I stumbled across a State Fair of Texas ad a couple of days ago — a detail of which is above — and it made me wonder if it contained the precursor to our beloved Big Tex (whose annual hoisting-up occurred today). The ad is from 1948, four years before Big Tex’s debut at the 1952 State Fair. When I saw it I was immediately reminded of Big Tex and exclaimed to myself, “THAT’S what he should have been doing with his hands!”
I’ve always wondered exactly what Big Tex is supposed to be doing with his hands. It’s a sort of vague “welcoming” gesture, I guess, but I can remember when I had to draw Big Tex in school that I was confused by that right hand. Was he waving? Was it an Indian “How!” greeting sign? It didn’t really look like either of those, and it really irked me (I was an easily-irked child). And, actually, it has continued to bother me all these years! (I am an easily-irked adult.)
From early sketches, it seems that the right hand was intended to have the thumb hooked through a vest. Jack Bridges, Big Tex’s creator, wanted Tex to symbolize the larger-than-life Texan who wasn’t above indulging in good-humored bragging and tall-tale-telling, and that personality comes through in the sketch and the Big Tex illustration used in the 1952 ads, below.
By the time Tex debuted, however, the vest seemed to have been discarded (as best I can tell from old photos), but the position of the right hand remained in that weird position (probably just to torment me as a child having to draw him in school).
Speaking of that very first version of Big Tex, in 1952 he had one eye shut, in the middle of a wink. He also had a long nose and wore a huge hat referred to in newspaper articles as a “sombrero.” In a 1983 interview, Jack Bridges said that in later years SFOT officials “made us open his eyes to make a ‘pretty boy’ outta him.” The wink was gone, the brim of the hat was made smaller, and his ears were moved forward. Even though Tex began to “talk” the next year, Bridges said, “I liked him better myself like he was — rugged and more or less caricature.”
The drawing of the man in the ad at the top probably has nothing to do with Big Tex, but dang if it ain’t pretty close! And the position of both hands makes sense!
Here’s the full 1948 ad from the top:
1948
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Sources & Notes
You can listen to a short (13-minute) interview done with Jack Bridges in 1983 as part of a Dallas Public Library oral history project, here. One of my favorite tidbits is Bridges remembering that vandals once painted a “big brown moustache” on the resting, disembodied head of Tex one year. He said that the head and the hat were kept in the Centennial Building when the fair wasn’t in progress, and the rest of Tex was kept in storage in various places around Fair Park. He said it was like making sure the president and vice-president never traveled together — if something happened to part of Big Tex, at least the whole of Big Tex wasn’t affected. (91-year-old Jack Bridges died in 2001; thankfully he didn’t have to witness the fiery … “incident” … of 2012.)
In 1927, construction began on Neiman-Marcus’ first expansion. The addition was adjacent to the famed department store, which had occupied its spot at Main and Ervay since its construction in 1914. (This was the company’s second location – their original store, which opened in 1907 at Elm and Murphy, was destroyed by fire in 1913.) The store had outgrown its old building, and expansion was deemed necessary. The new addition was designed by the Herbert M. Greene architectural firm, led by George L. Dahl. While the new building was going up, the old building was being renovated and updated.
The photo above shows the construction of the addition, which extended the store’s footprint from Main all the way to Commerce. One of the interesting features of this construction was the look of the site itself.
One of the features of the Neiman-Marcus project is the ornamental barricade, containing window boxes and fashionable silhouettes, which has been put up around the new construction. (Dallas Morning News, May 8, 1927)
It’s the nicest-looking hard-hat area I’ve ever seen!
The new building (which was four floors, but was designed so that sixteen additional stories could be added if needed) opened in October, 1927. Less than a month after the formal opening of this new building, another addition was announced — it opened the following year. With that “third unit” opening in 1928, Neiman-Marcus had increased its size by 50% (there would be further expansions over the years), and its sales were the highest in the company’s history. Also, notable at this time was the fact that a full 40% of the store’s sales were to people who lived “in other cities of the Southwest.”
The formal opening on Oct. 3, 1927 attracted a crowd estimated at more than 25,000 people. Invited guests wore gowns and tuxedoes.
