Flashback : Dallas

A Miscellany: History, Ads, Pop Culture

Category: Leisure

The Ladies’ Reading Circle: An Influential Women’s Club Organized by Black Teachers in 1892

ladies-reading-circle_negro-leg-brewer_1935The Ladies (click for larger image)

by Paula Bosse

When one thinks of “ladies’ clubs” of the past, one probably tends to think of groups of largely well-to-do women in fashionable dresses, gloves, and smart hats who gathered for quaint meetings in one another’s homes to discuss vaguely literary or cultural topics, sip tea, chit-chat, and gossip. Often they would plan projects and events which would aid pet community or charitable causes. There were clubs of varying degrees of serious-mindedness, but, for the most part, club meetings were mostly an excuse for women to socialize. 100 years ago, these women rarely worked outside the home, and these groups offered an important social and cultural outlet for well-educated women of means. White women. Women of color were not part of that particular club world. They had to create clubs for themselves. And they did.

In 1892, eight African-American teachers in Dallas organized their own club, the Ladies’ Reading Circle, and while it, too, was an important social outlet for the women, the focus of the group tended to be more serious, with reading lists comprised primarily of political, historical, and critical texts.

The members of the Ladies’ Reading Circle (a group that lasted at least until the 1950s) were, for the most part, middle-class black women who set an agenda for the club of education, self-improvement, and social responsibility. Like most women’s clubs of the time, each meeting of the LRC was held in a different member’s home and usually ended with a “dainty” luncheon and light musical fare, courtesy of the Victrola or player piano; but what set the LRC apart from most of the other women’s clubs of the day was the choice of reading material — from books on world history and international politics, to texts on current affairs and social criticism. (Several surprising examples appear below.)

Not only did the women gather weekly to discuss current and cultural affairs, they also worked to improve their community by tackling important social issues and by inspiring and encouraging young women (and men) who looked to them as civic leaders. Noted black historian J. Mason Brewer dedicated his 1935 book Negro Legislators of Texas to the women of the Ladies’ Reading Circle. The photograph above is from Brewer’s book, as is the following dedication:

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Included were the names of the members, several of whom had organized the club in 1892:

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One of the LRC’s concerns was establishing a home which, like the white community’s YWCA, offered housing and career training for young women. The charming frame house the club bought for this purpose in 1938 (and which is described in the Jan. 10, 1952 News article “Ladies Reading Circle Seeks $7,500 for Expanding Home”) still stands at 2616 Hibernia in the State-Thomas area

lrc-home_2616-hibernia_google2616 Hibernia (Google Street view, 2014)

But the group was organized primarily as a “reading circle,” and the minutes of three randomly chosen meetings show the sort of topics they were interested in exploring. The following three articles are from the post-WWI-era, and all appeared in The Dallas Express, a newspaper for the city’s black community.

lrc_dallas-express_040320April 3, 1920

lrc_dallas-express_041020April 10, 1920

lrc_dallas-express_102023October 20, 1923

My favorite juxtaposition of content on the pages of The Dallas Express was the article below which reported on a white politician’s promise that he would fight to keep “illiterate Negro women” from voting — just a column or two away was one of those eye-popping summaries of the latest meeting of the Ladies’ Reading Circle. My guess is that the black educators who comprised the Ladies’ Reading Circle were probably far more knowledgeable about world events than he was.

negro-womans-suffrage_dallas-express_052220May 22, 1920

In reading the limited amount of information I could find on the LRC, I repeatedly came across the name of one of the earliest members, Callie Hicks (she is in the 1935 photo at the top, seated, second from the right). She was a dedicated teacher as well as a respected civic leader who worked for several causes and was an executive of the Dallas branch of the NAACP. A Dallas News article about Miss Hicks appeared in Feb., 1950 when she was named “Woman of the Year” by one of the largest African American women’s organizations in Dallas County (“Honor Caps 40 Years of Helpful Teaching,” DMN, Feb. 10, 1950). Miss Hicks died in May, 1965.

callie-hicks_dmn-021950-photo1950

It’s a shame that the Ladies’ Reading Circle is not better known in Dallas today. I have to admit that I had never heard of the group until I stumbled across that 1935 club photo. Their tireless work to improve the intellectual lives of themselves and others no doubt influenced the generations that followed.

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Sources & Notes

Top photograph, dedication, and member list, from Negro Legislators of Texas and Their Descendants; A History of the Negro in Texas Politics from Reconstruction to Disenfranchisement by J. Mason Brewer (Dallas: Mathis Publishing Co., 1935).

