EVANS, CHARLES PORTER
EVANS, E.

EVANS, ELLEN ADELL
EVANS, FRANK
EVANS, FREDERICK C.
EVANS, HAZEL
EVANS, HOWARD R.
EVANS, MARY
EVANS, RICHARD WEST
EVANS, ROBERT L.
EVANS, THOMAS K.
EVANS, VICKI
EVENSEN, ARTHUR M.
EVERHEART, HERMAN
EVERETT, E. J.
EVERS, A. J.
EWART, ANDREW

APPENDIX

1939-1940 EMPLOYEES (Continued)

EWART, ROBERT
EWING, MARGARET V.
EWART, SUE
EYNDN, CYRIL

FABRE, C. E.
FACER, ELDEN J.
FAHEY, PETER
FAHS, KENNETH G.
FAIR, WQDDROWW.
FALCD, EMILY
FAIRMAN, ROBERT W.
FALETTI, HELEN
FALLS, WILLIAM
FANCHER, RICHARD K.
FARGE, CLAUDE
FARLOTTI, B. A.
FARAN, JOHN J.
FARRELL, ALEX
FARRELL, DDRDTHY L.
FARRELL, GRACE
FARRELL, JOHN P.
FARRELL, LOUISE
FARREN, JOHN
FARRIS, LEE
FARRY, B. J.
FARWELL, STANLEY
FAULKNER, HAZEL P.
FAWCETT, VANCE
FEENEY, CLEMENTINA
FEERICK, ROBERT
FEICHTMEIR, ARMAND
FELKER, LORRAINE
FELIZ, FRANK E.
FELIZ, MAURICE
FELLER, K. R.
FELS, EDWARD T.
FELS, JOSEPH F.
FELTY, JOSEPH
FENDEL.LOIS DORENE
FENEFOS, LAWRENCE B.
FENNIMORE, HERBERTW.
FENON, MRS. BELLE C.
FERNANDEZ, M.
FERNSTROM, GRANT
FERRARIO, AMIL
FERRER, TINITA
FERRIER, G. W.
FERRY, H. L.
FESSIO, FLORENCE A.
FEY, EDWARD
FIALA, DOROTHY
FIGERDID, BRYANT
FIGDNI, NINA
FILES, LENNIS T.
FILIPPA, LILLIAN M.
FINCH, JOHN R.
FINEBERG, LESTER A.
FINKE, HENRY JR.
FINLAYSON, ROBERT H.
FINLEY, ROBERT
FINEY, ARTHUR
FINEY, NORMAN W.
FIRESTONE, BERNIE
FISCHER, GLADYS L.
FISCHER, GEO. E. JR.
FISCHER, HOWARD
FISCHER, HAROLD W.
FISHER, EVERETT E.
FISHER, FRED M.
FISHER, FREDERICK V.
FISHER, THOMAS G.
FISHER, WINIFRED M.
FISHMAN, JACK
FITTERER, ISABELLE
FITSCHEN, GED. H.
FITZPATRICK, EDWARD W.
FITZPATRICK, GERMAINE
FITZGERALD, JOSEPH B.
FITZGERALD, J. R.

FITZGERALD, DR. J. T.
FITZPATRICK, THOMAS J.
FJELSTED, DEWILTDN E.
FLAGG, NORMAN
FLAHERTY, JOSEPH
FLANAGAN, HARRY E.
FLASHMAN, WILLARD
FLEGAL, RALPH PORTER
FLEMING, A. P.
FLETCHER, GEORGE
FLINT, BRILSFDRDP.
FLINT, LOUIS R.
FLONTENY, RUTH
FLOYD, PAUL D.
FLYNN, JOHN F.
FLYNN, JOHN P.
FLYNN, MICKEY
FLYNN, THOMAS J.
FDGARTY, GERALDINE
FDGERTY, FRANCES
FOLEY, RAYMOND C.
FONG, LESLIE H.
FORBES, JOHN D.
FORBES, THERESA
FORD, BUSTER M.
FORD, ELSON A.
FORD, PHILIP
FORD, W. T.
FDRDE, WILLIAM
FORREST, EDWIN G.
FORSTER, JOHN F.
FORTINI, BEULAH
FORWARD, THOMAS W.
FORSSHAGE, GEORGE H.
FOSTER, CLARENCE
FOSTER, CLAUDE H.
FOSTER, DOLORES
FOSTER, EDWARD
FOSTER, FLORENCE
FOSTER, HORACE G.
FOSTER, JUNE E.
FOWLER, BETTY ANN
FOX, C. LYN
FOX, CHARLES R.
FOX, CLYDE
FRAGALE, FRANK
FRAHM, ARTHUR
FRAHM, GEORGIE E.
FRAME, WARREN
FRANCHI, CHAS. J.
FRANCIS, ROY E.
FRANCKAERTS, MARCEL H.
FRANK, MILTON E.
FRANZ, EUGENIE
FRASE, J. C.
FRASER, CECILIA S.
FRAZER, STANLEY I.
FRAY, HAROLD
FRASIER, LEROY D.
FRECKMAN, FRANK G.
FREDERICK, ELLIS H.
FREDERICK, HARLAND
FREEDMAN, RUDOLF E.
FREDERICKS, MARGARET
FREDERICKS, M. E.
FREDERICK, EMMETT
FREDRICKSON, ALICE
FREEMAN, ARTHUR
FREEMAN, E. A.
FREEMAN, HOWARD
FREEMAN, JOHN T.
FREGGER, RUTH
FREITAS, JANE
FRENCH, ALVIN
FRENCH, JAMES
FRENCH, KENDRIC R.
FRENCH, HARRY T.
FRENCH, RODERICK
FRENCH, SAMUEL
FREY, MASON V.
FRY, PERRY C.
FRICKE, JOSEPH

FRICK, EDWARD L.
FRICKE, JOSEPH P.
FRICKE, RAYMOND F.
FRIEBERG, BURDETTE E.
FRIEDMAN, EMELIA
FRIEDMAN, JEROME
FRIESEN, MARIE E.
FRISCH, JUANITA
FRITH, ROLAND G.
FRIZZELL, MARGARET
FRDSS, ROY
FROST, JAMES
FULLER, ALICE
FULLER, ROBERT E.
FULLERTON, MARION
FULMER, PAUL D.
FUNK, HORACE R.
FUNK, JERRY
FUNK, W. C.
FUNSTON, ELEANOR
FURLONG, LAWRENCE P.

GAFFNEY, MARYON
GAGAN, KENNETH
GAIL, ELINOR
GALBREATH, MARGARET
GALE, BEATRICE
GALLAGHER, CHARLES J.
GALLAGHER, FLORENCE E.
GALLAGHER, JOHN J.
GALLARDO, MARIO S.
GALLATIN, WALTER L.
GAMARA, NORBET J.
GAMBLE, SHUBORNE R.
CANCEL, RAYMOND E.
GANE, FLORENCE
GANLEY, THOS. J.
GARCIA, BERNARD
GARCIA, CORA D.
GARDEN, ROY
GARDNER, ALBERT T. E.
GARDNER, BETTY MAE
GARDNER, DON G.
GARDNER, JOHN A.
GARDINER, JUNE
GARDNER, LEROY M.
GARDNER, LESTER ALMA
GARDNER, RALPH F.
GARGAETAS, C.
GAR 10, J. L.
GARRELL, PHILIP E.
GARRETT, ALICE M.
GARRISON, CHAS. WM.
GARSIDE, JOE
GARTNER, LAURA D.
GARTHORNE, G. E.
GATES, JACK PATRICK
GATELY, WILLIAM F.
GASSION, CHARLES
GAUNIN, WILFRED P.
GAVIGLIO, OLGA
GAY, FRANK M.
GEDDES, ROBERT E.
GEANACOS, J.
GEARY, HAZEL F.
GEHRING, CONRAD
GEICH, FRED
GEIGER, EDWARD C.
GEISERT, DON L.
GEMMILL, O. W.
GENSLER, CAROLYN
GENTRY, WALTER J.
GENTSCHEL, ALBIN
GEORGE, LOVINE
GEORGE, PETER
GERAGHTY, RALEIGH
GERARD, LILLY
GERBER, LEO
GERE, WALTER F.
GERHARDT, FRANK

Lll

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

GERICKE, JULIUS P.
GERMAIN, HDMER
GERRARD, ROBERT JAMES
GERRY, LOIS
GETCHELL, LEE
GENSS, HAROLD F.
GHOY, HERBERT
GIACALDNE, JOSEPHINE
GIACDMINI. A. J.
GIANERA, J.
GIANINI, LEO G.
GIANNINI, RALPH J.
GIBBONS, DR. MORTON
GIBERSON, PHILLIP
GIBSON, ANDY
GIBSON, ROBERT
GIFFIN, C. T.
GIFFORD, JOHN V. JR.
GIFFDRD, RUTH
GIFFORD, WILLIAM L.
GILBERT, A. W.
GILBERT, BETTY
GILBERT, CLIFTON B.
GILBERT, D. L.
GILBERT, R. M.
GILBERTSON, HOWARD B-
GILKEY, HELEN L.
GILKEY, HOWARD
GILL, EDDIE
GILL, HAROLD
GILLAND, FRANCES
GILLESPIE, DOLLY
GILLIGAN, ANDREW
GILLUM, JOHN C.
GILMORE, EVELYN
GILPATRICK, EVELYN L.
GILROY, ENGEL M.
GIMMEL, W.
GINSBERG, JEROME R.
GIO5I, ORLANDO
GIROD, J. L.
GJEDSTED, JEANNE M.
GLAFKIDES, JAMES
GLANTZ, BESS LOUISE
GLASER, ALVIN E.
GLASER, J. F.
GLASER, MARIE L.
GLASSMAN, gUETITAZ.
CLASSMAN, R.
GLEESON, MONICA M.
GLENK, EARL S.
GLOR, PAUL
GLOVER, JACK HOWARD
GLYNN, FRANK J.
GLYNN, JOHN
GOBLE, RICHARD LEO
GDDAT, EVELYN
GODCHARLES, J. E.
GOEPPNER, WILLIAM
GOERL, CONRAD
GOETZ, VIRGINIA V.
GOLDEN, BARBARA
GOLDEN, BETTINA
GOLDEN, MARGARET E.
GOLDSCHMIDT, WALTER
GOLDSMITH, BETTY
GOLDSTEIN, DORIS M.
GOLDSTEIN, DR. LOUIS B.
GOLDSTEIN, ROBERT
GOLDSTEIN, THORNTON
GOK, FRED
GOLDBERG, MORLEY
GOLDSTEIN, NATHAN
GOMEZ, TEDDY
GONCALVES, LORRAINE
GOOD, DEWITT PAUL
GODDIN, ED V.
GOODMAN, BOOTH
GORDON, ANNE
GORDON, GENE H.
GORDON, JOHN
GORDON, LELAND

GORDON, WALTER
GORDY, CHARLES W.
GORMAN, JOHN
GORMAN, RAY
GORRILL, JACK
GOSS, H. E.
GOUGH, WALTER L.
GOULD, ELMER C.
GOULD, GEOFFREY
GOULD, JOHN J.
GDW, ROBERT
GOYETTE, ERNEST F.
GRABOW, LOUISE P.
GRACE, HARRIETT
GOULD, RAYMOND
GRADY, HARRY A.
GRAFF, JOHN ALDEN
GRAHAM, ALVIN
GRAHAM, GARRETT
GRAHAM, GREGORY D.
GRAHAM, JAMES M.
GRAHAM, L. W.
GRANT, CHARLOTTE
GRANT, EMMA LEA
GRANT, H. V.
GRANT, LORRAINE
GRAU, GEORGE
GRAVES, DAYL
GRAVES, SIDNEY N.
GRAY, AILEEN
GRAY, FRED
GRAY, HAROLD E.
GRAY, JANICE K.
GRAY, JOHN H.
GRAY, LOUIS L.
GRAY, LESTER K.
GRAY, THOMAS J.
GRAY, WALTER
GRAYDON, ROBERT B.
GRAYSDN, WM. G.
GREEF, LILLIAN
GREEN, ALVINA E.
GREEN, ETHEL
GREEN, FRED E.
GREEN, GEORGE R.
GREEN, JOHN
GREEN, IVAN
GREEN, KENNETH
GREEN, MOLLY
GREEN, PETER D.
GREEN, WILLIAM
GREENE, JOAN A.
GREENE, L. M.
GREENWOOD, RAYMOND
GREER, ELWODD
GREGERSON, AL
GRELL, EDWARD E.
GREW, F. J.
GREY, MARY E.
GRIFFIN, EDWARD
GRIFFIN, HARRY
GRIFFIN, STANLEY
GRIFFIN, ROBERT
GRIFFIN, WILLIAM
GRIFFING, LENORE
GRIFFITH, DICK
GRIFFITH, LOYD
GRIMES, LOUISE LEE
GRIMM, GEORGE H.
GRIMWOOD, J. BRYANT JR.
GRITZ, EDYTH
GROAT, BEATRICE
GRDDMAN, EDNA V.
GRDGAN, GEORGE B.
GROSS, WILHELMINA
GRDSSBEIN, RAYMOND
GROUNDS, CLARE R.
GROVE, JUNE D.
GROVER, HELEN
GROVES, BARBARA
GROWNEY, HAROLD
GRUBB, PETE

GRUNDY, THOMAS A.
GUERIN, A. E.
GUBER, FRANK
GUERRA, BENJAMIN J.
GUGLIELMINO, SALVADOR
GUIDA, N. V.
GUILMETTE, ALINE
GULDEN, WILLIAM M.
GUNN, ALBERT EARL
GUNNISDN, ROYAL A.
GUNTHDRPE, BERNEITA
GUTER, JOSEPH
GUTHERY, VELMA
GUTHREY, WALTER
GUTHRIE, ARTHUR B.
GUTHRIE, GEORGE
GUTSCHE, CHAS.

HAAG, SAM M.
HAAS, ALBERT MAX
HACKENBERG, CHAS.
HACKETT, RAYMOND W.
HADEN, LILLIAN
HAENTZEN, LEN
HAERLE, SERENA P.
HAGAN, KERMIT D.
HAGELBERG, GEORGES.
HAGELBERG, N. W.
HAGER, MELVIN
HAGUE, DOUGLAS
HAHNEMAN, RICHARD V.
HAIGH, SIMEON C.
HAIGHT, HENRY HUNTLY
HAIGHT, SAMUEL C.
HALE, BRUCE
HALEY, MATHEW F.
HALL, FRANK
HALL, FRED
HALL, GEO. E.
HALL, HARRY
HALL, RALPH ALAN
HALL, THEODORE
HALLOQUIST, JOHN C.
HALL, SHERWOOD
HALLEY, WINSTON E.
HALLORAN, A. H.
HALSEY, CDNANT K.
HAMILTON, LEE
HAMILTON, MARGARET K.
HAMILTON, R. J.
HAMMELL, JOHN D.
HAMMER, LOUIS
HAMMERGREN, MARSHALL
HAMMERGREN, MILDRED
HAMMOND, C. BURTON
HAMMOND, MARGARET T.
HAMPEL, HARRISON
HAMPTON, WINIFRED
HAMRICK, P. A.
HANCE, EVA
HANDIN, DOROTHY
HANDLDN, J. H. JR.
HANDY, GERTRUDE
HAN ING, W. F.
HANKINS, CLYDE
HANKINS, LEON G.
HANLEY, C. G.
HANA, EARL W.
HANNA, M. W.
HANNA, PATRICIA
HANNA, RENA
HANNAN, GEO. G. JR.
HANNAN, EARLWM.
HANRATTY, HARRY T.
HANS, JAMES ALBERT
HANSEN, ARTHUR H.
HANSEN, BUD
HANSEN, CARL P.
HANSEN, JOHN
HANSEN, MABEL

APPENDIX

Llll

1939-1940 EMPLOYEES (Continued)

HANSEN, MARSHALL
HANSEN, ROBERT
HANSON, CHALMERS J.
HANSON, LARK M.
HANNAN, GEORGE G.
HANSON, O. H. JR.
HANIBAL, ROBIN
HANSEN, CDRWIN
HANWAY, ED
HAPPEL, ELIZABETH H.
HARANG, HAROLD J.
HARBERG, E. T.
HARBERTS, JOHN CALVIN
HARDENBLJRG, AGNES
HARDWICK, H. A.
HARDY, CHAS. JR.
HARE, RICHARD F.
HARGIS, MARION
HARKINS, ROSE
HARKRIDER, JOHN
HARLOW, J. C.
HARMON, ETHEL
HARMS, ROLAND A.
HARPER, D.
HARPER, JAMES
HARPER, W. W.
HARRINGTON, B. W.
HARRINGTON, FRANK
HARRINGTON, JOHN M.
HARRINGTON, WALTER D.
HARRINGTON, JOHN M.
HARRIS, BETTY
HARRIS, E. T. BUCK
HARRIS, GRACE
HARRIS, JOHN A.
HARRIS, HAROLD M.
HARRIS, MARJORIE E.
HARRIS, MELVILLE M.
HARRIS, W. G.
HARRIS, W. J.
HARRISON, HOWARD L.
HARRISON, PAUL
HARRISON, JEANETTE
HARSHAW, ANTOINETTE
HARSHFIELD, JAMES C.
HART, EDGAR C.
HART, FRANCES
HART, FLOYD
HART, JAMES
HART, MARGARET L.
HART, WARD L.
HARTER, HARRIET D.
HARTMAN, DORIS E.
HARTMAN, MARY H.
HARTSDOK, JOHN
HARVEY, ADA
HARVEY, GRANT B.
HARVEY, STANLEY
HARVEY, VERNDN
HARWOOD, J. H.
HASKINS, JOHN M.
HA5LAM, LDRNA JEAN
HASSON, C. J.
HASTINGS, AGNES
HASTINGS, MIKE
HATCH, A. W.
HATCH, MADELYNNE
HATCHER, ROBERT
HATFIELD, EUGENE D.
HATFIELD, ROBIN
HATHAWAY, MARY
HATLELID, DR. F. H.
HAULRICH, BENJAMIN A.
HANSEN, THERESA C.
HAVENS, GERTRUDE
HAW, ALLAN S.
HAWKES, THOMAS
HAWKINS, RICHARD L.
HAWKINS, THOMAS V.
HAWKED, VIRGINIA
HAYDEN, CLYDE C.
HAYDEN, J. E.