Expansion completed.
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Oct. 2, 1927 (full-page ad — click to see larger image)
Oct., 1927
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Sources & Notes
Top photo was posted in the Facebook group Pioneers of Dallas County; it is from the collection of Dallas historian Frances James.
A special section of The Dallas Morning News which coincided with the opening of the expanded store appeared in the October 2, 1927 edition of the paper; in it are several photos and articles.
Read more about the history of the Neiman Marcus building on Wikipedia, here.
Gene’s Music Bar, S. Akard Street (click for larger image)
by Paula Bosse
In Dallas’ pre-Stonewall days, there were only a handful of gay bars in the city, and they weren’t widely known beyond those who frequented them. Those were the days when “homosexual behavior” was illegal, and vice raids on gay bars and clubs were frequent occurrences. In an interview with the Dallas VoiceAlan Ross remembered what the bar scene was like in Dallas in those days (click for larger image):
Dallas Voice, Sept. 21, 1990
There was the well-appointed Le Boeuf Sur Le Toit (later renamed Villa Fontana), one of Dallas’ earliest gay bars, located on Skiles Street near Exall Park in the area now known as Bryan Place, and there were rougher, seedier places, generally downtown. Three of those downtown bars (which apparently catered to a “straight” clientele during the day and a gay clientele at night) were Gene’s Music Bar and The Lasso — both on S. Akard, in the shadow of the Adolphus Hotel — and The Zoo Bar, on Commerce, “across from Neiman-Marcus.”
Gene’s Music Bar (pictured above) at 307-09 S. Akard began as a place where hi-fi bugs could sip martinis and listen to recorded music played on “the Southwest’s first and only stereophonic music system.” Not only did it have the sensational Seeburg two-channel stereo system, but it also boasted one of the best signs in town.
Nov. 1958
The Lasso Bar at 215 S. Akard was in the next block, across from the classy Baker Hotel, and a hop, skip, and a jump from the elegant Adolphus. Its proximity to the impressive Adolphus meant that the Lasso snuck its way into lots of souvenir picture postcards and Dallas Chamber of Commerce publicity photos. Its sign was pretty cool, too.
March, 1958
The image below gives you an idea of what that block looked like at night, neon blazing. (This super-blurry screenshot is from WFAA-Channel 8 coverage of 1969’s Texas-OU weekend, here — at 6:16 and 9:13.)
The Zoo Bar at 1600 Commerce began as a cocktail lounge and often had live piano music. It was across from Neiman’s and it was 3 blocks from Jack Ruby’s Carousel Club (downtown Dallas ain’t what it used to be). It also had a better-than-average sign.
1966
Nov., 1963
Sept., 1952
These three downtown bars, popular as hangouts for gay men, had their heyday in the 1960s and ’70s. By the mid 1970s, the LGBT scene was shifting to Oak Lawn. An interesting article about the uneasy relationship between the “old” Oak Lawn and the “new” Oak Lawn can be found in a Dallas Morning News article by Steve Blow titled “Last Oak Lawn Settlers Brought Controversy” (Dec. 9, 1979).
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Sources & Notes
Top photo of Gene’s Music Bar is from the blog Old Dallas Stuff.
Color photo of the Lasso and the Adolphus is from an old postcard. Black-and-white photo of the Lasso and the Adolphus is from the Texas Historical Commission site, here.
Blurry shot of Gene’s Music Bar and the Lasso Bar at night is a cropped screenshot from daily footage shot by WFAA-Channel 8 on Oct. 11, 1969 — the night before the Texas-OU game; from the WFAA Newsfilm Collection, G. William Jones Film and Video Archive, Hamon Arts Library, SMU.
Color image of the Zoo Bar and Commerce Street is a screenshot from home movie footage of the 1966 Memorial Day parade in downtown Dallas, shot by Lawrence W. Haas, viewable on YouTube. Black-and-white photo of the Zoo Bar from the Sixth Floor Museum Collection, via the Portal to Texas History, here (I’ve cropped it). Zoo Bar matchbook from eBay.