Minutes from the Ladies’ Reading Circle meetings all printed in The Dallas Express.

Relevant material on the LRC and other historic African-American women’s clubs can be read in Women and the Creation of Urban Life, Dallas, Texas, 1843-1920 by Elizabeth York Enstam (College Station: Texas A & M University Press, 1998), here.

The Handbook of Texas entry for one of the founding members of the Ladies’ Reading Circle, Julia Caldwell Frazier, can be found here.

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Copyright © 2014 Paula Bosse. All Rights Reserved

Swooning Over Love Field — 1940

love-field_1940Art Deco Love Field!

by Paula Bosse

I’m a huge-fan of the modern 1950s-era Love Field (the one with the Mockingbird Lane entrance), but even that can’t trump this fantastic building! Designed by architect Thomas D. Broad, the new Love Field administration building and terminal — which faced Lemmon Avenue — was unveiled on October 6, 1940, to rapturous acclaim. The night view above is pretty breathtaking. Forget the airfield. For me, it’s all about this entrance. Those windows. And those doors. And that font! And those little airplane pictographs!

love-field_terminal_1940It wasn’t bad in the daytime, either — just nowhere near as dramatic. And in dire need of landscaping.

love-field_ca1940_frontAnd here it is from the field side. Still swoon-worthy. The back of this postcard reads:

LOVE FIELD — NEW $225,000 ADMINISTRATION BUILDING
One of America’s finest air terminals which takes care of more airline passengers, more air mail and more air express in ratio to population than any other airport in the country.

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What happened to this beautiful building? I searched through the Dallas Morning News archives until I felt I had to throw in the towel, never finding a definitive answer. But here’s what I did find. When the brand-spanking-new terminal (the one we know today) opened in 1958, the 1940 terminal was vacated. A better word might be “abandoned.” Most assumed the building would be razed very soon after. But I got as far as September of 1964, and the old terminal was still standing. And it wasn’t pretty. This excerpt from a Dallas Morning News article is painful to read:

…The old terminal building cowers in desolation…. Virtually every window has been smashed, carpeting the deserted terminal with a dangerous floor of broken glass. Loose wires stick out here and there, and blinds hang in twisted postures from broken cords. The building’s big sign DALLLAS is missing its D. (DMN, July 2, 1961)

(And even more thoroughly painful is the article in the Dallas News archives by Kent Biffle, “Ghosts Wait by Runway” — DMN, Feb. 2, 1961.)

Apparently, the old building had to remain standing until a “much-debated” new multi-million-dollar runway was agreed upon.

The point at which I threw in the towel in my quest to discover when the old terminal building had been demolished was a DMN photo from September 25, 1964, with the caption “$4,000,000-Plus Runway Progress. The 8,800-foot parallel runway at Dallas Love Field, left center, is two-thirds completed and should be ready for use next spring.” I am assured the photo has a hard-to-see old terminal still decaying in it. I assume they razed that sucker pretty soon afterward. …Possibly.

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Sources & Notes

Top two photos are from the Love Field Collection, Dallas History and Archives, Dallas Public Library; accession numbers are PA83-13-8 for the swoony one at the top, and PA83-13-4 for the daylight exterior photo. I originally found these in the post “The New Love Field” by Jacob Haynes, here.

Click pictures for larger images — the first two are HUGE!

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Copyright © 2014 Paula Bosse. All Rights Reserved.

A Lost Photo of Director Larry Buchanan, Celebrated “Schlockmeister” — 1955

buchanan-katy-camera_1955_bwLarry Buchanan (in bowtie) in his ad-man days, 1955

by Paula Bosse

I got all excited when I saw the above photo posted in the Lone Star Library Annex Facebook group. It accompanied an article and another photo from the Katy Employes’ Magazine (August, 1955) (seen below) — the poster was interested in the railroad-angle of the article and photos, but the name “Larry Buchanan” was what grabbed my attention.

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The photo was posted because it was a wonderful piece of M-K-T Railroad-related ephemera. Before reading the accompanying text, I thought that the idea of a 1955 Chrysler tricked-out to ride along Katy railroad tracks (so that M-K-T officials could, presumably, ride the rails in comfortable air-conditioned splendor as they moved from one inspection site to the next) was the cool thing about the article. Then I got to the name “Larry Buchanan.” And it became much, MUCH more interesting.

