San Francisco History Podcast – Sparkletack

Right off the bat I have to admit the fact that -- to paraphrase Olympia Dukakis in Moonstruck -- what I don't know about San Francisco in the 1920s is a lot.

I did know that all sorts of great Prohibition and gangster stuff must have gone on, though, so I started leafing through a couple of 1922 editions of the Chronicle looking for stories.

And was immediately distracted by the flappers.

You know, flappers.

Louise Brooks, Josephine Baker, Zelda Fitzgerald ...

Last week I read to you from In the Footprints of the Padres, Charles Warren Stoddard's 1902 reminiscences about the early days of San Francisco.

That piece recounted a boyhood adventure, but this book is full of California stories from the latter years of the 19th century; some deservedly obscure, but some that ring pretty loud bells.

Todays' short text is a great example of the latter, one that dovetails beautifully with two other San Francisco stories, both of which I've talked about at Sparkletack: the story of the Second Street Cut and the visit of Robert Louis Stevenson.

The now all-grown-up Stoddard had returned to San Francisco after the Polynesian peregrinations that would inspire his best-known work, and Stevenson had just arrived from Scotland in hot pursuit of the woman he loved.

The two authors hit it off, and -- as you'll hear at the end of today's Timecapsule -- it's to Stoddard and the house on Rincon Hill that we owe Stevenson's eventual fascination with the South Seas.

Do the native sons of the golden West ever recall those names and think what dignity they once conferred upon the favored few who basked in the sunshine of their prosperity?

South Park, with its line of omnibuses running across the city to North Beach; its long, narrow oval, filled with dusty foliage and offering a very weak apology for a park; its two rows of houses with, a formal air, all looking very much alike, and all evidently feeling their importance. There were young people's "parties" in those days, and the height of felicity was to be invited to them.

As a height o'ertops a hollow, so Rincon Hill looked down upon South Park. There was more elbow-room on the breezy height; not that the height was so high or so broad, but it was breezy; and there was room for the breeze to blow over gardens that spread about the detached houses their wealth of color and perfume.

How are the mighty fallen! The Hill, of course, had the farthest to fall. South Parkites merely moved out: they went to another and a better place. There was a decline in respectability and the rent-roll, and no one thinks of South Park now, -- at least no one speaks of it above a whisper.

In 1854, the down-on-their-luck Stoddard family set off from New York City to try their luck in that brand new metropolis of the West: San Francisco.

Charles Warren Stoddard was just 11 years old, and San Francisco -- still in the throes of the Gold Rush, a vital, chaotic, cosmopolitan stew pot -- was the most exciting place a little boy could dream of.

Charles would grow up to play a crucial part in San Francisco's burgeoning literary scene. He was just a teenager when his first poems were published in the Golden Era, and his talent and sweet personality were such that he developed long-lasting friendships with the other usual-suspect San Francisco bohemians, Ambrose Bierce, Ina Coolbrith, Bret Harte, and Samuel Clemens.

Stoddard is probably best remembered for the mildly homo-erotic short stories inspired by his extensive travels in the South Seas, but in 1902 he published a kind of memoir entitled In the Footprints of the Padres. As the old song goes, it recalls "the days of old, the days of gold, the days of '49" from a very personal point of view.

The reviewers of the New York Times praised the work for Stoddard's "vivid and poetic charm", but I have to admit that I'm mainly in it for his memories.

In this piece, Charles and his little gang of pals are about to embark on a day-long ramble along the north-eastern edge of the city. Let's roll the clock back to 1854, and with Charles' help, put ourselves into the shoes of an 11-year-old boy anticipating the freedom of a sunny spring Saturday.

As of Friday the 20th, San Francisco was still on fire. The Great Earthquake had happened two days earlier, but the Fire (or fires) that devastated the city were still well underway.

The eastern quarter of the city -- nearly five square miles -- would be almost completely destroyed. But after the smoke cleared, a few precious blocks would emerged unscathed. Among these survivors would be the two blocks bounded by Montgomery, Jackson, Battery and Washington Streets.

Oceans of ink have been spilled in documenting the incredible individual heroism and unfathomable professional incompetence displayed in fighting those fires. One of the best books on the subject is "The Great Earthquake and Firestorms of 1906" by Philip Fradkin, from which I've swiped much of today's timecapsule.

This is the story of a single building, but one of vital importance to the delicate Western palette: AP Hotaling & Co.’s warehouse at 451 Jackson Street -- the largest depository of whiskey on the West Coast.