Read more about Dallas’ gay bar scene in the article I wrote for Central Track, “Hidden in Plain Sight, A Photo History of Dallas’ Gay Bars of the 1970s,” here.
More on the the persistent arrests and police harassment that went on in gay clubs in Dallas for many, many years can be found in the Dallas Voice article by David Webb, “DPD Vice Unit Wages 50-Year War Against Gay Men” (Aug. 3, 2007),here.
So much going on here! (Click for super-gigantic image!)
by Paula Bosse
I love absolutely everything about this photo of July 4th celebrants relaxing at White Rock Lake near the Bath House (back when people actually swam in the lake!). All that’s needed is a pet monkey on a leash and a few parasols, and you’d have an updated Tex-ified version of Seurat’s La Grande Jatte painting.
This is a photo definitely worth zooming in on. All images here are really big — click ’em! You can practically smell the wienies roasting/croissants baking. Have a happy and safe 4th of July!
As publicity stunts go, this one was pretty good. It even had a cutesy name: Operation AstroBowl. American Airlines wanted to promote their great big Boeing 707 cargo planes, so someone came up with the idea of putting a bowling alley in one of them. Happily, a company that manufactured bowling alley equipment — American Machine and Foundry (AMF) — was keen to jump on the promotion bandwagon. They installed the regulation 79-foot lane — complete with automatic pin-setting equipment and gutters — in one of the American Airlines jet freighters. It took 4 days. Looking at the photos, it resembled a very large MRI tube.
Since they had the lane and the equipment in there, they pretty much had to get a couple of champion players on board to bowl a few mid-air frames. As luck would have it, the National All-Star Tournament (aka “The World Series of Bowling”) was — hey! — to be held in Dallas at Fair Park Coliseum a week after the stunt. Serendipity! Champions Dick Weber and Sylvia Wene were roped in to play a 5-mile-high game in the sky.
So much to promote!
Operation AstroBowl took place on January 6, 1964 at cruising altitude between New York’s Kennedy International Airport and Love Field. Sylvia won. Barely. But this story made it into countless newspapers across the country the following day, so, really, it was the publicists who won. Drinks, I’m sure, were on them.
Dick Weber bowling at 500 miles an hour
AP story which appeared all over the country, Jan. 7, 1964
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Sources & Notes
Top photo appeared in the Encyclopedia Britannica Yearbook and was brought to my attention by Steve Dirkx (thanks, Steve!).
Story and photos by the Associated Press.
If you’re on Facebook, a tiny bit of film footage can we watched here.
Hold the presses! I’ve been translated! Check out this bowling post in Portuguese (!), on a Brazilian bowling site, here.
Seven years after opening, in 1954… (click for larger image)
by Paula Bosse
The Inwood Theatre opened at Lovers Lane and Inwood Road on May 16, 1947. Even though the surrounding neighborhood has changed pretty dramatically over the years, the exterior of the H. F. Pettigrew-designed building looks pretty much the same today. Happily, the 69-year old movie theater is still in business.
The Grand Opening — May 16, 1947 (click to see larger image)
Top photo from D Magazine,here; from the Texas/Dallas History and Archives Division, Dallas Public Library. If you zoom in, there seems to be some drama going on inside one of those parked cars:
The Texas Centennial Exposition opened in Dallas at Fair Park in June, 1936 — 80 years ago this week. It was described in newsreels as “A New City, A Great City, A City of a Thousand Sights and a Thousand Wonders.” Which I guess it kind of was. I’ve written about the Centennial before, but I don’t think I’ve mentioned that my favorite part of the Centennial’s taking place in Dallas is that it seriously rubbed “Mr. Fort Worth,” Amon Carter, the wrong way. Carter’s distaste of Dallas was well-known, so it was no surprise, really, that this caused him to blow his top and, damn it, he created his OWN competing celebration: the Fort Worth Frontier Centennial Exposition. The Dallas-Fort Worth rivalry had already been going strong for years, but the Centennial pushed it into Hatfield-and-McCoy feud territory (although one gets the feeling that most of it was an act that generated a lot of great publicity for both sides).