So who is Larry Buchanan? Briefly, Larry Buchanan is one of the greatest exponents of grade-Z, low-low-low-LOW-budget filmmaking, a director with a cult following amongst those who enjoy movies in the “so-bad-they’re-good” genre. He shot most of his movies in the 1960s in Dallas, taking advantage of lots of locations around the city, even if the movies he was shooting weren’t actually set in Dallas (one movie had Highland Park Village standing in for Italy, and “Mars Needs Women” was set in Houston, even though the movie is crammed full of easily recognizable Dallas locations such as the downtown skyline and the Cotton Bowl). The movies that have earned him his place in the pantheon of cult figures are primarily his sci-fi movies, like “Mars Needs Women,” “Attack of the Eye People,” “Curse of the Swamp Creature,” and “Zontar: The Thing from Venus.” Many were re-makes of earlier low-budget sci-fi movies commissioned by American International Pictures, and Buchanan was usually the producer, director, writer, and editor — “auteur” seems like the wrong word to use here, but that’s what he was, a filmmaker intensely involved with every phase of the production.

Buchanan was born in 1923 and grew up in Buckner Orphans Home. After a fleeting thought of becoming a minister, Buchanan — long-fascinated by movies — left for Hollywood and New York where he worked as an actor in small roles or on the crew (during this time there were professional brushes with, of all people, George Cukor and Stanley Kubrick). By the early 1950s, Buchanan was back in Dallas, employed by the Jamieson Film Company (3825 Bryan St.), working on industrial films, training films, television programs, and commercials. It was at Jamieson that he learned all aspects of film production, including how to get things done quickly and how to bring projects in under budget. It’s also where he met co-workers Brownie Brownrigg, Robert B. Alcott, Bob Jessup, and Bill Stokes, all of whom went on to have film careers of their own and most of whom Buchanan used as crew members when shooting in and around the city.

It was during this period that the photo above was taken. There are countless websites out there devoted to Larry Buchanan’s film oeuvre, but there are very, very few photos of him online. I found exactly three:

larry-buchanan_bob-jessup_texas-monthly_lgLarry (left) with cinematographer Bob Jessup

larry-buchanan_tx-monthly_may-1986-photo_detIn 1986 (Tim Boole/Texas Monthly)

larry-buchananDate unknown

The photo at the top of this post is from 1955, before Buchanan had really begun cranking out his own movies. I can’t say for sure that this IS a photograph of Larry Buchanan, but it seems likely that it is. In that striped shirt, he looks like the kind of hip, energetic, ever-enthusiastic director I imagine him being. I can only hope that it IS him, straddling railroad ties, behind a camera pointed at a retrofitted Chrysler, in Dallas’ Katy railyard. One wonders if that Chrysler spot had a higher budget than some of the movies he was making ten years later. UPDATE: In the comments, below, Larry’s son Barry identifies his father in the top photo, but not as the man behind the camera, but as the man behind the car, wearing the bowtie. Thanks for the correction, Barry1)

From all reports, Larry was a tireless, driven, upbeat guy who loved making movies, and I think it would have been a lot of fun hanging out with him. If I ever have enough disposable income, I’ll fork it over and buy a copy of his entertaining-but-pricey autobiography, the well-received It Came From Hunger: Tales of a Cinema Schlockmeister (McFarland & Co., 1996).

It’s been fun researching Larry Buchanan. There’s a lot more to tackle later. I mean, I haven’t even touched on the legendary “Naughty Dallas” yet!

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Tons of links here….

First two photos and text from the Katy Employes’ Magazine (Aug. 1955).

buchanan-cover_sm

Katy magazine scans made with permission of the Facebook page Lone Star Library Annex.

Other examples of automobiles equipped with “railroad wheels” can be found here.

Black and white photo of Buchanan with Bob Jessup (photographer and date unknown) and the great color photo (a detail of which is shown above) by Tim Boole, both from the article, “How Bad Were They?” by Douglass St. Clair Smith (Texas Monthly, May 1986), which you can read here.

That last photo of Buchanan is all over the internet — the only one you ever really see. I don’t know who took it, when it was taken, or where it originally appeared. But it’s a great photo!

Larry Buchanan died in December, 2004, at the age of 81. His obituary from The New York Times is here.

A fond look back at Buchanan’s career by Eric Celeste appeared in the April 2005 issue of D Magazine and can be read here.

The best piece on Buchanan is “A Tribute to Larry Buchanan” by his good friend Greg Goodsell, here.

My recent post on “Mars Needs Women” — with screen caps of movie scenes shot at recognizable Dallas locations — is here.

I never did find that Chrysler spot that had been slated to appear on network TV. I have a feeling it may be in a lengthy collection of Chrysler commercials and films from 1955 which you can watch here. I couldn’t slog all the way through it, but there are a couple of “Shower of Stars” episodes, which are mentioned in the Katy article (they’re odd “entertainment” shows which seem to be nothing more than infomercials for Chrysler starring famous people in bad sketches). If anyone actually finds footage that was filmed that day in Dallas, please let me know!