HAYDEN, MYRTLE D.
HAYDEN, PAUL R.
HAYES, BOB C.
HAYES, CALDER
HAYES, EUGENIS
HAYES, GERTRUDE M.
HAYES, LESLIE WM.
HAYMOND, MARIAN
HAYNES, JAMES S.
HAZELWOOD, FRED J.
HEADLEY, JESS E.
HEAL, JIM

HEALER, MINNEOLAH.
HEALEY, J. F.
HEALEY, W.
HEALY, D. P.
HEALY, JACK
HEALY, JAMES J.
HEALY, JEROME C.
HEALY, THOMAS N.
HEALY, WILLIAM A.
HEARFIELD, DAVID
HEARN, MARJORIE
HEATON, DOUGLAS W.
HEAVERSIDE, JAMES
HEAVEY, JOHN T.
HEDDY, EVELYN
HEDDY, CHARLES E.
HEDRICK, URSEL ALMOND
HEEBNER, WILMA IRENE
HEFFERNAN, JAS. K.
HEFFERMAN, RAY T.
HEGARTY, J. A.
HEHNE, GENE WM.
HEIDE, H. A.
HEINEMAN, CHAS. J.
HEIM, PHILIP LEO JR.
HELGET, H. H.
HELLER, GEORGIA F.
HELLING, VIVIAN
HELM, RUTH
HELLMAN, MARY
HEMBREE, MAXIMEA.
HENCMANN, ERLDEAN J.
HENDEE, ROSE W.
HENDERSON, BETTY
HENDERSON, CHARLES W.
HENDERSON, DORWARD
HENDERSON, JAMES H.
HENDERSON, J. H.
HENDRICKS, LOUISE E.
HENE, JACK
HENESSEY, JOHN F.
HENESSY, MARY
HENNING, ELMA
HENINGER, GRACE
HENNING, LOUISA.
HENNO, PAULA
HENRICK, HOWARD L.
HENRY, BARBARA M.
HENRY, H. L.
HENRY, JAMES
HENRY, M. W.
HENRY, N.
HENRY, NOEL
HENRY, WILLIAM W. JR.
HENSHEL, CLARENCE R.
HENSLER, JEANNE
HENSLER, J. E.
HENSLEY, CHESTER
HENSON, GORDON M.
HENZI, HARRY
HEPP, J. K.
HERALD, GEORGE H.
HERATY, FRANCIS J.
HERBERT, WM.
HERDMAN, MARY JANE
HERMAN, ROBERT C.
HEROLD, R. J.
HERREMAN, O. E.
HERRMAN, MARIE
HERSCOVITZ, BELLA

HETHERINGTDN, HELEN
HERWIG, ROPERT J.
HERZ, VINCENT J.
HESS, FRED
HESS, HELEN
HESTER, HELEN
HESTER, PHYLLIS J.
HEWITT, LESLIE G.
HEYES, LEONARD B.
HEYMAN, JOHN H.
HEYN, MARYL
HEYNARD, WILLIAM
HICKEY, D. L.
HICKS, PATRICIA
HICKS, BURTON
HICKSON, LEONARD
HIGGINS, ALBERT J.
HIGGINS, BETH
HIGGINS, FRANCES
HIGGINS, JAMES
HIGGINS, PATRICK
HIGGINS, W. R.
HIGLEY, WILLIS
HILL, ANN DAVIS
HILL, CLYDE W.
HILL, ELINOR M.
HILL, GLORIA
HILL, HOWARD F.
HILL, JACK
HILL, J. E.
HILL, JOHN H.
HILL, MILTON THOMAS
HILL, R. B.
HILL, THELMA
HILLE, WALTER E.
HILLERS, DORIS
HILMER, ARNOLD E.
HILPERT, CHARLES
HILTON, MARY K.
HILTON, RALPH
HIMROD, DONALD
HINCKLE, WARREN J.
HINDMAS, PHYLLIS
HINMAN, HARVEY H.
HIPSLEY, FRANK
HIRSH, MARIE
HITCHCOCK, FRED S.
HITCHCOCK, HUBERTW.
HITCHCOCK, ROY L.
HIRSTEL, HOWARD
HJERTOS, CATHERINE
HOAGLAND, WILHELMINA
HOBBS, LEVI ST. JOHN
HOBRON, HARRIS
HOBSON, FRED B.
HOCH, WILLIAM B.
HODGES, DR. F. T.
HODGES, NADINE B.
HODGINS, ROBERT V.
HODGSON, E. L.
HOEFER, CAROLYN
HDELLING, THEODORE N.
HOFFMAN, ETHEL
HOFFMAN, WM. ROGER
HOFMANN, MONA
HOGAN, EVERETT
HDDAN, LARRY
HOLCOMB, MARY LEE
HOLDEN, SUE
HOLGREN, DLOF
HOLLERAN, JOHN
HOLLEY, VERNA FAY
HOLLOWAY, SAM
HOLM, ADOLPH
HOLM, THORSTIN J.
HDLMAN, ROBERT V.
HOLMBERG, LAWRENCE W.
HOLMER, HELEN EMILIA
HOLMES, LEWIS V.
HOLMQUIST, AIMEE
HOLSCLAN, H.
HDLTKAMP, NORMAN

L1V

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

HDLTZ, MARION
HDLLY, ERNEST D.
HDLYDAKE, DE DDREBT
HONE, DOUGLAS M.
HOPE, LEONARD T.
HOPE, M. F.
HDPF, MARY LDU
HOPKINS, HENRY L.
HOPKINS, HORACE L.
HOPKINS, JERRY C.
HOPKINS, R. H.
HOPKINS, ROSALIE 5.
HORAK, HENRIETTA
HORAN, PATRICK J.
HDRNE, MARY
HORNER, VIRGINIA
HORSPODL, ERNEST R.
HORTDN, HOWARD D. JR.
HDRWITZ, EARL
HOSE, FRANK
HOSKIN, FLOYD M.
HOUGH, WM. E.
HOUSE, B. J.
HDUSER, FRANK
HOUSTON, HOWARD
HDUY, MONROE
HOVE, GERMAINE
HOWARD, ADELINE K.
HOWARD, CALVIN
HOWARD, EARL C.
HOWARD, H. E.
HOWARD, JOSEPH C.
HOWARD, RAY
HOWE, HARRY
HOWELL, JAMES B. JR.
HDWEY, GAIL
HOY, MARJORIE
HUARTSON, HAROLD H.
HUBBACK, MALCOLM A.
HUBBARD, JUNE
HUBBARD, KATHRYN
HUBBARD, WILLIS C.
HUBNER, ROBERT N.
HUDSON, JOHN C.
HUDSON, GORDON
HUDSON, W. E.
HUD5PETH, B. T.
HUEY, STANLEY
HUFF, ROBERT
HUGHEL, ALFRED B.
HUGHES, CHAS. L.
HUGHES, HELENE
HUGHES, JOHN
HUGHES, JOHN HARLEY
HUGHES, LEROY B.
HUGHES, MARJORIE
HUGHES, SHEILA
HUGHES, THOMAS
HULL, ROBERT BANKS
HULSE, E. H.
HUME, JOHN R.
HUMES, PATTY
HUMPHRIES, ROBERT
HUMPHREY, ANTOINETTE
HUMPHREYS, ABRAM S.
HUNEKE, ALBERT H.
HUNGATE, BLANCHE
HUNT, BOSTON RICE
HUNT, EDWIN A.
HUNT, O. M.
HUNT, OTTO M.
HUNT, ROY W.
HUNTER, HELEN
HUNTER, JOHN
HUNTER, LA VERNE
HUNTER, LYNN E.
HUNTER, M.
HUNTER, YVONNE M.
HUNTER, RALPH
HUNTLEY, BOYD E.
HUNTSMAN, RAYMOND •
HUNYADY, LEO

HURABIELLE, ANNETTE
HURLEY, JACK
HURLEY, JAMES L.
HURLEY, JOSEPH P.
HURLEY, WILLIAM
HUSH, WILLIAM W.
HUSON, ELLEN AGATHA
HUSSEY, E. W.
HUTCHINSDN, C. J.
HUTTO, JOSEPH ARNOLD
HUTCHINSDN, DON EARL
HUXLEY, FRANCES B.
HYDE, MATTIE
HYLAND, HOWARD

IGAZ, RUDOLPH, JR.
IMUS, CLIFFORD L.
INGEBRITSDN, ARTHUR L.
INGRAHAM, HARRY
INGRAM, ROY E.
IRVING, PATRICIA
IRWIN, ANNA M.
IRWIN, CHARLOTTE
I5BELL, JAMES ELLIS
ISHAM, MARY
ISENSTEIN, MAXWELL
IUDICE, C. J.
IVERS, F.
IVES, BESSIE
IWATSU, PETER

JABOK, JOSEPH
JACHMAN, CHARLES P.
JACK, WILLIAM RAYMOND
JACKLING, GRACE E.
JACKMAN, RONAL J.
JACKSON, C.
JACKSON, CHARLES
JACKSON, CALHOUN
JACKSON, ELEANOR
JACKSON, FRANK J. , JR.
JACKSON, ROBERT F., JR.
JACKSON, W. A.
JACKSON, ZERYL E.
JACOB, JESSE
JACOBS, BEATRICE
JACOBS, EVELYN
JACOBS, GWEN
JACOBS, PHILIP S.
JACOBSON, DORIS J.
JACDB5EN, CARL H.
JACDBSON, CHAS.
JACOBSEN, H. J.
JACDBSON, L. D.
JACOBSON, R.
JACQUES, PAUL LOUIS
JAMES, DONALD
JAMESON, DDRENCE C.
JAMES, JOHN NELSON
JAMES, JACK
JAMESON, STUART R.
JARCHOW, L. W.
JEFFREY, PAULINE D
JENKINS, ED
JENNINGS, DEAN S.
JENNINGS, GEORGE
JENNINGS, ROBERT S.
JENSEN, DOROTHY L.
JENSEN, LLOYD H.
JENSEN, NORMAN
JENSEN, OTTO
JEPSEN, LAWRENCE
JESTER, W. E.
JEWETT, L. R.
JOHNSON, ALFRED W.
JOHNSON, ALICE
JOHNSON, BARBARA
JOHNSON, BEATRICE

JOHNSON, BERT J.

JOHNSON, CHARLES

JOHNSON, C. E.

JOHNSON, CLINE

JOHNSON, EDDIE

JOHNSON, EDITH M.

JOHNSON, ERNEST

JOHNSON, ERNESTINE

JOHNSON, EVAR

JOHNSON, EVON

JOHNSON, F. E.

JOHNSON, GEORGE W.

JOHNSON, H. L.

JOHNSON, H. T.

JOHNSON, JEAN

JOHNSON, J. D.

JOHNSON, LUD M.

JOHNSON, RUBY

JOHNSON, R. E.

JOHNSON, W. P.

JOHNSTON, A. B.

JOHNSTON, E. E.

JOHNSTON, E. R.

JOHNSTON, F. M.

JOHNSTON, H. W.

JOHNSTON, LOUISE E.

JOHNSTON, WALDEN

JOLLY, JACK

JONAS, JOHN

JONES, CECIL

JONES, DONALD

JONES, EVERETT L.

JONES, FLORENCE J.

JONES, GILLDN H.

JONES, JAMES D.

JONES, KENNETH

JONES, PHYLLIS

JONES, PRESTON

JONES, RICHARD

JONES, ROBERT L.

JONES, ROBERT P.

JONES, STANLEY D.
JONES, THOMAS C.

JONES, W. C.
JONES, WINTON
JORDAN, EDWARD
JORDAN, MERRILL
JORGENSEN, DEWEY
JDRGENSEN, DOROTHY
JORGENSEN, KENT A.
JDRGENSEN, ROY
JOSEPH LEW
JOSEPH, PEARL
JOURNEY, TRACY T.
JDVICH, AMANDA
JOY, JACK E.
JOYCE, MERVYN J.
JOYNER, NEDD H.
JUCK5CH, MERLIN J. .
JUDELL, BETTY
JULIAN, VAL W.
JULIEN, ROBERT K.
JUNG, FRANCES B.
JUNGERMAN, DAVID
JUNGJDHANN, GEORGE A.
JURGENS, HAROLD E.
JUSTICE, RICHARD W.

KAEMMERLING, W.
KAHLMEIER, LEO H.
KAHN, ALFRED R.
KAHN, ROBERT H.
KALH, W. E.
KALFAIN, EDWARD
KALMAN, HERBERT S.
KALNIN, AUGUST
KANE, ANN
KANE, AUDREY L.
KANE, HARRY T.