Watch film footage of ol’ Amon’s blood pressure spike into the danger zone here, in a moment from a March of Time newsreel as he proclaims that Fort Worth will teach “those dudes over there” (in Dallas) a thing or two by outdoing Big D in sheer gigantic spectacle. …And sex. Or, “whoopee.” Nudity was on display absolutely everywhere at both Centennial expositions. Dallas had always planned on having the titillation before Amon Carter got into the act, but the involvement of Billy Rose on the Fort Worth side probably encouraged Dallas to, um … augment the fleshy offerings on display in Fair Park.
Broadway impresario Billy Rose was hired by Amon Carter to sex-up the Fort Worth expo and to do everything he could to draw more visitors to Fort Worth than to Dallas. Rose went so far as to have a HUGE electric sign (supposedly the second largest electric sign in the world) placed on top of a building on Parry directly opposite the entrance to Fair Park which read:
(See a giant image of this photo in the UTA digital collection, here.)
I’m not sure whether the Dallas Centennial organizers were miffed or amused, but one can only imagine that Amon Carter was thrilled to bits when he saw his sign appear (fleetingly) in the Gene Autry movie The Big Show which had been shot in Fair Park during the Centennial.
Fort Worth was all about the “whoo-pee,” and the tag-line to their show was “Come to Fort Worth for Entertainment, Go Elsewhere for Education.”
Fort Worth Star-Telegram, July 14, 1936
The “feud” (i.e. the publicity machine) really cranked up when the producers of theMarch of Time newsreel sent their people to film in Dallas and Fort Worth. The result — a splashy look at the inter-city rivalry titled “Battle of a Centennial” — was shown in DFW-area theaters, and boisterous audiences either applauded for Dallas and hissed at Fort Worth (or vice-versa), depending on their allegiance. (Click ad below for larger image.)
June, 1936
In the end, the celebrations in both Dallas and Fort Worth were successful (although Dallas was the clear winner!), but the rivalry and competitive showmanship from the two cities probably made the shows much more entertaining than they might otherwise have been. So, thanks, Amon!
Photo of the “whoo-pee” billboard is from the book Billy Rose Presents … Casa Mañana (Fort Worth: TCU Press, 1999) by Jan Jones. Jones writes that the billboard was on top of the building at Parry and First.
The shot of the billboard hovering over cowboys is a screengrab from the interesting-but-dull Gene Autry movie, The Big Show, shot mostly on the grounds of Fair Park during the Centennial. You can watch the full movie here.
The clip of Amon Carter shaking his fist at “those dudes” in Dallas is from the 1936 March of Times newsreel, “Battle of a Centennial.” I have been unable to find the entire film streaming online, but you can watch a whole bunch of clips (about 13) from Getty Images, here. The full thing appears to be available for purchase here, but only if you are affiliated with a school or institution. (If anyone has access to the full newsreel, let me know!)
Watch a different newsreel/film on the Centennial Exposition — the 11-minute Texas Centennial Highlights, shot and produced by Dallas’ Jamieson Film Co. — at the Texas Archive of the Moving Image site, here.
For more on Fort Worth’s horning-in-on Dallas’ Centennial, read the entertaining article “Makin’ Whoopee — Amon Carter Couldn’t Make Either the Depression or Dallas Go Away, But He Sure Tried” by Jerry Flemmons (D Magazine, April, 1978), here.
Unfortunately, I’m unable to embed the video I linked to above of Amon Carter sputtering about Dallas hosting the state’s Centennial, but I encourage everyone who’s ever been amused by the Dallas-Fort Worth “feud” to watch it here — it’s well worth 17 seconds of your time! As John Rosenfield wrote in the Dallas Morning News review of this March of Time newsreel, “The best actor from across the river is Amon Carter, long a leading man among Texas political Thespians” (DMN, “Centennial Fight in ‘Time’ Release,” June 21, 1936). Newspaperman Carter knew how to parlay outrageous remarks about exaggerated competition into sweet, sweet publicity for himself and his newspaper. Check out the photo of a smiling Carter with his arm around “bitter rival,” G. B. Dealey of The Dallas Morning News, here. Amon knew a thing or two about a thing or two….