And, lastly, Larry Buchanan’s movies are fun, but some are more fun than others, “if you know what I mean, and I think you do” (as Joe Bob Briggs — surely one of Larry’s biggest admirers — might say). Many of them are available to watch in their entirety online. Check YouTube and Google.

Click photos for larger images!

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Copyright © 2014 Paula Bosse. All Rights Reserved.

Back When the Kessler Couldn’t Catch a Break — 1957

kessler-theater-after-tornado_1957

by Paula Bosse

One of the casualties of the famous tornado that hit Dallas and Oak Cliff in 1957 was the Kessler Theater. In 1957, the Kessler — then only 15 years old — had hit hard times and was being used to house an evangelical church. It was rebuilt after the tornado, but soon after it was hit by a three-alarm fire. Conclusion? Do not disturb the entertainment gods — that place was meant to be a theater!

kessler_tornado_sherrod

From the post-tornado reports in The Dallas Morning News:

At the West Davis and Clinton business district, an evangelical church in a converted theater building at the intersection was caved in, leaving little more than two walls standing. The church’s cross from atop its more than 50-foot tower was crumpled in the gutter. (DMN, April 3, 1957)

And in a survey of the clean-up:

At Davis and Clinton, where the old Kessler Theater was being used as a revival center before the tornado, workmen were busy wrecking the building, completing what the tornado had started. […] J. T. Hooten, foreman for Winston A. Caldwell, explained that the damaged sections of the theater which might give way under a slight strain and cause further damage had to be torn out. His crew carefully but hurriedly dismantled the old Davis Street landmark. Hooten said the owner may rebuild the theater as a 1-story office building. (DMN, April 10, 1957)

Here is a detail of an aerial photo by photographer Squire Haskins, showing the damaged Kessler in the center (see the full, very large photo here):

kessler_tornado_squire-haskins_UTA_det

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Sources & Notes

Top photo from an incredibly detailed website devoted to the 1957 Dallas tornado, the home page of which can be seen here.

Second photo from D. Troy Sherrod’s Historic Dallas Theatres (Charleston: Arcadia Publishing, 2014); photo from the collection of the Dallas Public Library.

Aerial photograph by Squire Haskins from the Squire Haskins Photography, Inc. Collection, UTA Libraries, Special Collections; more information is here (click the thumbnail to see a larger image).

Website of the recently (and beautifully) restored Kessler is here.

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Copyright © 2014 Paula Bosse. All Rights Reserved.

 

The Statler Hilton: Dallas Has It All … Again

statler-hotel

by Paula Bosse

It’s alive!

The old Statler Hilton looks like it might finally be renovated! Read about the exciting plans here.

Click picture for larger image.

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Copyright © 2014 Paula Bosse. All Rights Reserved.

Neiman-Marcus Celebrates the Texas Centennial with “Cactus Colors” and Cattlebrands Burned Into Rawhide Belts — 1936

neiman-marcus_shoes_vogue-1936-det

by Paula Bosse

Texans celebrate history with — what else? — fashion! Below, text from a Neiman-Marcus ad which appeared on the eve of the huge Texas Centennial celebrations in 1936.

Five days before the Centennial finds Neiman-Marcus keyed for last-minute demands … both in selections and service … Spectator clothes and accessories in cactus colors (see current Vogue), and Artcraft stockings, thin as a web, in Texas range colors … Cool snowy crepe dresses for the afternoon and printed chiffon jacket dresses for Centennial sightseeing … Cottons gifted with importance … Crownless roof hats and trailing garden party dresses … Cattlebrands burned on a rawhide belt that girdles a crisp white watching dress. All in the best of taste and at a happy range of prices.

And then I looked for the Vogue ads mentioned and … wow! I’ve had a vintage advertising blog for several years, and I’ve seen a lot of ads … but these may be my favorites! All as a tie-in to the Texas Centennial, celebrated in Dallas in 1936, spear-headed by Stanley Marcus himself. Thanks, Mr. Stanley!

neiman-marcus_shoes_vogue-1936

neiman-marcus_cactus-colours_vogue-1936a

neiman-marcus_cactus-colours_vogue_1936b

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Color ads from Vogue, June 1936. I found them on Etsy from this seller (the ads have, apparently, been sold). I would LOVE to see these with the watermarks removed, and I’d also love to know what became of the original artwork and who “N. de Molas” was. I love Texas kitsch and I love fashion illustration from this period, and this is fantastic! Click color pictures for much larger images! And read that copy, man.