Hotaling's warehouse was threatened on the very first day of the fires, Wednesday, April 18th. This particular blaze was one of the many inspired by rampant and ill-advised dynamiting, in this case by an allegedly drunken John Bermingham, not coincidentally the president of the California Powder Works.

Encouraged by the blast, the fire roared towards the whiskey-packed warehouse. Its cornices began to smoulder, but a quick-acting fireman bravely clambered to the top and hacked them off.

This was Hotaling's first escape.

Exactly fifty-one years ago today, two New York City transplants faced each other for the first time on the fertile soil of the West Coast.

Decades of storied rivalry already under their respective belts, these two legendary New York baseball clubs -- the New York Giants and the Brooklyn Dodgers -- were trapped in aging, unsuitable parks. Giants owner Horace Stoneham had been considering a move to Minnesota until Dodger owner Walter O'Malley -- whose plans for a new Brooklyn park were being blocked -- set his sights on the demographic paradise of Los Angeles.

The National League wouldn't allow just one team to make such a drastic geographic move, so O'Malley talked Stoneham into taking a look at San Francisco. To the eternal regret and dismay of their New York fans, following the 1957 season, both teams pulled up stakes and headed for the welcoming arms of California.

This isn't going to come as a surprise, but one of my favourite histories of this fair city is Herbert Asbury's Barbary Coast, first published in 1933. That's where I ran into the little story of Billy Smith, one of the most notorious hoodlums that San Francisco ever produced.

In the early 1870s, Billy Smith was the leader of a gang known as the Rising Star Club. This was a group of Barbary Coast thugs about 200 men strong, and Billy ruled them -- and the Coast -- with an iron fist. Literally. Billy was a monster of a man, and scoffed at the notion of using a knife, club or gun. No, Billy's weapon of choice was a gigantic pair of corrugated iron knuckles, which he used to tear his antagonists into shreds.

This low-tech weaponry was actually not unusual for San Francisco hoodlums. They rarely used guns, since -- bullies that they were -- they tended to enter battle only when massively outnumbering their opponent ... a lone Chinese laundryman, for example, or a recalcitrant shopkeeper.

I've written about the derivation of the term "hoodlum" in a previous blog post, but what's just as interesting is how proud the Barbary Coast hoodlums were of that appellation. According to Asbury,

"Sometimes when they sallied forth on their nefarious errands, they heralded their progress through the streets of San Francisco by cries of "The Hoodlums are coming!" and "Look out for the Hoodlums"! Many of them had the curious idea that the very sound of the word "hoodlum" terrified the police, and that by so identifying themselves they automatically became immune to arrest."

I've been thinking about the fact that -- just like our out-of-town guests inevitably insist that we take 'em to Chinatown or Fisherman's Wharf -- in the 1870s, visitors from back in "the States" just had to go slumming in the infamous Barbary Coast.

The piece I'm about to read to you was written by Mr. Albert Evans, a reporter from the good ol' Alta California. The Barbary Coast was part of his beat, and this gave him connections with the hardnosed cops whose duty it was to maintain some kind of order in that "colorful" part of town.

As romanticized as it has become in popular memory, the Coast was a "hell" of a place -- filthy, violent and extremely dangerous for greenhorns.

When some visitors came to town in about 1871, Albert asked one of his policeman buddies to join them on the tour. His account of this "Barbary Cruise" is a remarkable firsthand snapshot of the territory bounded by Montgomery, Stockton, Washington and Broadway. But what's almost more interesting is the way he reports it; the purple prose, the pursed-lip moralizing, and -- though I've skipped the Chinatown part of the tour -- the absolutely matter-of-fact racism on display.

This is the Barbary Coast seen through the eyes of white, bourgeois, and extremely Victorian San Francisco -- prepare to be both educated and annoyed.

It was the year of the legendary Panama-Pacific International Exposition. San Francisco had once again earned that phoenix on her flag by rising from the ashes of the 1906 earthquake and fire -- and just nine years later, the city celebrated its rebirth by winning the right to host the World's Fair. Visitors from every point on the compass swarmed towards California to visit the resurgent city.

You probably know that the site of the Fair was the neighborhood now called the Marina, that acres of shoreline mudflats were filled in to create space for a grand and temporary city, and that the mournfully elegant Palace of Fine Arts is its lone survivor. The exhibits and attractions on offer were endless and famously enchanting, but one of the most spectacular events took place in the air above the Fair.

On March 15, a quarter of a million people gathered in the fairgrounds and on the hills above them to see a man in an ultra-modern experimental airplane perform unparalleled feats of aeronautical acrobatics.

That man was Lincoln Beachey, and in 1915 he was the most famous aviator in the country -- known from coast to coast as "The Man Who Owns the Sky".