A PPEN DI X

1939-1940 EMPLOYEES (Continued)

KANGLEY, WILFDRD F.
KAPLAN, RAE
KAPDNAT, FLORENCE M.
KARR, DDRIS K.
KASOWITZ, HARRY
KAST, ANNA E.
KASTEN, FRED
KATSMA, JDAN
KAUFMAN, JOHN D.
KAUFMANN, BLANCHE S.
KAUFMANN, ROBERT D.
KAVANAGH, INEZ
KAY, ALICE
KAY, HENRY F.
KAYS, MERL
KEANE, IMELDA
KEANE, RUTH ELLEN
KEARNS, M. H.
KEATINGE, MAJOR D. J.
KEATON, RUTH
KECK, J. H.
KEEFE, DON
KEELER, ELOI5E
KEENAN, HUGH
KEENEY, GEORGE E.
KEENEY, WHIT
KEIM, BEVERLEY
KEITH, PAUL
KELLEHER, BART D.
KELLEHER, CHARLES S.
KELLEHER, F. J.
KELLEHER, THERESA C.
KELLY, ALFRED E.
KELLY, ALICE
KELLY, CHARLES H.
KELLY, FLORENCE M.
KELLY, GLYTA P.
KELLY, JDHN
KELLY, MATHERINE
KELLY, THERESA A.
KELLY, THOMAS F.
KELT, DOUGLAS
KEMBLE, W.
KEMP, MARGARET E.
KENDRYX, CARL F.
KENEALY, ADELINE
KENNEDY, ANDREW
KENNEDY, DUKE
KENNEDY, ERNESTINE
KENNEDY, FRANK J.
KENNEDY, JOSPEH A. JR.
KENNEDY, KENNETH
KENNEDY, MAURICE
KENNEDY, PAT
KENNEDY, PAULA M.
KENNEDY, PHIL J.
KENNETH, CLARK
KENNY, H.
KENNY, FLORENCE
KEN5DALE, HAVLON
KENT, KARL
KERFOOT L. A.
KERN, EUGENE F., JR.
KERN, MYRON
KERNER, NANCY
KERPAN, RALPH
KERR, E. M.
KERR, GEORGE R.
KERR, L. G.
KERR, RALPH N.
KERR, WILLIAM L.
KERRIGAN, BERT
KERRIGAN, BILL
KERRIGAN, ESTHER
KERRIGAN, JACK
KERSCHER, JACK
KERTELL, A. T.
KETCHAM, A. R., JR.
KEVIE, LESTER
KEVIE, MELVIN
KIDDER, GEORGIA
KIDNEY, FRANCES

KIDNEY, JOHN G.
KIDWELL, J. MERVYN
KIERMAN, CLARENCE E.
KIESER, CHARLES W.
KILIAN, RAMONA IRENE
KILLIAN, DOLORES MAE
KILLION, B. F.
KILTDN, RUSSELL
KIMBALL, ELLIS
KIMBALL, ROBERT W.
KIMBERLIN, RICHARD L.
KIMBRDUGH, J. W.
KING, C. R.
KING, ERVA SKINNER
KING, EVELYN
KING, GERTRUDE A.
KING, HARRY H.
KING, IRIS ANN
KING, STANLEY C.
KING, VAN W.
KING, WESLEY E.
KINGSFORD, LESLIE
KINGSFDRD, L. A.
KINNEAR, C.
KINNEY, H. F.
KIRBY, DDRIS
KIRKENDALL, V. L.
KIRKWOOD, JACK
KISSEL, JOSEPH R.
KITCHEN, G. N.
KITTS, ELISABETH
KLANG, HARRY
KLEIN, CHAS. FRANCIS
KLINIEKI, PATRICIA M.
KLING, NORMAN A.
KLOCK, JOHN L.
KLDPP, HENRY THEO.
KNABLE, ROSE B.
KNEISS, GILBERT H.
KNIGHT, BETTY JEANNE
KNIGHT, IRENE
KNIGHT, NICK
KNIGHT, R. D.
KNDWLES, S. L.
KNOPH, HARRY J.
KNOWLTON, FRED C.
KNDWLTON, ORIN H.
KNOX, FRANK R.
KOCH, AVISON F.
KOCH, HARLEY
KOCH, MARIA
KOCH, MARIANNA
KDCHAN, STANLEY S.
KOBERLE, RUTH
KOENIG, RUTH C.
KDETITZ, K. F.
KOHARITS, JOSEPH
KOHNKE, F. C.
KONIGSBERG, DR. J.
KONKOL, A. J.
KOORSONER, CHRIS
KORENIAN, JDHN
KDRENS, BERNADINE M.
KORTICK, ABE
K05TER, MERVYN L.
KORTICK, YVONNE
KDULORES, DONNA M.
KOUMARIAN, VIVIAN
KDWALSKI, LEON
KRAHN, KARL
KRAMER, PAUL
KRAUSE, HARRY
KRESS, VICTOR C.
KRETCHMER, PAUL
KRIEDT, DAVID
KRILL, F. ADON
KROH, LESLIE M.
KRON, LLOYD A.
KRDW, BERNARD
KROW, MORRIS
KRUG, LILY
KRUSE, LAWRENCE

KRUSE, LEROY H.
KRUTMEYER, A. A.
KUBICEK, FRED
KUBISCHEK, PAUL
KUEHNE, CHARLES
KUEHNE, VIOLA
KUHLMAN, C. L.
KUSAK, KATHRYNE
KUSHNICK, CLYDE M.

LA BARGE, VINCENT JR.
LA BERGE, BERNADETTE
LABERRIQUE, ANTOINE
LABOUNTY, AL
LACEY, JOSEPH P.
LACHMAN, ARTHUR
LACHMAN, RICHARD H.
LADDIS, HOWARD
LADEN, GEORGE C.
LAFRANDRE, JOHN R.
LAGES, ANITA EMILY
LA HAYE, EUGENE B.
LA KRAPES, ELVINA
LA KRAPES, M. H.

LAMB, A. H.
LAMBERT, PIERRE A.
LAMBERT, RENE
LAMBERTDN, BETTY
LAMDAN, LEONARD K.
LAMMERS, WAYNE
LAMMDN, GEORGE I.
LAMOREAUX, THOS. L.
LAMPKIN, ARTHUR W.
LANA, WILLIAM M. JR.
LANCASTER, JOHN S.
LANDAU, ARTHUR J.
LANDRU5, ELSIE MARIE
LANDSBORDUGH, L. B.
LANDUCCI, GIULID
LANE, FRANK
LANE, HELEN L.
LANE, HERBERT
LANE, LAWRENCE R.
LANE, W. H.
LANE, WINIFRED M.
LAND, DONALD
LANG, RAY JR.
LANDER, FELIX
LANGERT, ELI D.
LANGHELDT, ROSEMARY
LANDMAID, ELMER
LANKFORD, CECIL
LANNING, JACK L.
LAPHAM, GRACE K.
LAPURI, MARGE
LA PLACE, EMILE
LAREW, ALTER F.
LARKE, DILRDY
LARSON, ELMER J.
LARSON, HELEN MAE
LARSDN, RUSSELL E.
LA RUE, RICHARD
LA RUE, TRAVERS
LASATER, RAYMOND C.
LASATER, DEDRDE J. JR.
LASDIN, CHRISTINE
LASKER, BRUNO
LATHLEAU, GERTRUDE
LAUENSTEIN, ROBERT F.
LAUDEN5EN, RDY M.
LAVALLEE, EMERY A.
LA VALLE, H.
LAVETTE, DENZIE
LAWLOR, T. J.
LAWRENCE, H. W.
LAWRENCE, JAMES
LAWRENCE, JOYCE
LAWRENCE, PAUL JOHN
LAURENZI, ALICE
LEACH, BARBARA W.

LV1

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

LEACHMAN, LOUIS P.
LEATHERMAN, EDRIS
LE BARDN, PAUL
LE BAS, HARRY E.
LE CLERE, JAMES E.
LEDDEN, JAMES A.
LEE, ALLEN E.
LEE, ANTENDR E.
LEE, BRUCE
LEE, CHARLES H., JR.
LEE, G. L.
LEE, IRMA
LEE, J. G.
LEE, LILLIE LEW
LEE, MABEL
LEE, RICHARD A. JR.
LEE, ROSE
LEE, W.
LEE, W. H.

LEEDY, ARLIE LERDY
LEENDERSTEN, HOWARD
LEEPER, JEAN
LEES, ALBERT E.
LE FEAVER, JAMES H.
LEFFLER, AL
LE FOR, GUS
LEGG, B. S.
LEGG, LEWIS S.
LEGGE, HERBERT WM.
LE GLACIE, LEO
LEHAN, EDWARD
LEHANE, LOUIS F.
LEHMAN, CHARLES D.
LEHMAN, MILTON
LEITH, JOHN B.
LELAND, WM. E.
LENHART, HOLMAN D.
LENHART, JOS. EDWIN
LENHART, WILLIAM F.
LEON, RUTH F.
LEONARD, EDDIE J.
LEONARD, DAVID J.
LEONARD, HARRY
LEONARD, JOHN B.
LEONARD, RAY A.
LEONARD, WILLIAM B.
LEONG, BERTRAM
LEONG, EVAN
LESLIE, ALBERT H.
LESSER, RUTH M.
LEUSCHNER, ELIZABETH
LEVANT, GENE E.
LEVENSALER, JUDSON
LEVIN, LILLIAN
LEVITT, CHARLES
LEVY, BERTHA
LEVY, BEVERLY E.
LEW, WING KEATH
LEWIS, CAROLYN JANE
LEWIS, CHARLES J.
LEWIS, CLAYTON
LEWIS, DAVID
LEWIS, EDWARD
LEWIS, JOHN B.
LEWIS, J. SIDNEY
LEWIS, JERRY
LEWIS, LESLIE
LEWIS, MARGD
LEWIS, MELVIN G.
LEWIS, RAY
LEWIS, ROBERT R.
L'HEUREUX, RAYMOND C.
LHUILLIER, E. A.
LIBBY, KATHERINE E.
LIEBES, DDRDTHYW.
LIEBIG, HERBERT
LIEDTKE, ARTHUR
LILLICO, ADRIENNE
LIM, MAMIE
LIMDN, MARIE A.
LINDqUIST, CARL A.
LING, HONG

LINGENFELTER, CLIFFORD

LINK, G. E.

LINK, MARJORIE

LINKLETTER, ARTHUR

LINN, F. F.

LINNANE, KENNETH J.

LINTNER, ROGER S.

LIPPI, LOUIS G.

LIPSETT, JOAN M.

LIPSCOMB, A. T.

LISK, WALTER

LISKEY, L. W.

LISSER, ALAN C.

LISSNER, LOUIS L.

LITHGAN, JACK

LITTLE, GEO.

LITTLE, JACK

LITTLE, WILLIAM

LIVINGSTONE, BOB

LIVINGSTON, EUGENIA

LLOYD, MILDRED

LLOYD, ROBERT E.

LLOYD, RUTH V.

LLOYD, W. E.

LOAN, FDD

LDBLEY, WM.

LOBSIEN, JULIEN

LOCH, HARRY C.

LOCKHART, GEO. W.

LDCKWODD, HOWARD F.

LDCKWDOD, R. H.

LDDIGIANI, JOE

LDEFFLER, ERWIN S.

LOFTUS, W. T.

LOGAN, CONSTANCE

LOGAN, FRED J.

LDGE, HELEN

LONG, ERNEST E.

LONG, EVALINE

LONG, LUTHER E.

LONGO, JULE

LONGUY, ALBERT

LORD, FRANK

LORD, HARRY

LORD, HUBERT P.

LORD, BERT

LORD, O. M.

LORIMER, C. G.

LDRIMER, ROSA

LDRING, LESLIE

LOSCHER, GEORGE

LDTMAN, GERTRUDE

LDUCHARD, ALFRED H.

LOUDDN, RICHARD H.

GIVEN, LOUISE

LDVE, ADA

LDVENS, WILLARD

LOVERA, JAMES

LOWE, PARDEE

LOWE, REX

LDWEN, MAX

LDWRIE, JOE

LOWRY, MALCOM G.

LOY, MAXINE

LUBBOCK, BEATRICE

LUBECK, PAULA

LUEBKEMAN, ALFRED E.

LUCAS, FRED GEORGE JR.

LUCAS, JOHN F.

LUCCHESI, DINO

LUHMAN, ARTHUR

LUHMAN, GERTRUDE

LUNARD, CHARLES

LUND, RODNEY W.

LUNDBORG, INEZ

LUTICH, NORMAN

LUXINGER, C.

LUTZ, L. A.

LYDICK, LAWRENCE T.

LYFORD, JOYCE K.

LYMAN, JACK

LYMAN, R. F. JR.

LYNCH,

LYONS,

LYTTLE;

LYKINS,

GEO. ALBERT
DORIS
JAMES T.
MARY S.
NORA A.
ROSE
FRANCES
MARGARET A.
MARIGENE
. LELA F.
LEE T.

MAA5S, ALVIN F.
MA AS, R. P.

MCCARTNEY, FELTON E.
MACAULAY, JACK L.
MACCORD, EMMA
MACDONALD, CLYDE L.
MACDDNALD, COLLIER
MACDONALD, D. s.
MACDONALD, EDWIN
MACDONALD, EVELYN
MACDDNALD, F. R.
MACDDNALD, MILDRED B.
MACDONALD, MARGARET c.
MACDONALD, R. D.
MACDDNALD, WILLIAM
MAC DONNELL, HUGH

MAC ELWEE, K. F.
MAC GDWAN, FREDERICK
MACHI, ROSE A.
MACK, MARIE
MACK, SAM E. JR.
MACKENZIE, MARSHALL
MACKIE, JAMES D.
MACKIN, SIDNEY R.
MACGIBBONEY, E. L.

MACLAFFERTY, J. H.

MACMILLAN, VICTORIA
MACWAY, E.
MACWHINNEY, L. E.
MADDOX, EDGAR W.
MADERIA, PHIL J.
MADISON, FLETCHER R.
MADSEN, FRANK
MADSEN, ROLAND H.
MAGER, ELMER F.
MAGGIDRA, JOSEPHINE
MAGILL, BERNARD R.
MAGILL, GLADYS
MAGLID, JOE S.
MAHER, FRANK
MAHL, KENNETH A.
MAHONEY, BUD
MAHDNEY, CHARLES
MAHONEY, DOMINA
MAHDNEY, HAROLD F.
MAHONEY, JAMES LEE
MAHONEY, WILLIAM C.
MAISLER, MITCHELL
MALIN, KENNETH B.
MALKIN, LILLIAN
MALLEN, MARGARET E.
MALLIARAS, THOMAS
MALLON, CARMEN
MALDFF, ROBERT
MALONE, H. E.
MALONE, PEGGY
MALDNEY, A. E.
MALDNEY, D. K.
MALONEY, DOROTHY
MALONEY, ROSE
MALONEY, RALPH P.
MALSBARY, WM. J.
MALTBY, KATHLEEN
HAMLOCK, JOSEPH
MANCINI, ANTONIO
MANEGGIE, JOE
MANGAN, A. C.
MANHEIM, HENRY

APPENDIX

LVll

1939-1940 EMPLOYEES (Continued)

MANIDN, ALBERT
MANIDN, JOHN J. JR.
MANLEY, VERA L.
MANN, CLARENCE E.
MANN, EDWARD
MANN, L. A. .
MANN, ROBERT T.J
MANNING, PATRICIA E.
MANNDN, RALPH J.
MAN5ERGH, JACK
MANSFIELD, BERTHA S
MANUCK, TENSIE
MANUS, L.
MANZER, JA5DN B.
MARAND, MARIE J.
MARBLE, L. ;
MARCHAI5, BED.
MARCHAND, HENRY L.
MARCUS, MADISDN
MARDEL, CHARLES M.
MAREK, JDE
MARETTA, W. J.
MARGETTS, RUTH
MARIANI, THED.
MARK, FLORENCE
MARK, PAUL
MARKERT, CHARLES
MARKHAM, MARY HELEN
MARKLE, BRUCE
MARKS, LARRY H. JR.
MARKS, J. L.
MARKUSE, HOWARD R.
MARLAND, R.
MARONEY, R. A.
MARQUARD, RUDY
MARQUIS, KATHLEEN
MARR, WILLIAM LEE
MARRE, ALPHONSE
MARRIOTT, DON C.
MAR5DEN, MARTHA
MARSH, ALBERTA H.
MARSH, DAVID G.
MARSH, DON D.
MARSHALL, J. M.
MARSHALL, DEWITTT.
MARSHALL, EVELYN A.
MARSHALL, H. WALDON
MARTIEL, DIXIE J.
MARTIN, A. C.
MARTIN, FRANK E.
MARTIN, CHAS F. JR.
MARTIN, FRANK E.
MARTIN, H. D.
MARTIN, JEANNE
MARTIN, MARYALICE
MARTIN, NEIL
MARTIN, ROY
MARTIN, R. V.
MARTIN, WM. E. JR.
MARTINA, PAUL
MARTINDALE, MAX
MARTINE, MURIEL
MARTY, ED
MARX, PHILLIP
MASHIKDFF, VICTOR
MASOERO, HENRY
MASON, GEO. H.
MASONEK, ISAM
MASSACAR, CHARLES
MAS5EE, DON L.
MA5SEY, EVELYN L.
MASSEY, WILLIAM
MASS IE, A. D.
MASTERS, JAMES N.
MASTERS, M. D.
MASTERSON, ALICE
MATHER, RUTH E.
MATHIAS, PHILIP
MATLOCK, PARKER
MATTESON, MORRIS
MATTHEWS, ELSIE
MATTHEWS, DUKE

MATTHEWS, IRENE
MAURER, E. N.
MAXAM, LEONARD L.
MAXWELL, EVELYN
MAXWELL, J. EVANS
MAXWELL, JEANNE
MAXWELL, RALPH
MAXWELL, RAY
MAY, GEORGE S.
MAY, JACK B.
MAYAR, JULIAN
MAYFIELD, B. W.
MAYFIELD, DOROTHY
MAYFIELD, ETHEL G.
MAYFIELD, MAJOR E.
MAYNARD, BARBARA
MAYO, JOHN J.
MAYO, MELID M.
MAYOSKY, J. L.
MAZEAU, JOSEPH
MAZEN, WALTER

MCALLISTER, HUGH c.

McBAIN, DONALD Z.
MCBRIDE, JAMES A.
MCCABE, FRANCIS
McCABE, MAE

MCCAFFREY, JOSEPH F.
MCCAFFREY, JAMES L.