If you want to wander around a whole bunch of vintage advertising, my Retro Adverto blog is here, but it has been sadly neglected since my immersion into this blog!

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Copyright © 2014 Paula Bosse. All Rights Reserved.

 

The Shooting of “Bonnie & Clyde” — 1966

bonnie-clyde_unt_113066On location: Greenville Avenue (click for larger image)

by Paula Bosse

Today is the 80th anniversary of the ambush and killing of Bonnie and Clyde. Since I’ve written about Ted Hinton (one of the ambushers and erstwhile motor lodge operator) and Clyde Barrow (as a not-yet-completely-delinquent 17-year old) (and dressed up in a sailor suit), why not a brief look at the movie?

I was hoping to find a bunch of local as-it-was-happening anecdotes in the newspaper archives, but I found very little. (Hey, Dallas — you had a major motion picture with Hollywood celebrites in it — couldn’t you have devoted a little more ink to it?)

The photo at the top is the only one I could find that showed shooting (…as it were) at a Dallas location. The above was shot at the Vickery Courts motor lodge at 6949 Greenville Avenue (just north of Park Lane, across Greenville and up a bit from where the old Vickery Feed Store was).

So photos were practically non-existent, but I did learn that the interiors were shot at a large soundstage on Dyer, just off Greenville, called Stage 2, owned by Bill Stokes of Bill Stokes & Associates (where I spent a blink-of-an-eye interning back in high school).

Below are two photos of Warren Beatty and Faye Dunaway between shots in Lavon, Texas, just outside Wylie — talking with one of the extras, Billy Joe Rogers, a saddlemaker from Wylie.

bonnie-clyde_lavon_beatty_102066

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The reactions to the finished movie from the local critics was interesting. The reviewer for The Dallas Morning News hated it. Hated it.

Bonnie and Clyde were a couple of rat punks who created terror in a vast area simply because they had no hesitation in gunning down those who stood in their way. […] They became for a brief span the nation’s most hunted outlaws and finally were shot down […] like the mad dogs they were. […] In a word: There is nothing entertaining about mad dogs; they should be killed — and quickly. (William A. Payne, DMN, Sept. 14, 1967)

I don’t know anything about the reviewer, William A. Payne, but my guess is that he vividly remembered the real-life Bonnie and Clyde and, like many other reviewers of the time, deplored the perceived glamorization of violence. (As an aside, I wondered why I wasn’t finding listings for “Bonnie and Clyde” in the early ’30s when I searched through the Dallas Morning News archives. As I learned from Mr. Payne, the two were commonly known as “Clyde and Bonnie” back then. So there you go!)

The review from Elston Brooks of The Fort Worth Star-Telegram, on the other hand, was ecstatic.

“Bonnie and Clyde,” which had every right to be a B-grade gangster shootout in double-breasted suits, is instead a shattering emotional experience, a fascinating film and  — oddly enough — an important motion picture. (Elston Brooks, FWST, Sept. 15, 1967)

My guess is that Brooks was about 30 years younger than Payne and had little, if any, personal connection to the real-life outlaws who killed real people.

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The film ran up against a lot of studio problems. Warner Bros. head Jack Warner called it “the longest two hours and ten minutes I ever spent,” and the plan was to dump the movie in drive-ins and second-string-movie houses and be done with it. But producer-star Beatty was persistent and got it into the Montreal Film Festival where the positive reviews as well as the 9,000-word rave from Pauline Kael in The New Yorker assured it got the attention it merited. And it did. It was nominated for 10 Academy Awards and is considered a classic move of the 1960s.

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The movie had its Southwestern premiere at the Campus Theater in Denton in September, 1967. Watch (silent) news footage of the premiere from WBAP-TV (Ch. 5) at the Portal to Texas History, here (it begins about the 4:41 mark). Here’s a screen capture of Warren Beatty that day — also appearing were Michael J. Pollard and Estelle Parsons.

bonnie-and-clyde-movie_beatty_denton-premiere_wbap-tv_091367_portal

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One last little interesting tidbit was what happened after the movie wrapped production in Dallas. Warren Beatty donated the so-called “death car” to a local wax museum. Unfortunately for the wax museum, the car’s bullet holes had been filled in to shoot another scene, so the museum had to search for someone to professionally and authentically re-riddle the car with bullet holes.

It’s always something.

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Sources & Notes

Top dark and grainy photo of location shooting at Vickery Courts from The Campus Chat (newspaper of North Texas State University, Denton), Nov. 30, 1966.