Above, Knox Street looking southeasterly from Travis in 1924. The Ro-Nile Theater (later the Knox Theater) is on the left. Today it is, I think, Pottery Barn Baby (and I think it is the original building). It directly faces what it now Weir’s Furniture. See what this view looks like today, here.
Below, a snow-covered Knox Street — around 1949 — looking northwesterly, from about Cole. The Knox Theater is on the right. See what this view looks like today, here.
I used to love when Knox was charming and funky. When I drive around this area now, I’m afraid I always end up feeling claustrophobic.
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Sources & Notes
Top photo from the DeGolyer Library, Southern Methodist University; more info is here.
“Action!” (click for BIG image) Photo: Dallas Police Museum
by Paula Bosse
Need to hire a bunch of movie extras who look comfortable toting rifles? When Hollywood came to Dallas and environs in the fall of 1966 to shoot the movie “Bonnie and Clyde,” they found plenty of law enforcement officers happy to don a pair of overalls and add some local color to their production.
I came across this photo on the Dallas Police Department Museum Facebook page. One of the comments under the photo: “I remember when all the overtime slots were allowed (paid by the film company)…. I recognize Chief Curry and the other officers.” Another person commented that an ex-DPD cop told him that he was in the movie, dressed as a farmer, chasing a car across an open field.
Did you have an Uncle Earl who was on the DPD force in 1966? There’s a chance he might be in the movie. Hell, he might be in this photo!
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Sources & Notes
Photo from the Dallas Police Department Museum Facebook page.
Read the Preston Hollow Advocate article “A Criminal Record: Dallas Police Department Museum,” here.
Last Tuesday, my friend Carlos Guajardo and I were each asked to present a favorite vinyl album at the Tuesday Night Record Club, a monthly event organized by Brian McKay and held at the historic Texas Theatre. My choice was a French import called Public Execution by Mouse and the Traps, a collection of the Texas band’s singles issued during their fairly short career (roughly 1965 to 1970). I bought this at a time when all of my disposable income was going to alternative record stores Metamorphosis and VVV, and I feel fairly certain that I bought this album at Metamorphosis. ’60s garage rock may be my favorite genre of music, and Texas garage rock is, for whatever reason, usually the best.
Mouse and the Traps was a band formed in Tyler, Texas in 1965, with Ronnie Weiss (whose nickname was “Mouse”) on vocals and guitar, Bugs Henderson on lead guitar, David Stanley on bass, Ken “Nardo” Murray on drums, and Jerry Howell on keyboards. Even though most of the band members grew up in Tyler and almost all of their singles were recorded there (recordings produced by the great Robin Hood Brians, who was only a couple of years older than the band), the band pretty much moved to Dallas when they began to get a lot of airplay on local stations, notably KLIF. I actually always thought they were a Dallas band, and, damn it, I’m still considering them a Dallas band.
Mouse and the Traps toured around the state feverishly, playing clubs, colleges, parties, and even proms. There were occasional forays beyond Texas, but, for the most part, they remained a (very popular) regional band. Their first single — the unapologetically Dylan-esque “A Public Execution,” was released at the end of 1965 on the Fraternity label; it was their only record to show up on the Billboard charts, as a “bubbling under” track, not quite reaching the Top 100. After a couple of years, Bugs Henderson (who later became “guitar legend Bugs Henderson”) left the band and was replaced by Bobby Delk. Their personnel history is a little fuzzy, but I think Bugs re-joined the band briefly before the group finally disbanded sometime in 1970, after releasing a series of well-regarded singles and after almost five years of endless live dates. For most bands that had found little commercial success, that would have been the last most people would have heard of them. But most bands weren’t “Nugget” bands.
In 1972, Lenny Kaye included Mouse and the Traps on his revered (and influential) “Nuggets” compilation, propelling the band from “slowly fading memory” to “newly appreciated cult band” and introducing them to a whole new international audience. The band is now regarded as “proto-punk” and an important Texas garage band.