McCALL, ALBERTA J.
MCCANLIES, PRESTON H.
McCANN, CAMILLE
McCANN, EARL
McCANN, JIM
McCANN, ROBERT J.
McCANN, TED

MCCARTHY, DALTON
MCCARTHY, EARLEEN R.
MCCARTHY, EDWARD j.
MCCARTHY, ELEANORE
MCCARTHY, ELIZABETH
MCCARTHY, JOHN R.
MCCARTY, LORING
MCCARTHY, ROBERT
MCCARTHY, TDM
MCCARTHY, MARYALICE

McCAULEY, HARRY W.
McCAW, HERBERT L.
MCCHRYSTAL, ARTHUR J.
McCHRYSTAL, RICHARD
McCLELLAN, HUGH
McCLISH, STANTON
McCLOY, DR. NEIL P.
McCLURE, WM. J.
McCOLGAN, ORPHA
McCOLLISTER, ALFRED A.
MCCOLLUM, FARRELLA.
McCDLLUM, H.
McCONNELL, FRANK H.
McCDNNELL, JOHN W.
McCORD, HELEN L.
MCCORMAC, BERNICE
McCORMAC, PAULA.
McCORMICK, JAMES
McCDRMICK, JACK H.
McCORMICK, JAMES W.
McCORMICK, SHIRL L.
McCOURTNEY, ALFRED
McCREADY, GILBERT M.
McCROREY, HOWARD
McCULLDUGH, JESSE W.
McCUE, CLAUDE
McCRYSTLE, ALPHA
McCULLDUGH, J. W.
McCRANIE, MOLLY
McDERMOTT, EDWARD J.
McDEVITT, BARNEY
McDEVITT, HARRY F.
McDEVITT, MARY

MCDONALD, EDWARD A.
MCDONALD, GERTRUDE
MCDONALD, HARRY
MCDONALD, M. c.

McDONAUGH, HENRY
McDONAUGH, RICHARD

MCDONNELL, JOSEPH A.

McDONOUGH, MARK J.
McDDUGLE, FLOYD
McEACHIN, JOE
McELHENY, THOMAS J.
McELVENNY, BEATRICE
McENTEE, GAILA
McENTEE, THOMAS
McENTIRE, GEO. W.
McEWING, ROBERT L.
McFARLAND, JAMES R.
McFARLAND, JOSPEH
McFEELY, ALFRED R.
McGARRY, CATHERINE E.
McGAVRAN, G. E.
McGEE, ROBERT J.
McGILLAN, THOS.

MCGINN, WALTER L.
McGINNITY, DOROTHY J.

McGINTY, JAMES B.
McGLOTHLIN, MARIE
McGLYNN, LEO J.
McGOVERN, WM. M.
McGRATH, RDBT.
McGUINNESS, DR. J. S.
McGUIRE, EARL
McGUIRE, JOHN
McGUIRE, MICKEY
MCGURK, C. W.
MclNERNEY, FRANCES
MclNNIS, NORMAN
MclNTDSH, JAMES
MclNTOSH, RUSSELL W.
MclNTDSH, WALLACE E.
MclNTYRE, GORDON
MclVER, GWEN
MclVER, J. R.
McKANNAY, JACK

MCKAY, DAVID j.
MCKAY, FRANK
MCKAY, JAMES
MCKAY, JAMES M.
MCKAY, MARGARET R.
MCKAY, RUTH

McKEE, DONALD
McKEE, GEORGE HENRY
McKEE, MARY KATHERINE
McKELLIPS, D. O.
McKENNEY, PATRICIA
McKEON, PAULINE
MCKEOUGH, MERVIN D.
McKIDDY, CECIL
McKILL, CHARLES
McKIMMEY, MABEL M.
MCKINNEY, RUSSELL R.
McKINLEY, ALLAYNE

MCLAUGHLIN, RUTH
MCLAUGHLIN, WALTER J.
MCLAUGHLIN, WILELLA R.
MCLEAN, SCOTT

McLELLAN, A. B.
McLEDD, HARRY R. C.
MCLEMDRE, A. C.
McMAHDN, EVA
McMAHDN, MARY
McMACKIN, MYRTLE
McMULLIN, HOWARD
McMAINS, BURCHELL R.
McMILLIAN, M. D.

MCMILLAN, ROBERT

McMURRAY, HELEN
MCNAIR, LELA JOYCE
McNALLY, IRIS
McNAMARA, JOHN A.
McNEILL, DONALD

MCNEIL, JAMES R. JR.

McNICOL, CHAS. R.
McNINCH, E. K.
MCPHAIL, RUTH

LV111

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

McPHEETERS, VIRGINIA

MCQUEEN, ARTHUR j.

McRAE, MELVIN J.
McSHANE, JAMES E.
McSWEEN, JDS. M.
MCSWEEN, MAX J.
MCTAVISH, HAROLD C.
MEAD, FLORENCE
MEADE, BARBARA
MEADE, MARY RUTH
MEADE, WILLIAM A.
MEADER, KATHRYN A.
MEAGHER, THDMASSINE
MEDALIE, ANN
MEDEIRDS, HENRY
MEEHAN, LDUIS
MEEK, J. F.
MEISEL, NDRMAN
MELANSDN, WILLIAM
MELENDEZ, GILBERT
MELETIS, MADELINE
MELNICDE, SAMUEL A.
MELRDSE, CLAIRE H.
MELVIN, GEORGE C.
MELVIN, ROBERT C.
MENDELSDN, JESSE
MENDDZA, FRANK
MENIST, ROBERT
MENGULA, LAWRENCE
MERCER, EDWIN W.
MEREDITY, ELIZABETH A.
MERRELL, WILLIAM E.
MERRICK, RUTH
MERRILL, PETER A.
MERRILL, T. STEPHEN
MERRILL, VIRGINIA
MERRIMAN, FRANK
MERRIN, ROBERT E.
MERRITT, GEORGE W.
MERIZ, EMILIE
MESETH, BERNARD
MESSINGER, MARIE
METTLER, FRED
METAXAS, JACK
MEW, GEORGE BING
MEW, HENRY GING
MEYER, B. C.
MEYER, CARL F.
MEYER, FENTON R.
MEYER, GEORGE
MEYER, LAMBERT M.
MEYERS, MERLE
MEYERS, HIRAM WM.
MEYERS, WALLACE J.
MEYERS, WALTER E.
MICHAEL, GLADYS V.
MICHEL, CHARLOTTE V.
MICHEL, W. E.
MICHAELSON, HARRY M.
MIDDLESWORTH, J. P.
MIDDLETON, ROBERTA.
MIDGLEY, MARJDRIE
MIHELICH, STEPHEN
MIKEL, ROSSITER
MIKESELL, LELAND C.
MILANI, ANNIBALE F.
MILBOURNE, ARCHIE
MILES, M. M.
MILHOLLAND, STANLEY
MILITAND, JOHN T.
MILLER, BARLOW B.
MILLER, DAVE
MILLER, DICK
MILLER, DOUGLAS F.
MILLER, EDNA MAE
MILLER, EUGENE J.
MILLER, EVELYN
MILLER, FRANK J.
MILLER, FRANK L.
MILLER, GEORGE
MILLER, GEORGE P.
MILLER, HARRY

MILLER, H. E.
MILLER, JOHN P.
MILLER, L. B.
MILLER, MARGUERITE C.
MILLER, O. W.
MILLER, PAUL
MILLER, SHIRLEY
MILLER, SIBYL
MILLER, STANLEY
MILLER, STEPHEN
MILLER, STEVE J.
MILLER, THOMAS
MILLER, WESLEY C.
MILLER, YVONNE N.
MILLER, WALTER
MILLIKEN, ARTHUR W.
MILLIKEN, GEO. ROBT.
MILLS, BILL
MILLS, EDDUARD R.
MILLS, HOWARD
MILTON, A.
MINGES, J. R.
MINOR, B. B. JR.
MINIHAN, JOHN F.
MINOR, JACK WEBB
MINOR, JOE
MINTURN, MARTHA
MINZEY, AUGUSTA
MIRABELLA, GEO. C.
MISKEL, FRANK
MISNER, ROBERT
MITCHELL, A. L.
MITCHELL, C. L.
MITCHELL, FRANK B.
MITCHELL, H. W.
MITCHELL, LUCIEN
MITCHELL, MICHAEL
MITCHELL, MOWATT
MISNER, RDBT. W.
MITCHELL, NORMA
MITCHELL, RALPH F.
MITCHELL, RAYMOND A.
MITCHELL, W. J.
MOALE, JOHN FOSTER
MOEBUS, WM.
MDFFATT, H. W.
MOHL, VICTOR
MOLITOR, JOHN
MOLKENBUHR, CHAS. L.
MONAGHAN, GEO. D.
MONAHAN, KENNETH J.
MONAHAN, W. W.
MONETTA, DOROTHY J.
MDNETTE, SYLVIA
MONEY, WM. THOMAS
MONGON, IRENE
MONKS, GEORGE R.
MONROE, R.
MONROE, STEPHEN C.
MONTANARI, O.
MONTHEITH, T. F.
MONTENEGRO, R.
MONTGOMERY, DEWITT
MONTGOMERY, NOMA
MONTGOMERY, ROBERT
MOODY, HARRY W.
MOORE, BUD C.
MORAN, DOROTHY
MOORE, ELLEN
MOORE, EUGENE
MOORE, DR. J. M.
MOORE, JUNE DALE
MOORE, MARGARET
MOORE, MARGARET E.
MOORE, MIRIAM JANE
MDRAN, THOMAS P.
MOORE, W. R.
MOOSE, CLAUDE C.
MODSER, GEORGE
MOOSER, HATTIE
MOOUIN, A. J.
MORALES, ALBERT

MORALES, GEORGE
MORAN, GEORGE
MORAN, JOS. M.
MORAN, T. P.
MORAN, THOMAS W.
MOREHOUSE, BILL
MDREHOUSE, G. G.
MORENO, CHESTER A.
MORENO, JOSEPH
MORGAN, JACK
MORGAN, KATHERINE
MORK, SANDER
MORELY, GRACE M.
MORRELL, FORD S.
MORRICE, FRANCES
MORRICE, MARJDRIE
MORRIS, AL
MORRIS, LARSEN J.
MORRIS, NELLIE M.
MORRIS, STANLEYS.
MORRIS, TIM
MORRISON, ELDEANA
MORROW, MARIAN K.
MORSE, RALPH
MORSE, WILLARD A.
MORSS, F. B.
MORTENSEN, CARL J.
MORTIMER, GEO. S.
MORTIMER, WM. B.
MORTIMER, WILLIAM
MORTON, E. L.
MORTON, VIRGIL
MOSELY, ISABELLE L.
MO5HER, CHARLES R.
MDSIAS, LEONARD S.
MOSS, ELVAJANE
MOUBER, SEYMOUR
MDULTHROP
MDUNLE, ERNEST
MOUNTAIN, ROBT. C.
MOWRY, ELDA
MOWRY, EDITH
MOWRY, RDBT. S.
MOXCHAN, TOMMY
MDY, CLARENCE
MOYER, WILLIAM
MOYLES, JACK
MDYNE, RUTH HEDWIG
MUEHLMAN, R. J.
MUELLER, LDUIS K.
MUELLER, MARTIN
MUHLFELDER, FRANCES
MUIR, ANDREW L.
MULDOWN, RITA F.
MULHDLLAND, E. R.
MULKEY, BUREL
MULLALY, LEO F.
MULLANE, EUGENE W.
MULLERBROUGH, G. A.
MULLER, A. L.
MULLER, FRIEDA A.
MULLER, LEONARD A.
MULLETT, LESLIE F.
MULLIGAN, A.
MULLOW, F. G.
MULQUEENEY, LOISE.
MUNRO, HERBERT H.
MUNSON, JACKSON F.
MURGITTROYD, R. R.
MURPHY, FRANCES I.
MURPHY, JOHN
MURPHY, J. A.
MURPHY, LEO
MURPHY, LEO W.
MURPHY, MARIE
MURPHY, RUSSELL C. H.
MURPHY, T. R. JR.
MURPHY, VIRGINIA
MURRAY, J. R.
MURRAY, JACOB BEAN
MURRAY, RALPH

APPENDIX

L1X

1939-1940 EMPLOYEES (Continued)

MUSSER, HELEN I.
MLJSSO, EUGENE
MYATT, JAMES S.
MYGRANT, ROBERT

NAIBURG, MEYER
NANCE, BILL
NAPIER, DEAN K.
NASH, JOHN C.
NASH, MANLEY K.
NAVRATIL, MARY
NEDDVICH
NEELANDS, WM.
NEELY, DORIS ANN
NEELY, R. T.
NEGLEY, OENONE
NEIBAUR, DICK
NELLIS, WALTER G.
NELSEN, ALEXANDRA
NELSON, A. A.
NELSON, BETTY
NELSON, CHARLES H.
NELSON, C. W.
NELSON, FRANK A.
NELSON, GUSTAVE
NELSON, HELEN 5.
NELSON, HERMAN G.
NELSON, LEONARD
NEMETH, S. A.
NETTLE, BENJAMIN .E
NEUHAUS, EUGENE JR.
NEWMANN, R. H.
NEUBTADT, MORRIS
NEWBY, CHAS.
NEWBY, CHAS. E.
NEWELL, ALLAN R.
NEWHALL, JAMES W.
NEWLAND, GUY E.
NEWLANDS, JAMES G.
NEWMAN, ARLENE
NEWMAN, BARBARA D.
NEWMAN, CHARLES H.
NEWMAN, DAVID
NEWMAN, GLADYS
NEWMAN, J.
NEWMAN, SAM
NEWMAN, VINCENT A.
NEWMAN, WALTER
NEWTON, E. A.
NEWTON, EVELYN
NEWTON, PEGGY
NICHDLAY, PAUL
NICHOLS, JAMES
NICHOLS, LUTHER JR.
NICHOLS, RICHARD E.
NICHOLS, R. E.
NICHOLSON, DONALD
NICHOLSON, J. F.
NICKERSON, CHAS. L.
NICKERSON, H.
NICOLAI, ED
NIELSEN, ELSIE
NIELSEN, ERICH
NEILSEN, GERDA
NIELSEN, JOHN W.
NIELSEN, ROBERT
NIENDORFF, ARTHUR S.
NIHL, FRANK M.
NISKE, EDWARD G.
NISKE, VIVIAN
NIVENS, DTHA O.
NIX, E. D.
NIXON, EDNA J.
NOBLE, CHESTER F.
NODMANN, ADELE M.
NOEL, WILLIAM
NOFREY, CLARENCE E.
NOLAN, WEBSTER K.
NDLAND, FRED A.
NOLL, MARGARET

NOONA, RICHARD F.
NDDNAN, W. J.
NORDEN, DON
NORGAARD, ALMA M.
NORMAN, RUBY
NDRRIS, JERRY F.
NORTH, CHAS. H.
NORTH, JOHN M.
NORTHLEY, GED.
NORTON, JACK E.
NORTON, ROY
NORWOOD, VIRGINIA
NDVITZKY, FRANK
NOWELL, HOWARD
NOYES, JOHN M.
NUGENT, JUNE M.

OBER, FOREST E.
O'BRIEN, AGNES
O'BRIEN, BETTY JO
O'BRIEN BERNICE M.
O'BRIEN, ETHEL
O'BRIEN, GEMMA
O'BRIEN, G. M.
O'BRIEN, MICHAEL
O'BRIEN, PATRICIA H.
OCHS, JEAN

O'CONNOR, BERNARD J.
O'CONNOR, CONSTANCE
O'CONNOR, R. F.
O'DEA, WILLIAM
ODENTHAL, MARIE
D'DONNELL, CORRINE
O'DONNELL, EDWARD
O'DONNELL, MARIE
D'DDNNELL, STAFFORD
O'DOWD, MAYE F.
OEHME, A. L.
D'KEEFE, R. F.
O'GARA, GERALD J.
OGDEN, BARBARA G.
O'HARA, BERT
D'HARA, BETTY
O'HARA, JOHN F.
O'HARA, RAYMOND
DHERN, MAURICE J.
OHLEMUTZ, ANNE
OHLIGER, THOMAS W.
OLBERG, GEORGINA
O'LEARY, ELEANOR F.
O'LEARY, FRANK
O'LEARY, JAMES
OLIVER, DAN
DLIPHANT, R. C.
OLMSTED, B.
OLSEN, CARL
DLSEN, CHARLES H.
OLSEN, SIGNA A.
OLSEN, WALTER A.
OLSON, D. L.
O'NEIL, ANN L.
D'NEIL, J. A.
O'NEIL, JOHN C.
O'NEILL, E. M.
O'NEILL, EVELYN A.
O'NEILL, H. J.
O'NEILL, HARRIETTE
O'NEILL, JOHN J.
O'NEILL, PATRICK
O'NEILL, WILLIAM W.
ONELLION, MINNETTE
ONETD, FRANK
DNETO, MARIE
ONSTOTT, KYLE
OPFERMANN, H. B.
OPPERMAN, RICHARD
DRLANDI, LLOYD J.
ORN, LIDA J.
DRR, JOHN W.
DRSINI, C.