Photos of Beatty and Dunaway in Lavon, Texas from The Wylie News, Oct. 20, 1966. An article and more photos from the set (local extras, etc.) can be found here and here.

Here’s a bonus Fort Worth Star-Telegram article on the fun and unusual bus trip that Beatty and other stars of the film took to some of the small towns they’d filmed in when they were back in the area for the local premiere in Denton (click to read):

bonnie-clyde_fwst_091467
FWST, Sept. 14, 1967

And a good overview of the making of the film can be found at TCM’s website here.

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Copyright © 2014 Paula Bosse. All Rights Reserved.

 

My Father, Dick Bosse — Dallas Bookman

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by Paula Bosse

Dick Bosse was my father. When he died in 2000, he had managed (and later owned) The Aldredge Book Store for almost 45 years. He started working for founder Sawnie R. Aldredge, Jr. fresh off a half-hearted attempt at grad school. I’m sure he had no idea when he started working there (at $1.00 an hour) just how important a role the store would play in his life. My parents met at the store when my mother began working there, and they married a couple of years later. My brother and I spent countless hours there and practically grew up in the store. The Aldredge Book Store was a second home to my family, and looking back on all the time I spent there, all the books I read when I was bored, all the literati of the city I met who eventually popped in and sat around talking with my father over a cup of coffee or a beer, all the store cats I loved who became minor celebrities themselves — when I look back on all that, I realize how lucky my brother and I were to have had such interesting parents who brought us up in such an interesting place.

My father had a reputation as a stellar bookman but was known as much for his wit and humor as he was for his deep and wide-ranging knowledge of books, both rare and “chicken-fried.” He was one of the state’s top Texana experts, and his mailing list contained just about every major Texas author. The Aldredge Book Store was one of the oldest antiquarian bookstores in the Southwest, but my father was a remarkably unstuffy, unassuming, and down-to-earth bookseller.

I’ve been working off-and-on at collecting pithy catalog blurbs my father wrote over the years. The bulk of his sale catalogs were straight listings of antiquarian and out-of-print books, but he became fairly well-known in the Texas book trade for descriptions like these which he would insert throughout for his own amusement. I’ve left out the full bibliographical descriptions, but here are a few of my favorites. I realize some of these are a little esoteric, but this has been a fun project, and it’s nice to remember how funny my father was (bad puns and all). (I only wish I had been able to catalog like this when I worked as a rare books cataloger for an auction house!)

Adams, Ramon F. THE RAMPAGING HERD. The shit-kickers’ John Ciardi.

Brown, John Henry. LIFE & TIMES OF HENRY SMITH, The First American Governor of Texas. A rather nice copy, not one of the bugshit-encrusted remainders.

BULLETIN OF THE UNITED STATES FISH COMMISSION FOR 1891. A Texas piscatorial incunable.

Carter, Jimmy. KEEPING THE FAITH. Signed by the author, a former president.

Clary, Annie Vaughan. THE PIONEER LIFE. In HERD, but curiously not in SIXGUNS despite feuds, Texas Rangers, and Daddy popping caps on some badasses.

Clay, John. MY LIFE ON THE RANGE. Nice copy of the consensus bovine biggie.

Cravens, John Park. WITH FINGERS CROSSED: The Truth As Told In Texas. Apparently humor.

Devlin, John C. & Grace Naismith. THE WORLD OF ROGER TORY PETERSON, An Authorized Biography. Peterson, a student of blue bird mores, was known to Brandeis ornithologists as the goy of Jay sex.

Dobie, J. Frank. AS THE MOVING FINGER WRIT. Inscribed to “Mr. Moore,” in which 60-word inscription Dobie alludes (a frequent trick to prove he was not your run-of-the-mill shit-kicker) to Maugham and Schiller.

Eickemeyer, Rudolf. LETTERS FROM THE SOUTH WEST. Puny yankee sopping up the sun in El Paso & Santa Fe.

ENCYCLOPEDIA BRITANNICA. The twelfth edition (the eleventh edition with the supplements). Best encyclopedia in English executed prior to the American greaseballization.

Faulk, John Henry. FEAR ON TRIAL. HUAC to Hee-Haw.

Fuermann, George. RELUCTANT EMPIRE. Fine copy in dust jacket, signed by author and illustrator and marred only by one of those hideous goddam lick-in bookplates.

Gent, Peter. TEXAS CELEBRITY TURKEY TROT. Too much Peter; not enough Gent.

Hardin, John Wesley. THE LIFE OF JOHN WESLEY HARDIN. Mischievous preacher’s kid.