Their garage recordings are probably the most admired, but they dabbled in every ’60s style imaginable, including psychedelia, folk rock, breezy pop, and West Coast country, with hints of Dylan, The Beatles, The Yardbirds, Them, Donovan, and the Sir Douglas Quintet. There’s even a “Get Smart”-inspired novelty song in there. My favorite song of theirs, “Maid of Sugar, Maid of Spice,” is generally considered their finest single, assuring them a place in the pantheon of great garage songs. The stinging, electrifying guitar of Bugs Henderson is fantastic.
The band re-formed for several reunion shows over the years, but, sadly, Bugs Henderson died in 2012. No more reunion shows featuring the original line-up.
As far as the Dallas connection during the height of their career, there is precious little I’ve been able to find, as far as contemporary local photos, ads, or newspaper mentions. Despite the cultural revolution which began with the explosive arrival of the Beatles to the U.S. in 1964, “teenage” music in the ’60s was not taken seriously enough at the time to warrant much coverage in the major newspapers.
One of the few mentions of the band I found was as a support act on a Sonny and Cher show at the Fair Park Music Hall in early 1966. Also on the bill: The Outcasts from San Antonio, and Scotty McKay from Dallas (who can be seen performing two pretty good songs in a clip from one of Dallas director Larry Buchanan’s “schlock” movies, “Creature of Destruction,” here).
Feb., 1966
They also appeared on the TV music show “Sump’n Else” “Upbeat” (in 1968, post-Bugs). (Thanks to Jim for pointing out in the comments that these two color photos actually show the band on the Cleveland-based syndicated teen show “Upbeat,” hosted by Don Webster. TV listings show that the band appeared on the show in April 1968, along with the Boxtops and several other performers.)
Photos: Robin Hood Brians
They also played a memorable show at Louanns in 1966 where they appeared on a double-bill as two separate bands. In 1966 Jimmy Rabbit, a popular DJ on KLIF who was a big supporter of the band, asked them to perform as his backing band on a (great!) recording of “Psychotic Reaction” — a very early cover (perhaps the first) of the song by the Count Five. The song was recorded in Tyler by Robin Hood Brians with Rabbit on vocals and was released under the name Positively Thirteen O’clock. Unsurprisingly, with Rabbit being a DJ on the top station in town, it became a huge local hit. Ken “Nardo” Murray talked about it in a 1988 interview (read the full interview here). Click for larger image.
Fort Worth Star-Telegram, May 17, 1988
And here they are at Louanns, with Rabbit at the mic, backed up by Dave Stanley, Bugs Henderson (he has “Bugs” and a picture of Bugs Bunny on his guitar!), and Jerry Howell:
If anyone has any Dallas-related photos or memorabilia of Mouse and the Traps, I’d love to see them! I’d also love to hear from people who saw them perform in the ’60s.
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Billboard, May 21, 1966
Waco Tribune Herald, Aug. 11, 1966
Grand Prairie Daily News, May 9, 1968
Weimar Mercury, Jan. 16, 1969
North Texas State University newspaper, Feb. 7, 1969
Waco Tribune Herald, Aug. 30, 1969
Waco Citizen, April 13, 1970
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Sources & Notes
A few Mouse and the Traps tidbits:
The band was originally called “Mouse.” “The Traps” was added when the second single, “Maid of Sugar, Maid of Spice” came out in 1966.
The “Henderson” listed as co-writer with Ronnie Weiss of a few of the early Mouse and the Traps songs (including the first two singles) was not Bugs Henderson (who was born Harry Fisher Henderson but was known as “Buddy” in the pre-“Bugs” days) — it was Knox Henderson, a high school pal from Tyler, seen below from a 1955 John Tyler High School (Tyler, TX) yearbook.
More on the band — including photos and newspaper articles — can be found here. Also included is additional information on Robin Hood Brians who has produced artists as diverse as ZZ Top, the Five Americans, James Brown, David Houston, and John Fred and His Playboy Band (whose “Judy In Disguise” knocked the Beatles out of the #1 spot on the national charts).
1948 State Fair ad: “Hey, Texans!”
Flashback : Dallas 