ORSINI, CAESAR
DRTH, CHARLES H.
DRTHMAN, L. T.
ORTON, GLEN
O5BORN, ED
OSBURN, EARL A.
DSBDRNE, AVERY H.
OSOFSKY, ABE M.
OSTRDM, ROBERTS
DSTROM, OTIS
O'SULLIVAN, JAMES F.
OTAGURO, KAYO
OTIS, LAWRENCE F.
OTTO, AGNES C.
OTTO, RUSSELL H.
OTIS, MARGARET
DTTOLINI, ART
OTTON, HARRY
DUGH, RICHARD R.
OVERLEY, CLYDE H.
OVERTON, WALTON P.
OWEN, DONALD C.
OWENS, ELGIN
OWNES, M. V.
OWSLEY, ZERELDA W.
OWYANG, HOPP
DXTOT, R. A.

PACCIDRETTI, ANDY
PACCIDRETTI, ANTOINETTE
PACE, CLAY L.
PACE, M. A.
PACKARD, EMMY LOU
PACHARD, LEIGHTON K.
PAGE, EDWARD B.
PAINE, C. W.
PAINTER, J. W.
PALM, ARTHUR
PALMER, HORACE
PANELLA, PETER
PANTERA, RENEE
PAQUETTE, J. ALBERT
PARDI, MARVIN J.
PARK, HELEN
PARK, JOHN E.
PARKANS, FERNA H.
PARKER, A. L.
PARKER, BILL
PARKER, D. W.
PARKER, GEORGE F.
PARKER, GEORGE P.
PARKER, JACK
PARKER, PAUL V.
PARKIN, THOMAS R.
PARRY, TERESA
PARRY, WILLARD
PASCHALL, ALFRED
PARSELS, JOHN W.
PARSONS, JAMES W.
PASSERI, PETE
PASTO, EDMUND Q.
PATNOE, CHESTER L.
PATNOE, THED F.
PATRICK, MICHAEL
PATRIDGE, JOHN J.
PATTERSON, A. C.
PATTERSON, C. A.
PATTERSON, QUENTON
PETTERSON, FAYE
PATTON, ROYJ.
PAULSON, LOUISE
PAULSON, MARY V.
PAYNE, KENNETH F.
PAYSON, HARRY C.
PEACOCK, CHARLES C.
PEACOCK, DOROTHY X.
PEAK, W. R.
PEARL, MURIEL E.
PEASE, LAURENCE T.
PEARSON, A. 5.

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

PEARSON, CHARLES
PEARSON, H. A.
PEARSON, HOWARD J.
PEARSON, PETE
PEART, ALBERT E.
PEART, MARY E.
PEASE, LORAN T.
PACK, EDWARD F.
PECK, RAYMOND J.
PEDERSEN, FRANK
PEDERSEN, K. V.
PEDRIN, ADOLPH J.
PEDRIN, GEORGE P.
PEERY, BENJAMIN F.
PEGLJILLAN, E. F.
PEISER, LOUIS H.
PELL, D. C.
PELLISSIER, LOUIS
PENCEVICH, MARY A.
PENEWELL, ETHEL
PENCDVIC, THEODORE
PENNELL, ELIZABETH
PENNINGTON, HENRY M.
PENNINGTON, W. T.
PENRDSE, MARSDON
PERE, FRANK J.
PEREIRA, J. T.
PEREZ, FRANK
PEREZ, OSCAR
PERKINS, MAC D.
PERKINS, RICHARD A.
PERRI, MICHAEL
PERRY, MAX E.
PERRY, RICHARD H.
PERRY, THOMAS W.
PERSKE, GORDON L.
PERSON, IRVING
PERWELLER, NICHOLAS
PETERS, FRANK R.
PETERS, JOHN
PETERSEN, G. W.
PETERSEN, MARIE
PETERSEN, PETER A.
PETERSEN, W. C.
PETERSON, ALDEN T.
PETERSON, BRYTE M.
PETERSON, FRANK
PETERSON, JOHN P.
PETERSON, PAULINE J.
PETERSON, ROBERT C.
PETERSON, VERN
PETERSON, W. B.
PETRIAT, I. TONI
PETRDFF, L.
PETRUSICH, JOHN
PETTIJOHN, CECIL A.
PETTY, WINSTON
PFAFFENBERGER, R. A.
PFAUN, EDNA G.
PFEIFER, STANLEY W.
PHELAN, EDWARD
PHELAN, LOUISE M.
PHELPS, J. R.
PHELPS, LELAND
PHILIPS, FRED
PHILLIPS, NANCY
PHILLIPS, WILBUR J.
PICKERING, M. J.
PIEPER, JAMES S.
PIERCE, BROOKS L.
PIERCE, H. H.
PIERCE, JENNINGS
PIERCY, MURIEL
PIERRE, CHARLES J.
PIERRE, EMILE A.
PIERSDN, DDROLOU
PIETRD, CHARLES
PHILLIPS, W. H.
PHILLIPS, W. B.
PHINNEZZ, W. R.
PIGEON, W. G.
PIKE, R. A.

PIKE, ROSCOE W.
PINAL, BEATRIZ
PINAL, EUGENIA
PINCKNEY, ROBERT W.
:PINE, IVAN
PINGATORE, BEN A.
PINNELL, PAUL
PINNED, JEANETTE B.
PINNER, CAROLINE
PIPKIN, LYNN
PIPKIN, PAUL
PIPKIN, ROBERT L.
PIPPITONE, FRANK
PIVER, FLORENCE W.
PLANK, CHARLES R.
PLATT, HAROLD R.
PLATT, WILLIAM B.
PLUMB, RALPH P.
PLUMMER, GERTRUDE E.
PLUMMER, STANLEY F.
PODESTA, A.
POFAHL, PAUL E.
POLLACK, AUGUSTUS
POLLARD, HAROLD E.
POLLARD, JAMES J.
POLLARD, WELDON D.
POLLARD, W. T.
POLITT, JOHN A.
POLOS, CHARLES J.
POND, NYDIA F.
PONE, PAUL
POOL, JOHN H.
POOL, RUTH
POOLE, AILEEN
PDOLE, THEODORE K.
POOLEY, BETTY
POON, FANNIE
POORE, PRISCILLA
POPE, ELNA
POPE, S. E.
POPES, ALAN
PDPOFF, ALEXANDER A.
POPOFF, SARA
POPPERS, VICTOR
PORDZOFF, NICHOLAS
PORTER, CLARA
PORTER, EVANS
PORTER, HARVEY
PORTO, FRANK
POSEY, SARALYNE
POST, MARJORIE
POSZ, PAUL
POTTS, CECIL
POUNDSTONE, DONALD T.
POWE, LUCAS A.
POWELL, RALPH L.
POWELL, WAYNE J.
POWER, ALICE
POWERS, SALLY
POZDRO, IGNATIUS
PRAGER, ANNA B.
PRAGER, DELL J.
PRATER, H. C.
PRATHER, P. T.
PRATO, LUCID
PRATT, A. J.
PRATT, CHARLES C.
PRATT, GEORGE
PRATT, HERBERT
PRATT, KYLE
PRATT, RALPH V.
PRESCDTT, BOB
PRESSEY, LYLE B.
PRETTE, EDMUND J.
PREVITTE, P.
PRICE, CDLONO
PRICE, FRANK
PRICE, LOIS C.
PRICE, O. F.
PRINCE, GEORGE E.
PRINCE, KIRKLAN 5.
PRITCHARD, FRANCIS T.

PRITCHARD, WILLIAM
PRIVAL, ROBERT
PROBERT, AYLWIN
PROCTOR, ZILDA
PRUITT, RUTH
PUCCINELLI, DOROTHY
PUENTE, CARMEN M.
PULLMAN, WALTON G.
PULVINO, JOSEPH
PURDY, HELEN C.
PURSCH, EDWARD A.
PURVES, ALAN S.

OUAIL, BARBARA J.
QUANDT, MARIE
OUANSTROM, R.

gUARG, LYDIA E.
QUEY, BETH
QUIGLEY, R. S.
OUINLEY, RICHARD
QUINN, AURILLA M.
gUINN, JOHN
gUINN, J. E.
gUINN, LOUIS
gUINN, ROBERT E.
gUINTERO, ROLAND
OUIRK, JOHN J.
QUIRK, MARY L.
gUONG, ELIZABETH

RACINE, FRAN
RADDICK, MARTIN
RADETICH, JOSEPH P.
RAE, JOHN
RAEGENER, GU5SIE
RAFFO, MAXINE J.
RAHNN, ALBERT
RAHM, JUNE E.
RAINVILLE, EMERY M.
RAigUEL, P. S.
RALSTON, LOUISA
RAMAGE, JACK A.
RAMSAY, M.
RAMOS, EMIL
RAMOS, JUAN
RAMPOLDI, LOUIS B.
RAMSAVY, ROBERT L.
RANDALL, CLINTON
RANDLES. LYLE M.
RANKIN, HERBERT E.
RANSBURG, JOSEPHINE
RASHALL, BEN I.
RASLER, S. H.
RATCLIFFE, IVA MAY
RATHBUN, EARL H.
RAUSCH, GEORGE
RAY, ELVA LOUISE
RAY, DONALD
RAY, MABEL
RAYDEN, ALEX
RAYMOND, A. J.
RAYMOND, BERT
RAYMOND, BETH
RAYMOND, CAROL
RAYMOND, H, E.
RAYNAUD, HERBERT
RAZOVICH, THOMAS
RE A, W. R.
READE, CHADWICK
REAVIS, C. W.
REAVIS, MILDRED
REBHOLTZ, JOSEPH C.
REDFIELD, THELMA
REDEWILL, FRANCIS H.
REED, EDWARD R.
REED, JAMES B.
REED, JEANETTE
REED, MELBA

APPENDIX

LXl

1939-1940 EMPLOYEES (Continued)

REED, WESLEY B.
REED, WILLARD K.
REDDY, WILLIAM
REESE, DAVID E.
REEVES, MARJDRIE E.
REICHLE, RALPH F.
RECKENBELL, FRED
REIDT, W. D.
REGAN, ANNE E.
REBAN, WILLIAM E.
REHERD, R. J.
REIBIN, SIMEDN S.
REICHEL, FRANCES
REID, HELEN C.
REID, JAMES
REIDY, JDHN J.
REILLY, L. F.
REIMERS, WALTER
REINDDLLAR, TED
REINHARDT, BORIS G.
REINIG, FREDERICK L.
REIMINGER, E.
REINDEHL, DONALD E.
REISNER, JOHN A.
REMER, AILEEN
REMINGTON, MERRILL
REMY, RITA
RENFER, WARNER R.
RENNER, ELIZABETH L.
RENTDN, HARRY W.
RE3H, ANITA PERLEY
RESHATOFF, PAUL
REVELING, J. P.

REX, ELIZABETH C.

REXFDRD, D. D.

REXFORD, JOAN

REYES, BENN R.

REYES, SARITA

REYES, T.

REYNOLDS, JOHN

REYNOLDS, R.

REYNOLDS, RUTH S.

REYNOSA, N I EVES

RHEA, CLARENCE A.

RHINE, CECELIA S.

RHODES, MATT

RICCI, ALBERT W.

RICE, LILLIAN

RICE, MARGARET

RICE, WALTER E.

RICH, ELSIE M.

RICHARDS, ARTHUR

RICHARDS, GEO. A.

RICHARDS, L. A.

RICHARDSON, G. L.

RICHARDSON, MADGE

RICHARDSON, S. J.

RICHEY, D. A.

RICHMAN, CLAIRE A.

RICHTER, E. JOHN

RICKARD, RAY

RICKETS, WILLIAM

RICKMAN, RAMONA

RIDDELL, AL

RIDINGS, RUBY

RIEDEL, RUSSELL R.

RIES, BENEDICT A.

RIGBY, FRANCES E.

RIGGS, ROBERT E.

RIGNEY, BETTYANE

RIGTRUP, C.

RILEA, I. M.

RILEY, J. G.

RILEY, THOMAS

RILES, LUTHER C.

RING, JAMES

RIDS, BERTHA

RISINGER, OSCAR L.

RITENDUR, CHARLES G.

RIVERA, ART L.

RIVERS, VERA

RIVES, KENNETH

RIXFORD, LDRING P.
ROACH, JAMES
RDBB, ROBERT W.
ROBBINS, JDHN J.
ROBBINS, JDHN H.
ROBERTS, ARTHUR J.
ROBERTS, C. A.
ROBERTS, EARL T.
ROBERTS, FLOYD S.
ROBERTS, JOHN D.
ROBERTS, J. CLYDE
ROBERTS, J. H.
ROBERTS, MARGUERITE
ROBERTS, MICKEY
ROBERTS, RICHARD
ROBERTS, R. E.
ROBERTS, SIDNEY E.
ROBERTS, THOMAS L.
ROBERTS, THORNTON A.
ROBERTSON, HARRY H.
ROBINS, ETTA M.
ROBINSON, CONSTANCE
ROBINSON, D. C.
ROBINSON, D. R.
ROBINSON, H. W.
ROBINSON, M. A.
RDBISON, ELSIE A.
ROCHE, MAY
ROCHE, JOHN
ROCHE, WILLIAM
ROCK, JAMES O.
RDCKENFIELD, ROBT.
RODE, JDHN K.
RODGER, WILLIAM
RODGERS, DAVIS L.
RDDGERS, JANICE L.
RDDGERS, JOHN
RODGERS, ROSS
RODGERS, VERNON P.
RODRIGO, LETTIE

RODRIQUEZ, ELEANOR
RODRIGUEZ, W.
ROE, LLOYD E.
RDEDER, MARY V.

ROESENER, T. M.

ROESENER, THOMAS

ROESNER, WALTER J.

RDGAN, PATRICK

ROGELL, HAROLD J.

ROGER, SIDNEY

ROGERS, BEN J.

ROGERS, C. C.

ROGERS, H. R.

ROGERS, LILLIAN

ROGERS, MERLE

ROGERS, RAY C.

ROGERS, R. E.

ROHBOCK, C. E.

ROLFSON, BARBARA J.

ROLOFSON, D. W.

RODNEY, J. H.

ROMANO, DAN

RODNEY, JDHN H.

RODNEY, ODETTE

RODS, GWEN

ROPER, MYRTLE

ROSS, ALLEN

ROSE, D. L.

ROSE, HALLIE

ROSE, JOEL

ROSEN, PAUL S.

ROSENBERG, FRED

ROSENBERG, DAVID B.

ROSENER, ANN

ROSENTHAL, ADOLPH

ROSENTHAL, HYMAN

ROSENSTEIN, SARAH

ROSEgUIST, THEO.

ROSS, ALEXANDER

ROSS, BYRON

ROSS, CECIL V.

ROSS, F. M.

ROSS, LOIS M.
ROSS, ROY
ROSS, ROBERT W.
ROSS, THOMAS F.
ROSS-LONERGAN, G.
ROSSELET, GEORGE A.
ROTH, JERDLP
ROTH, VICTOR S.
ROTHENBERG, MINDELL
RDTHMAN, SELMA
ROUNDS, ALLEN J.
ROUSE, ALLISON
RDUSH, RUTHE
ROVELLI, ALBERT P.
RDWE, ARTHUR E.
ROWE, FRANK
ROWE, ROBERT A.
ROWE, WILLIAM H.
RDYCE, A. T.
ROYETON, JOHN W.
ROYSUM, ALFRED N.
RUBENS, FRANK C.
RUBON, REBA
RUCKER, EDNA
RUDD, CHARLES
RUDD, JDHN A.
RUDGEAR, BETTY
RUDOLPH, WALTER J.
RUEF, ROBERT J.
RUEGG, CHARLES
RUEGG, CARL W.
RUFFINO, KATHRYN M.
RUGE, NEIL M.
RUIZ, ANTONIO M.
RUMAZ, M.