Hargrove, Lottie H. TEXAS HISTORY IN RHYME. Aarghh!

Hudson, Alfred Edward A’Courte. SELECTED BLOOD STUDIES ON SWINE. “Satisfying your antiquarian porcine hematological requisites since 1947.”

Koehler, Otto A. KU-WINDA (To Hunt). African safari by the Texas Beer Baron; well-illustrated, including some comely bare-breasted Somaliettes holding a “Join The Swing To Pearl” banner.

Long, Mary Cole Farrow. STRANGER IN A STRANGE LAND, From Beaufort, South Carolina, To Galveston Island Republic of Texas — A Biography of Judge James Pope Cole (1814-1866). Probably unknown to Heinlein.

McDonald, William. DALLAS REDISCOVERED: A Photographic Chronicle of Urban Expansion, 1870-1925. The reissue was in wraps and had a “perfect binding,” one of the more notable oxymorons of our time.

Pellowe, William C. S. (ed.). MICHIGAN METHODIST POETS. Enthusiasts of The Muse will be relieved to know that Michigan sprinklers are as fully gifted as their Texas colleagues.

Riley, B. F. HISTORY OF THE BAPTISTS OF TEXAS. Covers blemished, apparently sprinkled by a surly Methodist.

Rozelle, Robet V. (ed.). THE WENDY AND EMERY REVES COLLECTION. The greatest Dallas art coup since SMU acquired the wet-paint Spanish Masters collection of Al Meadows.

Schlesinger, Arthur M., Jr. A THOUSAND DAYS, John F. Kennedy in the White House. Most notable fawning since Bambi’s birth.

Slaughter, Bob. FOSSIL REMAINS OF MYTHICAL CREATURES. Profusely illustrated with photos and drawings by the author, apostate bar-fly now a distinguished scientist and sculptor. A grab-ass classic.

White, Owen P. MY TEXAS ‘TIS OF THEE. A nice enough copy except that a cretin at something called “Mary’s Book Nook” was a compulsive rubber-stamper.

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Above, my father, on the right, at the first location of the Aldredge Book Store on McKinney Avenue. The accompanying article by Luise Putcamp, Jr. is here.

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Above is one of my favorite photos of my father, taken in a small used bookstore I had on Lower Greenville Avenue. A newspaper editor thought it would be “cute” to have a photo of father-daughter booksellers. The photographer suggested I hold the newer, cutting-edge art book while my father held the older, obscure British arts journal. Of course, my father would have been more interested in the Allen Jones book, and I would have been more interested in The Yellow Book (a set of which my father gave to me for Christmas one year — and it was one of the best gifts I’ve ever received).

Today would have been my father’s 80th birthday. 80! I think of him all the time, and I miss him terribly. He was a wonderful guy, and — aside from the modest income — I think he would have said that a lifetime career as a bookseller was a pretty sweet deal.

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Sources & Notes

When my father died in April, 2000, several appreciations of him appeared in print. If you would like to read the appreciations by his friends A. C. Greene (a very sweet tribute) and Lee Milazzo (my personal favorite — very funny), as well as the nice official obituary, they are all transcribed here

My brother, Erik Bosse, wrote a wonderful piece about our father for a catalog we issued after his death. The warm and amusing essay — as well as some of the crazy business cards my father took great joy in printing up — can be found here

Sketch at the top was done by Nancy C. Dewell (1969). Slightly larger than a business card, it arrived in the mail one day with a short note that read: “I don’t know your name. I think you are Mr. Aldredge. I would be pleased if you would accept my drawing of you in the bookshop. Sincerely, Nancy C. Dewell.” I can’t imagine a better likeness. I really, really love this.

Photo of me and my father from the Dallas Observer.

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Copyright © 2014 Paula Bosse. All Rights Reserved.

Six Flags-Inspired Recipes for the (Gluten-Tolerant) Superfan — 1966

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by Paula Bosse

Did you know there was a Six Flages-themed cookbook? Well, there was! Issued in 1966 by the Gladiola Flour company (every recipe — rather unsurprisingly — contains flour), the Six Flags aficionado was presented with dishes such as “Casa Magnetica Churros,” “Log Flume Log Cake,” “Skull Island Treasure Cookies,” and “Sky Hook Snickerdoodles.” From the introduction:

“Names of the recipes have been inspired by attractions and rides at Six Flags Over Texas, the exciting adventureland located midway between Dallas and Fort Worth. Look to the Six Flags Over Texas Cookbook when you want something different — a dish your guests will remember.”