RUMKIN, RUDOLPH B.
RUNNEL, E. A.
RUNNEL, A. F.
RUNNER, RALPH
RUPP, AL
RUSH, E. J.
RUPP, MARGARET L.
RUSSELL, BERNARD D.
RUSSELL, B. K.
RUSSELL, BILL
RUSSELL, C. L.
RUSSELL, C. A.
RUSSELL, DOROTHY
RUSSELL, KATHERINE
RUSSELL, MILTON
RUSK, HENRY
RUSK, WILLIAM L.
RUST, ROBERT .E
RUTH, MABELLE
RUTHERFORD, FRANK
RUTLEDGE, BRUCE W.
RYAN, ALICE W.
RYAN, BEATRICE J.
RYAN, DUWARD
RYAN, GEORGE
RYAN, MARIE B.
RYAN, MARTIN W.
RYAN, OSCAR
RYAN, PATRICIA J.
RYAN, V. DAN
RYAN.VELMA F.

ST. CLAIR, GROVER
ST. JOHN, WILLIAM
SAATMAN, FREDERIC R.
SACHS, WALTER G.
SADLER, JAMES D.
SALZNAVE, LEON E.
SALE, LINDLEY R.
SALISBURY, R. L.
SALMON, MARY
SALTER, L. C.
SALVADOR, ANTHONY
SALVATORE, MICHELE
SAMANIEDO, GEORGINA
SAMPSON, CORNELIUS

LX11

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

SAMUEL, LAVINIA R.
SAMUEL, LIONEL B.
SAMUELSDN, CLIFFORD
SANBORN, ADELAIDE
SANBORN, NELDA
SANCHEZ, JOSEPH M.
SANCHEZ, LUPE A.
SANCHEZ, MANUEL F.
SANDER, HENRY R.
SANDERS, A. B.
SANDERSON, E. H.
SANDDVAL, CARTER B.
SANDDVAL, MARIA R.
SANDUSKY, F. M.
SANGUENETTI, CARMELITA
SANOFF, NICHOLAS
SANSOM, HERBERT M.
SANTMAN, HARRY A.
SANTOS, E. A.
SANTOS, J. W.
SARGENT, CHARLES R.
SARGENT, HUGH H.
SARIN, M. E.
SARTOR, FRANK
SASKI, VICTOR
SASLAW, ABRAHAM
SATARIANO, FRANCES
SAUER, PAUL
SAUNDERS, EDWARD
SAUNDERS, EDWARD J.
SAUNDERS, JESSE
SAUNDERS, THOMAS
SAUTER, ARTHUR R.
SAUTER, HERB
SAVAGE, FRANK S.
SAVAGE, HELEN L.
SAVAGE, R. S.
SAWTELLE, MARIE L.
SAWYER, KENNtTH P.

SCADDEN, MILDRED
SCAFIDI, JOSEPH
SCALES, ALFRED C.
SCALLY, LARITA
SCHACHT, VICTOR R.
SCHAEFFER, NITA
SCHAFFER, LILLIAN
SCHAEFER, WM. B.
SCHAIBLE, ELMER
SCHAGEN, JOHN P.
SCHALLER, FRANCIS J.
SCHEELER, SHIRLEY M.
SCHEERER, A. C.
SCHELENBAUM, DAVE
SCHELCHER, GEORGE
SCHELD, HELENE M.
SCHEMOCK, JOSEPH C.
SCHENCK, JOHN N.
SCHENKENBERGER, HUGO
SCHENNEK, HELEN E.
SCHER, HAROLD M.
SCHIERHOLTZ, H. L.
SCHIESSL, FRANK
SCHIPPILLITTI, J.
SCHIRO, LESLIE J.
SCHLOSS, EDGAR M.
SCHLOSSER, C.
SCHMALING, ERNEST
SCHMIDT, ROBERT
SCHMITT, RUDOLPH
SCHNEIDER, FRANK
SCHNEIDER, GUS
SCHNEIDER, RUTH
SCHNELL, GORDON C.
SCHDCH, BENNO A.
SCHOCH, IVAN N.
SCHOEN, ROBERT C.
SCHOENFELDER, WALTER G.
SCHOLL, EMMETT
SCHOLL, MARY D.
SCHODNHAVEN, R. J.
SCHOONMAKER, H. P.
SCHRAMM, E. T.

SCHRADER, DORIS E.
SCHRODER, HARRIET K.
SCHROEDER, ALBERT L.
SCHRDEDER, ERNEST P.
SCHROEDER, NAOMI P.
SCHUERT, HELENE
SCHUGREN, JILL M.
SCHULER, FRANK C.
SCHULTZ, E. E.
SCHULTZ, F. W.
SCHULTZ, ROBERT
SCHULTZE, DOLORES C.
SCHULTZE, G. E.
SCHUMACHER, MYRON S.
SCHUPPAN, E. A.
SCHURMAN, JOSEPHINE
SCHWARZ, ALEXANDER W.
SCHWARZ, FRANK H.
SCHWARTZ, WALTER
SCHWARZMANN, ALEX
SCHWARZMAN, ARTHUR
SCHWARZMAN, BARBARA
SCHWASS, FRANK H.
SCHWEDHELM, CARL
SCHWERIN, PHYLLIS
SCOLLAN, JAMES C.
SCOTT, ALFRED J.
SCDTT, FLOYD P.
SCOTT, HARRY
SCDTT, ORA
SCDTT, MARIE L.
SCOTT, MILDRED
SCOTT, ROBERT M.
SCULLY, ANDREW J.
SCULLY, DEBORAH
SCULLY, JAMES
SEALE, JOHN W.
SEARLE, LED H.
SEARLE, WILLIAM H.
SEBASTIAN, PHILIP P.
SECHINI, R.
SECDRD, GEORGE
5EDGMAN, WILLIAM
SECREST, BETTY
SECREST, G. G.
SEELEY, BRYON L.
SEELEY, HAROLD B.
SEELY, DR. HALL
SEGHETTI, ARMAND
SEGLER, J. C.
SEILER, MAURICE L.
SELINGER, ESTELLE
SELLERS, ROBERT W.
SELLON, VIRGINIA
SELLMAN, ROLAND
SEMENZA, OTTO A.
SEMIS, JACK F.
SENDNER, B. J.
SEPULVEDA, RAY N.
SERIO, PHILIP
SERUMGARD, GENE
SERGI, JOSEPHINE L.
SEVERANCE, H. M.
SEWELL, LOYISE W.
SEXSON, PAUL A.
SEXTON, MASON B.
SEYMOUR, WORTH
SHAFF, GORDON
SHAFF, L. K.
SHAHAN, BLANCHE
5HAHAN, BOB
SHAMBAUGH, JOAN
SHANE, EMMETT R.
SHANE, HELEN
SHANE, WILLIAM
SHANER, TDDD
SHANIS, JULIUS C.
SHANIS, RALPH
SHANKS, ROSEMARY
SHANNON, CLARENCE M.
SHANNON, E. G.
SHANNON, JOHN W.

SHAPIRO, FLORENCE
SHARKEY, TOM
SHARP, HAROLD G.
SHATTUCK, I. S.
SHARON, EDWARD
SHATTUCK, KAY
SHAVES, LORAINE M.
SHAW, JULIET
SHAW, MILDRED
SHAW, MILLICENT
SHAW, PAULINE
SHAW, W. D.
SHEA, TIMOTHY
SHEAN, AUSTIN
SHEEHY, JOHN C.
SHEARER, ARTHUR
SHEDD, PHYLLIS
SHEGDG, MARIE
SHEEHY, JOHN
SHEIBLEY, W. C.
SHELDON, PATSY
SHELLEY, GENEVIEVE
SHENBERG, EDA
SHEMANO, MATILDA
SHEPHERD, FLORENCE G.
SHEPARD, SAMUEL P.
SHERER, FRANKS.
SHERBY, KADER
SHERIDAN, SAM
SHERMAN, KENNETH
SHERMAN, MELVIN
SHERMAN, VERA
SHERRY, PATRICIA A.
SHERWIN, JOHN W.
SHEWBRIDGE, THOMAS
5HICK, MARY E.
SHIMMON, JOEL
SHINE, MAY G.
SHIRES, PAULINE
SHOCKLEY, AL DEAN
SHORE, ROBIN K.
SHORT, GEORGE
SHORT, JOHN
SHDVER, ROBERT
SHRODER, HELEN
SHORT, W. H.
SHUGRUE, HORACE E.
SHWEID, HENRY
SIBLEY, WALTER K.
SIEGEL, GEORGE
SILMER, MYRTLE
SIGNS, RDSARIA
SILBERBERG, R. H.
SILGLAW, E. L.
SILVA, E.

SILVER, BERNARD
SILVER, WILLIAM J.
SILVERFIELD, ERNEST A.
SILVERMAN, MILTON M.
SILVERMAN, SYLVIA
SILVEY, PEARL M.
SILVA, ANTHONY
SILVERSTEIN, J.
SILVEY, JOHN M.
SIME, HARRY
SIMMON, STARLING K.
SIMMONS, BERNIE
SIMMONS, CHESTER E.
SIMMONS, FREDERICK C.
SIMMS, CHARLES R.
SIMON, FLORENCE
SIMON, FRED
SIMON, SIDNEY
SIMPSON, FRANCES
SIMPSON, MAY W.
SIMPSON, INA A.
SINAI, JOE

SINCLAIR, GLENNA H.
SINCLAIR, ROBERT J.
SINDT, EARLE D.
SINGER, LOUIS
SINGLETON, DOLORES

APPENDIX

LXlll

1939-1940 EMPLOYEES (Continued)

SIZER, RANDOLPH S.
SJDSTRDM, MORRIS E.
SKELTON, AGNES M.
SKINNER, AGNES E.
SKLIRIS, SOPHIE
SLATTERY, TREACY L.
SLAUGHTER, K. E.
SLAVSKY, HERMAN
SLEEPER, MAXINE
SLEEPER, W. H.
SLEEPER, WARREN
SLEETH, MARSHALL
SLISCOVICH, J. J.
SLISSMAN, E. H.
SLIVAK, ALEX J.
SLOAN, CHARLES W.
SLOAN, EDMUND G.
SLOAN, RICHARD T.
SLDCUM, GAYLE
SLONAKER, AL
SMALL, LAETITIA
SMERALDI, JOHN B.
SMITH, A. J.
SMITH, ARNOLD V.
SMITH, ALYSON E.
SMITH, A. E.
SMITH, CAESAR L.
SMITH, CHARLES J.
SMITH, DAVIS H.
SMITH, DUKE
SMITH, EMERALD S.
SMITH, EULALA
SMITH, F. A.
SMITH, FRANCIS F.
SMITH. FRANK
SMITH, FRED
SMITH, H
SMITH, HELEN
SMITH, HOWARD
SMITH, HARRY
SMITH, YVONNE
SMITH, JABE P.
SMITH, JACK
SMITH, JACK L.
SMITH, JACK M.
SMITH, JAMES A.
SMITH, JAMES L.
SMITH, JEAN
SMITH, LILLIAN
SMITH, LUCIUS
SMITH, LUCY B.
SMITH, MARGARET E.
SMITH, MARGUERITE L.
SMITH, MARJORIE
SMITH, MARY M.
SMITH, MEL A.
SMITH, NAN L.
SMITH, PAUL C.
SMITH, PAUL E.
SMITH, PAUL
SMITH, PAUL W.
SMITH, RALPH E.
SMITH, RAY
SMITH, R. R.
SMITH, ROBERT L.
SMITH, ROBERT H.
SMITH, ROBERTA
SMITH, ROBERTA J.
SMITH, RUSSELL G.
SMITH, RUSSELL M.
SMITH, RUTH I.
SMITH, RUTH M.
SMITH, STERLING P.
SMITH, STUART V.
SMITH, VIC
SMITH, VICTOR B.
SMITH, WARREN G.
SMITH, WAYNE E.
SMITH, WILLIAM B.
SMITH, WELDDN H.
SMYTH, HERSHELD.
SNAER, SEYMOUR W.

SNOKELBURG, G. A.
SOUZE, CLIFFORD
SNOW, FRANK
SNYDER, LLDYD S.
SNYDER, HARRY L.
SNYDER, UNA N.
SDANES, WOOD
SOBELMAN, ARTHUR
SODER, ELVING
SOLIS, RAFAEL
SOLOMON, SAMUEL
SOLOMON, TRE5SIE R.
SOLON, JOHN
SOMMER, ANNA
5DNNE, J. A.
SDNNENSCHEIN, W. A.
SORENSEN, DOROTHEA
SORENSON, A. M.
SORENSDN, HUBERT F.
SOTDMAYOR, ANTONIO
SOTTERSON, TASULA L.
SOUTHARD, KEITH
SOUTHARD, NAOMI
SOUTHGATE, A. P.
SOUTHERN, ROBT. A.
SDUZA, MANUEL E.
SOUZA, CLIFFORD
SPADONI, LENA M.
SPARKS, A. C.
SPARROW, MYRON M.
SPEAR, HARRY
SPEAR, ROY D.
SPEARS, STANLEY C.
SPEER, EILEEN
SPELMAN, JAMES R.
SPENCER, D. J.
SPENCER, HAZEL J.
SPENCER, WILLARD
SPERRY, JOHN A.
SPICER, THELMA
SPILLANE, DANIEL J.
SPIWAK, L. M.
SPDNSELLER, IVAN L.
SPONAMORE, EMILY
SPRIGG, JOHN H.
SPROWLS, JAMES M.
SQUIRES, ALAN F.
SQUIRES, WILLIAM P.
STADLER, LOUIS
STALEY, PHIL C.
STALL, DEWEY R.
STALLMAN, GEORGE E.
STAMMER, DOROTHY C.
STANDISH, NELL
STANDLEY, HARRISON
5TANDLEY, SARAH J.
STANDAHAR, T.
STANLEY, JOSEPH
STANICH, DAN
STANLEY, DANIEL
STANNAGE, FRED G.
STANTON, C. S.
STANTON, JESSE
STANTDN, K.
STANTON, MAURICE
STANTDN, HUGH H.
STARBUCK, HELEN
STARK, HARRY E.
STARLING, JOHN D.
STARRETT, ROBERT
STASCH, FRANKLIN E.
STAUDINGER, JOSEPH C.
STAUFFER, PAUL C.
STEACH, CLAUDE L.
STEARNS, ANNA S.
STEBBINS, JAMES B.
STEELE, ROBERT J.
STEELL, JOSEPHINE
STEFFEN, FRANK
STEFFEN, IRVING H.
STEFFEN, THEO
STEFFLER, JOHN H.

STEGALL, GLADYS R.
STEIGER, R. E.
STEIN, WILLIAM
STEINBERG, DAVIS
STEINER, VIOLET
STEINHEIMER, CHAS. E.
STEINMETZ, EDWARD E.
STENDER, D. F.
STENING, CLAIRE L.
STENSDN, JOHN
STEPHENS, THEODORE
STEPHENS, EDWARD B.
STEPHEN, GRACE B.
STEPHENSON.ROSE
STEVENS, CHARLES H.
STEVENS, ELAINE
STEVENS, GEORGE N.
STEVENS, HELEN
STEVENS, RAY
STEVENSON, R. B.
STEVICK, GUY L.
STEWART, A. R.
STEWART, BONNIE
STEWART, EVELYN
STEWART, ROBERT
STEWART, ROY G.
STEWART, S. H.
STEWART, VERNON F.
STICKNEY, CHARLES
STIER, LAWRENCE C.
STIFFLER, M. G.
STILLER, HERBERT
STILLER, NORMAN
STILLEY, L.
5TILLINGS, FLOYD
STILLINGS, HAZEL
STIRITZ, DONALD
STOCKL, RUTH
STOCKMAN, ALICE
STOCKMAN, DOROTHY
STOLTENBERG, A. F.
STONE, BILLY
STONE, ROBERT
STORMS, JOSEPH H.
STDRRY, JOHN
STOTT, JAMES D.
STOUT, J. W.
STOVER, LUTE H.
STRACHAN, JAMES F.
STRAM, HAR.OLD M.
STOUT, MAX J.
STRANGE, VANCE
STRATTON, WILLIAM
STRAUS, LEE
STRAUSS, LYLE
5TRICKER, JACK
STRICKLAND, MURIEL
STRINGER, JACQUELINE
STROBEL, DORIS
STRDHMAIER, A. C.
STROM, CHARLES L.
STRDMER5DN, A. G.
STRUCK, HERMAN
STRUNZ, RAYMOND T.
STULL, E. L.
STULL, KARL M.
STURMER, EMIL
STURGEON, JAMES
STURTEVANT, ROBT. M.
STUTHMAN, FREDERICK
5UDDETH, ROBT. E.
SUDIKOW, JACK
SUDLDW, BLANCHE W.
SUDMEYER, FLORENCE
SUGARMAN, KENNETH H.
SULLIVAN, CORNELIUS
SULLIVAN, FLORIAN L.
SULLIVAN, GERALD
SULLIVAN, JAMES F.
SULLIVAN, J. J.
SULLIVAN, IRMA
SULLIVAN, MARY L.

LX1V

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

SULLIVAN, NDRA
SULLIVAN, PATRICIA
SULLIVAN, PAULINE
SULLIVAN, RICHARD V.
SULLIVAN, RUTH
SULLIVAN, WILLIAM J.
SULLIVAN, THEODORE
SULLY, HARRY S.
SUMMERS, CLARICE
SUMMERFIELD, BETSY
SURBER, CASSIUS C.
SUTLEY, MERLE
SUTRD, ROSE V.
SWALL, ALICE C.
SWALLOW, CYRIL
SWANFELT, EDWIN
SWANFELT, RDBT. W.
SWANSDN, KENNETH E.
SWAN5DN, ROBERT E.
SWARTWOOD, M. C.
SWARTWDDD, STANELY
SWAYNE, GEORGE E.
SWEASY, CLAUDE M.
SWAIN, BETTY M.
SWARTZ, WILLIAM
SWEENEY, ROBERT
SWEET, NINA
SWENSON, HELGA
SWENSDN, MABEL V.
SWIFT, DEAN A.
SWIFT, MELVIN R.
SWINT, INEZ A.
SWIRSKY, SIDNEY B.
SWISHER, ARMAND T.
SYKES, EARL A.
SYMMES, CHARLES O.
SYMONS, JACK A.
SZCZEPANSKI, EDGAR M.

TACKNEY, JAMES F.
TADDEUCCI, BERNICE L.
TAGLIASACCHI, GEORGE
TAHAR, BEN
TAILLEFER, JOSEPH M.
TALVERA, EDMOND
TALLE, BESSIE
TALLEY, WESLEY A.
TAMBOURY, IRVING P.
TANNER, AMELIA
TANTARELLI, ALFRED J.
TAPLEY, ALICE
TAPLEY, STEWART B.
TARANTIND, VINCENT
TATTI, GRACE L.
TAYLOR, ANN
TAYLOR, CHARLES S.
TAYLOR, ELLIS
TAYLOR, JAMES C.
TAYLOR, JOHN
TAYLOR, GRACE G.
TAYLOR, HELEN
TAYLOR, HUGH
TAYLOR, LADDIE
TAYLOR, MARVIN L.
TAYLOR, WARREN
TAYLOR, WILLIAM B.
TEBAY, ALVA E.
TELL, THOMAS W.
TELLER, OTTO H.
TENNEY, WALLACE R.
TERHORST, MARGARET
TERRELL, JACK
TERRILL, CHARLES C.
TERRY, ARTHUR
TERRY, RAYMOND M.
THAANUM, MRS. M. W.
TESHARA, EDITH
THANE, ALICE E.
THARP, MILTON
THARP, N. JESS

THEALL, A. J.
THIBADEAU, MYRTLE
THICKSTUN, ANDREW J.
THIERMAN, HARRY
THOM, JOHN G.
THOMAS, EDWARD
THOMAS, JOHN W.
THOMAS, JOSEPH
THOMAS, KEITH H.
THOMAS, LAURA
THOMPSON, A. V.
THOMPSON, BETTY LOU
THOMPSON, BEULAH M.
THOMPSON, CLAY
THOMPSON, DONALD E.
THOMPSON, ELLSWORTH
THOMPSON, FRANCES C.
THOMPSON, GEORGE H.
THOMPSON, GEORGE V.
THOMPSON, H. H.
THOMPSON, JAMES C.
THOMPSON, JAMES S.
THOMPSON, LEON
THOMPSON, MALCOLM B.
THOMPSON, MARCELLA
THOMPSON, NORMAN
THOMPSON, QUENTIN
THOMPSON, ROY CURTIS
THOMPSON, TED H.
THOMPSON, W. T.
THOMPSON, W. H.
THOMPSON, VAN
THOMPSON, WM. F.
THOMPSON, W. H.
THDMSEN, ANN J.
THOMSEN, HANS
THOMSEN, VIVIAN M.
THDMSEN, VIVIAN M.
THOMSON, W. E.
THULEMEYER, EVELYN
THULEMEYER, THEO
THURMAN, H
TIBBITTS, J. P.
TIERNEY, R. F.
TIERNEY, THOMAS D.
TILLES, AARON D.
TILLMAN, HAZEL E.
TILLMAN, RUTH
TIMDSSI, ADOLF
TISDEL, MYRON D.
TIVDL, LEONARD M.
TITCOMB, ERNEST
TDBIASON, STANLEYW.
TOBIN, WILLIAM A.
TOCHTERMAN, JACK
TOFANELLI, BLANCHE M.
TOGNELLI, P. O.
TOLLE, BESSIE
TOLSTDNAGE, ERMA
TOMASELLD, EDWARD J.
TOMOLA, STEPHEN J.
TOM5EN, CHARLOTTE J.
TDNDRD, MARJDRIE E.
TDNELLI, GUIDD
TONEY, BUFDRD E.
TDOMEY, WILLIAM D.
TORRES, JOSEPH
TOSCHI, GABRIEL N.
TOSSELL, OLIVE
TDTZEK, BRUCE
TOWELL, BOB B.
TOWNER, MILDRED
TOWNSEND, NEAL
TDWNSLEY, JOHN N.
TRACY, GEORGE H.
TRACY, M.
TRANKLE, ALBERT
TRAUBE, LIONEL
TRAVERS, MAE A.
TRAVIS, DON H.
TREADWALL, HAROLD
TREGAY, F. P.

TREMBLEY, ART
TRENT, JAMES O.
TRENT, THOMAS R.
TREVILLIAN, FRANCISJ.
TRIPP, BETTY B.
TROBBE, CYRUS
TROBOCK, i-i-OVD
TROTTER, MAURICE
TRDSEY, JOE
TRUE, JOHN
TRUEX, EARL
TRYNER, CHARLES
TRYFDRD, L. J.
T5CHIERSCHKY, A. G.
TUBACH, FRED A.
TUCKER, MARY A.
TUCKER, TOM
TUCKER, NEWMAN
TUDOR, JAMES I.
TURBIVILLE, E. E.
TURKEL, DR. A. W.
TURKEL, H. W.
TURNER, E. C.
TURNER, EVELYN S.
TURNER, RUTH
TURNER, ROBERT L.
TURNER, VIVIAN
TURNIDGE, DORIS
TURNRDEE, ARTHUR F.
TUTTLE, REUBEN
TWEDDLE, D. T.
TWEDT, MARGARET
TWERMOS, MOGENS E.
TWIGG, OLIVER C.
TYLER, DERYL
TYNAN, JOHN
TYSON, HERBERT P.

UBHOFF, C. W.
UDOVICK, ETHEL L.
UGLDW, ARTHUR
ULMAN, SETH POWERS
ULRICH, J. F.
ULLNER, HELENE
UNDEEN, ALBERT H.
UNDERHILL, ELEANOR
UPSHUR, PARKE C.
URBACH, R. HAROLD
UROUHART, JOHN

VALENTINE, LILLIAN
VALLEJO, ALBERT J.
VALLEJD, E. M.
VALLIER, EDWIN J.
VAN ALSTYNE, JOHN S.
VAN BDKKELEN, WM. R.
VANCE, JAMES L.
VANCE, LORENE
VANDERWEKEN, JAMES
VAN DEWDKER, HENRY P.
VANELLA, HARRY J.
VAN GROSS, JOHN C.
VAN HOFF, JOHN J.
VAN HOUTEN, ALICE M.
VANNELL, LEONARD N.
VAN NUYS, MARIAN
VAN DRNUM, WILLIAM
VAN SCOY, CECIL
VAN TASSEL, RAY A.
VAN WIEREN, K.
VAN ZANDT, EDWIN D.
VARGAS, JOHN M.
VA5QUEZ, LOU IS V.
VARDFF, GEORGE
VAUGHAN, EVERETT O.
VAUGHAN, JAMES P.
VEGAS, DOMINGO
VELASQUEZ, EDWARD

APPENDIX

LXV

1939-1940 EMPLOYEES (Continued)

VELIKDSELSKY, V.
VENDT, ALBERT
VENSAND, HARRY C.
VENTURI, BLANCHE
VENTURI, BRUND
VENTURI, MARY E.
VERDUCCI, JOE
VERILI, RITA
VETH, CHRISTINE
VEZEY, MARY CUSTIS
VIBERT, WILLIAM E.
VICCHID, GLADYS
VICK, GDLDIE
VICTORS, JACK
VICTORS, KURT W.
VIDETICH, JOS. L.
VIGLINI, V. P.
VIGND. LAMAR
VIGNO, GENE
VILLAVERDE, LUCILLE D.
VINCE, MABEL I.
VINCENT, J. D.
VINCENT. RAMONA
VINCENT, R. 5.
VINNICOMBE, KENNETH
VINCDN, MERRIT A.
VITT, SHIRLEY
VIVELLE, DOROTHY H.
VLOEBERGHS, JEROME
VDGELGESANG, SHEPARD
VDGEL, JOHN
VOGELSANG, R. L.
VOIGT, DOLORES
VOLLMAN, A. L.
VOLTY, E. A.
VOLZ, BETTY
VOLZ, FRANCIS J.
VGN HEYGENDORFF, L.
VON SCHDNBERG, D. E.
VDRIS, CLARENCE J.
VORNHOLT, MARY
VOSS, RUDOLPH
VOYNE, PHILIP

WADDELL, RAY
WAGAR, HOWARD
WAGNER, C. K.
WAGGONER, C. L.
WAGNER, ED
WAGNER, FRANZ
WAGNER, FRED J.
WAGNER, GLORIA
WAHLGREN, GEORGE K.
WAKEMAN, R. A.
WALDEN, M. H.
WALEN, HARRY J.
WALKER, HERMAN L.
WALKER, JAMES R.
WALKER, JOHN
WALKER, JOSEPHINE
WALKER, MAXINE
WALKER, HAROLD LUCE
WALKER, MARY
WAGNER, JACK
WAGNER, JEAN
WAGNGN, WM. B. JR.
WAGSTAFF, ALEX
WAG5TAFF, JACK
WAHL, ERNA
WAHLGREN, GEO. KARL
WAITE, ELLA ADAIR
WALKER, PATRICIA
WALKEY, D. T.
WALLACE, DR. W. I.
WALLEN, CONRAD M.
WALLEN, CARL E.
WALRATH, HAROLD A.
WALSH, J. DON
WALSH, JAMES J.
WALSH, R.
WALSH, WILLIAM

WALTER, BYRON H.
WALTER, EDWARD JR.
WALTER, RUTH
WALTER, W. H.
WALTER, W. H.
WALTERS, VIOLET
WALTERS, GORDON G.
WALTERBEEK, JACOB C.
WALTMAN, I. C.
WALTON, MONA
WANSBURY, DIXON E.
WANSBURY, THOMAS
WANSER, JOSEPH
WARD, CLARENCE
WARD, D. S.
WARD, EDWARD J.
WARD, FLORENCE
WARD, FRED CHARLES
WARD, FRED MACK
WARD, GLADYS
WARD, HARRY MARTIN
WARD, JOHN
WARD, J. T.

WARD, RAYMOND JOSEPH
WARD, RUTH S.
WARD, WILLARD S.
WARDEN, JAS. EDWARD
WARE, LINDA
WARE, M. S.
WARE, JOE
WARING, DONALD
WARNER, LANGDON
WARREN, CLARKE E. JR.
WARREN, FRANK
WARREN, MAXWELL S.
WARREN, WM. E.
WARTDN, GEORGE
WASHBURN, ELEANOR
WASS, BERT
WASSON, C. H.
WATERHOUSE, HUBERT W.
WATERS, BONNIE L.
WATERS, ROBT. B.
WATERS, R. B.
WATKINS, HOWARD D.
WATKIND, VELMA
WATSON, HENRIETTA J.
WATSON, KENNETH
WATSON, RALPH D.
WATSON, R. E. JR.
WATT, DONALD M.
WATTER5, L. C.
WATTRON, ROBERT M.
WAUGH, AVELINA
WAUGH, P.
WAY, MARY E.
WAXMAN, JACK P.
WEAR, ADELAIDE
WEATHERFORD, MARION
WEAVER, FRANK
WEAVER, FRED
WEVER, MARGARITA
WEBB, CHARLES R. JR.
WEBB, ELIZABETH GILL
WEBB, JACK ELLSWORTH
WEBBER, FRANK H.
WEBBER, MITCHELL E.
WEBER, LEO
WEBER, MAX
WEBER, N. N.
WEDDLETON, FREDERICK
WEED, SAM A.
WEHRLIE, MELVYN J.
WEIFDRD, V. G.
WEIHE, TYSON
WEIL, ANITA
WEILLER, PAULINE P.
WEINBERG, EMILY
WEINER, A. M.
WEISS, D.
WEISS, DAVID
WEISS, FRANCES

WEIS, JOHN L.
WEISSEND, G. J.
WELCH, BERTRAM F.
WELCH, FRANK HARRY
WELCH, GEORGE I.
WELCH, JOHN D.
WELCH, NAOMI
WELCH, ROBERT J.
WELLER, EARLE
WELLMAN, EDWARD
WELLS, ALBERT
WELLS, ARTHUR CREWS
WELLS, CALVIN NEWLON
WELLS, CHARLES H.
WELLS, LOUIS
WELLS, W. L.
WELLS, WM.
WENDT, DAVID B.
WERHLICK, ALLAN
WERNER, CARL
WERNER, GEORGE
WERNER, NORMAN C.
WESCDTT, SALLY M.
WESLEDER, M. G.

WEST, CHARLES
WEST, HARRLY L.

WEST, L. G.

WEST, HELEN

WEST, JOE

WEST, WILLIS

WEST, WILMA WANITA

WESTDAHL, RICHARD

WESTPHAL, ERNEST R.

WESTMDRE, BILL

WETTSTEIN, E.

WHALEY, LILLIAN V.

WHEATLEY, JAMES

WHEATLEY, JOSEPHINE

WHEATON, GLENN A.

WHEATON, JOYCE

WHEATON, JOHN

WHEELER, AUDREY E.

WHEELER, HORACE B.

WHELAN, JOHN J. JR.

WHET5TINE, CHAMP

WHIPPERN, LEO

WHITBY, PATRICIA

WHITCOMB, WM. S.

WHITCOMB, S. E. JR.

WHITE, ALBERT

WHITE, CAROLYN

WHITE, D. C.

WHITE, DOYCE ELWYN

WHITE, H. K.

WHITE, ETTA

WHITE, JAMES R.

WHITE, J. R.

WHITE, JOSEPH B.

WHITE, PHILIP

WHITE, ROBERT

WHITE, R. DOUGLAS

WHITE, RICHARD OTIS

WHITE, STANLEY C.

WHITE, TDM

WHITE, SHIRLEY

WHITE, W. I.

WHITEFIELD, JOHN T.

WHITEHEAD, A. H.

WHITELAW, HARRY F.

WHITING, PHILIP

WHITLDCK, ELINDRE

WHITLOW, WILLIAM

WHITMAN, RUSSEL R.

WHITTELSEY, S. G.

WHITTDN, HELEN

WHITWELL, CHAS R.

WHITWELL, LESLIE G.

WHITWELL, S. B.

WHITTAKER, ELMER E.

WIARD, MARY V. ST.

WICKEN, CARL G.

WICKER, JOAN

LXV1

THE MAGIC CITY

1939-1940 EMPLOYEES (Continued)

WICKEB, CLARENCE M.
WICKSTRDM, C. H.
WIERNER, FRANCES
WIESZ, GLADYS
WIGGINS, EVELYN MAY
WIGGINS, WALTER
WIGHTMAN, WILLIAM
WIK, B. G.