That “Log Flume Log Cake”? Mosey on over here and whip one up this weekend for your gluten-tolerant friends and family.

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All images from The Six Flags Over Texas Cookbook by Gladiola (Sherman: Fant Milling Co., 1966). These images (and the entire cookbook) from Ken Collier’s great Six Flags Over Texas collection. The cookbook can be viewed here; and check out his other Six Flags pages here.

For other Flashback Dallas posts on the early days of Six Flags Over Texas, see here.

Click oblong pictures for larger images.

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Copyright © 2014 Paula Bosse. All Rights Reserved.

Angus Wynne, Jr.’s “Texas Disneyland” — 1961

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by Paula Bosse

If you’re reading this, you’ve probably been to Six Flags Over Texas in Arlington. Depending on your age, you may pine for those glorious days of yesteryear when Six Flags was a truly unique theme park. Today it is not. Back then, there was only one Six Flags, and it was a great, weird place. A theme park based on Texas history! Who would come up with such a far-fetched idea? Angus Wynne, Jr. did. Some of it must have sunk in, because, to this day, the way I can remember the “six flags” that have flown over Texas is by remembering rides and attractions at Six Flags Over Texas.

I wasn’t going regularly to Six Flags until the ’70s, when it was still definitely all about Texas, but looking at old postcards that were issued to celebrate the opening of the park in 1961, I was shocked by some of the great stuff that was retired before my annual visits. Like … helicopter rides! Actual helicopter rides that took off from an area near (in?) the parking lot: five minutes for five dollars (this was back when admission was $2.25 for kids and $2.75 for adults — those days are long-gone…).

And … a stagecoach ride! I would have LOVED that! Looks kind of dangerous, though — which might be why it didn’t last. The description on the back of the postcard:

Bridge Out — Confederate Section: Butterfield Overland Stagecoach pulled by a team of four matched white horses cuts past washed out bridge on its way to deliver passengers and the U.S. mail back to the safety of the depot — always plenty of exciting action taking place at the multi-million dollar Six Flags Over Texas entertainment park.

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And, yes, the problematic “Confederate” section. The description on the back of this postcard reads:

Call To Arms — Confederate Section: Confederate Drill Team at Six Flags Over Texas. To these men in gray, the South is still ‘a-fightin’ them Yankees.’ Frequent enlistment rallies are held where youngsters join up and receive papers proving their military status in Terry’s Texas Rangers, 8th Texas Cavalry.

Don’t remember seeing that. It probably started to lose its luster somewhere back around the Vietnam War.

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Jack Maguire, in his great Alcalde article (link below) describes this … um … “ride” thusly:

The Spanish section is next. Here guests board pack mules to venture forth with Francisco Vasquez de Coronado, greatest of the conquistadores, as he descends into Palo Duro Canyon searching for the Seven Cities of Cibola.

With the mules and the stagecoach team, Six Flags must have had a busy corral somewhere in the park.

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And, well, this is my favorite: a hanging. …At an amusement park. Maybe they’re just a-funnin’. This took place in the “Texas Section,” where the bank was robbed every hour on the hour and there was the show-stopping gunfight in the middle of the street. I remember that. I don’t remember some guy getting strung up, though. I like the fact that this photo was used to promote an amusement park.

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And here’s the whole of it, in 1961. I guess there must have been other things in Arlington back then. But it looks pretty empty once you’ve ventured past Skull Island and left the park.

six-flags_map_mid-1960s(Click for much larger image!)

Thank you, Angus Wynne, Jr. — I had so much fun in your park — I wish I had seen it when it opened!

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Sources & Notes

Top two postcards from the jumble of stuff I own.

All other postcards from the INCREDIBLE Six Flags Over Texas postcard collection of Ken Collier, which you can see — page after page after page — here.

I’m not sure where I found the map, but it gets pretty big when clicked.

Photo of Angus Wynne, Jr. from the Fall, 2002 issue of Legacies.

Memories of the helicopter ride by a former park employee (who says it lasted only until 1962 when it was discontinued due to a “hard landing” incident) can be read here.

And for a truly enjoyable look at the then-new theme park, I HIGHLY recommend Jack Maguire’s “The Wynne Who Waves Six Flags” in the November, 1961 issue of The Alcalde, the University of Texas alumni magazine — read it and look at the photos of a Six Flags *I* certainly never knew (but wish I had), here.

For my follow-up post on The Six Flags Over Texas Cookbook (1966) — with a link to the entire booklet and all the Six Flags-inspired recipes — see here.

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Copyright © 2014 Paula Bosse. All Rights Reserved.