WILBRAND, HELEN C.
WILBUR, EVELYN
WILCDX, EMY
WILCDX, MAX
WILD, RAYMOND
WILD, STANLEY
WILDENHLJS, HERMAN F.
WILDER, LILLIAN
WILDER, MARGARET
WILEY, FREDERICK
WILHELM, V. E.
WILHEIM, WALTER
WILK, STANLEY
WILKIE, ALAN
WILKINSON, JAMES A.
WILKINSON, VERNON
WILKINSON, WINSOR D.
WILKS, EHEA EVA M.
WILLETT, HARRY
WILLIAMS, ALLEN V.
WILLIAMS, ALTON E. R.
WILLIAMS, ANNA MAE
WILLIAMS, ARTHUR P.
WILLIAMS, BEN
WILLIAMS, BRADFORD B.
WILLIAMS, CHARLES J.
WILLIAMS, F. BEN
WILLIAMS, GERTRUDE L.
WILLIAMS, HARRY
WILLIAMS, HARRY A.
WILLIAMS, KAY
WILLIAMS, LEON W. JR.
WILLIAMS, LOUIS
WILLIAMS, MARCEL J.
WILLIAMS, MELVIN
WILLIAMS, MERCER
WILLIAMS, MICHAEL
WILLIAMS, PAULA.
WILLIAMS, RAYMOND W.
WILLIAMS, ROBERTON C.
WILLIAMS, S. D.
WILLIAMS, SAM L.
WILLIAMS, W. W.
WILLIAMSON, JOHN
WILLIAMSON, MAYME E.
WILLIG, HAZEL M.
WILLIS, C. L.
WILLIS, HAROLD
WILLMAN, ANGELE H.
WILLOUGHBY, F. G.
WILLS, P. L.
WILSCAM, JOSEPH A.
WILSON, ALBERT D.
WILSON, A. L.
WILSON, ALECK L.
WILSON, DANIEL C.
WILSON, CLARK
WILSON, DOROTHY D.
WILSON, ELIZABETH
WILSON, FLORA
WILSON, HARNEY
WILSON, HARVEY

WILSON, IVAN H.
WILSON, JACK W.
WILSON, JESSE C.
WILSON, JOSEPH
WILSON, JUNE
WILSON, KAY
WILSON, LOIS E.
WILSON, MARGARET
WILSON, PARKE
WILSON, PAUL A.
WILSON, ROBERT C.
WILSON, ROY A.
WILSON, WALTER K.
WIND, P. H.
WINDLE, ALMA L.
WINEGAR, DORIS
WING, MARION V.
WINGERTER, CARL
WING, ROBERT Y.
WINKLER, A. R.
WINN, B. F.
WINSLOW, KATHRYN
WINTERS, MARTHA
WINTERS, ANN
WINTERS, GLENN F.
WISE, CLARENCE A.
WISE, FRANKLIN A.
WISE, VICTORINE F.
WISEMAN, KATHERINE
WITTMAN, JOHN B.
WOERNER, JOHN
WDHLE, WILLIAM A.
WOLDEN, EDWARD
WOLF, HAROLD
WOLF, L. C.
WOLFE, JANE A.
WOLFE, MADELINE A.
WOMBLE, CLAUDE W.
WONG, ARTARNE
WONG, MAH GONG
WONG, MARY J.
WONG, VIRGINIA
WOOD, BOYD E.
WOOD, CHARLES P.
WOOD, GEORGE L.
WOOD, J. W.
WOOD, LEONARD P.
WOOD, SETH
WOOD, WALTER L.
WODDD, GILBERT
WODDD, J. C.
WODDLING, ELMA L.
WOODRUFF, ARTHUR
WOODS, OLIVER J.
WOODSON, OTIS L.
WDODWORTH, MARJORIE
WOODY, MARY A.
WOODWARD, ROBERT D.
WOOLSEY, ALICE R.
WOOLSEY, GEORGE H.
WDOLY, JAMES
WORK, GERALDINEJ.
WORL, MARGARET M.
WORNES, ALICIA I.
WORTH, FRED L.
WORTH, MARY T.
WORTHINGTON, GRAFTON
WORTHINGTON, MARTA
WREN, BARBARA
WRIGHT, ALLEN G.

WRIGHT, BETTY
WRIGHT, ETHEL M.
WRIGHT, GEORGIA
WRIGHT, HELEN
WRIGHT, IRWIN
WRIGHT, JAMES
WRIGHT, THOMAS
WRIGHT, VIRGINIA H.
WULFF, FRED L.
WUNDERLICH, ROBERT
WURZBACH, ALBERT C.
WYATT, PHILLIP
WYATT, WALTER A.
WYLIE, R. E.
WYNN, RITA A.
WYNNE, RICHARD H.

YALE, BILL
YARDLEY, EVELYN
YARRINGTON, M. M.
YASKA, FRANK
YATES, BERNARD
YATES, JACK
YATES, MARY A.
YATES, NANCY
YEAMAN, WILFRED
YEATDN, MARY K.
YELLAND, E. STARR
YELLAND, WILLIAM R.
YEP, HENRY P.
YETTER, FRANK P.
YOKELA, J. S.
YOUMAN, FRANK E.
YOUNG, ALBERTA D.
YOUNG, BRUCE
YOUNG, FAY A.
YOUNG, HARRYS.
YOUNG, L. D.
YOUNG, MARY E.
YOUNG, MAXINEA.
YOUNG, RICHARD
YOUNG, RDLLAND W.
YOUNGBLUTH, LUCILLE A.
YOUNGER, GEORGE

ZALK, ARLYNE H.
ZALK, SHAYNE F.
ZEBROWSKI, MARIE A.
ZEELAW, CLARA
ZEHNDER, CRIM
ZEHENDER, GEORGE J.
ZEFF, SYLVIA
ZENDNI, GEORGE
ZERBONE, W. P.
ZETTERQUI5T, H. R.
ZIEVE, DON S.
ZIMMER, J. E.
ZIMMERMAN, BERTHA E.
ZIMMERMAN, JOHN C.
ZINGELER, EMIL H.
ZINK, BETTY
ZOHN, AL
ZOHN, JOE
ZOOTIS, JAMES G.
ZUPPANN, SPEER
ZWICKER, CHARLOTTE

APPENDIX Lxvii

FINANCIAL DEPARTMENT 1939-1940

EARLY IN 1937, the Board of Management adopted General
Administrative Regulations prepared by the Treasurer's De-
partment to govern the organization and duties, policies and
procedure of all departments of the Exposition Company. Under
these General Administrative Regulations, the responsibility for
handling all business and financial transactions for both the pre-
period and operating period of the Exposition was placed with
the Treasurer's Department.

To condense the tremendous scope of this department's ac-
tivies is the aim of these paragraphs. In order to accomplish this,
only the highlights of its functions can be shown and since the
most important of these was the handling of vast sums of money,
endeavor has been made to present as accurate a picture as pos-
sible of this phase to the reader.

The Treasurer's Department was composed of twenty-two di-
visions, each division being headed by a "chief" and all divisions
directly responsible to the Treasurer's office. Following are these:

TREASURER JOHN F. FORBES

ASSISTANT TREASURER & EXECUTIVE SECRETARY H. C. BOTTORFF

ASSISTANT TO THE TREASURER & EXECUTIVE SECRTARY BEVERLY LEVY

CONTROLLER'S DIVISION

CONTROLLER C. J. HASSDN

AUDITING F. C. KDHNKE

ACCOUNTING F. J. GREW

( N. W. HAGELBERG 1939

REVENUE CONTROL DIV.SION JT LANDSBDRDUGH— 1 94D

TICKET SALES DIVISION T. RDSEQUI5T

PAYMASTER'S DIVISION E. A. DIXDN

TICKET CUSTODIAN DIVISION S. E. POPE

INSURANCE DIVISION B. GLANCE

TRANSPORTATION DIVISION C. M. COVELL

f ROBERT STARRETT 1939

ADMIN. BLDG. & GARBAGE COLLECTION DlV. . . | DEWEY STALL , g4Q

f E. M. VALLEJO 1 939

PURCHAS.NG D.VIS.ON > FRAN< NE|_5nN_lg4D

WAREHOUSE AND STORES DIVISION EDWARD JENKINS

, . MORTON R. GIBBONS 1939

EMERGENCY HOSP.TAL < SCAL|_Y_ig4D

I DR.

.'•'"

_ . MAJOR F. J. HERATY 1939

GUIDES AND GUARDS DIVISION <

CAPTAIN W. B. ALLEN 1 94D

INFORMATION BUREAU AND MESSENGER SERVICE ALICE TAPLEY

TELEPHONE AND TELEGRAPH DIVISION MAYE F. O'DOWD

f GEORGE FISCHER 1939

PASS DIVISION |T LANDSBOROUGH 1 94O

GENERAL FILES ANNA IRWIN

EMPLOYMENT D.VISION . { ALPHA McCH RYSTAL— 1 939

| ALICE TAPLEY 1 94D

MAILING DIVISION LOUIS LEACHMAN

CAVALCADE — BUSINESS MANAGER. . f N. T. BAILEY 1939

}E. M. VALLEJO 194O

WELFARE AND LOST AND FOUND DIVISION . . J EVA HANCE — 1939

| (CATHERINE RUSSELL 1 94O

Lxviii THE MAGIC CITY

FINANCIAL DEPARTMENT 1939-1940 (Continued)

Prior to the opening of the 1940 Exposition, a change was made in
the organization plan which created a department responsible direct to
the Treasurer, consisting of the Controller's office, Auditing and Account-
ing Divisions. This permitted an independent check of all financial
transactions.

The Treasury Department maintained a budgetary control of opera-
tions both in the pre-period and operating periods of the Exposition, and
budgets for all departments, including construction, were built on a three
months basis. These quarterly budgets were based upon the master budget
aprpoved by the Executive Committee. Every expenditure, regardless of
its nature, was checked as to funds available, and before any expenditures
were made, approval had to be secured from the Treasurer or Assistant
Treasurer.

There was a complete separation between the Auditing and Account-
ing Divisions and the Cashiers' Division in the handling of cash receipts.
This served to produce a two-way control over every financial transaction.

During the operating period, loss and gain statements were prepared
weekly fn order to provide the necessary information to guide the man-
agement in the operation of the Exposition.

The Treasury Department collected all receipts from concessionnaires
and other activities, deposited them in the Exposition bank and settled
with concessionnaires weekly, first deducting the percentages accruing to
the Exposition under the terms of their respective contracts, and charges
for utility and other services. As a result of this plan, there was almost no
loss incurred by the Exposition insofar as concessionnaires' activities were
concerned. The amount of money handled through the Exposition bank
during operations in 1939 and 1940 reached the enormous sum of approxi-
mately $31,371,000.

In addition to the funds handled during the operating periods, trans-
actions were cleared through the records in the pre-periods amounting to
approximately $14,600,000 from J936 to the opening date in 1939, and
$1,281,844 from December 1939 to opening date in 1940 or a grand total
of approximately $15,900,000.

The gross receipts collected by Exposition cashiers from concession-
naires and deposited with the Exposition bank during operations in 1939
totaled $11,086,715.15. In 1940 these collections and deposits amounted to
$6,933,314.84. Other major sources of receipts controlled by the Exposi-
tion Company were as follows:

1939 1940

ADMISSIONS AND ADVANCE BALE DF TICKETS. . . $4, 1 D5, 1 75.5B $1 ,728,997. 3B

SPACE RENTALS. PRIVILEGE CHARGES, ETC 1,73n,D54.Q9 791.3B9.Q5

CASHIERS' SERVICES CHARGED

To CQNCESSIQNNAIRES 178,639.27 93,058.65

UTILITIES 617,369.45 224,137.46

CAVALCADE 736,942.91 317,294.38

PALACE OF FINE ARTS 294,482. ID im,656.7D

APPENDIX Lxix

FINANCIAL DEPARTMENT 1939-1940 (Continued)

Of the apporximate $18,000,000 total gross receipts from concession-
naires handled by the Exposition Company, the following were some of
the leaders insofar as receipts in 1939 and 1940 were concerned:

1939 1940

AQUACADE DID NOT OPERATE $ 897,777.56

FDLIES BERBERE $ 688,376.91 37B.467.Q3

HOT DOGS 61Q,35B.3B 277,D7D.55

DWL DRUB COMPANY 483,929.63 245,755.53

BAY AUTO PARKS CPARKING CONCESSION} 626.34D.49 2G9.6-4l.5D

ESTONIAN VILLAGE 31 5, ODD. DD 188,494.53

TRUE BLUE CAFETERIAS 444, 765. BD 1BB.4DB.25

NATIONAL SERVICE CD. CELEPHANT TRAINS]. . . . 6D4.539.82 1B4,315.BD

CHINESE VILLAGE 328,426.27 176,785.96

COCA COLA 219.72D.7B 157,150.33

DOUGHNUT TOWER 322,378. 1 3 1 56,442.9D

Following the conclusion of these paragraphs is a condensed general
financial statement broken down to show the periods from inception to
December 17, 1939, and from December 18, 1939, to January 31, 1941. As
the liquidation of the affairs of the Exposition corporation is still under
way it is not possible to show the actual net result for the two years' opera-
tion at this time. This will not be ascertained for several months due to
the numerous transactions yet to be completed.

A great amount of advance planning and study had been given to the
financial control prior to the start of construction of the Exposition and
it was stated by a number of visiting officials connected with former expo-
sitions that the procedure followed for the financial and business control
of the activities of the Golden Gate International Exposition far surpassed
anything theretofore attempted.

There were literally millions of transactions handled through the va-
rious divisions of the Treasury and Service Departments, and the final
audit of the cash showed a shortage of approximately $800, which was
resultant from minor errors in overages and shortages.

The Treasury Department alone averaged over 1,000 employees dur-
ing the operating periods of 1939 and 1940. The total average number of
employees on the Exposition payroll for 1939 and 1940 was 1,950. Payrolls
were never at any time delayed. Payments were made to all employees on
due dates.

At the close of the 1939 operation, a dividend of approximately 20%
was paid to those creditors who elected to withdraw at that time and not
carry over into 1940 operations. Since the close of the Exposition on Sep-
tember 29, 1940, partial distribution of surplus funds has been made to
1940 subscribers to the Exposition of approximately 35% of their sub-
scriptions and to those creditors, who did not withdraw at the close of
1939 operations, a dividend of 65]/2% has been paid. It is anticipated that
substantial additional dividends will be made by May 30, 1941.

LXX

THE MAGIC CITY

FINANCIAL DEPARTMENT 1939-1940 (Continued)

For the Period from Inception to January 31, 1941

PERIOD FROM

TOTAL

GROSS PROFIT FROM OPERATIONS . . $ 1 5.B73, 1 99.49
LESS:

OPERATING EXPENSES .... 9,275,479.93

REMAINDER

ADD:

DECEMBER 1B-39

TO
JANUARY 31 -41

INCEPTION

TO
DECEMBER 17-39

$4,401,363.76 $11,471,835.73

2,71 7,O93.O2

6,597,71 9.56

CONTRIBUTIONS FROM CITY AND
COUNTY OF SAN FRANCISCO AND
CALIFORNIA TOLL BRIDGE AU-
THORITY

345,000.00

,6B4,27D.74

345,000.00

TOTAL

6,942,71 9.56

2,O29,27O.74

6,558,386.91

4,91 3.44B.B2

AMORTIZATION OF CAPITAL AS-
SETS AND EXPENSES OF PRE-
OPERATING PERIOD 1 1 5,91 4,5B7.22

1,281,884.33 1 4, 632,702. B9

NET SALVAGE AND FIRE INSU-
RANCE RECOVERIES TO JAN-
UARY 31,1 941

REMAINDER

REMAIN DERBEFORE DEDUCTING POST-
EXPOSITION EXPENSES

POST EXPOSITION EXPENSES

Loss

DEDUCT:

ESTIMATED GAIN IN SETTLEMENT
WITH CREDITORS WHO WITHDREW
AT CLOSE OF 1939 EXPOSITION.
CAPPROX. B1 PCT. OF CLAIMS]. .

1 90,624. 17

190,624.17

1 5,723,963.05

1,281 ,884.33

1 4,442, 07B.72

B,7B1 ,243.49
204,972.36

•747,386.41
1 03,227.47

9,528,629.90
1 O1.744.B9

8,986,21 5.85

•644,1 58.94

9,630,374.79

LESS:

ESTIMATED COURT AND LEGAL

2,D20,O1 D.70

3D,5OO.DO

2,D2O,O1 O.7O

30,500.00

1 ,989,51 O.7O

1 ,9B9,51 O.7D

CONTRIBUTED CAPITAL CSUBSCRIP-
TIONS AND CONTRIBUTIONS 1939
EXPOSITION]

6,437,281.89

6,437,2B1.B9

TOTAL

8,426,792.59

NET DEFICIT t$

559,423.26 •$ 644,158.94

$1,2O3,5B2.2O

NOTE: tCAPiTAL ASSETS DOES NOT INCLUDE GRANTS FROM WPA AND PWA OF $7,412,154.00.
{AMOUNT SUBJECT TO FURTHER ADJUSTMENT UPON COMPLETION OF LIQUIDATION.
•DENOTES PLUS FIGURES.

PISANI PRINTING & PUBLISHING COMPANY

7OO MONTGOMERY STREET

SAN FRANCISCO

CALIFORNIA

* ,' *-

4 4

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